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Cricket - Be your own role model

Pete Langman in Cricinfo

The Temple of Apollo, where the Oracle of Delphi plied her trade, was renowned for having the maxim "know thyself" carved into its stone. This, along with Polonius' parting words to Laertes in Hamlet, "to thine own self be true", is perhaps the best advice that a cricketer can be given. For cricket, in all of its infinite variety, relies on judgement more than any other skill, and if there's one judgement that is absolutely vital, it is that of the self.

Geoffrey Boycott, for all his faults, knows a thing or two about the game. One of his mantras is "Make your opponent do something they don't want to do." He says this because it's true.

If you're bowling to Alastair Cook, you don't pitch the ball short and wide, or on his hips, you pitch it outside off... and when he's struggling, when his footwork isn't just so, or he's overbalancing, he'll invariably have a nibble. When he's in form, however, his judgement is impeccable. Ignoring practically everything that isn't in his arc, he simply waits for the bad ball and puts it away, and his leave is a thing of frustrating beauty. He's not the most elegant, attractive or technically proficient member of the England set-up, but one look at the numbers show just how effective a cricketer he is. This is because he knows his own game.

In April 1997, an article appeared in the music press arguing that accurate self-assessment was vital for a musician to perform at their best, and described a psychological test that could quantify the gap between a performer's self-belief and his or her actual ability. It was, as the month of publication suggests, a joke, though like all good jokes it was built around close observation and understanding. Two years later, in 1999, two psychologists at Cornell University came to a similar conclusion, noting that low-ability individuals consistently overestimate their skill levels, while the converse is true of high-ability individuals. They called it the Dunning-Kruger effect. I called it the Position of Attitudes.

We've all seen the results of extreme disparity between actual and perceived ability. The batsman who thinks he can hit every ball for six but is always oh-so-unlucky; the bowler who is convinced he's lightning fast and pitches it short and shorter still, but will get the batsman soon. Neither cricketer wins games.

Accurately gauging one's own ability relative to that of the other players on the field (whether they are on your side or not) is a vital part of playing at one's best.

As a wicketkeeper who sometimes keeps above himself, it's a constant battle to find the right place to stand, especially to spinners. Obviously one ought to stand up to spin, but some bowlers are just too quick for me. I leak byes and am unlikely to take many nicks. Standing back even a yard or two may take stumpings out of the equation, but the byes dry up and I pouch the nicks.

We must allow ourselves to play our own game. Yes, we adapt to the situation, and sometimes that means we must take greater risks, but in acknowledging those risks we may still make the best of it

I know my own capabilities, and usually keep within them, but sometimes I give in to pressure and move to where someone else thinks I ought to stand. It rarely goes well. I'm pretty confident I know my keeping self.

When batting, the same is true. If you're aware of your limitations (and accept them), then you reduce the risk of failure. It's when you're tempted to overreach that things go badly. You decide to go for big shots when you're really a nudger and a nurdler.

On tour this summer, I played a vital innings batting at No. 5 (when I was probably the 12th best bat in the team) during which I watched partner after partner try too hard and perish accordingly. I simply waited for the ball to be well within my arc. It worked because I played to my strengths (such as they are) and made the bowlers come to me. Occasionally I simply tee off. This doesn't go so well.

We must allow ourselves to play our own game and not be lured into playing someone else's. No matter what the wicketkeeper says. Yes, we adapt to the situation, and yes, sometimes that means we must take greater risks, but in acknowledging those risks we may still make the best of it. Try to hit the ball too hard, try to bowl it too fast, try too many variations and the percentages plummet. Ask not, as they say, what the ball is going to do to you, but what you can actually do with the ball.

The England Test side has left in its wake many who have struggled to succeed because they have tried to change their natural game. And by this I don't mean adapting to the new arena, fine-tuning technique, or working on shot selection.

Nick Compton, convinced he needed to impress, tried to change his natural game and was caught hooking. Alex Hales struggled as an opener because he couldn't decide who to be: had he played freely he may still have failed, but that's okay. Yes, James Vince, Gary Ballance and a few others have arguably failed to make their game work at Test level, but they were honest with themselves in the process. Fail on your own terms, not somebody else's.

When Ben Duckett and Haseeb Hameed opened together in the warm-up game in Bangladesh, they were in direct competition for the vacant opening berth. Both played their own game, neither trying to impress. The result? They both impressed. This can only be good for English cricket.

We should aim to do the same, learn from Duckett and Hameed and be our own role models.

One way to check if your news headline is factually correct?

Dan Swing in The Independent

Internet search giant Google has introduced a new fact-checking feature in its new section to allow readers to determine whether or not a story is true. 

“In the seven years since we started labeling types of articles in Google News (e.g., In-Depth, Opinion, Wikipedia), we’ve heard that many readers enjoy having easy access to a diverse range of content types,” the company said in an announcement. 

“Today, we’re adding another new tag, “Fact check,” to help readers find fact checking in large news stories.”

Through an algorithmic process from schema.org known asClaimReview, live stories will be linked to fact checking articles and websites. This will allow readers to quickly validate or debunk stories they read online.

Related fact-checking stories will appear onscreen underneath the main headline. The example Google uses shows a headline over passport checks for pregnant women, with a link to Full Fact’s analysis of the issue. 

Readers will be able to see if stories are fake or if claims in the headline are false or being exaggerated. 

Fact check will initially be available in the UK and US through the Google News site as well as the News & Weather apps for both Android and iOS. Publishers who wish to become part of the new service can apply to have their sites included. 

“We’re excited to see the growth of the Fact Check community and to shine a light on its efforts to divine fact from fiction, wisdom from spin,” the company said.

Fact checking has become increasingly common for online publishers. Organizations such as the International Fact-Checking Network, PolitFact and FullFact analyse claims by politicians and other public speakers to determine if they are true or not.

Facebook has struggled to prevent fake headlines appearing in its own trending news feature. After the company swapped human curators for an algorithm, a fake story about Fox News anchor Megyn Kelly being fired over allegiances to Hilary Clinton caused controversy. 

While Google doesn’t name Donald Trump or Brexit explicitly, authors such as Ralph Keyes claim we now live in a “post-truth” era, where debates rarely focus on facts or policy but instead on emotion and wild claims. 

Republican Presidential candidate Donald Trump has often been found to make false or misleading statements. Politifact has rated 71% of his statements as false. This week he wrongly advised his supports to go out and vote on 28 November, 20 days after the US elections actually being held on 8 November.

Seven Tips From Ernest Hemingway on How to Write Fiction

in Books, Literature, Writing | February 19th, 2013 Leave a Comment

Before he was a big game hunter, before he was a deep-sea fisherman, Ernest Hemingway was a craftsman who would rise very early in the morning and write. His best stories are masterpieces of the modern era, and his prose style is one of the most influential of the 20th century.

Hemingway never wrote a treatise on the art of writing fiction.  He did, however, leave behind a great many passages in letters, articles and books with opinions and advice on writing. Some of the best of those were assembled in 1984 by Larry W. Phillips into a book, Ernest Hemingway on Writing.

We’ve selected seven of our favorite quotations from the book and placed them, along with our own commentary, on this page. We hope you will all–writers and readers alike–find them fascinating.

1: To get started, write one true sentence.

Hemingway had a simple trick for overcoming writer’s block. In a memorable passage in A Moveable Feast, he writes:

Sometimes when I was starting a new story and I could not get it going, I would sit in front of the fire and squeeze the peel of the little oranges into the edge of the flame and watch the sputter of blue that they made. I would stand and look out over the roofs of Paris and think, “Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.” So finally I would write one true sentence, and then go on from there. It was easy then because there was always one true sentence that I knew or had seen or had heard someone say. If I started to write elaborately, or like someone introducing or presenting something, I found that I could cut that scrollwork or ornament out and throw it away and start with the first true simple declarative sentence I had written.

2: Always stop for the day while you still know what will happen next.

There is a difference between stopping and foundering. To make steady progress, having a daily word-count quota was far less important to Hemingway than making sure he never emptied the well of his imagination. In an October 1935 article in Esquire ( “Monologue to the Maestro: A High Seas Letter”) Hemingway offers this advice to a young writer:

The best way is always to stop when you are going good and when you know what will happen next. If you do that every day when you are writing a novel you will never be stuck. That is the most valuable thing I can tell you so try to remember it.

3: Never think about the story when you’re not working.

Building on his previous advice, Hemingway says never to think about a story you are working on before you begin again the next day. “That way your subconscious will work on it all the time,” he writes in the Esquire piece. “But if you think about it consciously or worry about it you will kill it and your brain will be tired before you start.” He goes into more detail in A Moveable Feast:

When I was writing, it was necessary for me to read after I had written. If you kept thinking about it, you would lose the thing you were writing before you could go on with it the next day. It was necessary to get exercise, to be tired in the body, and it was very good to make love with whom you loved. That was better than anything. But afterwards, when you were empty, it was necessary to read in order not to think or worry about your work until you could do it again. I had learned already never to empty the well of my writing, but always to stop when there was still something there in the deep part of the well, and let it refill at night from the springs that fed it.

4: When it’s time to work again, always start by reading what you’ve written so far.

T0 maintain continuity, Hemingway made a habit of reading over what he had already written before going further. In the 1935 Esquire article, he writes:

The best way is to read it all every day from the start, correcting as you go along, then go on from where you stopped the day before. When it gets so long that you can’t do this every day read back two or three chapters each day; then each week read it all from the start. That’s how you make it all of one piece.

5: Don’t describe an emotion–make it.

Close observation of life is critical to good writing, said Hemingway. The key is to not only watch and listen closely to external events, but to also notice any emotion stirred in you by the events and then trace back and identify precisely what it was that caused the emotion. If you can identify the concrete action or sensation that caused the emotion and present it accurately and fully rounded in your story, your readers should feel the same emotion. In Death in the Afternoon, Hemingway writes about his early struggle to master this:

I was trying to write then and I found the greatest difficulty, aside from knowing truly what you really felt, rather than what you were supposed to feel, and had been taught to feel, was to put down what really happened in action; what the actual things were which produced the emotion that you experienced. In writing for a newspaper you told what happened and, with one trick and another, you communicated the emotion aided by the element of timeliness which gives a certain emotion to any account of something that has happened on that day; but the real thing, the sequence of motion and fact which made the emotion and which would be as valid in a year or in ten years or, with luck and if you stated it purely enough, always, was beyond me and I was working very hard to get it.

6: Use a pencil.

Hemingway often used a typewriter when composing letters or magazine pieces, but for serious work he preferred a pencil. In the Esquire article (which shows signs of having been written on a typewriter) Hemingway says:

When you start to write you get all the kick and the reader gets none. So you might as well use a typewriter because it is that much easier and you enjoy it that much more. After you learn to write your whole object is to convey everything, every sensation, sight, feeling, place and emotion to the reader. To do this you have to work over what you write. If you write with a pencil you get three different sights at it to see if the reader is getting what you want him to. First when you read it over; then when it is typed you get another chance to improve it, and again in the proof. Writing it first in pencil gives you one-third more chance to improve it. That is .333 which is a damned good average for a hitter. It also keeps it fluid longer so you can better it easier.

7: Be Brief.

Hemingway was contemptuous of writers who, as he put it, “never learned how to say no to a typewriter.” In a 1945 letter to his editor, Maxwell Perkins, Hemingway writes:

It wasn’t by accident that the Gettysburg address was so short. The laws of prose writing are as immutable as those of flight, of mathematics, of physics.

Being Oneself

The master of being himself

Andrew Strauss doesn't pose, shout, or try to shove all his players into one mould. Being his own man may just be his greatest virtue

Ed Smith

August 15, 2012

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	Strauss' innate confidence and talent for letting his team-mates be themselves has allowed England to grow up © Getty Images  Enlarge
Related Links Players/Officials: Andrew Strauss | Kevin Pietersen Series/Tournaments: South Africa tour of England Teams: England

Andrew Strauss plays his 100th Test for England tomorrow. I was an exact contemporary of Strauss - at school, university and in county cricket. Few predicted he would play 100 Tests. Indeed, Strauss himself would have laughed at the idea when he was starting out as a cricketer. Owais Shah, not Strauss, was the teenage Middlesex prodigy. Not that Strauss minded not being the centre of attention. Waiting for the right moment, biding his time - that is the hallmark of his distinguished career.

Some sportsmen declare their hand at the outset. Graeme Smith always said he wanted to captain South Africa when he was still a kid. Strauss, in contrast, is not someone to reveal his hand so lightly. Did he always have deep ambitions that were hidden by his self-effacing English reserve? Or did he only realise by increments - as he gradually worked his way through the field - that he could go so far, as a player and a captain? I've never been sure of the answer. Perhaps he isn't either.

In one crucial respect, Strauss has never changed. He has always had the social and psychological confidence to be himself. As a player, he has never puffed out his chest in phony displays of patriotic guts and determination. As a captain, he is more interested in calmness and balance than show-off field placings or macho arm-waving.

Being yourself is the most underrated virtue in sport, as we've learnt once again during the London Olympics. Some sports psychologists have argued that athletes could unlock hidden potential if they adopted the same uber-relaxed, super-confident pre-race routine as Usain Bolt.

I take the opposite view. The lesson of Usain Bolt (apart from the obvious one: be more talented than everyone else) is the profound value of being yourself. Watch again the few seconds before the 200 metre final, as the sprinters are introduced to the crowd. Bolt, of course, does his usual showman act - clowning and gesturing, looking at once intimidating and relaxed.

The revealing thing is that all the other sprinters awkwardly followed his example, trying to project the aura of Bolt without the underlying conviction. The American sprinter Wallace Spearmon stared into the camera lens as he shouted with bristling machismo, "My time, my time!" - all of which did nothing to persuade anyone that it was his time, but merely reinforced the truth that it was Bolt's.

Like Bolt, a very few lucky cricketers - such as Sir Vivian Richards or Ian Chappell - are naturally ultimate alpha males. The rest have to reach an accommodation with the fact that they are extremely good performers without being kings of the jungle. The most common mistake is to copy the wrong example - to try to be something you're not - like the sprinters who try to act like Bolt without being Bolt.

During the period of Australian supremacy, England teams wasted too much energy trying to behave like Australians, as though the skills would follow naturally from the style. But it doesn't work like that. Being yourself is always the best policy.

Strauss has been the master of being himself. Like Mark Taylor, he has never tried to hide the fact that he is a courteous, measured and controlled person. He has never got sucked into behaving like an alpha male show-off. That innate confidence has allowed the England team to grow up.

The most effective captains do not impose their own personality on the group; they encourage the team to develop its own authentic voice. Strauss celebrates diversity rather trying to shoehorn all players into one model. "I wouldn't want to captain a team in which everyone is like me," he has said. It gets to the heart of his captaincy.

And yet, for all his achievements, Strauss takes to the field in his 100th Test under undeniable pressure. He has just endured one of the most difficult spells of his captaincy. On the field, England have suffered a poor 2012 in Tests. Whatever happens at Lord's, they have failed to win a home series against a great rival.

Off the pitch, the estrangement of Kevin Pietersen from the England management (more on this in a moment) has been an uncomfortable circus for everyone involved. And it would be only human, for a player about to win his 100th cap, to regret that the Pietersen issue has dominated the lead-up to such an important Test.

	Strauss has been the master of being himself. Like Mark Taylor, he has never tried to hide the fact that he is a courteous, measured and controlled person

But paradoxically, when he looks back at his England career, Strauss may be grateful that he entered his 100th Test with so much riding on the result. Far from being an easy lap of honour, Strauss' 100th Test is exactly that - another test of character. And sport - as Strauss knows very well - is at its most rewarding when it is most challenging.

****

A fortnight ago I added a second, shorter item to my column to accommodate an instinct I had about Kevin Pietersen. It seemed to me, looking from the outside, that something big was about to happen. I had no evidence beyond a deep-seated hunch. Pietersen had been looking increasingly distant and hurt, and the England management seemed to be losing patience.

But I noticed years ago that Pietersen often plays at his scintillating best when he feels wronged. And he did just that once more. His 149 at Headingley was one of the great innings played for England in the modern era. When it is a case of "KP against the world", he is capable of almost anything.

Is there any way, I wonder, that Pietersen can access that strand of his personality - the resilient individualism and epic self-belief that defined his Headingley hundred - without actually orchestrating a situation where it really is "KP against the world"?

Can't he just imagine life is like that - that he has a giant score to settle with the world - while, in fact, behaving normally, just like everyone else?

I hope so. Because it seems a terrible curse if he must experience genuine turmoil to access his deepest talents.