Expertise researcher Anders Ericsson on why the popular "ten thousand hours of practice to become an expert" rule mischaracterizes his research:
No, the ten-thousand-hour rule isn't really a rule
Ralf Krampe, Clemens Tesch-RĂśmer, and I published the results from our study of the Berlin violin students in 1993. These findings would go on to become a major part of the scientific literature on expert performers, and over the years a great many other researchers have referred to them. But it was actually not until 2008, with the publication of Malcolm Gladwellâs Outliers, that our results attracted much attention from outside the scientific community. In his discussion of what it takes to become a top performer in a given field, Gladwell offered a catchy phrase: âthe ten-thousand-hour rule.â According to this rule, it takes ten thousand hours of practice to become a master in most fields. We had indeed mentioned this figure in our report as the average number of hours that the best violinists had spent on solitary practice by the time they were twenty. Gladwell himself estimated that the Beatles had put in about ten thousand hours of practice while playing in Hamburg in the early 1960s and that Bill Gates put in roughly ten thousand hours of programming to develop his skills to a degree that allowed him to found and develop Microsoft. In general, Gladwell suggested, the same thing is true in essentially every field of human endeavorâ people donât become expert at something until theyâve put in about ten thousand hours of practice.
The rule is irresistibly appealing. Itâs easy to remember, for one thing. It wouldâve been far less effective if those violinists had put in, say, eleven thousand hours of practice by the time they were twenty. And it satisfies the human desire to discover a simple cause-and-effect relationship: just put in ten thousand hours of practice at anything, and you will become a master.
Unfortunately, this ruleâ which is the only thing that many people today know about the effects of practiceâ is wrong in several ways. (It is also correct in one important way, which I will get to shortly.) First, there is nothing special or magical about ten thousand hours. Gladwell could just as easily have mentioned the average amount of time the best violin students had practiced by the time they were eighteenâ approximately seventy-four hundred hoursâ but he chose to refer to the total practice time they had accumulated by the time they were twenty, because it was a nice round number. And, either way, at eighteen or twenty, these students were nowhere near masters of the violin. They were very good, promising students who were likely headed to the top of their field, but they still had a long way to go when I studied them. Pianists who win international piano competitions tend to do so when theyâre around thirty years old, and thus theyâve probably put in about twenty thousand to twenty-five thousand hours of practice by then; ten thousand hours is only halfway down that path.
And the number varies from field to field. Steve Faloon became the very best person in the world at memorizing strings of digits after only about two hundred hours of practice. I donât know exactly how many hours of practice the best digit memorizers put in today before they get to the top, but it is likely well under ten thousand.
Second, the number of ten thousand hours at age twenty for the best violinists was only an average. Half of the ten violinists in that group hadnât actually accumulated ten thousand hours at that age. Gladwell misunderstood this fact and incorrectly claimed that all the violinists in that group had accumulated over ten thousand hours.
Third, Gladwell didnât distinguish between the deliberate practice that the musicians in our study did and any sort of activity that might be labeled âpractice.â For example, one of his key examples of the ten-thousand-hour rule was the Beatlesâ exhausting schedule of performances in Hamburg between 1960 and 1964. According to Gladwell, they played some twelve hundred times, each performance lasting as much as eight hours, which would have summed up to nearly ten thousand hours. Tune In, an exhaustive 2013 biography of the Beatles by Mark Lewisohn, calls this estimate into question and, after an extensive analysis, suggests that a more accurate total number is about eleven hundred hours of playing. So the Beatles became worldwide successes with far less than ten thousand hours of practice. More importantly, however, performing isnât the same thing as practice. Yes, the Beatles almost certainly improved as a band after their many hours of playing in Hamburg, particularly because they tended to play the same songs night after night, which gave them the opportunity to get feedbackâ both from the crowd and themselvesâ on their performance and find ways to improve it. But an hour of playing in front of a crowd, where the focus is on delivering the best possible performance at the time, is not the same as an hour of focused, goal-driven practice that is designed to address certain weaknesses and make certain improvementsâ the sort of practice that was the key factor in explaining the abilities of the Berlin student violinists.
A closely related issue is that, as Lewisohn argues, the success of the Beatles was not due to how well they performed other peopleâs music but rather to their songwriting and creation of their own new music. Thus, if we are to explain the Beatlesâ success in terms of practice, we need to identify the activities that allowed John Lennon and Paul McCartneyâ the groupâs two primary songwritersâ to develop and improve their skill at writing songs. All of the hours that the Beatles spent playing concerts in Hamburg would have done little, if anything, to help Lennon and McCartney become better songwriters, so we need to look elsewhere to explain the Beatlesâ success.
This distinction between deliberate practice aimed at a particular goal and generic practice is crucial because not every type of practice leads to the improved ability that we saw in the music students or the ballet dancers. Generally speaking, deliberate practice and related types of practice that are designed to achieve a certain goal consist of individualized training activitiesâ usually done aloneâ that are devised specifically to improve particular aspects of performance.
The final problem with the ten-thousand-hour rule is that, although Gladwell himself didnât say this, many people have interpreted it as a promise that almost anyone can become an expert in a given field by putting in ten thousand hours of practice. But nothing in my study implied this. To show a result like this, I would have needed to put a collection of randomly chosen people through ten thousand hours of deliberate practice on the violin and then see how they turned out. All that our study had shown was that among the students who had become good enough to be admitted to the Berlin music academy, the best students had put in, on average, significantly more hours of solitary practice than the better students, and the better and best students had put in more solitary practice than the music-education students.
The question of whether anyone can become an expert performer in a given field by taking part in enough designed practice is still open, and I will offer some thoughts on this issue in the next chapter. But there was nothing in the original study to suggest that it was so.
Gladwell did get one thing right, and it is worth repeating because itâs crucial: becoming accomplished in any field in which there is a well-established history of people working to become experts requires a tremendous amount of effort exerted over many years. It may not require exactly ten thousand hours, but it will take a lot.
We have seen this in chess and the violin, but research has shown something similar in field after field. Authors and poets have usually been writing for more than a decade before they produce their best work, and it is generally a decade or more between a scientistâs first publication and his or her most important publicationâ and this is in addition to the years of study before that first published research. A study of musical composers by the psychologist John R. Hayes found that it takes an average of twenty years from the time a person starts studying music until he or she composes a truly excellent piece of music, and it is generally never less than ten years. Gladwellâs ten-thousand-hour rule captures this fundamental truthâ that in many areas of human endeavor it takes many, many years of practice to become one of the best in the worldâ in a forceful, memorable way, and thatâs a good thing.
On the other hand, emphasizing what it takes to become one of the best in the world in such competitive fields as music, chess, or academic research leads us to overlook what I believe to be the more important lesson from our study of the violin students. When we say that it takes ten thousandâ or however manyâ hours to become really good at something, we put the focus on the daunting nature of the task. While some may take this as a challengeâ as if to say, âAll I have to do is spend ten thousand hours working on this, and Iâll be one of the best in the world!ââ many will see it as a stop sign: âWhy should I even try if itâs going to take me ten thousand hours to get really good?â As Dogbert observed in one Dilbert comic strip, âI would think a willingness to practice the same thing for ten thousand hours is a mental disorder.â
But I see the core message as something else altogether: In pretty much any area of human endeavor, people have a tremendous capacity to improve their performance, as long as they train in the right way. If you practice something for a few hundred hours, you will almost certainly see great improvementâ think of what two hundred hours of practice brought Steve Faloonâ but you have only scratched the surface. You can keep going and going and going, getting better and better and better. How much you improve is up to you.
This puts the ten-thousand-hour rule in a completely different light: The reason that you must put in ten thousand or more hours of practice to become one of the worldâs best violinists or chess players or golfers is that the people you are being compared to or competing with have themselves put in ten thousand or more hours of practice. There is no point at which performance maxes out and additional practice does not lead to further improvement. So, yes, if you wish to become one of the best in the world in one of these highly competitive fields, you will need to put in thousands and thousands of hours of hard, focused work just to have a chance of equaling all of those others who have chosen to put in the same sort of work.
One way to think about this is simply as a reflection of the fact that, to date, we have found no limitations to the improvements that can be made with particular types of practice. As training techniques are improved and new heights of achievement are discovered, people in every area of human endeavor are constantly finding ways to get better, to raise the bar on what was thought to be possible, and there is no sign that this will stop. The horizons of human potential are expanding with each new generation.
-- Ericsson, Anders; Pool, Robert. Peak: Secrets from the New Science of Expertise (p. 109-114). Houghton Mifflin Harcourt. Kindle Edition.