Originals: How Non-Conformists Move the World

Grant describes three types of blueprints for hiring employees across industries: “professional, star, and commitment” (158). Professional blueprint companies hire based on qualifications and skills. Star blueprint companies hire based on potential. To Grant, commitment blueprint companies are superior because they hire based on cultural fit—on whether a potential employee matches a “company’s values and norms” (158). He also cites a survey by sociologist James Baron in which commitment blueprint companies were deemed the most likely to succeed in the long term. This type of company’s employees foster each other’s creativity and remain employed and motivated because they care about their workplace’s philosophy.

“Devil’s Advocate” is a term dating back to 1587 when the Pope at the time wanted to appoint a “promoter of the faith” to challenge dogma and religious policy. Since then, the term evolved and now generally refers to a person who presents weaknesses and worst-case scenarios in order to challenge an idea. Grant uses the term to describe people in business and politics who ensure there are no blind spots or unseen challenges within their group. He cites Bridgewater Associates as a company that actively unearths devil’s advocates.

Grant opens Originals with an anecdote about his biggest regret: a false negative, a lackluster or questionable idea that ultimately succeeds. He rejected Warby Parker’s idea for online eyewear due to it being unprecedented at the time—and the company went on to be extremely successful. He also shares the story of Seinfeld, a show rejected by multiple producers and audiences before finally being picked up by a man who did not even work in sitcoms. On the other hand, a false positive is a promising idea that ultimately fails. Grant illustrates this concept with the story of Steve Jobs, who was so certain of the Segway’s impact on transportation technology that he poured millions into it. The Segway never took off, however, and Jobs experienced a false positive.

Grant challenges the notion that being first on the market with a new product or strategy is always an advantage. While there are situations in which being first is advantageous, there are also disadvantages. These disadvantages include a lack of knowledge regarding a new market or new concepts and products—and how consumers will receive them. Once pioneer companies work through initial issues, settler companies can then enter the market using their predecessors’ and their own trial and error to succeed.

Goldilocks is a classic fairy tale about a girl who snuck into the house of a family of bears and tried their porridge, chairs, and beds. She tried everything until she found the one in each category that was “just right.” Grant uses this story to encourage balance in originality. There are two main aspects of balance: tempered radicalism (an original’s ability to create radical ideas and temper them to be digestible by others) and Grant’s assertion that anger should be honed and utilized in a respectful way. Grant also acknowledges that within coalitions, a balance of personalities and perspectives will lead to greater success than those of a like-minded group.

Groupthink is a phenomenon in which a group becomes “cohesive, it develops a strong culture” (156). A strong culture can become extreme and lead people to reject outside ideas and people—thus reinforcing their own beliefs. Grant points to groupthink as one of the major challenges faced by businesses, politicians, and coalitions. He provides solutions for combatting groupthink, including allowing dissent and using devil’s advocates. Groupthink hinders originality, even within groups of originals. He cites the Polaroid company’s failure to incorporate new ideas as the cause of their stagnation.

Psychologist Robert Zajonc coined the mere exposure effect in the 1960s. This phenomenon is based on the observation that people tend to dislike or fear the unfamiliar, but as they are repeatedly exposed to it, they start to develop a fondness for it. Originals can use this effect to slowly introduce a new idea over time, so people can grow accustomed to it—though Grant notes that it may take several repetitions before an idea is fully accepted.

Grant describes two types of “one-eyed” investors—the first being the type so set in their ways (that proved successful in the past) that they cannot imagine or understand the potential of an original idea. The second is the type overconfident in the potential of an original idea.

Grant makes a case for procrastination by exploring strategic procrastination. Strategic procrastination is when a person intentionally delays a task so they can plan, gather feedback, and execute their task at the right moment. It differs from regular procrastination in which a person delays a task without thinking about it. Grant illustrates this strategy via Martin Luther King Jr., who prepared his “I have a dream” speech the night before he had to deliver it. King planned for weeks, gathered feedback from peers, and imagined every possible outcome. Then, the night before his speech, an urgent King was mentally prepared to write.

Strong cultures are the result of groupthink, arising when a group becomes embedded in its own principles to the point of inflexibility. It often prevents a business or political movement from gaining any further traction. Grant explains that there is a false perception of strong cultures: Many people believe them to be beneficial to a business or political movement’s success. He cites the Polaroid company as an extremely successful business that pioneered the instant camera industry. When Polaroid’s founder, Edwin Land, refused to adopt digital film, the company floundered. While it still exists today, it never reached the potential it could have.

Grant describes tempered radicalism as the principle of delivering original ideas in a less extreme way. This strategy allows an original idea, particularly a controversial or revolutionary one, to be more likely accepted, invested in, or supported. In other words, originals can “[smuggle] their real vision inside a Trojan horse” (116) by making it relatable.