I'm reading Malcolm Gladwell's book Outliers, and it's interesting. I liked Blink a great deal, and Tipping Point was also thought-provoking. I'm generally inclined to like Gladwell's ideas and think they have some merit, even though he certainly has his critics.
But I'd like to quote you a lengthy passage because it supports what I feel about being a truly high-ranking dominant. It's a neat refutation of that nonsense I occasionally hear about how So-And-So is a "natural" dominant, and thus doesn't need to educate themselves or practice their craft. It just happens, like magic. Hah. You may have talent, my friend, but the way you get to the Carnegie Hall of kink is practice, practice, practice.
"In the early 90s, the psychologist K Anders Ericsson and two colleagues set up shop at Berlin's elite Academy of Music. With the help of the academy's professors, they divided the school's violinists into three groups. The first group were the stars, the students with the potential to become world-class soloists. The second were those judged to be merely "good". The third were students who were unlikely ever to play professionally, and intended to be music teachers in the school system. All the violinists were then asked the same question. Over the course of your career, ever since you first picked up the violin, how many hours have you practised?
Everyone, from all three groups, started playing at roughly the same time - around the age of five. In those first few years, everyone practised roughly the same amount - about two or three hours a week. But around the age of eight real differences started to emerge. The students who would end up as the best in their class began to practise more than everyone else: six hours a week by age nine, eight by age 12, 16 a week by age 14, and up and up, until by the age of 20 they were practising well over 30 hours a week. By the age of 20, the elite performers had all totalled 10,000 hours of practice over the course of their lives. The merely good students had totalled, by contrast, 8,000 hours, and the future music teachers just over 4,000 hours.
The curious thing about Ericsson's study is that he and his colleagues couldn't find any "naturals" - musicians who could float effortlessly to the top while practising a fraction of the time that their peers did. Nor could they find "grinds", people who worked harder than everyone else and yet just didn't have what it takes to break into the top ranks. Their research suggested that once you have enough ability to get into a top music school, the thing that distinguishes one performer from another is how hard he or she works. That's it. What's more, the people at the very top don't just work much harder than everyone else. They work much, much harder.
This idea - that excellence at a complex task requires a critical, minimum level of practice - surfaces again and again in studies of expertise. In fact, researchers have settled on what they believe is a magic number for true expertise: 10,000 hours.
"In study after study, of composers, basketball players, fiction writers, ice-skaters, concert pianists, chess players, master criminals," writes the neurologist Daniel Levitin, "this number comes up again and again. Ten thousand hours is equivalent to roughly three hours a day, or 20 hours a week, of practice over 10 years... No one has yet found a case in which true world-class expertise was accomplished in less time. It seems that it takes the brain this long to assimilate all that it needs to know to achieve true mastery."
This is true even of people we think of as prodigies. Mozart, for example, famously started writing music at six. But, the psychologist Michael Howe writes in his book Genius Explained, by the standards of mature composers Mozart's early works are not outstanding. The earliest pieces were all probably written down by his father, and perhaps improved in the process. Many of Wolfgang's childhood compositions, such as the first seven of his concertos for piano and orchestra, are largely arrangements of works by other composers. Of those concertos that contain only music original to Mozart, the earliest that is now regarded as a masterwork (No9 K271) was not composed until he was 21: by that time Mozart had already been composing concertos for 10 years.
To become a chess grandmaster also seems to take about 10 years. (Only the legendary Bobby Fischer got to that elite level in less than that time: it took him nine years.) And what's 10 years? Well, it's roughly how long it takes to put in 10,000 hours of hard practice."
Now, that's not to say that ten thousand hours of practice automatically equals world-class expertise. But I will think about this next time I see someone who arrived in the scene about five minutes ago flouncing around - either virtually or in reality - styling themselves Sir Lord Master Domley-Dom of All He Surveys, or High Goddess Dominatchya Von Meanbitch, and scoffing at the notion that they might need to go to school and do their homework. If you don't like BDSM enough to do it a lot and really learn it, then why do it at all?