44 pages • 1 hour read
Adam GrantA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Adam Grant grounds Originals in the belief that “people who choose to champion originality are the ones who propel us forward” (41). Grant expresses admiration for originals because he considers them those who challenge the status quo and thus bring about change. Originals are creative, willing to take risks, and “find the faults in defaults” (21). Grant also explores techniques for recognizing which original ideas have the potential to succeed.
Grant describes characteristics that make up originals and original ideas. The first characteristic of an original is an inquisitive nature, questioning the status quo and daring to challenge it. Originals like eyewear company Warby Parker and retired CIA member Carmen Medina dared to upset the status quo in their chosen domains, and because of their willingness to speak out and try something new, great success followed. The second characteristic endemic to originals is creativity. Creativity can be innate, but Grant insists that it can also be nurtured and developed. Businesses can nurture creativity by encouraging employees to share dissenting views and submit original ideas—and this is exactly what successful investment firm Bridgewater Associates does. The third characteristic endemic to originals is a willingness to take calculated risks. Grant acknowledges that there are barriers for originals: being a minority, experiencing fear, having financial setbacks, or being the recipient of repeated rejection. Risks may also include alienation or disapproval, but originals are “wired to embrace uncertainty and ignore social approval; they simply don’t worry about the costs of non-conformity the way the rest of us do” (29).
Due to his experience with Warby Parker (a false negative), Grant attempts to prevent readers from making the same mistake by sharing potential problems that can arise when dealing with original ideas. He also warns that originals themselves can be their own most inaccurate critics. Grant cites a study by Justin Berg of Stanford University which illustrates the magnitude of this problem: “32 percent and 42 percent [of engineers] rated themselves among the top 5 percent of performers” (46). People on the receiving end of original ideas can fall victim to psychological fallacies as well. False negatives occur when investors or audiences fail to see the potential in an original idea, which later turns out to be successful; false positives occur when investors or audiences fail to see the risks and weaknesses of an original idea and put more faith into it than it deserves. Ultimately, Grant assures readers that anyone who is willing to adopt his book’s characteristics can become an original. Furthermore, with drive and strategy, a person can turn any original idea into a reality.
There are countless caveats to making original ideas succeed, as it is not enough to simply have an original idea. Grant explores what he considers to be the biggest obstacle faced by originals and their ideas: those in power. Investors, producers, and managers act as the gatekeepers between an idea and a success story. Grant suggests many strategies to increase one’s chance at success, including careful planning, gathering feedback, and waiting until the right moment to execute an idea.
According to Grant, the biggest hurdle to selling an original idea is “speaking truth to power” (69). People in power, audiences included, can either be the barrier or key to an original idea coming to fruition. Despite this power, Grant asserts that anyone can overcome pushback with the appropriate techniques. He cites the story of Carmen Medina, a woman who worked for the CIA in the 1990s, who believed her workplace would benefit from moving its database to a secure online system. Medina’s idea was rejected many times, which only led to her frustration. She realized that her angry approach led to rejection and decided to adopt a more easygoing, respectful one. The result of this change was several promotions and the eventual acceptance and implementation of Medina’s original idea. Grant also cites Seinfeld, a sitcom that was rejected by audiences and producers alike before being taken on by an original and garnering unmatched success.
Grant shares strategies for maximizing the potential of original ideas and challenges assumptions about timing and procrastination. Being first is commonly thought as being advantageous. Grant acknowledges that there are benefits to this strategy but insists that waiting for the right time is more effective. While a person who immediately pursues their idea has drive, they lack the planning, feedback, and logistics of someone who “strategically procrastinates” (92). Grant appeals to readers’ emotions and ties his argument to American history by citing the story of Martin Luther King Jr., who waited until the night before his “I have a dream” speech to prepare it. King spent weeks considering every aspect of his speech and seeking feedback from peers about its content and style—becoming someone who used strategic procrastination to give one of the most famous and powerful speeches in American history. In sharing stories of minorities overcoming obstacles to realize their ideas, Grant shows that anyone, anywhere, can become an original.
There are several factors that can either foster or hinder originality. In Originals, Grant explores why some people become originals and others do not, and why some original ideas succeed and others do not. Fostering original people is a lifelong process, starting with a child’s family and other role models (real or fictional). As a person grows up, their superiors and mentors become the nurturers of their originality. Grant also urges people to foster their own originality using strategies such as “finding the faults in defaults” (21) and being willing to “take radical risks” (29). Fostering original ideas is a different art altogether. For an original idea to come to fruition, it must be accepted by people who have the power to turn idea into action.
Family, superiors, and mentors play a crucial role in nurturing originality. Grant believes that originals are not born, they are made. He explores the concept of birth order in defining original people and how laterborn children seem to become originals more often. While complex and not guaranteed, Grant’s theory is grounded in laterborn children wanting to pick a niche. With the “responsible high achiever” (141) niche already taken by the oldest child in a family, younger ones are more likely to rebel or resort to originality. However, parents can raise any child to become an original by encouraging creativity, independent thinking, and helping them form their own moral system. Role models such as parents, peers, and other parties (real or fictional) also influence whether or not a person grows up to be an original—especially if these role models are originals themselves. For example, when a company like Bridgewater Associates encourages its employees to critique their workplace and each other, it leads to great success. The company is able to forecast problems and build a sense of community when employees are comfortable voicing their concerns.
Speaking of groups, coalitions and strong cultures are also responsible for setting the groundwork for original ideas to succeed. Lucy Stone, a leader of the suffragette movement of the mid-1800s, experienced a situation in which both coalition and strong culture hindered the feminist movement. Because Stone did not see the strategies of fellow leaders Susan B. Anthony and Elizabeth Cady Stanton as effective or fair (Stone was the only one of the three to support Black men’s right to vote), she distanced herself from their coalition. In turn, this split led to many delays and challenges that would not have existed had the women put aside their pride and worked together. While the women eventually managed to put aside their differences and champion the movement as one, it took many attempts on both sides to reconcile. Grant warns that coalitions need to have a common culture, not just common goals, to succeed. On the other hand, when strong cultures lead to groupthink and a refusal to change or adapt, this too leads to failure. Ultimately, the dynamics of a group—family or business—influence both the creation of an original person and the success of an original idea.
By Adam Grant