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a voice recorder can affect the milieu of an interview. Some interviewees will shift their gaze and talk to the recorder rather than to you. Moreover, you may find yourself not listening to the answer to a question you have asked. Use a voice recorder, but maybe not as a first choice—more like a relief pitcher. Whatever you do, don’t rely on memory. Don’t even imagine that you will be able to remember verbatim in the evening what people said during the day. And don’t squirrel notes in a bathroom—that is, run off to the john and write surreptitiously what someone said back there with the cocktails. From the start, make clear what you are doing and who will publish what you write. Display your notebook as if it were a fishing license. While the interview continues, the notebook may serve other purposes, surpassing the talents of a voice recorder. As you scribble away, the interviewee is, of course, watching you. Now, unaccountably, you slow down, and even stop writing, while the interviewee goes on talking. The interviewee becomes nervous, tries harder, and spills out the secrets of a secret life, or maybe just a clearer and more quotable version of what was said before. Conversely, if the interviewee is saying nothing of interest, you can pretend to be writing, just to keep the enterprise moving forward. If doing nothing can produce a useful reaction, so can the appearance of being dumb. You can develop a distinct advantage by waxing slow of wit. Evidently, you need help. Who is there to help you but the person who is answering your questions? The result is the opposite of the total shutdown that might have occurred if you had come on glib and omniscient. If you don’t seem to get something, the subject will probably help you get it. If you are listening to speech and at the same time envisioning it in print, you can ask your question again, and again, until the repeated reply will be clear in print. Who is going to care if you seem dumber than a cardboard box? Reporters call that creative bumbling.
The next morning we wired ourselves up. Claude wore the computer and the radio transmitter and would use his big toes to operate switches hidden in his shoes. I wore the radio receiver with the new steel wires going up my neck to the speaker in my right ear canal. As I stood ready to leave for the casino, Claude cocked his head and with an elfish smile asked, “What makes you tick?” Claude was jokingly referring to the strange sounds (actually these were musical tones) he would be sending from the computer he was wearing to my ear canal, once we went into action at the roulette table. As I look back now from the future, seeing myself wired up with our equipment, I stop that moment in time and I think about a deeper meaning to the question of what makes me tick. I was at a point then in life when I could choose between two very different futures. I could roam the world as a professional gambler winning millions per year. Switching between blackjack and roulette, I could spend some of the winnings as perfect camouflage by also betting on other games offering a small casino edge, like craps or baccarat. My other choice was to continue my academic life. The path I would take was determined by my character, namely, What makes me tick? As the Greek philosopher Heraclitus said, “Character is destiny.” I unfreeze time and watch us head for the roulette tables.
A Man for All Markets
Edward O. Thorp
A PROFESSIONAL IS COURAGEOUS The professional displays courage, not only in the roles she embraces (which invariably scare the hell out of her) or the sacrifices she makes (of time, love, family) or even in the enduring of criticism, blame, envy, and lack of understanding, but above all in the confronting of her own doubts and demons. The linebacker and the Army Ranger go into action as part of a team. But the artist and the entrepreneur enter combat alone. I take my hat off to every man or woman who does this.
Turning Pro
Steven Pressfield
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