Quiet: The Power Of Introverts In A World That Can't Stop Talking Part 10

Williams also identifies leaders.h.i.+p training as a primary benefit of cooperative learning. Indeed, the teachers I met seemed to pay close attention to their students' managerial skills. In one public school I visited in downtown Atlanta, a third-grade teacher pointed out a quiet student who likes to "do his own thing." "But we put him in charge of safety patrol one morning, so he got the chance to be a leader, too," she a.s.sured me.

This teacher was kind and well-intentioned, but I wonder whether students like the young safety officer would be better off if we appreciated that not everyone aspires to be a leader in the conventional sense of the word-that some people wish to fit harmoniously into the group, and others to be independent of it. Often the most highly creative people are in the latter category. As Janet Farrall and Leonie Kronborg write in Leaders.h.i.+p Development for the Gifted and Talented:

While extroverts tend to attain leaders.h.i.+p in public domains, introverts tend to attain leaders.h.i.+p in theoretical and aesthetic fields. Outstanding introverted leaders, such as Charles Darwin, Marie Curie, Patrick White and Arthur Boyd, who have created either new fields of thought or rearranged existing knowledge, have spent long periods of their lives in solitude. Hence leaders.h.i.+p does not only apply in social situations, but also occurs in more solitary situations such as developing new techniques in the arts, creating new philosophies, writing profound books and making scientific breakthroughs.

The New Groupthink did not arise at one precise moment. Cooperative learning, corporate teamwork, and open office plans emerged at different times and for different reasons. But the mighty force that pulled these trends together was the rise of the World Wide Web, which lent both cool and gravitas to the idea of collaboration. On the Internet, wondrous creations were produced via shared brainpower: Linux, the open-source operating system; Wikipedia, the online encyclopedia; MoveOn.org, the gra.s.sroots political movement. These collective productions, exponentially greater than the sum of their parts, were so awe-inspiring that we came to revere the hive mind, the wisdom of crowds, the miracle of crowdsourcing. Collaboration became a sacred concept-the key multiplier for success.

But then we took things a step further than the facts called for. We came to value transparency and to knock down walls-not only online but also in person. We failed to realize that what makes sense for the asynchronous, relatively anonymous interactions of the Internet might not work as well inside the face-to-face, politically charged, acoustically noisy confines of an open-plan office. Instead of distinguis.h.i.+ng between online and in-person interaction, we used the lessons of one to inform our thinking about the other.

That's why, when people talk about aspects of the New Groupthink such as open office plans, they tend to invoke the Internet. "Employees are putting their whole lives up on Facebook and Twitter and everywhere else anyway. There's no reason they should hide behind a cubicle wall," Dan Lafontaine, CFO of the social marketing firm Mr. Youth, told NPR. Another management consultant told me something similar: "An office wall is exactly what it sounds like-a barrier. The fresher your methodologies of thinking, the less you want boundaries. The companies who use open office plans are new companies, just like the World Wide Web, which is still a teenager."

The Internet's role in promoting face-to-face group work is especially ironic because the early Web was a medium that enabled bands of often introverted individualists-people much like the solitude-craving thought leaders Farrall and Kronborg describe-to come together to subvert and transcend the usual ways of problem-solving. A significant majority of the earliest computer enthusiasts were introverts, according to a study of 1,229 computer professionals working in the U.S., the U.K., and Australia between 1982 and 1984. "It's a truism in tech that open source attracts introverts," says Dave W. Smith, a consultant and software developer in Silicon Valley, referring to the practice of producing software by opening the source code to the online public and allowing anyone to copy, improve upon, and distribute it. Many of these people were motivated by a desire to contribute to the broader good, and to see their achievements recognized by a community they valued.

But the earliest open-source creators didn't share office s.p.a.ce-often they didn't even live in the same country. Their collaborations took place largely in the ether. This is not an insignificant detail. If you had gathered the same people who created Linux, installed them in a giant conference room for a year, and asked them to devise a new operating system, it's doubtful that anything so revolutionary would have occurred-for reasons we'll explore in the rest of this chapter.

When the research psychologist Anders Ericsson was fifteen, he took up chess. He was pretty good at it, he thought, trouncing all his cla.s.smates during lunchtime matches. Until one day a boy who'd been one of the worst players in the cla.s.s started to win every match.

Ericsson wondered what had happened. "I really thought about this a lot," he recalls in an interview with Daniel Coyle, author of The Talent Code. "Why could that boy, whom I had beaten so easily, now beat me just as easily? I knew he was studying, going to a chess club, but what had happened, really, underneath?"

This is the question that drives Ericsson's career: How do extraordinary achievers get to be so great at what they do? Ericsson has searched for answers in fields as diverse as chess, tennis, and cla.s.sical piano.

In a now-famous experiment, he and his colleagues compared three groups of expert violinists at the elite Music Academy in West Berlin. The researchers asked the professors to divide the students into three groups: the "best violinists," who had the potential for careers as international soloists; the "good violinists"; and a third group training to be violin teachers rather than performers. Then they interviewed the musicians and asked them to keep detailed diaries of their time.

They found a striking difference among the groups. All three groups spent the same amount of time-over fifty hours a week-partic.i.p.ating in music-related activities. All three had similar cla.s.sroom requirements making demands on their time. But the two best groups spent most of their music-related time practicing in solitude: 24.3 hours a week, or 3.5 hours a day, for the best group, compared with only 9.3 hours a week, or 1.3 hours a day, for the worst group. The best violinists rated "practice alone" as the most important of all their music-related activities. Elite musicians-even those who perform in groups-describe practice sessions with their chamber group as "leisure" compared with solo practice, where the real work gets done.

Ericsson and his cohorts found similar effects of solitude when they studied other kinds of expert performers. "Serious study alone" is the strongest predictor of skill for tournament-rated chess players, for example; grandmasters typically spend a whopping five thousand hours-almost five times as many hours as intermediate-level players-studying the game by themselves during their first ten years of learning to play. College students who tend to study alone learn more over time than those who work in groups. Even elite athletes in team sports often spend unusual amounts of time in solitary practice.

What's so magical about solitude? In many fields, Ericsson told me, it's only when you're alone that you can engage in Deliberate Practice, which he has identified as the key to exceptional achievement. When you practice deliberately, you identify the tasks or knowledge that are just out of your reach, strive to upgrade your performance, monitor your progress, and revise accordingly. Practice sessions that fall short of this standard are not only less useful-they're counterproductive. They reinforce existing cognitive mechanisms instead of improving them.

Deliberate Practice is best conducted alone for several reasons. It takes intense concentration, and other people can be distracting. It requires deep motivation, often self-generated. But most important, it involves working on the task that's most challenging to you personally. Only when you're alone, Ericsson told me, can you "go directly to the part that's challenging to you. If you want to improve what you're doing, you have to be the one who generates the move. Imagine a group cla.s.s-you're the one generating the move only a small percentage of the time."

To see Deliberate Practice in action, we need look no further than the story of Stephen Wozniak. The Homebrew meeting was the catalyst that inspired him to build that first PC, but the knowledge base and work habits that made it possible came from another place entirely: Woz had deliberately practiced engineering ever since he was a little kid. (Ericsson says that it takes approximately ten thousand hours of Deliberate Practice to gain true expertise, so it helps to start young.)

In iWoz, Wozniak describes his childhood pa.s.sion for electronics, and unintentionally recounts all the elements of Deliberate Practice that Ericsson emphasizes. First, he was motivated: his father, a Lockheed engineer, had taught Woz that engineers could change people's lives and were "among the key people in the world." Second, he built his expertise step by painstaking step. Because he entered countless science fairs, he says,

I acquired a central ability that was to help me through my entire career: patience. I'm serious. Patience is usually so underrated. I mean, for all those projects, from third grade all the way to eighth grade, I just learned things gradually, figuring out how to put electronic devices together without so much as cracking a book.... I learned to not worry so much about the outcome, but to concentrate on the step I was on and to try to do it as perfectly as I could when I was doing it.

Third, Woz often worked alone. This was not necessarily by choice. Like many technically inclined kids, he took a painful tumble down the social ladder when he got to junior high school. As a boy he'd been admired for his science prowess, but now n.o.body seemed to care. He hated small talk, and his interests were out of step with those of his peers. A black-and-white photo from this period shows Woz, hair closely cropped, grimacing intensely, pointing proudly at his "science-fair-winning Adder/Subtractor," a boxlike contraption of wires, k.n.o.bs, and gizmos. But the awkwardness of those years didn't deter him from pursuing his dream; it probably nurtured it. He would never have learned so much about computers, Woz says now, if he hadn't been too shy to leave the house.

No one would choose this sort of painful adolescence, but the fact is that the solitude of Woz's teens, and the single-minded focus on what would turn out to be a lifelong pa.s.sion, is typical for highly creative people. According to the psychologist Mihaly Csikszentmihalyi, who between 1990 and 1995 studied the lives of ninety-one exceptionally creative people in the arts, sciences, business, and government, many of his subjects were on the social margins during adolescence, partly because "intense curiosity or focused interest seems odd to their peers." Teens who are too gregarious to spend time alone often fail to cultivate their talents "because practicing music or studying math requires a solitude they dread." Madeleine L'Engle, the author of the cla.s.sic young adult novel A Wrinkle in Time and more than sixty other books, says that she would never have developed into such a bold thinker had she not spent so much of her childhood alone with books and ideas. As a young boy, Charles Darwin made friends easily but preferred to spend his time taking long, solitary nature walks. (As an adult he was no different. "My dear Mr. Babbage," he wrote to the famous mathematician who had invited him to a dinner party, "I am very much obliged to you for sending me cards for your parties, but I am afraid of accepting them, for I should meet some people there, to whom I have sworn by all the saints in Heaven, I never go out.")

But exceptional performance depends not only on the groundwork we lay through Deliberate Practice; it also requires the right working conditions. And in contemporary workplaces, these are surprisingly hard to come by.

One of the side benefits of being a consultant is getting intimate access to many different work environments. Tom DeMarco, a princ.i.p.al of the Atlantic Systems Guild team of consultants, had walked around a good number of offices in his time, and he noticed that some works.p.a.ces were a lot more densely packed than others. He wondered what effect all that social interaction had on performance.

To find out, DeMarco and his colleague Timothy Lister devised a study called the Coding War Games. The purpose of the games was to identify the characteristics of the best and worst computer programmers; more than six hundred developers from ninety-two different companies partic.i.p.ated. Each designed, coded, and tested a program, working in his normal office s.p.a.ce during business hours. Each partic.i.p.ant was also a.s.signed a partner from the same company. The partners worked separately, however, without any communication, a feature of the games that turned out to be critical.

When the results came in, they revealed an enormous performance gap. The best outperformed the worst by a 10:1 ratio. The top programmers were also about 2.5 times better than the median. When DeMarco and Lister tried to figure out what accounted for this astonis.h.i.+ng range, the factors that you'd think would matter-such as years of experience, salary, even the time spent completing the work-had little correlation to outcome. Programmers with ten years' experience did no better than those with two years. The half who performed above the median earned less than 10 percent more than the half below-even though they were almost twice as good. The programmers who turned in "zero-defect" work took slightly less, not more, time to complete the exercise than those who made mistakes.

It was a mystery with one intriguing clue: programmers from the same companies performed at more or less the same level, even though they hadn't worked together. That's because top performers overwhelmingly worked for companies that gave their workers the most privacy, personal s.p.a.ce, control over their physical environments, and freedom from interruption. Sixty-two percent of the best performers said that their works.p.a.ce was acceptably private, compared to only 19 percent of the worst performers; 76 percent of the worst performers but only 38 percent of the top performers said that people often interrupted them needlessly.

The Coding War Games are well known in tech circles, but DeMarco and Lister's findings reach beyond the world of computer programmers. A mountain of recent data on open-plan offices from many different industries corroborates the results of the games. Open-plan offices have been found to reduce productivity and impair memory. They're a.s.sociated with high staff turnover. They make people sick, hostile, unmotivated, and insecure. Open-plan workers are more likely to suffer from high blood pressure and elevated stress levels and to get the flu; they argue more with their colleagues; they worry about coworkers eavesdropping on their phone calls and spying on their computer screens. They have fewer personal and confidential conversations with colleagues. They're often subject to loud and uncontrollable noise, which raises heart rates; releases cortisol, the body's fight-or-flight "stress" hormone; and makes people socially distant, quick to anger, aggressive, and slow to help others.

Indeed, excessive stimulation seems to impede learning: a recent study found that people learn better after a quiet stroll through the woods than after a noisy walk down a city street. Another study, of 38,000 knowledge workers across different sectors, found that the simple act of being interrupted is one of the biggest barriers to productivity. Even mult.i.tasking, that prized feat of modern-day office warriors, turns out to be a myth. Scientists now know that the brain is incapable of paying attention to two things at the same time. What looks like mult.i.tasking is really switching back and forth between multiple tasks, which reduces productivity and increases mistakes by up to 50 percent.

Many introverts seem to know these things instinctively, and resist being herded together. Backbone Entertainment, a video game design company in Oakland, California, initially used an open office plan but found that their game developers, many of whom were introverts, were unhappy. "It was one big warehouse s.p.a.ce, with just tables, no walls, and everyone could see each other," recalls Mike Mika, the former creative director. "We switched over to cubicles and were worried about it-you'd think in a creative environment that people would hate that. But it turns out they prefer having nooks and crannies they can hide away in and just be away from everybody."

Something similar happened at Reebok International when, in 2000, the company consolidated 1,250 employees in their new headquarters in Canton, Ma.s.sachusetts. The managers a.s.sumed that their shoe designers would want office s.p.a.ce with plenty of access to each other so they could brainstorm (an idea they probably picked up when they were getting their MBAs). Luckily, they consulted first with the shoe designers themselves, who told them that actually what they needed was peace and quiet so they could concentrate.

This would not have come as news to Jason Fried, cofounder of the web application company 37signals. For ten years, beginning in 2000, Fried asked hundreds of people (mostly designers, programmers, and writers) where they liked to work when they needed to get something done. He found that they went anywhere but their offices, which were too noisy and full of interruptions. That's why, of Fried's sixteen employees, only eight live in Chicago, where 37signals is based, and even they are not required to show up for work, even for meetings. Especially not for meetings, which Fried views as "toxic." Fried is not anti-collaboration-37signals' home page touts its products' ability to make collaboration productive and pleasant. But he prefers pa.s.sive forms of collaboration like e-mail, instant messaging, and online chat tools. His advice for other employers? "Cancel your next meeting," he advises. "Don't reschedule it. Erase it from memory." He also suggests "No-Talk Thursdays," one day a week in which employees aren't allowed to speak to each other.

The people Fried interviewed were saying out loud what creative people have always known. Kafka, for example, couldn't bear to be near even his adoring fiancee while he worked:

You once said that you would like to sit beside me while I write. Listen, in that case I could not write at all. For writing means revealing oneself to excess; that utmost of self-revelation and surrender, in which a human being, when involved with others, would feel he was losing himself, and from which, therefore, he will always shrink as long as he is in his right mind.... That is why one can never be alone enough when one writes, why there can never be enough silence around one when one writes, why even night is not night enough.

Even the considerably more cheerful Theodor Geisel (otherwise known as Dr. Seuss) spent his workdays ensconced in his private studio, the walls lined with sketches and drawings, in a bell-tower outside his La Jolla, California, house. Geisel was a much more quiet man than his jocular rhymes suggest. He rarely ventured out in public to meet his young readers.h.i.+p, fretting that kids would expect a merry, outspoken, Cat in the Hatlike figure, and would be disappointed with his reserved personality. "In ma.s.s, [children] terrify me," he admitted.

If personal s.p.a.ce is vital to creativity, so is freedom from "peer pressure." Consider the story of the legendary advertising man Alex Osborn. Today Osborn's name rings few bells, but during the first half of the twentieth century he was the kind of larger-than-life renaissance man who mesmerized his contemporaries. Osborn was a founding partner of the advertising agency Batten, Barton, Durstine, and Osborn (BBDO), but it was as an author that he really made his mark, beginning with the day in 1938 that a magazine editor invited him to lunch and asked what his hobby was.

"Imagination," replied Osborn.

"Mr. Osborn," said the editor, "you must do a book on that. It's a job that has been waiting to be done all these years. There is no subject of greater importance. You must give it the time and energy and thoroughness it deserves."

And so Mr. Osborn did. He wrote several books during the 1940s and 1950s, in fact, each tackling a problem that had vexed him in his capacity as head of BBDO: his employees were not creative enough. They had good ideas, Osborn believed, but were loath to share them for fear of their colleagues' judgment.

For Osborn, the solution was not to have his employees work alone, but rather to remove the threat of criticism from group work. He invented the concept of brainstorming, a process in which group members generate ideas in a nonjudgmental atmosphere. Brainstorming had four rules:

1. Don't judge or criticize ideas.

2. Be freewheeling. The wilder the idea, the better.

3. Go for quant.i.ty. The more ideas you have, the better.