Essays

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The second way to compete with focus is to see what focus overlooks. In particular, new things. So if you're not good at anything yet, consider working on something so new that no one else is either. It won't have any prestige yet, if no one is good at it, but you'll have it all to yourself.

The potential of a new medium is usually underestimated, precisely because no one has yet explored its possibilities. Before Durer tried making engravings, no one took them very seriously. Engraving was for making little devotional images-- basically fifteenth century baseball cards of saints. Trying to make masterpieces in this medium must have seemed to Durer's contemporaries that way that, say, making masterpieces in comics might seem to the average person today.

In the computer world we get not new mediums but new platforms: the minicomputer, the microprocessor, the web-based application. At first they're always dismissed as being unsuitable for real work. And yet someone always decides to try anyway, and it turns out you can do more than anyone expected. So in the future when you hear people say of a new platform: yeah, it's popular and cheap, but not ready yet for real work, jump on it.

As well as being more comfortable working on established lines, insiders generally have a vested interest in perpetuating them. The professor who made his reputation by discovering some new idea is not likely to be the one to discover its replacement. This is particularly true with companies, who have not only skill and pride anchoring them to the status quo, but money as well. The Achilles heel of successful companies is their inability to cannibalize themselves. Many innovations consist of replacing something with a cheaper alternative, and companies just don't want to see a path whose immediate effect is to cut an existing source of revenue.

So if you're an outsider you should actively seek out contrarian projects. Instead of working on things the eminent have made prestigious, work on things that could steal that prestige.

The really juicy new approaches are not the ones insiders reject as impossible, but those they ignore as undignified. For example, after Wozniak designed the Apple II he offered it first to his employer, HP. They passed. One of the reasons was that, to save money, he'd designed the Apple II to use a TV as a monitor, and HP felt they couldn't produce anything so declasse.

Less

Wozniak used a TV as a monitor for the simple reason that he couldn't afford a monitor. Outsiders are not merely free but compelled to make things that are cheap and lightweight. And both are good bets for growth: cheap things spread faster, and lightweight things evolve faster.

The eminent, on the other hand, are almost forced to work on a large scale. Instead of garden sheds they must design huge art museums. One reason they work on big things is that they can: like our hypothetical novelist, they're flattered by such opportunities. They also know that big projects will by their sheer bulk impress the audience. A garden shed, however lovely, would be easy to ignore; a few might even snicker at it. You can't snicker at a giant museum, no matter how much you dislike it. And finally, there are all those people the eminent have working for them; they have to choose projects that can keep them all busy.

Outsiders are free of all this. They can work on small things, and there's something very pleasing about small things. Small things can be perfect; big ones always have something wrong with them. But there's a magic in small things that goes beyond such rational explanations. All kids know it. Small things have more personality.

Plus making them is more fun. You can do what you want; you don't have to satisfy committees. And perhaps most important, small things can be done fast. The prospect of seeing the finished project hangs in the air like the smell of dinner cooking. If you work fast, maybe you could have it done tonight.

Working on small things is also a good way to learn. The most important kinds of learning happen one project at a time. ("Next time, I won't...") The faster you cycle through projects, the faster you'll evolve.

Plain materials have a charm like small scale. And in addition there's the challenge of making do with less. Every designer's ears perk up at the mention of that game, because it's a game you can't lose. Like the JV playing the varsity, if you even tie, you win. So paradoxically there are cases where fewer resources yield better results, because the designers' pleasure at their own ingenuity more than compensates.


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