Craft Related Quotes

The business of the novelist is not to relate great events, but to make small ones interesting.

Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.

If one wishes to be instructed--not that anyone does--concerning the treacherous role that memory plays in a human life, consider how relentlessly the water of memory refuses to break, how it impedes that journey into the air of time. Time: the whisper beneath that word is death. With this unanswerable weight hanging heavier and heavier over one's head, the vision becomes cloudy, nothing is what it seems... How then, can I trust my memory concerning that particular Sunday afternoon?...Beneath the face of anyone you ever loved for true--anyone you love, you will always love, love is not at the mercy of time and it does not recognize death, they are strangers to each other--beneath the face of the beloved, however ancient, ruined, and scarred, is the face of the baby your love once was, and will always be, for you. Love serves, then, if memory doesn't, and passion, apart from its tense relation to agony, labors beneath the shadow of death. Passion is terrifying, it can rock you, change you, bring your head under, as when a wind rises from the bottom of the sea, and you're out there in the craft of your mortality, alone.

You know, there’s a philosopher who says, “As you live your life, it appears to be anarchy and chaos, and random events, non-related events, smashing into each other and causing this situation or that situation, and then, this happens, and it’s overwhelming, and it just looks like what in the world is going on ? And later, when you look back at it, it looks like a finely crafted novel. But at the time, it don’t.

Sisters are more than the sum of their relative disadvantages: they are active agents who craft meaning out of their circumstances and do so in complicated and diverse ways.

For the vision of a novelist is both complex and specialised; complex, because behind his characters and apart from them must stand something stable to which he relates them; specialised because since he is a single person with one sensibility the aspects of life in which he can believe with conviction are strictly limited

Beneath the face of anyone you ever loved for true - anyone you love, you will always love, love is not at the mercy of time and it does not recognize death, they are strangers to each other - beneath the face of the beloved, however ancient, ruined, and scarred, is the face of the baby your love once was, and will always be, for you. Love serves, then, if memory doesn't, and passion, apart from its tense relation to agony, labors beneath the shadow of death. Passion is terrifying, it can rock you, change you, bring your head under, as when a wind rises from the bottom of the sea, and you're out there in the craft of your mortality, alone.

TV came relatively late to the King household, and I’m glad. I am, when you stop to think of it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit. This might not be important. On the other hand, if you’re just starting out as a writer, you could do worse than strip your television’s electric plug-wire, wrap a spike around it, and then stick it back into the wall. See what blows, and how far. Just an idea.

The funny thing about games and fictions is that they have a weird way of bleeding into reality. Whatever else it is, the world that humans experience is animated with narratives, rituals, and roles that organize psychological experience, social relations, and our imaginative grasp of the material cosmos. The world, then, is in many ways a webwork of fictions, or, better yet, of stories. The contemporary urge to “gamify” our social and technological interactions is, in this sense, simply an extension of the existing games of subculture, of folklore, even of belief. This is the secret truth of the history of religions: not that religions are “nothing more” than fictions, crafted out of sociobiological need or wielded by evil priests to control ignorant populations, but that human reality possesses an inherently fictional or fantastic dimension whose “game engine” can — and will — be organized along variously visionary, banal, and sinister lines. Part of our obsession with counterfactual genres like sci-fi or fantasy is not that they offer escape from reality — most of these genres are glum or dystopian a lot of the time anyway — but because, in reflecting the “as if” character of the world, they are actually realer than they appear.

But for all its miseries, there was an unmistakable allure to the jockey's craft... Man is preoccupied with freedom yet laden with handicaps. The breadth of his activity and experience is narrowed by the limitations of his relative weak, sluggish body. The racehorse, by virtue of his awesome physical gifts, freed the jockey from himself. When a horse and a jockey flew over the tack together, there were moments in which the man's mind wedded itself to the animal's body to form something greater than the sum of both parts. The horse partook of the jockey's cunning; the jockey partook of the horse's supreme power. For the jockey, the saddle was a place of unparalled exhilaration, of transcendence.

Writers are the target audience for my Writer’s Craft books. I’m happy to answer questions about writing, publishing and related topics, and I’m delighted when people on Twitter advise one another, “Ask @RayneHall. She’ll know the answer.

Most people who describe themselves as visionaries are actually saying something quite different. They are abdicating their responsibility for the details. Details matter. The more someone or something matters to us, the more the details relating to them matter to us.

Clever deceivers rarely tell outright falsehoods. It’s too risky. The art of deception is closely related to the magician’s craft: it involves knowing how to draw attention to a harmless place, to deflect it away from the action. Deeply entrenched patterns of perceptual, emotional, and cognitive dispositions serve as instruments of deception. A skilled deceiver is an illusionist who knows how to manipulate the normal patterns of what is salient to their audience. He places salient markers—something red, something anomalous, something desirable—in the visual field, to draw attention just where he wants it.

On a related note, I think for many of us, the first step in becoming a good writer is to write crap. In all seriousness, none of us are born knowing how to write. Almost all of us will produce a lot of really lousy stories before we start to get good. (Not all of us will choose to publish those lousy stories, but that's a whole separate discussion...)

Children are capable, of course, of literary belief, when the story-maker's art is good enough to produce it. That state of mind has been called 'willing suspension of disbelief'. But this does not seem to me a good description of what happens. What really happens is that the story-maker proves a successful 'sub-creator'. He makes a Secondary World which your mind can enter. Inside it, what he relates is 'true': it accords with the laws of that world. You therefore believe it, while you are, as it were, inside. The moment disbelief arises, the spell is broken; the magic, or rather art, has failed. You are then out in the Primary World again, looking at the little abortive Secondary World from outside. If you are obliged, by kindliness or circumstance, to stay, then disbelief must be suspended (or stifled), otherwise listening and looking would become intolerable. But this suspension of disbelief is a substitute for the genuine thing, a subterfuge we use when condescending to games or make-believe, or when trying (more or less willingly) to find what virtue we can in the work of an art that has for us failed.

In my travels on the surface, I once met a man who wore his religious beliefs like a badge of honor upon the sleeves of his tunic. "I am a Gondsman!" he proudly told me as we sat beside eachother at a tavern bar, I sipping my wind, and he, I fear, partaking a bit too much of his more potent drink. He went on to explain the premise of his religion, his very reason for being, that all things were based in science, in mechanics and in discovery. He even asked if he could take a piece of my flesh, that he might study it to determine why the skin of the drow elf is black. "What element is missing," he wondered, "that makes your race different from your surface kin?" I think that the Gondsman honestly believed his claim that if he could merely find the various elements that comprised the drow skin, he might affect a change in that pigmentation to make the dark elves more akin to their surface relatives. And, given his devotion, almost fanaticism, it seemed to me as if he felt he could affect a change in more than physical appearance. Because, in his view of the world, all things could be so explained and corrected. How could i even begin to enlighten him to the complexity? How could i show him the variations between drow and surface elf in the very view of the world resulting from eons of walking widely disparate roads? To a Gondsman fanatic, everything can be broken down, taken apart and put back together. Even a wizard's magic might be no more than a way of conveying universal energies - and that, too, might one day be replicated. My Gondsman companion promised me that he and his fellow inventor priests would one day replicate every spell in any wizard's repertoire, using natural elements in the proper combinations. But there was no mention of the discipline any wizard must attain as he perfects his craft. There was no mention of the fact that powerful wizardly magic is not given to anyone, but rather, is earned, day by day, year by year and decade by decade. It is a lifelong pursuit with gradual increase in power, as mystical as it is secular. So it is with the warrior. The Gondsman spoke of some weapon called an arquebus, a tubular missile thrower with many times the power of the strongest crossbow. Such a weapon strikes terror into the heart of the true warrior, and not because he fears that he will fall victim to it, or even that he fears it will one day replace him. Such weapons offend because the true warrior understands that while one is learning how to use a sword, one should also be learning why and when to use a sword. To grant the power of a weapon master to anyone at all, without effort, without training and proof that the lessons have taken hold, is to deny the responsibility that comes with such power. Of course, there are wizards and warriors who perfect their craft without learning the level of emotional discipline to accompany it, and certainly there are those who attain great prowess in either profession to the detriment of all the world - Artemis Entreri seems a perfect example - but these individuals are, thankfully, rare, and mostly because their emotional lacking will be revealed early in their careers, and it often brings about a fairly abrupt downfall. But if the Gondsman has his way, if his errant view of paradise should come to fruition, then all the years of training will mean little. Any fool could pick up an arquebus or some other powerful weapon and summarily destroy a skilled warrior. Or any child could utilize a Gondsman's magic machine and replicate a firebal, perhaps, and burn down half a city. When I pointed out some of my fears to the Gondsman, he seemed shocked - not at the devastating possibilities, but rather, at my, as he put it, arrogance. "The inventions of the priests of Gond will make all equal!" he declared. "We will lift up the lowly peasant

we could relate to Dickens and Twain and Shakespeare and Ephron and Capra and Hitchcock—all those whom she considered so singularly excellent at the craft of storytelling. Mom loved a good zinger, loved a good turn, and she loved a good story.

They would work from dawn till dusk, studying and practicing weapons craft and battle tactics—although the latter were relatively simple in the Skandian world, usually consisting of a headlong charge in response to the command, “Let’s get ’em!

So often fictions that experiment formally do so at the expense of feeling. They toy on surfaces or are purely cerebral affairs, don’t explore human complexities. But the mostly unconventional narratives I’ve been discussing have dealt powerfully with core human matters. … And they have found patterns other than the wave to do this, or worked in a doubled, moiré relation with the wave, one pattern upon another. I believe they’ve done this organically: a meander or net or explosion was simply the pattern the material needed.

Some readers may find it a curious or even unscientific endeavour to craft a criminological model of organised abuse based on the testimony of survivors. One of the standard objections to qualitative research is that participants may lie or fantasise in interview, it has been suggested that adults who report severe child sexual abuse are particularly prone to such confabulation. Whilst all forms of research, whether qualitative or quantitative, may be impacted upon by memory error or false reporting. there is no evidence that qualitative research is particularly vulnerable to this, nor is there any evidence that a fantasy— or lie—prone individual would be particularly likely to volunteer for research into child sexual abuse. Research has consistently found that child abuse histories, including severe and sadistic abuse, are accurate and can be corroborated (Ross 2009, Otnow et al. 1997, Chu et al. 1999). Survivors of child abuse may struggle with amnesia and other forms of memory disturbance but the notion that they are particularly prone to suggestion and confabulation has yet to find a scientific basis. It is interesting to note that questions about the veracity of eyewitness evidence appear to be asked far more frequently in relation to sexual abuse and rape than in relation to other crimes. The research on which this book is based has been conducted with an ethical commitment to taking the lives and voices of survivors of organised abuse seriously.

The feasting people were Wood-elves, of course. These are not wicked folk. If they have a fault it is distrust of strangers. Though their magic was strong, even in those days they were wary. They differed from the High Elves of the West, and were more dangerous and less wise. For most of them (together with their scattered relations in the hills and mountains) were descended from the ancient tribes that never went to Faerie in the West. There the Light-elves and the Deep-elves and the Sea-elves went and lived for ages, and grew fairer and wiser and more learned, and invented their magic and their cunning craft in the making of beautiful and marvellous things, before some came back into the Wide World. In the Wide World the Wood-elves lingered in the twilight of our Sun and Moon, but loved best the stars; and they wandered in the great forests that grew tall in lands that are now lost. They dwelt most often by the edges of the woods, from which they could escape at times to hunt, or to ride and run over the open lands by moonlight or starlight; and after the coming of Men they took ever more and more to the gloaming and the dusk. Still elves they were and remain, and that is Good People.

We began crafting ways to apply defusion and self skills to coping with the fear and pain of acceptance. Learning to defuse from the voice of the Dictator helps us keep a healthy distance from the negative messages that pop uninvited into our minds, like “Who are you kidding, you can’t deal with this!” It also helps diminish the power of the unhelpful relations that have been embedded in our thought networks, which are often activated by the pain involved in acceptance. For example, the relation between smoking a cigarette and feeling better will be triggered by the discomfort of craving a smoke. Reconnecting with our authentic self helps us practice self-compassion as we open up to unpleasant aspects of our lives, not berating ourselves for making mistakes or for feeling fear about dealing with the pain. We see beyond the image of a broken, weak, or afflicted self to the powerful true self that can choose to feel pain.

This, then, is the moral taught us by Mermoz and his kind. We understand better, because of him, that what constitutes the dignity of a craft is that it creates a fellowship, that it binds men together and fashions for them a common language. For there is but one veritable problem - the problem of human relations.

women have, throughout history, been excluded mainly from jobs that require little physical effort (such as the priesthood, law and politics), while engaging in hard manual labour in the fields, in crafts and in the household. If social power were divided in direct relation to physical strength or stamina, women should have got far more of it.

As most young candidates for the pains and penalties of whaling stop at this same New Bedford, thence to embark on their voyage, it may as well be related that I, for one, had no idea of so doing. For my mind was made up to sail in no other than a Nantucket craft, because there was a fine, boisterous something about everything connected with that famous old island, which amazingly pleased me. Besides though New Bedford has of late been gradually monopolizing the business of whaling, and though in this matter poor old Nantucket is now much behind her, yet Nantucket was her great original— the Tyre of this Carthage;—the place where the first dead American whale was stranded. Where else but from Nantucket did those aboriginal whalemen, the Red-Men, first sally out in canoes to give chase to the Leviathan? And where but from Nantucket, too, did that first adventurous little sloop put forth, partly laden with imported cobblestones—so goes the story— to throw at the whales, in order to discover when they were nigh enough to risk a harpoon from the bowsprit?

Riding the Copernican wave over the last four hundred years, economists have gradually attempted to elevate their craft to the level of pure science, focusing on the behavior of markets involving prices and flows of money which are easily measured. All values are reduced to market values and market prices. Air, water, and essentials of life provided freely by nature are valueless unless scarcity sets in. Gold, diamonds, and other precious metals, and stones which are relatively useless in sustaining life, are valued highly. The value of a human life is determined by calculating a person's lifetime earning potential. Thus, it has been said that economists know the price of everything and the value of nothing.

I think the church has done a pretty good job at reaching the "down and outers" but not a good job at reaching the "up and outers." I feel like one of my mandates is to reach corporate America with a message that relates to them. As an avid reader, I realized that the church at large was not speaking the language of corporate America or strategically to the needs of a corporate man/woman.

There are those who think that a beer should be relatively high in alcohol. This is not reasonable, after all, why do you drink beer? If all you want is inebriation, drink hard liquor. Beer is a convivial beverage between friends, to be drunk for its own sake, as a friendly thing, not a drunking thing. Five to six percent is plenty of alcohol, your friends won’t laugh if your beer clobbers them.

What a lover of words and their beauty discovers. . .is that there is literally a word for every object, material or immaterial, every relation, and every process that human beings have experienced. Because that is what words are: the crystallization in language of thousands of years of experience across numerous cultures and civilizations, each word being the most tangible flesh in which thought is tabernacled.

The days are long, the weeks are long, the months are long, but the years are short—one day you look up and realize you’re on the precipice of the final year of a presidential term. You see the world in a different way, as if you could open a window and catch a glimpse of anything that is touched by the reach of the United States government. You can be a part of actions that shape these events—your voice in a meeting, your intervention on a budget line item, your role in crafting the words that a president speaks. You are also a bystander to crises that elude intervention, buffeted by the constant and contradictory demands made on an American president—by other American politicians; by the media; by advocacy organizations; by people around the world. You never know what is the one meeting, the one decision, the one word or phrase that will matter.

In the bedroom the truer, unpremeditated behavior of intimacy appears, the way this spouse relates to others on the most personal level, body to body and soul to soul. Is he truly patient in sexuality? So he seemed on long spring evenings. Or does he push forward at his own speed to his own satisfaction? And does he consider his satisfaction the measure of his prowess? As he acts here, uncovered, so does he act—more subtly and covertly—in the rest of the marriage.” P35

But social media doesn’t just provide us with a platform to (over)share the thoughts and feelings streaming through our head, and the ways it derails our internal dialogues don’t exclusively relate to empathy and time. Social media also allows us to shape what we want other people to believe is happening in our lives, and our choices about what to post can fuel other people’s chatter. The human need to self-present is powerful. We craft our appearances to influence how people perceive us all the time.

Many children make up, or begin to make up, imaginary languages. I have been at it since I could write. But I have never stopped, and of course, as a professional philologist (especially interested in linguistic aesthetics), I have changed in taste, improved in theory, and probably in craft. Behind my stories is now a nexus of languages (mostly only structurally sketched). But to those creatures which in English I call misleadingly Elvesfn11 are assigned two related languages more nearly completed, whose history is written, and whose forms (representing two different sides of my own linguistic taste) are deduced scientifically from a common origin. Out of these languages are made nearly all the names that appear in my legends. This gives a certain character (a cohesion, a consistency of linguistic style, and an illusion of historicity) to the nomenclature, or so I believe, that is markedly lacking in other comparable things. Not all will feel this as important as I do, since I am cursed by acute sensibility in such matters.

Think of how similar this is to the stories of Bill Joy and Bill Gates. Both of them toiled away in a relatively obscure field without any great hopes for worldly success. But then -- boom! -- the personal computer revolution happened, and they had their ten thousand hours in. They were ready. Flom had the same experience. For twenty years he perfected his craft at Skadden, Arps. Then the world changed and he was ready. He didn't triumph over adversity. Instead, what started out as adversity ended up being an opportunity.

But TV came relatively late to the King household, and I’m glad. I am, when you stop to think of it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit. This might not be important. On the other hand, if you’re just starting out as a writer, you could do worse than strip your television’s electric plug-wire, wrap a spike around it, and then stick it back into the wall. See what blows, and how far. Just an idea.

Here is something I understand about psychology, and I think it relates to fiction: if you loosen up your understanding of yourself in some way, then who knows how it will affect who you are in the world. In the same way, you can explore an avenue of your character - something about your character's past, or something in your character's present - and you don't know how the reader is going to connect it to what's going on in the story. That gives the reader a wonderful job to do, which is to try to make the links. I don't think you need to plan that in advance, or ever. I think it can happen if you follow what you think is interesting about the character. In order to do this, you must trust what you don't understand. Our minds are so adept at trying to explain things that you have to shut that instinct down. As a starting point, choose an action that you can't explain. Often, writing about something that you don't fully get - what it's about or what's in it - is actually very useful because it takes you away from talking about theme or talking about abstractions. If you don't know what something is about, you are probably going to be very concrete in your exploration of it. You're going to say, 'I don't know what's in this world, so I'm going to be very direct in the way I present it.' This gives the reader tons of space to form his or her own interpretations.

The invisibility factor of women in this industry is not unlike the invisibility of girl geeks. We know we exist, but everyone else seems to think we’re an enigma every time they get the notion to write about us and what we apparently want. What we want isn’t any different than what anyone wants. Good stories. With characters we can relate to or identify with or that are interesting to read about. And we’d like to feel welcome, not the perpetual other. We don’t want to feel excluded or like props in every narrative. We don’t want or need every story to be about a girl character. But we’d like them to be treated with the same care and attention male characters are. And it is possible, even in male dominated narratives.

for ordinary African Americans, coping with hegemonic gender ideology can be so demanding that generating alternatives can seem virtually impossible. But the importance of this task cannot be underestimated because African American survival may depend on it. One important task lies in rejecting dominant gender ideology, in particular, its use of the thesis of "weak men, strong women" as a source of Black social control. Because hegemonic masculinity equates strength with dominance, an antiracist politics must challenge this connection. Within this project, the fundamental premise of any progressive Black gender ideology is that it cannot be based on someone else's subordination. This means that definitions of Black masculinity that rely on the subordination of Black women, poor people, children, LGBT people, or anyone else become invalid. Definitions of Black femininity that do not challenge relations of sexism, economic exploitation, age, heterosexism, and other markers of social inequality also become suspect. Rather than trying to be strong within existing gender ideology, the task lies in rejecting a gender ideology that measures masculinity and femininity using gendered definitions of strength. In this endeavor to craft a more progressive Black gender ideology, African American men and women face similar yet distinctive challenges. The task for African American men lies in developing new definitions of masculinity that uncouple strength from its close ties to male dominance. Good Black men need not rule their families with an iron hand, assault one another, pursue endless booty calls, and always seem to be "in control" in order to avoid the sigma of weakness. The task for African American women lies in redefining strength in ways that simultaneously enable Black women to reclaim historical sources of female power, yet reject the exploitation that has often accompanied that power. Good Black women need not be stoic mules whose primary release from work and responsibility comes once a week on Sunday morning. New definitions of strength would enable Black men and women alike to be seen as needing and worthy of one another's help and support without being stigmatized as either overly weak or unnaturally strong.

Shepherds say too that it makes a difference to the production of females and the production of males not only if mating occurs during north winds or south winds, but |767a10| also if while copulating the animals look south or north. So small a thing, they say, will sometimes shift the balance, becoming a cause of cold or heat, and these a cause in generation. In general, then, female and male are set apart from each other in relation to production of males and production of females due to the causes just mentioned. Nonetheless, |767a15| there must also be a proportion in their relation to each other. For all things that come to be either in accord with craft or nature exist in virtue of a certain ratio (logos).750 Now the hot, if it is too mastering, dries

WHEN I INTERVIEWED ISABELLE HUPPERT, I mentioned in passing that she has the strongest body of work of any actress in the world. She insisted otherwise, and I insisted back, and she denied it again, and I conceded that maybe, just maybe, Meryl Streep might be tied with her in the magnificent résumé department. To which Huppert said something quite interesting: "You know, it’s more again a symptom—I mean it really tells something about our relationship to cinema in Europe, which is slightly different [than here in the U.S.]. Here it seems like, you reach a certain point, actresses work less. And maybe also we have this idea to make movies more cultural than entertaining, a more existential thing than here. And so together it makes [for] a different relation to our craft."

It is precisely in that relationship to the Reader that you will find most of the classic faults of style: pretension, condescension, servility, obscurantism, grandiosity, vulgarity, and the like--even academicism. That's why most faults of style can be described in language relevant to human relations. Is your style frank and open...does it have some understated agenda...is it out to prove something it does not or cannot admit...is it trying to impress...show off...is it kissing up...groveling...maybe just a tad passive-aggressive, with a mumbling half-audible voice that is unwilling to explain...is it trying to convince...overwhelm...help...seduce...give pleasure...inflict pain...There is no area of the writer's work that is more responsive to the psychology of human connection than style.

Who will I be when I have fewer patients? When I have no patients at all? It's often noted that "practice" as it relates to medicine has two meanings: the act of caring for patients and the doctor's never-ending process of perfecting his or her craft. But there's a third meaning, too, one I'm only now appreciating as I contemplate the end of my career. Medicine is a practice in the way that yoga or meditation is for many people, an activity repeated so often that it becomes a kind of incantation. I have, for so long, stood to my patients' right sides as physicians have done for centuries, palpated the lymph nodes in their necks, armpits, and groins; auscultated their hearts and lungs; asked the same questions I first learned to ask nearly forty years ago—What makes the pain better? What makes it worse? These rituals are for me an anchor without which I fear I might simply drift away. Of course I suspected all along that what I feared wasn't abandoning my patients, but myself.

Any fair consideration of the depth and width of enslavement tempts insanity. First conjure the crime--the generational destruction of human bodies--and all of its related offenses--domestic terrorism, poll taxes, mass incarceration. But then try to imagine being an individual born among the remnants of that crime, among the wronged, among the plundered, and feeling the gravity of that crime all around and seeing it in the sideways glances of the perpetrators of that crime and overhearing it in their whispers and watching these people, at best, denying their power to address the crime and, at worst, denying that any crime had occurred at all, even as their entire lives revolve around the fact of a robbery so large that it is written in our very names. This is not a thought experiment. America is literally unimaginable without plundered labor shackled to a plundered land, without the organizing principle of whiteness as citizenship, without the culture crafted by the plundered, and without that culture itself being plundered.

In America, too, the reality behind the words of the Declaration of Independence (issued in the same year as Adam Smith’s capitalist manifesto, The Wealth of Nations) was that a rising class of important people needed to enlist on their side enough Americans to defeat England, without disturbing too much the relations of wealth and power that had developed over 150 years of colonial history. Indeed, 69 percent of the signers of the Declaration of Independence had held colonial office under England. When the Declaration of Independence was read, with all its flaming radical language, from the town hall balcony in Boston, it was read by Thomas Crafts, a member of the Loyal Nine group, conservatives who had opposed militant action against the British. Four days after the reading, the Boston Committee of Correspondence ordered the townsmen to show up on the Common for a military draft. The rich, it turned out, could avoid the draft by paying for substitutes; the poor had to serve. This led to rioting, and shouting: “Tyranny is Tyranny let it come from whom it may.

Streamline Your Focus Instead of Jumping From Unfinished Project to Unfinished Project Although it seems contradictory, anxiety-related perfectionism can cause people to persist too long on some tasks and leave other projects unfinished. Perfectionists who are intolerant of uncertainty often jump from project to project. They might start multiple business plans, grant proposals, job applications, movie scripts, stand-up routines, craft projects, or novels, and not finish any of them. They may sour quickly on an idea when their self-doubt starts to creep in rather than stay with the idea long enough to realistically judge it’s potential. If you bounce from idea to idea, it could very well be because it’s hard for you to tolerate your uncertainty about whether the idea you’re working on is going to pan out. If you have a habit of not finishing things, you’re likely to be better off sticking with a project and finishing it, instead of jumping to another project when you start to feel unsure. To help you be less tempted to jump around, reduce your exposure to excessive information and alternatives.

Arthur tried to gauge the speed at which they were traveling, but the blackness outside was absolute and he was denied any reference points. The sense of motion was so soft and slight he could almost believe they were hardly moving at all. Then a tiny glow of light appeared in the far distance and within seconds had grown so much in size that Arthur realized it was traveling toward them at a colossal speed, and he tried to make out what sort of craft it might be. He peered at it, but was unable to discern any clear shape, and suddenly gasped in alarm as the aircar dipped sharply and headed downward in what seemed certain to be a collision course. Their relative velocity seemed unbelievable, and Arthur had hardly time to draw breath before it was all over. The next thing he was aware of was an insane silver blur that seemed to surround him. He twisted his head sharply round and saw a small black point dwindling rapidly in the distance behind them, and it took him several seconds to realize what had happened. They had plunged into a tunnel in the ground. The colossal speed had been their own, relative to the glow of light which was a stationary hole in the ground, the mouth of the tunnel. The insane blur of silver was the circular wall of the tunnel down which they were shooting, apparently at several hundred miles an hour. He closed his eyes in terror. After a length of time which he made no attempt to judge, he sensed a slight subsidence in their speed and some while later became aware that they were gradually gliding to a gentle halt. He opened his eyes again. They were still in the silver tunnel, threading and weaving their way through what appeared to be a crisscross warren of converging tunnels. When they finally stopped it was in a small chamber of curved steel. Several tunnels also had their termini here, and at the farther end of the chamber Arthur could see a large circle of dim irritating light. It was irritating because it played tricks with the eyes, it was impossible to focus on it properly or tell how near or far it was. Arthur guessed (quite wrongly) that it might be ultraviolet. Slartibartfast turned and regarded Arthur with his solemn old eyes. “Earthman,” he said, “we are now deep in the heart of Magrathea.

A few hundred million years later, some of these eukaryotes developed a novel adaptation: they stayed together after cell division to form multicellular organisms in which every cell had exactly the same genes. These are the three-boat septuplets in my example. Once again, competition is suppressed (because each cell can only reproduce if the organism reproduces, via its sperm or egg cells). A group of cells becomes an individual, able to divide labor among the cells (which specialize into limbs and organs). A powerful new kind of vehicle appears, and in a short span of time the world is covered with plants, animals, and fungi.37 It’s another major transition. Major transitions are rare. The biologists John Maynard Smith and Eörs Szathmáry count just eight clear examples over the last 4 billion years (the last of which is human societies).38 But these transitions are among the most important events in biological history, and they are examples of multilevel selection at work. It’s the same story over and over again: Whenever a way is found to suppress free riding so that individual units can cooperate, work as a team, and divide labor, selection at the lower level becomes less important, selection at the higher level becomes more powerful, and that higher-level selection favors the most cohesive superorganisms.39 (A superorganism is an organism made out of smaller organisms.) As these superorganisms proliferate, they begin to compete with each other, and to evolve for greater success in that competition. This competition among superorganisms is one form of group selection.40 There is variation among the groups, and the fittest groups pass on their traits to future generations of groups. Major transitions may be rare, but when they happen, the Earth often changes.41 Just look at what happened more than 100 million years ago when some wasps developed the trick of dividing labor between a queen (who lays all the eggs) and several kinds of workers who maintain the nest and bring back food to share. This trick was discovered by the early hymenoptera (members of the order that includes wasps, which gave rise to bees and ants) and it was discovered independently several dozen other times (by the ancestors of termites, naked mole rats, and some species of shrimp, aphids, beetles, and spiders).42 In each case, the free rider problem was surmounted and selfish genes began to craft relatively selfless group members who together constituted a supremely selfish group.

Crying is therapeutic Most people can relate to the calming and stress reducing effect of a “good cry.” Grieving children should be supported in their need to cry. Unfortunately, children sometimes suppress their tears, thinking that they can control their pain if they control their crying. Parents may find their child’s pain very stressful or threatening and may therefore knowingly or unknowingly suppress natural expressions of grief. They may try to distract the child by promising a treat if he stops crying; cutting the feelings short (“Hush, hush”); minimizing the feelings (“You’re OK now”); contradicting his reality (“You’re going to love it here”); criticizing (“Stop making such a fuss”); embarrassing (“You’re too big to act like such a baby”); or threatening (“Stop it right now or I’ll give you something to cry about”). Crying should be supported with empathy and nurturing. It might be helpful to say something like, “I can tell that you are feeling very bad. Maybe it is because we were just looking at pictures of Nana, and you’re thinking about her now and missing her. Let’s sit here together for a while and I’ll rub your back.” Don’t rush the toddler’s grief before she is ready to let go of it. When the crying has subsided, offer a cold glass of juice or a walk outside. Often, children are more receptive to being cuddled, making eye contact, and other attachment strategies after an episode of acute sadness.

Try as she might, Annabelle could think of no subtle way to ask him. After grappling silently with a variety of phrases, she finally settled for a blunt question. “Were you responsible for the boots?” His expression gave nothing away. “Boots? I’m afraid I don’t take your meaning, Miss Peyton. Are you speaking in metaphor, or are we talking about actual footwear?” “Ankle boots,” Annabelle said, staring at him with open suspicion. “A new pair that was left inside the door of my room yesterday.” “Delighted as I am to discuss any part of your wardrobe, Miss Peyton, I’m afraid I know nothing about a pair of boots. However, I am relieved that you have managed to acquire some. Unless, of course, you wished to continue acting as a strolling buffet to the wildlife of Hampshire.” Annabelle regarded him for a long moment. Despite his denial, there was something lurking behind his neutral facade…some playful spark in his eyes…“Then you deny having given the boots to me?” “Most emphatically I deny it.” “But I wonder…if some one wished to have a pair of boots made up for a lady without her knowledge…how would he be able to learn the precise size of her feet?” “That would be a relatively simple task…” he mused. “I imagine that some enterprising person would simply ask a housemaid to trace the soles of the lady’s discarded slippers. Then he could take the pattern to the local cobbler. And make it worth the cobbler’s while to delay his other work in favor of crafting the new shoes immediately.” “That is quite a lot of trouble for someone to go through,” Annabelle murmured. Hunt’s gaze was lit with sudden mischief. “Rather less trouble than having to haul an injured woman up three flights of stairs every time she goes out walking in her slippers.” Annabelle realized that he would never admit to giving her the boots—which would allow her to keep them, but would also ensure that she would never be able to thank him. And she knew he had—she could see it in his face.

Why, exactly, is Marduk handing Hammurabi a one and a zero in this picture?" Hiro asks. "They were emblems of royal power," the Librarian says. "Their origin is obscure." "Enki must have been responsible for that one," Hiro says. "Enki's most important role is as the creator and guardian of the me and the gis-hur, the 'key words' and 'patterns' that rule the universe." "Tell me more about the me." "To quote Kramer and Maier again, '[They believed in] the existence from time primordial of a fundamental, unalterable, comprehensive assortment of powers and duties, norms and standards, rules and regulations, known as me, relating to the cosmos and its components, to gods and humans, to cities and countries, and to the varied aspects of civilized life.'" "Kind of like the Torah." "Yes, but they have a kind of mystical or magical force. And they often deal with banal subjects -- not just religion." "Examples?" "In one myth, the goddess Inanna goes to Eridu and tricks Enki into giving her ninety-four me and brings them back to her home town of Uruk, where they are greeted with much commotion and rejoicing." "Inanna is the person that Juanita's obsessed with." "Yes, sir. She is hailed as a savior because 'she brought the perfect execution of the me.'" "Execution? Like executing a computer program?" "Yes. Apparently, they are like algorithms for carrying out certain activities essential to the society. Some of them have to do with the workings of priesthood and kingship. Some explain how to carry out religious ceremonies. Some relate to the arts of war and diplomacy. Many of them are about the arts and crafts: music, carpentry, smithing, tanning, building, farming, even such simple tasks as lighting fires." "The operating system of society." "I'm sorry?" "When you first turn on a computer, it is an inert collection of circuits that can't really do anything. To start up the machine, you have to infuse those circuits with a collection of rules that tell it how to function. How to be a computer. It sounds as though these me served as the operating system of the society, organizing an inert collection of people into a functioning system." "As you wish. In any case, Enki was the guardian of the me." "So he was a good guy, really." "He was the most beloved of the gods." "He sounds like kind of a hacker.

One key characteristic of structure is its richness. To illustrate, recall the comparison that John Rawls drew between checkers and chess when he was describing the Aristotelian principle (see page 386). Both games are played on a board with 64 squares, but they have different structures. Checkers has one kind of piece, while chess has six different kinds of pieces. The movement of any checker piece is restricted to a single square per turn unless it is capturing, while movement in chess is different for each piece. In checkers, the goal is to capture all the opponents’ pieces. In chess, the goal is to trap one particular piece. The structure of chess is objectively richer than the structure of checkers. It is no coincidence that chess has thousands of books written about tactics and strategy for every aspect of the game while checkers has a fraction of that number. The nature of accomplishment in checkers and chess is also objectively different, as reflected in their relative places in Western culture.[1] I measure the richness of a structure by three aspects: principles, craft, and tools. The scientific method offers convenient examples. Conceptually, a scientific experiment proceeds according to principles such as replicability, falsifiability, and the role of the hypothesis that apply across different scientific disciplines. The actual conduct of a classic scientific experiment involves craft—the generation of a hypothesis to be tested or a topic to be explored, the creation of the methods for doing so, and meticulous observance of protocols and procedures during the actual work. The details of craft differ not only across disciplines but within disciplines. They also have a family resemblance, in the sense that a meticulous scientist behaves in ways that are recognizable to scientists in every field—“meticulous” being one of the defining characteristics of craft practiced at a high level. Tools play a double role. Sometimes they are created in direct response to needs generated by principles and craft—accurate thermometers are an example—but at least as often, a tool turns out to have unanticipated uses that alter both principles and craft, independently expanding the realm of things a discipline can achieve. An example is the invention of the diffraction grating to study spectra of light, which 40 years later turned out to enable astronomers to study the composition of the stars.

Morality and grammar are related. Human beings live by the word. Socrates said, “The misuse of language induces evil in the soul.” I’ve had that sentence pinned up over my desk for a long time.

I don’t fight battles by penning words or crafting syntax designed to bring people to tears by liberating their hearts or calling out their souls. Nor do I fight them by sitting with untold thousands and granting them counsel in the darkness of their darkest hours. No. Rather, I fight them prone on my knees in morning’s darkness before the sun has roused a wounded world awake to feel its pain yet again. I fight them throughout the day as I “pray without ceasing” because troubles befall us without ceasing. I fight them by praying for the impossible in lives devastated beyond redemption, for rogue nations that spread destruction as though destroying life was the answer to life, for the weak who stand teetering precariously on some emotional or relational or financial abyss, and for an impossible number of situations that everyone else has deemed as impossible. I fight in prayer. And despite the massive weaponry available to mankind, I am utterly convinced that a single man on his knees in humble petition before God exceeds the armament of all the world’s nations combined. This is what I believe. And therefore, this is how I fight.

People still think the Lewinsky affair was one political party making a big deal over a little extra pie on the side; it wasn’t. What Starr proved was that the president had engaged in inappropriate sexually related workplace conduct with an intern/employee, as he had with other women. Some women, such as Juanita Broaddrick, even alleged he had assaulted them. He had zero integrity in this area, and that made everything he did suspect and untrustworthy. It revealed his real character. The president of the United States believed that he was above the law. He perjured himself and convinced others to perjure themselves to try to save his carefully crafted image. He created a spirit of corruption that infected the White House, the Secret Service, the whole government. Bill Clinton endangered us all by serving himself. He dragged me through the mud for it. He raked a lot of people over the coals for it.

Tripp somehow manipulated Monica into giving her the infamous blue dress. Nel and I hadn’t cleaned up everything. The president had “deposited” somewhere besides White House towels. The biggest security leak in history was the one that Monica wore into the White House and then strutted out with—right past us. There was no way to spin it. Either the president had mysteriously gone around the White House ejaculating on people’s clothing, or he and Monica had a taxpayer-funded affair for which he committed perjury. It also proved what I damn well knew, that Monica was easily manipulated, either by the likes of a higher-up like President Clinton or a lower-down like Linda Tripp. She had no business playing in a high-stakes environment within arm’s reach of intelligence of the CIA, the FBI, the State Department, and the Department of Defense. I mean, the spook shit that moved and was approved through the White House was the most sensitive intel in existence. Actionable intel is power. How could anyone in the Secret Service be expected to do his or her job if the Americans allowed people like the Clintons to assume national leadership? People still think the Lewinsky affair was one political party making a big deal over a little extra pie on the side; it wasn’t. What Starr proved was that the president had engaged in inappropriate sexually related workplace conduct with an intern/employee, as he had with other women. Some women, such as Juanita Broaddrick, even alleged he had assaulted them. He had zero integrity in this area, and that made everything he did suspect and untrustworthy. It revealed his real character. The president of the United States believed that he was above the law. He perjured himself and convinced others to perjure themselves to try to save his carefully crafted image. He created a spirit of corruption that infected the White House, the Secret Service, the whole government. Bill Clinton endangered us all by serving himself.

Success at crafting with materials from the natural world increases with Skill Level. High Skill Levels makes it marginally easier to learn spear, crafting, earth, and life related Skills. As Skill Level increases, a minute amount of natural energy will be added to your attacks.

But for all that American industrial brawn and organizational ability could do, for all that the British and Canadians and other allies could contribute, for all the plans and preparations, for all the brilliance of the deception scheme, for all the inspired leadership, in the end success or failure in Operation Overlord came down to a relatively small number of junior officers, noncoms, and privates or seamen in the American, British, and Canadian armies, navies, air forces, and coast guards. If the paratroopers and gliderborne troops cowered behind hedgerows or hid out in barns rather than actively seek out the enemy; if the coxswains did not drive their landing craft ashore but instead, out of fear of enemy fire, dropped the ramps in too-deep water; if the men at the beaches dug in behind the seawall; if the noncoms and junior officers failed to lead their men up and over the seawall to move inland in the face of enemy fire—why, then, the most thoroughly planned offensive in military history, an offensive supported by incredible amounts of naval firepower, bombs, and rockets, would fail.

One family described their core value of hospitality, lived out as they cleaned the house together each Friday for the express purpose of welcoming people over the weekend. They wanted to be able to spontaneously invite others over, knowing their space was ready to receive them. All this was explained to their kids by connecting the dots between the practice of keeping house and the immense welcome of God. They talked about their apartment as a gift and a refuge, and how important it was for it to feel inviting. Hosting people was not about living some Magnolia life; it was how they loved their neighbors. Thus, Friday night cleanup was a faith practice. One family used the tradition of a summer road trip to visit relatives as a means to support being who God uniquely made each of them to be. Each family member got to design the itinerary for one day of the trip. On that day, everyone else went along with that person’s choices for restaurants and an activity. They talked about the wonder of God’s image in each person and how this was a fun way to see each member of the family just as God made them to be. Thus, a family trip was a faith ritual. What about your family? What unique characteristics need to be accounted for as you craft a vision for faith? • Who makes up your family? List the members. You may share a living space with them or not, live in the same town or not, be relationally close or not. • Next to each person on the list, jot down a few distinguishing key traits of that person. What are they like? What are they interested in? • What are some of your family’s strengths and loves as a group? Do you love a good party? Cheer for a certain team? Love a particular place or meal? • What are some of your family’s unique challenges right now? Do you have a child who doesn’t “fit the mold,” for whatever reason? Are finances tight? Have any of the relationships been strained or broken? • List anything else that feels important to you about who your family is and what they are like. What other traits make you, you?

A person doesn't become an accomplished musician by watching other people play. He becomes successful by himself, playing and practicing... daily... every day... for hours on end. Calloused fingers and cramping hands are just some of the inherent costs of becoming a guitar player. He spends the majority of his time tucked away in a back room mastering his craft.... Most great musicians are often born from a lifetime of daily grueling practice, behind the scenes and in relative obscurity. Most of what the public sees of these people is merely the finished product of years of work. The best ones make it look easy, almost effortless.

the statement that men are stronger than women’ is true only on average, and only with regard to certain types of strength. Women are generally more resistant to hunger, disease and fatigue than men. There are also many women who can run faster and lift heavier weights than many men. Furthermore, and most problematically for this theory, women have, throughout history, been excluded mainly from jobs that require little physical effort (such as the priesthood, law and politics), while engaging in hard manual labour in the fields, in crafts and in the household. If social power were divided in direct relation to physical strength or stamina, women should have got far more of it. Even more importantly, there simply is no direct relation between physical strength and social power among humans. People in their sixties usually exercise power over people in their twenties, even though twentysomethings are much stronger than their elders.

Sewing is an enjoyable hobby that allows you to be creative and make a variety of items for yourself and others. At Clothingus.com, we offer a range of resources to help you learn how to sew, including easy projects and information about different sewing tools and their uses. Here are some interesting facts about sewing and related materials that may inspire you to try this useful craft: Cotton fabric can last for up to 100 years with proper care. In fact, cotton fabric has been found in many archaeological sites, indicating its longevity. Women's buttons are typically sewn onto the left side of a garment due to historical reasons. In the past, buttons were expensive, and only wealthy women with domestic help could afford them. To make it easier for the help to button up the garments, they were placed on the left side. Zippers were invented in 1893 and were initially used only on shoes and boots to make them easier to put on. Over time, they gained popularity and were used on other garments as well. The term "calico" refers to a type of cotton print that originated in the city of Calcutta, India. These hand-woven printed fabrics were made in the late 18th century and were named after the city. Buttons on sleeves were introduced by Napoleon Bonaparte. He wanted to prevent his soldiers from wiping their noses on their sleeves, so he ordered buttons to be sewn onto the ends of the sleeves. Sewing is believed to be one of the first skills that Homo sapiens learned. Archaeologists have found evidence of people sewing together fur, hide, skin, and bark for clothing dating back to 25,000 years ago. Early sewing needles were made of bone and ivory, with metal needles being developed later in human history. By the 20th century, more than 4000 different types of sewing machines had been invented. However, only those that made sewing simple, fun, and easy survived over time. If you're interested in learning more about sewing, visit Clothingus.com for lessons and projects that can help you build a solid foundation in this skill. Whether you're a beginner or have some experience, we have something for you. Visit Clothingus.com now.

Past societies didn’t rely on colleges to train for occupations. They used apprenticeships and relational training. Children learned how to work from their parents. Tradesmen learned their craft from an experienced master. Knowledge and skills were passed along via relationships over time.

You have never known war. Not as something real, something that touches you here, in your home. There have been wars on the other side of the world, in the shadows. Here, there have only been … exceptions. Acts of horror. Single days when monsters roamed the streets. You have dreamed of war with hearts of peace. It is unknowable to you, and to many. That is a wonderful thing. But there are those who remember. And there are those who do not, and yet dream of it, in their hearts. Those dreams are real. They have mass and shape the world. At this moment, certain possibilities do not exist because most people cannot conceive of them—and so you believe that others will not conceive of them, either, that it is reasonable to expect that you will go about your life in relative peace. In this city, that is true even for those who live on the edge of the firelight. If I open that door we will not see unbound demons in the streets. We will not see your neighbors armed to, let us say, kill us and eat us and wear our skins. The great powers do not work openly against each other, we think. Weapons forged in the God Wars to break the world will not be loosed again, we say. These things are impossible now. But as they begin to happen anyway—as the dream of their impossibility cracks—then they will happen more, and more, until the dreamers wake. And then—a great many things will become possible at once.

Self-portraits are probably Rembrandt’s landmark pieces of treasured art, lined with pithy contours and lineaments of not only the outlining features of a great one, but the inward beauty of thoughtful assemblage of craft. In matters relating Rembrandt, I’d take a peek at rolling hills, where summits bow in ecstasy to returning ravens in echelons of physiolatry.

It is obvious that Álfrikr has no connection with the two Alberîchs we have already encountered, or with Aubéron. The only possible link is of a typological sort and would relate to the forge and the possession of objects crafted by dwarfs. Furthermore, Álfrikr is a master thief, which is to say he is at the opposite end of the spectrum from the pure Aubéron, the mischievous Alberîch of Ortnit, and the ferocious Alberîch of the Nibelungenlied. Therefore, he must correspond to a different type, to another family of fantasy creatures.

The scholars of international relations look at the subject both from cooperative and conflictual aspects. International relations is generally not concerned with domestic developments of other countries, except to the extent the domestic politics of other countries affect international politics. The scope of international relations is often defined by subtitles, like 'questions of war and peace' as a subtitle of international security. Joshua S Goldstein wrote, 'the movements of armies and of diplomats, the crafting of treaties and alliances, the development and deployment of military capabilities—these are the subjects that dominated the study of IR in the past… and they continue to hold central position in the field.

Looking ahead at continuing transition needs The lives of adoptive parents and children are always in transition. Helping adopted children connect their beginnings to their present lives with us doesn’t end with the transition at placement. Parents need to deal with adoption related issues over and over again as their children reach new levels of cognitive and language development. Sometime between the ages of 24 and 36 months, many children will begin correcting Mom or Dad if they make a mistake or forget part of their Lifestory. Shortly thereafter children begin to fill in factual names, places, and events when invited to share in the story telling. Preschoolers’ reasoning is very limited and most do not sense anything unusual about being adopted. My three-and-a-half-year-old adopted nephew announced proudly, “I’m adopted.” He then added, “And there’s a kitty growing in my tummy.” Children spontaneously announce to the store clerk such things as, “My mommy came to get me in a big airplane” or “I’m from Peru!” At this age, parents should continue to build the factual foundation that will help full comprehension later on and instill a sense of pride and positive feelings about adoption.

Post-placement Honoring the role of the former caregiver(s) Some toddlers transition directly from a birth family to their adoptive family, while others transition from interim care to their permanent home. If a relationship has formed between a child’s caregiver and the child, regardless of whether that person is a birth relative or not, it is essential to continue to acknowledge the importance of that person in the child’s life.

Discussions about early life experiences and adoption circumstances are setting the stage for later comprehension. Toddlers will not really understand such concepts as adoption decision, termination, birth parents, or forever parents. At this age, adoption discussions serve a variety of purposes. They create a climate of respect for all parties associated with adoption, build open communication, establish the habit of using appropriate, positive adoption related terminology, and arm a child with answers to personal questions others may ask her. Toddlers assume the attitude that adoption is perfectly normal and wonderful when parents model that attitude themselves. A child’s positive attitude toward his own adoption builds a foundation that will serve him well when he is confronted with insensitive questions and comments about adoption.

The Renzettis live in a small house at 84 Chestnut Avenue. Frank Renzetti is forty-four and works as a bookkeeper for a moving company. Mary Renzetti is thirty-five and works part-time at a day care. They have one child, Tommy, who is five. Frank’s widowed mother, Camila, also lives with the family. My question: How likely is it that the Renzettis have a pet? To answer that, most people would zero in on the family’s details. “Renzetti is an Italian name,” someone might think. “So are ‘Frank’ and ‘Camila.’ That may mean Frank grew up with lots of brothers and sisters, but he’s only got one child. He probably wants to have a big family but he can’t afford it. So it would make sense that he compensated a little by getting a pet.” Someone else might think, “People get pets for kids and the Renzettis only have one child, and Tommy isn’t old enough to take care of a pet. So it seems unlikely.” This sort of storytelling can be very compelling, particularly when the available details are much richer than what I’ve provided here. But superforecasters wouldn’t bother with any of that, at least not at first. The first thing they would do is find out what percentage of American households own a pet. Statisticians call that the base rate—how common something is within a broader class. Daniel Kahneman has a much more evocative visual term for it. He calls it the “outside view”—in contrast to the “inside view,” which is the specifics of the particular case. A few minutes with Google tells me about 62% of American households own pets. That’s the outside view here. Starting with the outside view means I will start by estimating that there is a 62% chance the Renzettis have a pet. Then I will turn to the inside view—all those details about the Renzettis—and use them to adjust that initial 62% up or down. It’s natural to be drawn to the inside view. It’s usually concrete and filled with engaging detail we can use to craft a story about what’s going on. The outside view is typically abstract, bare, and doesn’t lend itself so readily to storytelling. So even smart, accomplished people routinely fail to consider the outside view. The Wall Street Journal columnist and former Reagan speechwriter Peggy Noonan once predicted trouble for the Democrats because polls had found that George W. Bush’s approval rating, which had been rock-bottom at the end of his term, had rebounded to 47% four years after leaving office, equal to President Obama’s. Noonan found that astonishing—and deeply meaningful.9 But if she had considered the outside view she would have discovered that presidential approval always rises after a president leaves office. Even Richard Nixon’s number went up. So Bush’s improved standing wasn’t surprising in the least—which strongly suggests the meaning she drew from it was illusory. Superforecasters don’t make that mistake. If Bill Flack were asked whether, in the next twelve months, there would be an armed clash between China and Vietnam over some border dispute, he wouldn’t immediately delve into the particulars of that border dispute and the current state of China-Vietnam relations. He would instead look at how often there have been armed clashes in the past. “Say we get hostile conduct between China and Vietnam every five years,” Bill says. “I’ll use a five-year recurrence model to predict the future.” In any given year, then, the outside view would suggest to Bill there is a 20% chance of a clash. Having established that, Bill would look at the situation today and adjust that number up or down.

There is no simple way to determine when and where to get help. Many factors come into play, including the child’s age, family’s financial status, insurance, knowledge of resources, religious affiliation, availability of services in community, and so on. Parents may seek outside assistance for their adopted child when other factors such as a divorce, job loss, or other stresses compound the family needs. Parents are generally in the best position to determine when to get help, but advice from relatives, family physicians, teachers, and others in a position to know the family should be carefully considered. Services for children with special needs are provided by a variety of professionals. A physician—pediatrician or the family practitioner—is usually the place to begin. Families may be referred to a neurologist for a thorough assessment and diagnosis of neurological functioning (related to cognitive or learning disabilities, seizure disorders or other central nervous system problems). For specific communication difficulties, families may consult with a speech and language therapist, while a physical therapist would develop a treatment plan to enhance motor development. A rehabilitation technologist or an occupational therapist prescribes adaptive aids or activities of daily living. Early childhood educators specializing in working with children with special needs may be called a variety of titles, including Head Start teachers, early childhood special education teacher, or early childhood specialist.

If, if we get our heads straight about money, I predict that by ad 2000, or sooner, no one will pay taxes, no one will carry cash, utilities will be free, and everyone will carry a general credit card. This card will be valid up to each individual’s share in a guaranteed basic income or national dividend, issued free, beyond which he may still earn anything more that he desires by an art or craft, profession or trade that has not been displaced by automation. (For detailed information on the mechanics of such an economy, the reader should refer to Robert Theobald’s Challenge of Abundance and Free Men and Free Markets, and also to a series of essays that he has edited, The Guaranteed Income. Theobald is an avant–garde economist on the faculty of Columbia University.)

Signal” by Captain Hank Bracker The Magnetic Compass Although there are many different compasses including the gyro compass with its repeaters, the primary compass used in the navigation of small craft is the magnetic compass. Illustrated is one somewhat larger than the average, but smaller that the magnetic compass housed in a binnacle aboard ocean going vessels. Used in traditional navigation it shows the direction relative to the geographic or cardinal points. On its face is found a diagram called a compass rose, which shows at least the primary directions of north, south, east, and west. North corresponds to zero degrees, and the angles then increase clockwise, so that east is 90 degrees, south is 180 degrees, and west is 270 degrees. Some nautical compasses are set up to allow the navigator to use the compass to take azimuths or bearings, of physical objects such as lighthouses or other aids to navigation, When transferred to a nautical charts these bearings help to establish the vessels position and allows for “Dead Reckoning Navigation.

We have come to the end of our vocabulary list and have not included one of the most mentioned terms in object literature—reuse. There are several reasons for this. First, reuse is not a goal of object thinking; composability is. Composable objects will be reused as a matter of course, so reuse is but a byproduct of a more general goal. Second, there are ways to obtain reuse that are not related to object thinking—code libraries, for example—and the distraction is not really helpful. Lastly, reuse was once touted as the premier benefit of object orientation—a claim that proved to be highly overstated. Worse, perhaps, was the claim that maximum reuse could best be obtained via inheritance. Object thinking claims to lead to the discovery and crafting of composable objects. The goal is to create a mindset that leads to evolving flexible applications and systems that directly reflect and support an application domain. Reuse will emerge, but it is not a driving force.

If you want the reader to feel intimately related to your subject, try a close-up shot. Describe the character, object or scene as if it were positioned directly in front of your eyes, close enough to touch. Let the reader see the hand-etched signature on the bottom of the wooden bowl or the white strip on the divorcée’s finger where a wedding ring once lay. Let him smell the heaviness of the milking barn after a night of rain, hear the squeak of the farmer’s rubber boots. If you want to get even closer, take the reader inside a character’s body and let him experience her world—the reeling nausea of Lydia’s first morning sickness, the tenderness of her breasts, the metallic taste in her mouth—from the inside out. Then, when you need to establish distance, to remove the reader from the scene as Shirley Jackson did in “The Lottery,” pull back. Describe your object from a great distance. The wooden bowl is no longer a hand-crafted, hand-signed original, or if it is, you can’t tell from where you’re standing. The pregnant woman is no longer Lydia-of-the-tender-breasts; she’s one of dozens of other faceless women seated in the waiting room of the county clinic. As you vary the physical distance between your describer and the subjects being described, you may find that your personal connection with your subjects is altered. Physical closeness often presages emotional closeness. Consider how it is possible that kind and loving men (like my father, who served in three wars) are capable of dropping bombs on “enemy” villages. One factor is their physical distance from their targets. The scene changes dramatically when they face a villager eye to eye; no longer is the enemy a tiny dot darting beneath the shadow of their planes, or a blip on the radar screen. No, this “enemy” has black hair flecked with auburn and a scar over her left eyebrow; she’s younger than the wives they left behind. If

That smaller-brained hominins like Lucy may have been using tools is both remarkable—and yet not all that surprising, Toth says. As a comparison, he points to work he’s done with bonobos—African apes that, like common chimpanzees, are closely related to humans. When given the raw materials for tool-building, bonobos craft tools that look similar to the ones recovered from the Lake Turkana site, Toth says. “So, you can have a small-brained animal with some manual dexterity producing something like that,” he says. Bonobos, he says, use the flints to cut through cords or membranes, similar to the methods one might use to butcher an animal. “They understand what ‘sharp’ means,” he says.

It was so much more. You allowed your feelings to spill onto the stage in a way everyone in that room could relate to. Angela inspired it, perhaps, but the specifics you chose made a universal statement. That is the art of choreography.

As people who serve other people, we can use that knowledge to craft our interactions based on the approximate age of the person with whom we’re dealing.

Castine is a quiet town with a population of about 1,500 people in Western Hancock County, Maine, named after John Hancock, when Maine was a part of the Commonwealth of Massachusetts. He was the famous statesman, merchant and smuggler who signed the “Declaration of Independence” with a signature large enough so that the English monarch, King George, could read it without glasses. Every child in New England knows that John Hancock was a prominent activist and patriot during the colonial history of the United States and not just the name of a well-known Insurance Company. Just below the earthen remains of Fort George, on both sides of Pleasant Street, lays the campus of Maine Maritime Academy. Prior to World War II, this location was the home of the Eastern State Normal School, whose purpose was to train grade school teachers. Maine Maritime Academy has significantly grown over the years and is now a four-year college that graduates officers and engineers for the United States Merchant Marine, as well as educating students in marine-related industries such as yacht and small craft management. Bachelor Degrees are offered in Engineering, International Business and Logistics, Marine Transportation, and Ocean Studies. Graduate studies are offered in Global Logistics and Maritime Management, as well as in International Logistics Management. Presently there are approximately 1,030 students enrolled at the Academy. Maine Maritime Academy's ranking was 7th in the 2016 edition of Best Northern Regional Colleges by U.S. News and World Report. The school was named the Number One public college in the United States by Money Magazine. Photo Caption: Castine, Maine

To say that God “created the universe” invites images of God crafting things. But for Thomas it means, rather, that all things stand in a relationship of absolute dependence to a creator. This relation is not “out there” but in creatures. In other terms, existence is contingent. Created beings have being, while God is being. God gives existence to what was not. That a completely contingent universe exists is therefore due to God. It exists, too, with the full integrity of its own systems, laws, and causality. Things are the way they are because God has caused the whole universe to be governed by the laws intrinsic to it.

1. Create intimacy: You’ll get more trust—and capture the attention of your prospects—by establishing a personal connection. Your emails should read as if one person has written it to another: one to one. This can be achieved by: using a personal, or plain-text template; using “you” instead of “we”, or “I”; telling stories; and making good use of personalization. For an even greater effect, you can add subtle personalization throughout your copy. For example: “…this is what we’ve heard from other people in [ Tampa ]”. 2. Make users feel special: On top of personalization, you can create exclusivity: “This offer is only for our most engaged users” “…it’s for early adopters” Or appeal to vanity: “Our most successful users want to feel this way…” 3. Demonstrate that you understand their reality: You can create obvious qualifications everyone wants to have assigned to themselves, for example “…people who care about maximizing their return on investment”; or “…savvy marketers”. Illustrate product benefits and value with clear examples that relate to the unique situation of your users. 4. Create urgency: As Zapier did, you can also get creative with deadlines. Use coupons with limited-time offers to accentuate the fear of missing out (FOMO)17: “Offer only available until June 4th…” “Only a few people get this plan…” 5. Use clear actions: Use a CTA that clearly establishes the next steps. Repeat it throughout the email, coming at it from different angles. Use the P.S. to attract the eye and to reinforce the action you want users to take (when appropriate). Keep your emails simple and your messaging scannable. It’s important for users to be able to get the email at a glance. Short and sweet often outperforms long and complex emails. You want a near-instant reaction from your readers. Your email has to build up to the desired action. Use copy to overcome objections, and accentuate the desire to buy or engage. A good email has to: capture attention through the subject line, personalization, or a story; build reader interest by demonstrating either the benefit or the problem; build desire to act by creating information gaps, time constraints, or the fear of missing out; and drive action through a well-timed CTA, telling users exactly what you want them to do. These are really just the four steps of the AIDA model18 (Attention, Interest, Desire, and Action) applied to email copywriting. Don’t get intimidated by copywriting. Emails that are too polished often don’t work as well. Get started crafting your own email offers. We’ll get started working on subject lines in the next chapter.

I'm in love with the fact that declan Conner's book "The Alternate Girlfriend" brings out so many positive messages and themes that strike me as real. First and foremost, the character of Douglas Carter is so inspiring. Despite his condition, autism and all it comes with, Doug shows caring intelligence and perseverance. I learned how everybody has unique strengths, along with those being the exact ingredients in helping us face life challenges. I could also see through the events that go on with the AI, Donna, how it brings up important questions about the responsibilities of creators of new, high-tech. I found myself reflecting on how these themes apply in our real world with its rapidly advancing technology. That is one of the thought-provoking aspects, and I think future readers are going to rigorously reflect on the implications of their work and innovations. It's a compelling read, joining a gripping plot with deep reverberations around technology, ethics, and personal resilience. The characters are very well crafted, real, relatable, and seem to be there even after finishing a read. This was wonderful to read.

14. We now come to another and most fruitful cause of the evils which at present afflict the Church, and which We so bitterly deplore; We mean indifferentism, or that fatal opinion everywhere diffused by the craft of the wicked, that men can by the profession of any faith obtain the eternal salvation of souls, provided their life conforms to justice and probity. But in a question so clear and evident it will undoubtedly be easy for Us to pluck up from amid the people confided to your care so pernicious an error. The apostle warns us of it: "One God, one faith, one baptism." Let them tremble then who imagine that every creed leads by an easy path to the part of felicity; and reflect seriously on the testimony of our Saviour Himself, that those are against Christ who are not with Christ, and that they miserably scatter by the fact that they gather not with Him, and that consequently they will perish eternally without any doubt if they do not hold to the Catholic Faith, and preserve it entire and without alternations. Let them hear Saint Jerome himself, relating that, at the epoch when the Church was divided into three parties, he, faithful to what had been decided, incessantly repeated to all who endeavored to win him over: "Whoso is united to the chair of Peter is with me." In vain did they attempt to create an illusion by saying that he himself was regenerated in water; for Saint Augustine answers precisely: "The branch lopped off has the shape of the vine; but what avails the form if it have not the root?

Africans began life in the Americas as subjects profoundly shaped by their Atlantic experience, and the communities they created in the Americas were organized around solutions to the specific problems they faced. The cultures they produced do not reflect the simple transfer and continuation of Africa in the Americas but rather reflect the elaboration of specific cultural content and its transformation to meet the particular needs of slave life in the Atlantic system: their need to reassert some kind of healthy relationship to ancestors; to manage death; to produce social networks, communities, and relations of kinship; to address the imbalance of power between black and white; to stake a claim to their bodies to counter the plantation economy’s claim to ownership. In this sense, the cultural practices of diasporic Africa could have meaning only outside Africa. Shared Atlantic experience and memory served as a touchstone for new cultural practices that emerged in the New World diaspora. Only through the capacity and willingness to invent and experiment—to grow and change the cultural tools carried in memory and create new ones to meet the demands of this new world—could Africans hope to remain recognizable to themselves as human beings in a system that held so much of their humanity in callous and calculated disregard. African immigrants retained that foothold in ways determined by the varied circumstances of their slavery: the immigrant slave might adapt a remembered ritual practice to new applications in American slavery or explore and perhaps ultimately adopt an entirely novel practice. The means were extraordinarily diverse because of the great variety of settings and conditions in which the colonial economies of the Americas enslaved human beings. The continuity Africans needed was not the static, ossifying connection of conformity of practice—doing things in the present as they had been done in the past, even when the context of past cultural forms no longer corresponded to the needs and circumstances of the present. Rather, the connection Africans needed was a narrative continuity between past and present—an epistemological means of connecting the dots between there and here, then and now, to craft a coherent story out of incoherent experience.

Crafting a story to engage your audience requires you to become an expert brand storyteller to assist with crafting targeted pitches, campaigns, and story angles that direct the strategy and tactics needed to create positive media attention.

Over the years, Bill has seen hundreds of kids who had relatively low academic motivation but were extremely motivated about something else—crafting, music, sports, or making Star Wars replicas. What he says to the parents of these kids is that so long as they are working hard at something they really enjoy doing, he’s not worried, because he knows they’re shaping a brain that will eventually enable them to be successful.

The worker in handicrafts will ask himself if there are not ways by which the sense of beauty could be extended from the somewhat narrow fields of art to the broader field of human relations. And he comes to see that to ask the question is in part to answer it.

Common Pitfalls and Success Tips Pitfall 1: You don’t take the power of vision seriously. Some people, especially type-A people, think that vision is fluff. Those who think about vision this way tend to leap past the question of purpose and dive into action. The problem is that when the going gets difficult, it is harder to stay committed to the work in the long run because there is no compelling reason, no persuasive why. The behaviors associated with this pitfall are not keeping your vision in front of you, not aligning your plans with it, and not remembering what is in it. Pitfall 2: The vision isn’t meaningful to you. Sometimes we are superficial in crafting our vision. We capture what we think we want—what we think we are supposed to want—rather than capturing what is meaningful to us. Visioning takes time. Keep working on it until you have something that connects emotionally. Pitfall 3: Your vision is too small. A small vision doesn’t call on our best efforts. We don’t have to reach and we don’t sacrifice our comfort. A small vision might be achievable, but we leave our best undelivered. To be most effective, your vision should make you feel uncomfortable and challenge you to do things differently—and do different things. Pitfall 4: You don’t connect your vision to your daily actions. Each day is an opportunity to either make progress on your vision or tread water. If you work from a plan that is aligned with your vision, you can be sure that you are acting on the most important things every day. You’ve crafted your vision and checked to avoid making those common mistakes. Now, here are three important action steps to take to make your vision even more powerful for you: Success Tip 1: Share it with others. Sharing your vision increases your commitment to it. When you tell someone else what you want in life, you feel more responsibility to act. Success Tip 2: Stay in touch with your vision. Print it out and keep it with you. Review it each morning and update it every time that you discover ways to make it more vivid and meaningful to you. Success Tip 3: Live with intention. At the end of each day, take a few minutes to reflect on the progress that you made today. Did it move you forward, or was it filled with activity that wasn’t related to your vision? Resolve to be intentional in your actions to make progress on your vision. What action will you take tomorrow?

The boys walked into the gym, where hundreds of Navajo filled the stands, even three hours before their game. Players spotted mothers and grandparents, uncles and aunties and cousins, brothers and sisters and neighbors, folks who’d piled into old pickup trucks and vans and Chevy sedans to make that three-hour drive. There were Chinle stars who graduated last year and the year before that and the decade before that, young men who bathed still in past glory. There was Cecil Henry, a nearly sixty-year-old silversmith with a rakish mustache and an easy smile and a mighty thirst for the bottle, who crafted and sold beautiful jewelry to tourists on the floor of Canyon de Chelly. He once played high school basketball and ran like a deer and was related to a few of the Wildcats. He’d stuck out his thumb and hitchhiked here from Chinle.

I’m given a tour of a Zen temple in the middle of town. It surprises me to see the walls, ceiling and floor looking so spotless, because the temple otherwise seems very old, and I find out I’m right, the temple is old, but the building is relatively new. It’s demolished and rebuilt every fifty years. This is done to preserve the construction technique, because the craft is more important than the object it created, the temple. Maybe it’s also to avoid cultivating attachment to a material thing. Or to avoid cultivating the self, and obliterating the illusion of value?

It may feel weird at first, but speaking biblical truth out loud when we experience doubt and disappointment is an essential practice during any wrestle. The apostle Paul wrote, “So faith comes from hearing, and hearing through the word of Christ” (Romans 10:17). We must routinely speak God’s words to ourselves so that truth begins to replace the lies of the old tapes that run on repeat in our minds. Perhaps you can relate to some of these lies: I can’t believe God let this happen. God must not love me. Why is my life such a mess? This could never turn out well. I will never have enough strength to do this. I am too tired of trying. To practice truth, we craft statements based on God’s Word. That’s how we speak truth over our lives. Here are some examples: God deeply loves me, even when He says no. “Humble yourselves, therefore, under the mighty hand of God so that at the proper time he may exalt you, casting all your anxieties on him, because he cares for you” (1 Peter 5:6-7). My story is not over. God is not finished, and He will bring beauty from ashes. “And I am sure of this, that he who began a good work in you will bring it to completion at the day of Jesus Christ” (Philippians 1:6). Even in what I am facing, I am still blessed. I don’t have to be strong because God will be my strength. “The LORD is my strength and my defense; he has become my salvation. He is my God, and I will praise him, my father’s God, and I will exalt him” (Exodus 15:2, NIV).

With these expectations before us, we are prepared to separate the sermon from all other platform performances and verbal expressions. It is a proclamation of the truth of God, through Jesus Christ, by a preacher endowed with spiritual discipline. The proclamation, informed by the Scriptures, relates to all of life.

For previous generations, progress in life so far would have meant going through the motions prescribed by caste and class: together, the imperatives of education (inevitably vocational), marriage (nearly always arranged, with love regarded as a folly of callow youth), parenthood and professional career (with the government) imposed order, without too many troubling questions about their purpose and meaning. Regional and caste background dictated culinary and sartorial habits: kurta-pyjamas and saris or shalwar-kameezes at home, drab Western-style clothes outside; an unchanging menu of dal, vegetables, rotis and rice leavened in some households with non-alcoholic drinks (Aseem’s first publication in the IIT literary magazine was Neruda-style odes to Rooh Afza and Kissan’s orange squash, Complan, Ovaltine and Elaichi Horlicks). We belonged to a relatively daring generation whose members took on the responsibility of crafting their own lives: working in private jobs, marrying for love, eating pasta, pizza and chow mein as well as parathas, and drinking cola and beer, at home, taking beach vacations rather than going on pilgrimages, and wearing jeans and T-shirts rather than the safari suits that had come to denote style to the preceding generation of middle-class Indians. Our choices were expanded far beyond what my parents or Aseem’s could even imagine.

Deep down, our minds yearn to make sense of our world. We do this by naming things, creating stories, and using storytelling to explain how everything fits together – from societal norms to who we are and how we relate to our environment. This is what Storr calls the theory of control. The stories we craft about ourselves and the world based on our deeply held beliefs are often flawed.

If these memory methods are so effective and universal, they must be directly related to the way the brain works.

I knew very little about it except that non-literate cultures—who had built ancient monuments all round the world, including Stonehenge, Easter Island moai, the Nasca Lines and the many monumental sites across the Americas—had always used memory methods closely related to the way the brain works. It became clear to me that a significant proportion of the purpose of sacred places was to do with memorising and conveying critical knowledge.

There were still restrictions: Jews could not join craft guilds, engage in retail business, or hold political office. Neither could they marry Christians, employ them as servants, or have sexual relations with “the daughters of the land,” even prostitutes.

Grant having little other inheritance than an honourable name in the traditions of his country, but anxious in these degenerate days, when matters of political economy are laid in the balance against the renown of thousands slain, to uphold the relative consequences of his family, was easily persuaded, as he approached the years of discretion, to prefer the sordid industry of commercial enterprise, to the bloody bravery of military aggression. Being still however desirous even in the craft of trade, to retain something of the freedom of his mountain ancestors, he determined, in the language of heroic fable, to espouse his fortune. With this intent, he embarked for America, and for more than five and thirty years, in the wilds of upper Canada, he pursued a course of life, which though strictly mercantile in its object, was, in its incidents and varieties, such as the mighty Fingal might from his throne of clouds have contemplated with satisfaction.

Tension makes the reader care, while suspense makes the reader want to read on. Tension relates mostly to relationships between characters and the situation in which the main character is right now

The impact of art is not in relation with the difficulty of craft but with the clarity and veracity of the underlying thought.