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What Separates the Gifted from the Schlubs and How Praise Can Backfire

What makes someone gifted?

Raw talent?

Sure. An apptitutde for something always helps. But it appears it’s not enough. True expertise takes work. And those trying to help (i.e. parents, teachers, coaches) can hinder if they give the wrong kind of praise.

I wanted to share three articles reporting the results of a number of interesing studies on expertise which often appears as a skill level that seems unobtainable by normal, motivated individuals.

The Meadow Mount School of Music

This music school in the Adirondacks has “trained such luminaries as Pinchas Zukerman, Itzhak Perlman, Joshua Bell, Lynn Harrell, and Yo-Yo Ma.” A number of researchers wanted to see what the difference was between the students who seemed most skilled and those who weren’t. They divided students “into three skill levels, including one the faculty had identified as having the best chance of becoming world-class soloists.” Then they looked at the differences.

According to the report, “the results were clear-cut, with little room for any sort of inscrutable God-given talent. The elite musicians had simply practiced far more than the others…Psychologists found a second attribute in elite players that is less obvious than sheer hours of practice. While most of us think of practice as the repetition of tough spots (and this is how many young people do practice), elite musicians, they found, took a different approach.”  Read full article.

The majority of childhood prodigies never fulfill their early promise

Why? According to these researchers it’s because so many early-bloomers get warped by their experience and fail to develop perseverance. More here.

Praise that Undermines Achievement

It appears that how we praise achievement affects performance. Sometimes in large and startling ways.

You may think that it’s good to praise your child for being “smart” or “good” in some subject. But there’s growing evidence that giving kids such labels doesn’t improve or motivate performance, but actually reduces it.

Psychologist Carol Dweck and her team have studied the effect of praise on students in a variety of settings. “Repeating her experiments, Dweck found this effect of praise on performance held true for students of every socioeconomic class. It hit both boys and girls—the very brightest girls especially (they collapsed the most following failure). Even preschoolers weren’t immune to the inverse power of praise.” So what type of praise actually works? Read here.

When does genius bloom?

We often think genius must be tied to being precocity. After all, Motzart was doing musical flips when he was still a kid.  For writers, however, it appears this isn’t the case. More here.

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  • Generating Story 12: Creative Q&A with Author Melissa Mead

    Melissa Mead lives in Upstate NY with her husband and cat. Her stories have recently appeared in IGMS and Daily Science Fiction. She’s a member of SFWA, Codex, and the Carpe Libris Writers Group: http://carpelibris.wordpress.com/.  She too had a story to tell about using questions to help her develop her published stories.  I think it’s worth sharing.

    Melissa

    My Double Dragon novel Between Worlds (Double Dragon Publishing) came about because of a reading mistake.

    You see, I’d come across the word “cantrip.” Not being a D&D player, I’d never heard it before, so I went to the OED and looked it up. The first definition said “A minor spell or incantation.” The second said “A mischievous trick,” but somehow I misread it as “A mischievous sprite.”

    Oh wow- a mythological being I’d never heard of! I ransacked the library looking for any reference to those mischievous sprites. Didn’t find any, of course. Finally I decided that if I couldn’t find them, I’d make them up. So I started asking myself “What are Cantrips?” From the definition, I figured they must have some minor magical powers, and were most likely small.

     So why hadn’t we heard of them before? Perhaps they were hiding.

    Why were they hiding? Perhaps something awful had happened between humans and Cantrips long ago, driving the Cantrips underground. Literally.

    Then why we were hearing about them now? Something must have happened that made staying hidden more risky than coming above ground. Starvation? Underground isn’t the best place to maintain a steady population. But that’s not very dramatic or personal, for story purposes. Maybe, in addition, there’s an outside threat.

    Ok, so someone needs to confront this threat. One person, so we have someone to focus on. Someone more adventurous than your typical Cantrip.

    And so Miska, and all the Cantrips, brought a new form of mischievous sprites to the world.

    All because of the question “What the heck is a Cantrip?”

    John Sez

    First of all, notice she followed her zing.  She stumbled upon this new creature and started to research.  Her research didn’t provide much, of course. But following that impulse is key.  

    Next, did you notice she kept asking why?  Why don’t we know about Cantrips?  Why did they go underground?  Why are they returning?  That’s a motive or cause question. 

    There’s no way you’d use those exact questions in your story.  But you WILL want to know WHY things are they way they are.  You will want to know motives and causes, internal and external.  You’ll want to know WHY your hero is facing this problem, WHY the antagonist is working against her, WHY the hero decides to tackle the problem instead of ignore it or run away.  When the hero reacts and makes a decision to do X, you will want to know WHY (as well as WHAT’S THE RESULT).  Same with the antagonist.  When building setting, you might find it useful to ask things like WHY did they build a village here or WHY is my character a tailor?  Do you see?

    In addition, I’ve found that replacing “why” with “what” seems to be more productive to me.  So “what led or caused my character to be a tailor” helps me more than “why.”  “What’s motivating the antagonist” helps me personally more than “why is he doing this?”  That might be my own weirdness, but I think “what” subtly leads me straight into nouns and situations and values and beliefs.  Try it on and see if it doesn’t help you.

    Finally, did you notice her use of objective. The story about overpopulation in the underground didn’t interest her much.  She wanted something with an active antagonist.  Something that could focus on a character.  Knowing that objective, she started generating options that might fit the bill.  Which lead to the cool idea of a new type of mischevious sprite.

    Follow zing. Use the “what” (why) to identify cause and motive.  If you can, state your objective; the clarity will give your wonderful mind a focus for its generating powers.

     

    For more in this series, see How to Get and Develop Story Ideas

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  • How to write a logline

    I have found that having a logline is not only essential to pitch a story, but it also helps me as I’m writing the story. An unnamed producer sent this to Orson Card who passed it onto his online workshop. It is the best tutorial I’ve ever come across on writing loglines. And everything Christopher Lockhart says about loglines can be used when pitching your novel to agents and editors. I would also read his article about pitching your story. Now I did a little digging and found these resources as well that include both Lockhart articles plus a examples of loglines that work and don’t and few other articles that you might find helpful.

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    30 books you should read before you die

    An avid reader friend of mine began reading through the books in a list called “100 books you must read before you die.”

    She got to Jack Kerouac’s On The Road and went to Facebook and posted the following: “I don’t get the appeal. It’s about a group of boys/men who are irresponsible, drunks, whoring around taking advantage of others and being enabled by their women. Why is this a classic and why should I have wasted my time on it? Can some of my literary friends explain? I hated a brave new world and the handmaid’s tale too.”

    Is the book a classic?

    Should she read it before she dies?

    Is it really that important?

    Let me share an edited version of my response and then provide my list of 30 books you should read before you die.

    *

    Annette, the unfortunate truth is that these lists of “classics” are a sham because there is no objective criteria for determining literary excellence.

    Or maybe I should say that measuring quality in the arts isn’t like measuring the unambiguous, objective score of a baseball game. After books exhibit a certain level of proficiency, it becomes increasingly difficult to distinguish the quality of one book from another, especially because much of this depends on a reader’s interests and subjective experience of the story.

    When it becomes hard to rank performances, people rely on other measures. One of the most powerful is social networks.

    So if two readers find two different books that blow them away, one of the books might get all the attention because the one book gets picked up by a news service (The New York Times) or a platform (the Oprah Book Club effect) or some other social network of influence. A lot of the so-called literary classics only appear on various lists because they tapped into the academic network, which kept them alive far longer than they would have lasted otherwise.

    On The Road is simply a book that made a stir among some circles in the 1950s. That’s it.

    Was it more important or of higher quality than Exodus? The Chronicles of Narnia? Lord of the Rings? A Town Like Alice? All published in the 1950s as well.

    It depends.

    If you’re wanting to understand the 1950s beat culture, it would be an important book.

    But if you’re wanting to understand fantasy writing of the time, it wouldn’t.

    If you’re wanting to read a book that’s had a huge impact on popular culture, well, LOTR beats On The Road like a dog.

    Some people have the feeling that the so-called classics have some inherent medicinal value because someone put them on a list and called them classics.

    Nope. They’re just stories. Some of which can shed light on the issues and interests of a part of the culture in a given period. But if you’re not interested in that specific sub-culture, who cares?

    And if you’re reading to be entertained, moved, uplifted, or educated—which ones do that best for Annette is for you to decide.

    So all that to say I wouldn’t devalue your reaction to the book ?

    *

    I’m now going to give you my list.

    But it’s not going to be a list of titles. Nor will it focus on a book’s impact on some sub-culture of a given period.

    It’s going to be a real list. One that focuses on what so many of us go to stories for.

    1. The one that makes you weep.
    2. The one that makes you giggle and snort.
    3. The one that reminds you of what it’s like to fall in love.
    4. The one that gives you hope.
    5. The one that you begin to read more and more slowly because you don’t want it to end.
    6. The one that scares the soup out of you.
    7. The one that you can’t put down, even though you need to wake up early in the morning.
    8. The one that makes you wish you lived there.
    9. The one that’s so good that when you close it, you immediately start to read it a second time.
    10. The one that gives you and your child hours of pleasure together.
    11. The one that gives you a sacred, spiritual experience.
    12. The one that makes you reread some of the lines because the turns of phrase are just so delicious.
    13. The one that gives you courage.
    14. The one that takes you on an awesome adventure.
    15. The one that makes you want to be a better person.
    16. The one that bores you to tears (just so know you how good the others are).
    17. The one that introduces you to a different culture that delights you.
    18. The one that makes you think.
    19. The one that lingers with you for days.
    20. The one that gives you lovely insights.
    21. The one that inspires you to love your spouse more.
    22. The one that introduces you to the sorts of people you normally don’t like and makes you actually like them.
    23. The one that delights you with its characters.
    24. The one that whisks you away to a different historical period.
    25. The one that inspires you to give your children a hug.
    26. The one that gets your adrenaline pumping.
    27. The one that sparks all sorts of ideas in your head.
    28. The one that makes you wonder and start imagining what it would be like to be there.
    29. The one that blows your freaking mind.
    30. The one that makes you stand up in your living room and cheer.

    We could do more than 30, couldn’t we?

    Like the one that makes you think people from a different time period are just like us. And the one that makes you think people from that same period are completely alien.

    But I think we’ll stop. That there above is a list.

    Those are 30 books I think everyone will want to read before they die.

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  • Lesson 6 on writing done

    Theory is important, but practice trumps theory. Every single day.

    Lessons 1-5 have all been theory and helping you see how stories work and get sensitized to the effects they have on you. Now it’s time to get to work. In lesson 6, I guide you through a number of key techniques I’ve found helpful in getting me to the point where I’m ready to write the first draft. In this lesson, you’ll learn:

    • Productive creative Q&A questions for finding zing about setting, characters, and the main driver of your plot.
    • How to clarify your THOMR
    • A powerful technique to help you clarify the core of your story
    • How to figure out how many scenes you need
    • Techniques that help make potential events for your plot flood into your mind

    Here it is: Lesson 6: Develop your idea

    Enjoy!

    Edit 1/24/15 at 10:45 a.m.: Lesson 6 revised

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