>Essentially, they start learning something with the idea that they will either be really good at it (a Maestro) or really bad at it; when they discover that they are really bad at it, they stop learning it, despite the fact that they just started learning it.
I never thought of it like that, but that rings true. Jaco Pastorious didn't slip out of the womb and onto a bass guitar playing like a legend, the motherfucker worked for it.
Glen Gould couldn't play Bach when he was 3, and probably couldn't play it the way we all know him for it afterwards.
>hey reason that, since they obviously aren't a prodigy, they'll never be good at it and, therefore, they shouldn't even make the attempt.
As opposed to taking the chance to see if they cane BECOME through leveling up their technique a prodigy.
Incidentally there's a good metric for this, apparently Malcolm Gladwell got it wrong - 10,000 hours is the point where if you're not a "master" after 10,000 hours of "active practice" then you'll never be one. It's not a magical number that turns you into a master, it's the absolute maximum number masters put in - most put in less.
I don't mean to say people should give up, but rather I'm saying it takes up to 10,000 hours to become a maestro. It might take them 3,000, it might take them 9,999. But if they don't start with hour 1, then hour 2 they'll never get there.
Totally read How to Win Friends... then.
Maybe also read the books of Konstantin Stanislavsky. He was the guy who developed "the method" in acting (confusingly, the ancestor and inspiration, but different to "method acting") and perhaps learning how to interpret a script and how to come at a character from the inside out might help you understand other people better while also understanding how you come across, learning that your inner emotional state affects your body language, your mannerisms, your gestures etc. and how by manipulating that you can make social interaction easier.