One thing I have learned from listening to and spending time with experts is that a lot of expertise is not articulated explicitly. Their mental models, short-cuts (heuristics as Kahenman describes them) can be buried deep in their behaviours. They don’t necessarily talk about them or even realise they are happening. They are second nature, the outcome of thousands of hours tackling the same problems again and again.

In Thinking Fast and Slow, Kahneman uses chess Grandmasters as an example. Grandmasters look at a chess game and don’t see a series of moves that could be taken – they see patterns of play, shapes and model options for the players to win in a few moves. They have a kind of cognitive short-cut for each, sometimes a name for them – they don’t see a set of moves, they see a pattern that they have seen before.

Theysee the problem differently to non-experts as a result of their thousands of hours of practice. Myself, I would see a set of options for the next move and then struggle to hold those options in my mind (in my pre-frontal cortex, to be exact) and then try in turn to see implications for the responses and next moves from the player). The Grandmaster thinks X numbers of moves ahead because they have those series of moves stored in their memory as shapes – they may well have names for the different shapes.

Sometimes they are just a case of emphasis. Where the focus is when a task or challenge is undertaken, how a problem is framed.

Two examples, one from recent experience and one from recent reading, will help to explain what I mean.

Recently, I went on Kevin Meredith’s – aka Lomokev – Hot Shots photography course. It felt like live-action version of his book, which is also excellent and also called Hot Shots. An interesting experience, at once laid back and – in retrospect – intense, Hot Shots was two days of taking and talking about photography. This felt like, and was, an indulgence – but learning was happening thick and fast. It sometimes just takes a little while to realise what you have taken from an adventure like this.

Afterwards, I understood that Kevin thinks about taking a photograph differently to the way I do (or have done up until now). When I see a beautiful sunset, or a collection of interesting objects, or group of people that would make a nice composition I think something such as “Wow – I’d love to capture that in a picture!”

Kevin didn’t talk about capturing; he talked about things making a nice image – not just the subject: the choice of camera, the settings and the film, the angle and background, the direction that light is coming from, the way it might be cropped and improved after it is developed or downloaded. In his mind, he is thinking about the outcome he wants and then the process to get there.

The physical process of seeing, deciding to take a photograph and then processing it is the same in my old method and Kevin’s, the difference is in where we put the emphasis, the focus. How we frame the method, how we think and then act.

The other example of framing a process that I’ve been thinking about is more literal (and literary). It comes from Francine Prose’s Reading Like a Writer (which I am reading slowly, as seems apt for the subject matter).

Francine makes the point that even more important than who is telling the story is who to whom the story is being told.

…I heard a writer say that what enabled him to write a novel from the point of view of a rather complicated middle-aged woman was by pretending that she was telling her story to a close male friend, and that he, the writer, was that friend.

This telling a story within a story is literally called “framing”, but it unblocks the writing process with a simple model, a question: who is the narrator talking to? Talking to a single person makes it easier than talking than imagined audience. All parts of questions about time and emphasis and pace aw resolved.

For me, writing framed stories not only answered all those troubling questions about the narrator’s audience, but also neatly integrated the answers into the narrative itself. I knew not only who was speaking, but who was being spoken to, where the speaker and the listener were, and when and why the event – that is, the telling of the story – was occurring.

The framing of a process, the question of where to put the emphasis, what the right question to be asked is, is something to uncover examples. It is also worth asking yourself, of the things you do well – what is the question you ask? Where do you put the emphasis. Those are likely to be the insights to compare and pass on to colleagues and people you are coaching or teaching a skill.