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Introduction
A FEW YEARS AGO, I heard a wonderful story,
which I’m very fondof telling. Anelementary school
teacher was giving a drawing class to agroup of six-
year-old children. At the back of the classroom sat a
little girl who normally didn’t pay much attention in
school. In the drawing class she did. For more than
twenty minutes, the girl sat with her arms curled
around her paper, totally absorbed in what she was
doing. The teacher found this fascinating. Eventu-
ally, she asked the girl what she was drawing.
Without lookingup, the girl said, “I’mdrawing apic-
ture of God.” Surprised, the teacher said, “But
nobody knows what God looks like.”
The girl said, “They will in a minute.”
Ilove this story because it reminds us that young
childrenare wonderfully confident intheir own ima-
ginations. Most of uslose this confidence aswe grow
up. Ask a class of first graders which of them thinks
they’re creative and they’ll all put their hands up.
Ask agroup ofcollegeseniorsthissame questionand
most of them won’t. I believe passionately that we
are all born with tremendous natural capacities, and
that we lose touch with many of them as we spend
more time in the world. Ironically, one of the main
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reasons this happens is education. The result is that
too many people never connect with their true tal-
ents and therefore don’t know what they’re really
capable of achieving.
In that sense, they don’t know who they really are.
I travel a great deal and work with people all
around the world. I work with education systems,
with corporations, and with not-for-profit organiza-
tions. Everywhere, I meet studentswho are trying to
figure out their futures and don’t know where to
start. I meet concerned parents who are trying to
help them but instead often steer them away from
their true talents on the assumption that their kids
have to follow conventional routes to success. I meet
employers who are struggling to understand and
make better use of the diverse talents of the people
in their companies. Along the way, I’ve lost track of
the numbers of people I’ve met who have no real
sense of what their individual talents and passions
are. They don’t enjoy what they are doing now but
they have no idea what actually would fulfill them.
Onthe other hand, Ialsomeet people who’ve been
highly successful in all kinds of fields who are pas-
sionate about what they do and couldn’t imagine do-
ing anything else. I believe that their stories have
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something important to teach all of us about the
nature of human capacity and fulfillment. As I’ve
spoken at events around the world, I’ve found it’s
real stories like these, at least as much as statistics
and the opinions of experts, that persuade people
that we all need to think differently about ourselves
and about what we’re doing with our lives; about
how we’re educating our children and how we’re
running our organizations.
This book contains a wide range of stories about
the creative journeys of very different people. Many
of them were interviewed specifically for this book.
These people tell how they first came to recognize
their unique talentsandhowthey make ahighly suc-
cessful living from doing what they love. What
strikes me is that often their journeys haven’t been
conventional. They’ve been full of twists, turns, and
surprises. Often those I interviewed said that our
conversations for the book revealedideas and exper-
iences they hadn’t discussed in this way before. The
moment of recognition. The evolution of their tal-
ents. The encouragement or discouragement of fam-
ily, friends, and teachers. What made them forge
ahead in the face of numerous obstacles.
Their stories are not fairy tales, though. All of
these
people
are leading
complicated
and
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challenging lives. Their personal journeys have not
been easy and straightforward. They’ve all had their
disasters as well as their triumphs. None of them
have “perfect” lives. But allof them regularly experi-
ence moments that feel like perfection. Their stories
are often fascinating.
But this book isn’t really about them. It’s about
you.
My aim in writing it is to offer a richer vision of
humanability andcreativity and of the benefits to us
all of connectingproperly withour individual talents
and passions. This book is about issues that are of
fundamental importance inour lives andin the lives
of our children, our students, and the people we
work with. Iuse the termtheElementto describe the
place where the things we love to do and the things
we are good at come together. I believe it isessential
that each of us find his or her Element, not simply
because it will make usmore fulfilledbut because, as
the world evolves, the very future of our communit-
ies and institutions will depend on it.
The world is changing faster than ever in our his-
tory. Our best hope for the future isto develop anew
paradigm of human capacity to meet a new era of
human existence. We need to evolve a new
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appreciation of the importance of nurturing human
talent along with anunderstandingof howtalent ex-
presses itself differently inevery individual. We need
to create environments—inour schools, in our work-
places, andinour publicoffices—where every person
isinspired to grow creatively. We needto make sure
that all people have the chance to do what they
should be doing, to discover the Element in them-
selves and in their own way.
This book is a hymn to the breathtaking diversity
of human talent and passion and to our extraordin-
ary potential for growth and development. It’s also
about understanding the conditions under whichhu-
man talents will flourish or fade. It’s about how we
canallengage more fully inthe present, and how we
canprepare inthe only possible way for acompletely
unknowable future.
To make the best of ourselves and of each other,
we urgently need to embrace a richer conception of
human capacity. We need to embrace the Element.
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CHAPTER ONE
The Element
GILLIAN WAS ONLY eight years old, but her future
wasalready at risk. Her schoolworkwasadisaster, at
least as far as her teachers were concerned. She
turnedin assignments late, her handwriting was ter-
rible, and she tested poorly. Not only that, she was a
disruption to the entire class, one minute fidgeting
noisily, the next staring out the window, forcing the
teacher to stop the class to pull Gillian’s attention
back, and the next doing something to disturb the
other childrenaroundher. Gillian wasn’t particularly
concerned about any of this—she was used to being
corrected by authority figures and really didn’t see
herself as a difficult child—but the school was very
concerned. This came to a head when the school
wrote to her parents.
The school thought that Gillianhada learningdis-
order of some sort andthat it might be more appro-
priate for her to be in aschool for children with spe-
cial needs. All of thistook place inthe 1930s. I think
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nowthey’dsay she hadattentiondeficit hyperactivity
disorder, and they’d put her on Ritalin or something
similar. But the ADHD epidemic hadn’t been inven-
ted at the time. It wasn’t an available condition.
People didn’t know they could have that and had to
get by without it.
Gillian’s parents received the letter from the
school with great concern and sprang to action. Gil-
lian’s mother put her daughter in her best dress and
shoes, tied her hair in ponytails, and took her to a
psychologist for assessment, fearing the worst.
Gillian told me that she remembers being invited
into a large oak-paneled room with leather-bound
booksonthe shelves. Standing inthe room next to a
large desk was an imposing man in a tweed jacket.
Hetook Gillianto the far endof the roomandsat her
down on a huge leather sofa. Gillian’s feet didn’t
quite touch the floor, andthe setting made her wary.
Nervous about the impression she would make, she
sat on her hands so that she wouldn’t fidget.
The psychologist went back tohisdesk, andfor the
next twenty minutes, he asked Gillian’s mother
about the difficulties Gillian was having at school
and the problems the school said she was causing.
While he didn’t direct any of his questionsat Gillian,
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he watched her carefully the entire time. This made
Gillian extremely uneasy and confused. Even at this
tender age, she knewthat thisman would have asig-
nificant role in her life. She knew what it meant to
attend a “special school,” and she didn’t want any-
thing to do with that. She genuinely didn’t feel that
she hadany real problems, but everyone else seemed
to believe she did. Given the way her mother
answeredthe questions, it waspossible that even she
felt this way.
Maybe, Gillian thought, they were right.
Eventually, Gillian’s mother and the psychologist
stoppedtalking. The man rose fromhis desk, walked
to the sofa, and sat next to the little girl.
“Gillian, you’ve beenvery patient, and I thank you
for that,” he said. “But I’m afraid you’ll have to be
patient for a little longer. I need to speak to your
mother privately now. We’re going to go out of the
room for a few minutes. Don’t worry; we won’t be
very long.”
Gillian noddedapprehensively, and the two adults
left her sitting there on her own. But ashe was leav-
ingthe room, the psychologist leanedacrosshisdesk
and turned on the radio.
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As soon as they were in the corridor outside the
room, thedoctor saidtoGillian’smother, “Just stand
here for a moment, andwatchwhat she does.” There
was a window into the room, and they stood to one
side of it, where Gilliancouldn’t see them. Nearly im-
mediately, Gillian was on her feet, moving around
the room to the music. The two adults stood watch-
ingquietly for a fewminutes, transfixed by the girl’s
grace. Anyone would have noticed there was
something natural—even primal—about Gillian’s
movements. Just as they would have surely caught
the expression of utter pleasure on her face.
At last, the psychologist turnedto Gillian’smother
and said, “You know, Mrs. Lynne, Gillian isn’t sick.
She’s a dancer. Take her to a dance school.”
Iasked Gillian what happened then. She said her
mother did exactly what the psychiatrist suggested.
“I can’t tell you how wonderful it was,” she told me.
“I walked into this room, and it was full of people
likeme.Peoplewhocouldn’t sit still. People who had
to move to think.”
She started going to the dance school every week,
and she practicedat home every day. Eventually, she
auditioned for the Royal Ballet School in London,
and they acceptedher. She went on to jointhe Royal
19/446
Ballet Company itself, becoming a soloist and per-
forming all over the world. When that part of her ca-
reer ended, she formed her own musical theater
company and produced a series of highly successful
shows inLondon and New York. Eventually, she met
Andrew Lloyd Webber andcreatedwithhimsome of
the most successful musical theater productions in
history, including Cats and The Phantom of the
Opera.
Little Gillian, the girlwith the high-risk future, be-
came knowntotheworldasGillianLynne, one of the
most accomplished choreographers of our time,
someone who has brought pleasure to millions and
earned millions of dollars. This happened because
someone looked deep into her eyes—someone who
had seen children like her before and knew how to
read the signs. Someone else might have put her on
medication and told her to calm down. But Gillian
wasn’t aproblemchild. She didn’t needtogoaway to
a special school.
She just needed to be who she really was.
UnlikeGillian, Matt alwaysdidfine inschool, getting
decent grades and passing all of the important tests.
However, he found himself tremendously bored. In
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