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twenty they had totaled two thousand hours of practice. The professionals, on the other hand, steadily increased their practice time every year, until by the age of twenty they, like the violinists, had reached ten thousand hours.
    The striking thing about Ericsson’s study is that he and his colleagues couldn’t find any “naturals,” musicians who floated effortlessly to the top while practicing a fraction of the time their peers did. Nor could they find any “grinds,” people who worked harder than everyone else, yet just didn’t have what it takes to break the top ranks. Their research suggestes that once a musician has 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. And what’s more, the people at the very top don’t work just harder or even much harder than everyone else. They work much,
much
harder.
    The idea that excellence at performing 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 the magic number for true expertise: ten thousand hours.
    “The emerging picture from such studies is that ten thousand hours of practice is required to achieve the level of mastery associated with being a world-class expert—in anything,” writes the neurologist Daniel Levitin. “In study after study, of composers, basketball players, fiction writers, ice skaters, concert pianists, chess players, master criminals, and what have you, this number comes up again and again. Of course, this doesn’t address why some people get more out of their practice sessions than others do. But 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, writes the psychologist Michael Howe 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 only contain music original to Mozart, the earliest that is now regarded as a masterwork (No. 9, K. 271) was not composed until he was twenty-one: by that time Mozart had already been composing concertos for ten years.
    The music critic Harold Schonberg goes further: Mozart, he argues, actually “developed late,” since he didn’t produce his greatest work until he had been composing for more than twenty years.
    To become a chess grandmaster also seems to take about ten years. (Only the legendary Bobby Fischer got to that elite level in less than that amount of time: it took him nine years.) And what’s ten years? Well, it’s roughly how long it takes to put in ten thousand hours of hard practice. Ten thousand hours is the magic number of greatness.
    Here is the explanation for what was so puzzling about the rosters of the Czech and Canadian national sports teams. There was practically no one on those teams born after September 1, which doesn’t seem to make any sense. You’d think that there should be a fair number of Czech hockey or soccer prodigies born late in the year who are
so
talented that they eventually make their way into the top tier as young adults, despite their birth dates.
    But to Ericsson and those who argue against the primacy of talent, that isn’t surprising at all. That late-born prodigy doesn’t get chosen for the all-star team as an eight-year-old because he’s too small. So he doesn’t get the extra practice. And without that extra practice, he has