Format For Writing Quotes

If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years. We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent. You burn with hunger for food that does not exist. A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.

This is where I would've taken Daniel. I would've told him to write poetry about space rocks and impact craters. The sheer number of actions and reactions it's taken to form our solar system, our galaxy, our universe, is astonishing. The number of things that had to go exactly right is overwhelming. Compared to that, what is falling in love? A series of small coincidences that we say means everything because we want to believe that our tiny lives matter on a galactic scale. But falling in love doesn't even begin to compare to the formation of the universe. It's not even close

Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. ... The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.

Students who excel in active listening also contribute much to the formation of community. This is also true of students who may not speak often but when they speak (sometimes only when reading required writing) the significance of what they have to say far exceeds those of other students who may always openly discuss ideas. And of course there are times when an active silence, one that includes pausing to think before one speaks, adds much to classroom dynamics.

As a child I scribbled; and my favorite pastime during the hours given me for recreation was to ‘write stories’. Still, I had a dearer pleasure than this, which was the formation of castles in the air – the indulging in waking dreams – the following up trains of thought, which had for their subject the formation of a succession of imaginary incidents.

Tolkien’s words and sentences seemed like natural things, like rock formations or waterfalls, and wanting to write like Tolkien would have been, for me, like wanting to blossom like a cherry tree or climb a tree like a squirrel or rain like a thunderstorm.” — Gaiman on J. R. R. Tolkien

In keeping with my family's affection for doomed product lines and hexed formats, we purchased a Betamax. The year before, we'd bought a TRS-80 instead of an Apple II, and in due course we'd unbox Mattel's Intellivision, instead of Atari's legendary gizmo. This was good training for a writer, for the sooner you accept the fact that you are a deluded idiot who is always out of step with reality the better off you will be.

[Author's Note:] When I was sixteen, two of my cousins were brutally raped by four strangers and thrown off a bridge in St. Louis, Missouri. My brother was beaten and also forced off the bridge. I wrote about that horrible crime in my first book, my memoir, A Rip in Heaven. Because that crime and the subsequent writing of the book were both formative experience in my life, I became a person who is always, automatically, more interested in stories about victims than perpetrators. I'm interested in characters who suffer inconceivable hardship, in people who manage to triumph over extraordinary trauma. Characters like Lydia and Soledad. I'm less interested in the violent, macho stories of gangsters and law enforcement. Or in any case, I think the world has enough stories like those. Some fiction set in the world of the cartels and narcotraficantes is compelling and important - I read much of it during my early research. Those novels provide readers with an understanding of the origins of the some of the violence to our south. But the depiction of that violence can feed into some of the worst stereotypes about Mexico. So I saw an opening for a novel that would press a little more intimately into those stories, to imagine people on the flip side of that prevailing narrative. Regular people like me. How would I manage if I lived in a place that began to collapse around me? If my children were in danger, how far would I go to save them? I wanted to write about women, whose stories are often overlooked.

I loved Tolkien and while I wished to have written his book, I had no desire at all to write like him. Tolkien’s words and sentences seemed like natural things, like rock formations or waterfalls, and wanting to write like Tolkien would have been, for me, like wanting to blossom like a cherry tree or climb a tree like a squirrel or rain like a thunderstorm. Chesterton was the complete opposite. I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight.

The unlikely group that resulted from the union of five diverse characters in their late twenties operated with surprising harmony. This cohesiveness could be attributed to two factors: 1) everyone’s issues and embarrassing pasts were plainly disclosed prior to the gang’s formation and 2) the clan had been expressly conceived as a male support group.

The first fact of the world is that it repeats itself. I had been taught to believe that the freshness of children lay in their capacity for wonder at the vividness and strangeness of the particular, but what is fresh in them is that they still experience the power of repetition, from which our first sense of the power of mastery comes. Though predictable is an ugly little world in daily life, in our first experience of it we are clued to the hope of a shapeliness in things. To see that power working on adults, you have to catch them out: the look of foolish happiness on the faces of people who have just sat down to dinner is their knowledge that dinner will be served. Probably, that is the psychological basis for the power and the necessity of artistic form...Maybe our first experience of form is the experience of our own formation...And I am not thinking mainly of poems about form; I’m thinking of the form of a poem, the shape of its understanding. The presence of that shaping constitutes the presence of poetry.

There is nothing in which mankind have been more unanimous [founding nations upon superstition]; yet nothing can be inferred from it more than this, that the multitude have always been credulous, and the few artful. The United States of America have exhibited, perhaps, the first example of governments erected on the simple principles of nature: and if men are now sufficiently enlightened to disabuse themselves of artifice, imposture, hypocrisy, and superstition, they will consider this event as an era in their history... [T]he detail of the formation of the American governments... may hereafter become an object of curiosity. It will never be pretended that any persons employed in that service had any interviews with the gods, or were in any degree under the inspiration of heaven... it will for ever be acknowledged that these governments were contrived merely by the use of reason and the senses... Thirteen governments thus founded on the natural authority of the people alone, without a pretence of miracle or mystery, which are destined to spread over the northern part of that whole quarter of the globe, are a great point gained in favour of the rights of mankind. [A Defence of the Constitutions of the United States of America, 1787]

Compassion is not an idea or something we can imagine. It is a mental formation that has an immediate result in action of body, speech, or mind. It is rooted in understanding. When we understand why we suffer we can be compassionate to ourselves. When we understand how others suffer then we can be compassionate to them.

Sell through multiple channels. Readers like plenty of choice when they go to purchase their books. Your book should be available in a variety of formats such as every type of Ebook paperback, hardcover and audiobook.

What we don’t like about writing is being judged. We don’t like the format, the rules, the editing, the need to make everything perfect. But writing can be a way to formulate your thoughts when you can’t say what you need to say or you don’t know how to say what you need to say on the spot. Writing lets you take time. Find the words. And express yourself exactly how you wish. And when we’re young, it’s a way to lose yourself as well as find yourself.

The digital communications technology that was once imagined as a universe of transparent and perpetual illumination, in which cancerous falsehoods would perish beneath a saturation bombardment of irradiating data, has instead generated a much murkier and verification-free habitat where a google-generated search will deliver an electronic page on which links to lies and lunacy appear in identical format as those to truths and sanity. But why should we ever have assumed that technology and reason would be mutually self-reinforcing? The quickest visit to say, a site called Stormfront will persuade you that the demonic is in fact the best customer of the electronic.

The first one hundred pages were fueled by early Misfits (“Where Eagles Dare [fast version],” “Horror Business,” “Hybrid Moments”) and Blanck Mass (“Dead Format”). David Bowie is in every book, and I always put on Purple Rain and Daydream Nation when I write the final pages; so thanks to him and Prince and Sonic Youth.

a nose of a delicate Hebrew model, but with a breadth of nostril unusual in similar formations; a

The Revolution won't be televised. It's already available on Amazon in ebook format.

For all these reasons (...) working class intellectuals like big words and their sentence formation is excessively ornate. It's what they think of as 'smart'. Pomposity. It's an embarrassing condition of being unsophisticated and not knowing what is truly smart which is simplicity and modernism; certainly it was twenty years ago that I learned to write. But the working class person is above all afraid to seem dumb so in acting 'smart' and footnoting everything they betray the insecurity and weightiness of the unexperienced conclusion, which is an imitation of what writers are like. In general I think writers are not smart. They are something else and each writer can fill in a word here, but smart is not what that word is.

My mother delayed my enrollment in the Fascist scouts, the Balilla, as long as possible, firstly because she did not want me to learn how to handle weapons, but also because the meetings that were then held on Sunday mornings (before the Fascist Saturday was instituted) consisted mostly of a Mass in the scouts' chapel. When I had to be enrolled as part of my school duties, she asked that I be excused from the Mass; this was impossible for disciplinary reasons, but my mother saw to it that the chaplain and the commander were aware that I was not a Catholic and that I should not be asked to perform any external acts of devotion in church. In short, I often found myself in situations different from others, looked on as if I were some strange animal. I do not think this harmed me: one gets used to persisting in one's habits, to finding oneself isolated for good reasons, to putting up with the discomfort that this causes, to finding the right way to hold on to positions which are not shared by the majority. But above all I grew up tolerant of others' opinions, particularly in the field of religion, remembering how irksome it was to hear myself mocked because I did not follow the majority's beliefs. And at the same time I have remained totally devoid of that taste for anticlericalism which is so common in those who are educated surrounded by religion. I have insisted on setting down these memories because I see that many non-believing friends let their children have a religious education 'so as not to give them complexes', 'so that they don't feel different from the others.' I believe that this behavior displays a lack of courage which is totally damaging pedagogically. Why should a young child not begin to understand that you can face a small amount of discomfort in order to stay faithful to an idea? And in any case, who said that young people should not have complexes? Complexes arise through a natural attrition with the reality that surrounds us, and when you have complexes you try to overcome them. Life is in fact nothing but this triumphing over one's own complexes, without which the formation of a character and personality does not happen.

The world is getting noisier. We've gone from boomboxes to Walkmen to portable CD players to iPods to any song we want, whenever we want it. We've gone from the four television channels of my childhood to the seeming infinity of cable and streaming. As technology moves us faster and faster through time and space, it seems to feel like story is getting pushed out of the way, I mean, literally pushed out of the narrative. But even as our engagement with stories change, or the trappings around it morph from book to audio to Instagram to Snapchat, we must remember our finger beneath the words. Remember that story, regardless of the format, has always taken us to places we never thought we'd go, introduced us to people we never thought we'd meet and shown us worlds that we might have missed. So as technology keeps moving faster and faster, I am good with something slower. My finger beneath the words has led me to a life of writing books for people of all ages, books meant to be read slowly, to be savored.

We must carefully cultivate the voice that speaks to us because an internal voice is the ultimate narrator of our charming and delightful personal story or the documentarian of our tragic and disgraceful plotlines. Stories that we tell ourselves become our functional reality, which format structures the concourse of the nested emotional control panel that guides and girds us through the din of the present.

Most of what is shaping you in the course of your reading you will not be able to remember. The most formative years of my life were the first five, and if those years were to be evaluated on the basis of my ability to pass a test on them, the conclusion would be that nothing important happened then, which would be false. The fact that you can’t remember things doesn’t mean that you haven’t been shaped by them.

While someone might attempt a feeble carbon copy of those ideas you’ve spent years developing, they can never match the undeniably distinctive aspect of your work. Especially if it resonates across multiple platforms and in multiple formats.

It has long been known that learners remember responses they generate themselves better than those responses that are given to them, and this is now often called the generation effect (Slamecka & Graf, 1978). In particular, one hour students spend writing test questions on what they have been studying results in more learning for them than one hour spent working with a study guide, answering practice tests, or leaving the students to their own devices (Foos, Mora, & Tkacz, 1994).

Storytelling entails weaving a narrative out of the disturbing, strange, inspirational, and unremarkable detritus of life. By picking among the litter of our personal experiences to select evocative anecdotes to weave into a narrative format, we reveal which of life’s legendary offerings prove the most sublime to us. Acts of omission are momentous. Our narration of personal sketches divulge what factoids inspire us or do not stir us into action, or contain obdurate truths that prove virtually impossible to crack.

On his worst days, Ellwood hated England...They were a small-minded people, the English, and their greatest art form, writing, was small-minded also, it was provincial; it did not translate like music and painting, it was only for the English-speakers. That [his friends] should all have to die so that England could continue in its smug small-mindedness seemed worse than a tragedy, for it was not beautiful. No, it was only stupid, and Ellwood hated the muddy fields and the dreary sheep and the clumsy, prehistoric rock formations that they had all been asked to die for.

But if that great method of promoting our books is less effective than it was even six month ago, what options are left open to us? We need to make our books work harder. We need to make each book available in multiple formats – eBook, paperback, audio – and promote it cleverly and inexpensively. Then move on to the next book. Keep writing, that’s key.

Someone described a writer's world as tormented, and I had to laugh.  A tormented writer?  I personally wouldn't have put those two words together.   Emotions have the power to torment a soul, yes, I agree to that.  But writers, through the formation of our characters, delve so often into the depths of a vast range of emotions that we earn the advantage.  For we've examined every little thrumming, fracture, spark, pang, and darkening of the heart to a point that we understand and appreciate the necessity and strength of emotions as well as the cause and effects manipulating them.   We understand.   We can imagine.   We sympathize.   Our knowledge is power over the torment of emotional ignorance.   I would suggest that those truly tormented are the readers of our works because those poor souls shall never know with such clarity and sentiment all the tiny little details that make our characters breath, move, and live before our very eyes.   Perhaps, if torment does lurk among writers, it comes simply through knowing more about an imagined friend than can ever be adequately expressed in words.

Sometimes I think that creativity is a matter of seeing, or stumbling over, unobvious similarities between things—like composing a fresh metaphor, but on a more complex scale. One night in Hiroshima it occurred to me that the moon behind a certain cloud formation looked very like a painkiller dissolving in a glass of water. I didn’t work toward that simile, it was simply there: I was mugged, as it were, by the similarity between these two very different things. Literary composition can be a similar process. The writer’s real world and the writer’s fictional world are compared, and these comparisons turned into text. But other times literary composition can be a plain old slog, and nothing to do with zones or inspiration. It’s world making and the peopling of those worlds, complete with time lines and heartache.

One pleasing trait of his character must not be overlooked. He superintended the formation of a subscription library in the parish, and took the whole management of it upon himself. These institutions, though common now, were not so short at the period of which we write; and it should never be forgotten that Burns was amongst the first, if not the very first, of their founders in the rural districts of southern Scotland.

Every person of intelligence should be able to use his mother tongue correctly. It only requires a little pains, a little care, a little study to enable one to do so, and the recompense is great. Consider the contrast between the well-bred, polite man who knows how to choose and use his words correctly and the underbred, vulgar boor, whose language grates upon the ear and jars the sensitiveness of the finer feelings. The blunders of the latter, his infringement of all the canons of grammar, his absurdities and monstrosities of language , make his very presence a pain, and one is glad to escape from his company. The proper grammatical formation of the English language , so that one may acquit himself as a correct conversationalist in the best society or be able to write and express his thoughts and ideas upon paper in the right manner, may be acquired in a few lessons.

Societies tell themselves necessary fictions in the same way that individuals and families do. Henrik Ibsen called them “vital lies,” and psychologist Daniel Goleman describes them working the same way on the social level that they do within families: “The collusion is maintained by directing attention away from the fearsome fact, or by repackaging its meaning in an acceptable format.” The costs of these social blind spots, he writes, are destructive communal illusions.

Order Out of Chaos ... At the right temperature ... two peptide molecules will stay together long enough on average to find a third. Then the little trio finds a fourth peptide to attract into the little huddle, just through the random side-stepping and tumbling induced by all the rolling water molecules. Something extraordinary is happening: a larger structure is emerging from a finer system, not in spite of the chaotic and random motion of that system but because of it. Without the chaotic exploration of possibilities, the rare peptide molecules would never find each other, would never investigate all possible ways of aggregating so that the tape-like polymers emerge as the most likely assemblies. It is because of the random motion of all the fine degrees of freedom that the emergent, larger structures can assume the form they do. Even more is true when the number of molecules present becomes truly enormous, as is automatically the case for any amount of matter big enough to see. Out of the disorder emerges a ... pattern of emergent structure from a substrate of chaos.... The exact pressure of a gas, the emergence of fibrillar structures, the height in the atmosphere at which clouds condense, the temperature at which ice forms, even the formation of the delicate membranes surrounding every living cell in the realm of biology -- all this beauty and order becomes both possible and predictable because of the chaotic world underneath them.... Even the structures and phenomena that we find most beautiful of all, those that make life itself possible, grow up from roots in a chaotic underworld. Were the chaos to cease, they would wither and collapse, frozen rigid and lifeless at the temperatures of intergalactic space. This creative tension between the chaotic and the ordered lies within the foundations of science today, but it is a narrative theme of human culture that is as old as any. We saw it depicted in the ancient biblical creation narratives of the last chapter, building through the wisdom, poetic and prophetic literature. It is now time to return to those foundational narratives as they attain their climax in a text shot through with the storm, the flood and the earthquake, and our terrifying ignorance in the face of a cosmos apparently out of control. It is one of the greatest nature writings of the ancient world: the book of Job.

Almost everyone can remember losing his or her virginity, and most writers can remember the first book he/she walked away from thinking, "I can do better that this. Hell, I am doing better than this!" What could be more encouraging to the struggling writer than to realize that his/her work is unquestionably better than that of someone who actually got paid for his/her stuff? Good writing on the other hand, teaches the learning writer about style, graceful narration, plot development, the creation of believable characters, and truth-telling. A novel like The Grapes of Wrath may fill a new writer with feelings of despair and good old-fashioned jealousy--"I'll never be able to write anything that good, not if I live to be a thousand"--but such feelings can also serve as a spur, goading the writer to work harder and aim higher. Being swept away by a combination of great story and great writing--of being flattened, in fact--is part of every writer's necessary formation. You cannot hope to sweep someone else away by the force of your writing until it has been done to you. So we read to experience the mediocre and the outright rotten; such experience helps us to recognize those things when they begin to creep into our own work, and to steer clear of them. We also read in order to measure ourselves against the good and the great, to get a sense of all that can be done. And we read in order to experience different styles.

Over recent years I had increasingly lost faith in literature. I read and thought this is something someone has made up. Perhaps it was because we were totally inundated with fiction and stories... All these millions of paperbacks, hardbacks, DVDs and TV series, they were all about made-up people in a made-up, though realistic, world. And news in the press, TV news and radio news had exactly the same format, documentaries had the same format, they were also stories, and it made no difference whether what they told had actually happened or not... Fictional writing has no value, documentary narrative has no value. The only genres I saw value in, which still conferred meaning, were diaries and essays, the types of literature that did not deal with narrative, that were not about anything, but just consisted of a voice, the voice of your own personality, a life, a face, a gaze you could meet. What is a work of art if not the gaze of another person?

All too frequently we take a different view of our trials and temptations. We tend to see them as isolated nightmares. God, however, sees them from a different perspective. They are important and connected punctuation marks in the biography of grace He is writing in our lives. They give formation, direction, and character to our lives. They are all part of the tapestry He is weaving in history. He uses them to build up our strength and to prepare us to surmount greater obstacles, perhaps fiercer temptations.

Many people have related the process of being an author to that of being a parent. Writing your book is like the pregnancy part. Developing your book is part of who you are and is constantly there. You are always thinking about how great it will be, but it is just the beginning. Towards the end your anticipation and anxiety grow. And then you finally reach the publishing process—which is like the delivery. But then you are left with a lifetime of book rearing. The real journey doesn’t end at publication, it begins.

All original thinking is done in pictures or images; the imagination is therefore so necessary an instrument of thinking, and minds without imagination will never achieve anything great, unless it be in mathematics. On the other hand, merely abstract ideas, which have no kernel of perception, are like cloud formations without reality. Even writing and speaking, whether didactic or poetical, have as their ultimate aim the guidance of the reader to that knowledge of perception from which the author started; if they do not have this aim, they are bad.

Words express ideas. Ideas shape nations; ideas influence the formation of governments. Ideas provide the progressive energy for enactment of laws, creation of economic systems, and transmit culture. Ideas heighten our awareness of our historical roots and illuminate our current situation. Perhaps I can use a scrum of words to scrimmage with ideas and explore the fundamental concepts that shaped my being. Perhaps I can tap into the convulsive energy that fuels my compulsive acts of personal essay writing in order to alter the ideological roots that embody my final composition.

Can there be true equality in the classroom and the boardroom if there isn’t in the bedroom? Back in 1995 the National Commission on Adolescent Sexual Health declared healthy sexual development a basic human right. Teen intimacy, it said, ought to be “consensual, non-exploitative, honest, pleasurable, and protected against unintended pregnancy and STDs.” How is it, over two decades later, that we are so shamefully short of that goal? Sara McClelland, a professor of psychology at the University of Michigan, writes about sexuality as a matter of “intimate justice,” touching on fundamental issues of gender inequality, economic disparity, violence, bodily integrity, physical and mental health, self-efficacy, and power dynamics in our most personal relationships. She asks us to consider: Who has the right to engage in sexual behavior? Who has the right to enjoy it? Who is the primary beneficiary of the experience? Who feels deserving? How does each partner define “good enough?” Those are thorny questions when looking at female sexuality at any age, but particularly when considering girls’ early, formative experience. Nonetheless, I was determined to ask them.

called state formation. One of the key turning points in many early societies is the rudimentary, usually very partial, codification of law. In ancient Athens, for example, the work of Draco in the seventh century BCE, though now a byword for harshness (‘draconian’), was notable as the first attempt there to put what had been oral rules into writing; a thousand years before that in Babylon, Hammurabi’s code did something similar. The Twelve Tables are much on that pattern. They are a long way from being a comprehensive legal code and may well never have been intended as such. Unless

Programs should always have the form of paragraphs of comments that describe the intention of the program followed by paragraphs of code that implement that intention. All of the formatting should be designed to make readers as able as possible to read the code easily; the compiler doesn’t care. In particular, follow conventions of mathematics and your native language, not those you found in some random language manual. Write the comments first and then write the code, not the other way around. If you don’t know what you want to achieve and why, any code you write is, by definition, incorrect.

Good writing, on the other hand, teaches the learning writer about style, graceful narration, plot development, the creation of believable characters, and truth-telling. A novel like The Grapes of Wrath may fill a new writer with feelings of despair and good old-fashioned jealousy—“I’ll never be able to write anything that good, not if I live to be a thousand”—but such feelings can also serve as a spur, goading the writer to work harder and aim higher. Being swept away by a combination of great story and great writing—of being flattened, in fact—is part of every writer’s necessary formation. You cannot hope to sweep someone else away by the force of your writing until it has been done to you.

The central issue is not their intelligence, nor, more than likely, even their lack of familiarity with different styles of writing. Rather, it may come back to a lack of cognitive patience with demanding critical analytic thinking and a concomitant failure to acquire the cognitive persistence, what the psychologist Angela Duckworth famously called “grit,”54 nurtured by the very genres being avoided. Just as earlier I described how a lack of background knowledge and critical analytical skills can render any reader susceptible to unadjudicated or even false information, the insufficient formation and lack of use of these complex intellectual skills can render our young people less able to read and write well and therefore less prepared for their own futures.

At some point in life, we all feel burden, oppressed if you will, by the knowledge of our existence. Addressing our deepest anguish and greatest fear establishes the bedrock of any artistic effort, and ultimately represents the thin line that separates contemplative humankind from all other forms of animal life. A person with an artistic bent embraces the inherent anxiety of living and attempts to express anguish in a telling format in order to assist other people grapple with the baffle of being: awareness of the absurdity of striving in a world where the only thing guaranteed for a person with many cravings is hellish life of attachment and wanting. When we rise above the deceptions and temptations of an egocentric mind, we encounter our spiritual essence.

This is not a conspiracy theory; it doesn’t have to be. Societies tell themselves necessary fictions in the same way that individuals and families do. Henrik Ibsen called them “vital lies,” and psychologist Daniel Goleman describes them working the same way on the social level that they do within families: “The collusion is maintained by directing attention away from the fearsome fact, or by repackaging its meaning in an acceptable format.” The costs of these social blind spots, he writes, are destructive communal illusions. Possibilities for women have become so open-ended that they threaten to destabilize the institutions on which a male-dominated culture has depended, and a collective panic reaction on the part of both sexes has forced a demand for counterimages.

Our children are an integral component of our stories as we are of theirs and, therefore, each child acts as the knighted messengers to carry their forebears’ stories into the future. To deprive our children of the narrative cells regarding the formation of the ozone layer that rims the atmosphere of our ancestors’ saga and parental determination of selfhood is to deny them of the sacred right to claim the sanctity of their heritage. Accordingly, all wrinkled brow natives are chargeable with the sacrosanct obligation of telling their kith and kin the memorable story of the scenic days they spent as children of nature splashing about in their naked innocence in the brook of infinite time and space. We must scrupulous document our family’s history as well as scrawl out our personal story.

Narrative nonfiction is an act of conception and construction; it is formation of a personal legend from the mist of memory using mental hydraulics plied with the tools of logic, structure, design, and imagination. An engaged mind possesses a documentary sensibility that fabricates a memoirist identity, which alliance mollifies their bleak interior critic. A conscientious mind hews a residue of meaning from the verisimilitude of a person’s metafictional baggage. A basic impulse of all free people is to speak to an appreciative audience. Writing the story of our life constitutes asserting the universal human right to declare and define who we are. When we write our story, we become a stakeholder of our place in the world, we affirm the right to shape our future, and avow the verity to heal our torn souls.

The hard part, evolutionarily, was getting from prokaryotic cells to eukaryotic ones, then getting from single-celled organisms to multicellular ones. Earth is around 4.5 billion years old, a timescale I simply cannot get my head around. Instead let’s imagine’s Earth’s history as a calendar year, with the formation of Earth being January 1 and today being December 31 at 11:59pm. The first life on Earth emerges around February 25. Photosynthetic organisms first appear in late March. Multicellular life doesn’t appear until August or September. The first dinosaurs like eoraptor show up about 230 million years ago, or December 13 in our calendar year. The meteor impact that heralds the end of the dinosaurs happens around December 26. Homo sapiens aren’t part of the story until December 31 at 11:48 pm. Agriculture and large human communities and the building of monolithic structures all occur within the last minute of this calendar year. The Industrial Revolution, two world wars, the invention of basketball, recorded music, the electric dishwasher, and vehicles that travel faster than horses all happen in the last couple of seconds. Put another way: It took Earth about three billion years to go from single-celled life to multicellular life. It took less than seventy million years to go from Tyrannosaurus rex to humans who can read and write and dig up fossils and approximate the timeline of life and worry about its ending. Unless we somehow manage to eliminate all multicellular life from the planet, Earth won’t have to start all over and it will be okay--- at least until the oceans evaporate and the planet gets consumed by the sun. But we`ll be gone by then, as will our collective and collected memory. I think part of what scares me about the end of humanity is the end of those memories. I believe that if a tree falls in the woods and no one is there to hear it, it does make a sound. But if no one is around to play Billie Holiday records, those songs won’t make a sound anymore. We’ve caused a lot of suffering, but we’ve also caused much else. I know the world will survive us – and in some ways it will be more alive. More birdsong. More creatures roaming around. More plants cracking through our pavement, rewilding the planet we terraformed. I imagine coyotes sleeping in the ruins of the homes we built. I imagine our plastic still washing up on beaches hundreds of years after the last of us is gone. I imagine moths, having no artificial lights toward which to fly, turning back to the moon.

Not a single scene, situation, idea, or image that was in that screenplay was in my script for Django Unchained. Yet... the essence of what Floyd was trying to accomplish in that script, an epic western with a black heroic cowboy at its center, was the very heart of what I was trying to accomplish with Django Unchained. But even more influential than any one script was having a man trying to be a screenwriter living in my house. Him writing, him talking about his script, me reading it, made me consider for the first time writing movies. The reason I knew how to even format a screenplay was from reading Floyd's screenplays. It would be a long read—from that year of 1978 to me completing my first feature length screenplay -True Romance- in September 1987. But due to Floyd's inspiration I tried writing screenplays. I usually never got that far. I think thirty was by far the furthest I ever got. But I tried. And eventually succeeded.

The events of the last forty years have inflicted such a blow to the self confidence of Western civilization and to the belief in progress which was so strong during the nineteenth century, that men tend to go too far in the opposite direction: in fact the modern world is experiencing the same kind of danger which was so fatal to the ancient world--the crisis of which Gilbert Murray writes in his Four Stages of Greek Religion as "The Loss of Nerve.” There have been signs of this in Western literature for a long time past, and it has already had a serious effect on Western culture an education. This is the typical tragedy of the intelligentsia as shown in nineteenth century Russia and often in twentieth century Germany: the case of a society or class devoting enormous efforts to higher education and to the formation of an intellectual elite and then finding that the final result of the system is to breed a spirit of pessimism and nihilism and revolt. There was something seriously wrong about an educational system which cancelled itself out in this way, which picked out the ablest minds in a society and subjected them to an intensive process of competitive development which ended in a revolutionary or cynical reaction against the society that produced it. But behind these defects of an over-cerebralized and over-competitive method of education, there is the deeper cause in the loss of the common spiritual background which unifies education with social life. For the liberal faith in progress which inspired the nineteenth century was itself a substitute for the simpler and more positive religious faith which was the vital bond of the Western community. If we wish to understand our past and the inheritance of Western culture, we have to go behind the nineteenth century development and study the old spiritual community of Western Christendom as an objective historical reality.

AI can be a valuable tool for writers in maintaining consistency. For example, a writer working on a novel might accidentally mix US and UK English, using forms like “color” and “colour,” “toward” and “towards,” or different vocabulary such as “fall” instead of “autumn” or “elevator” instead of “lift.” Compound words might be hyphenated inconsistently, like “well-being” versus “wellbeing.” I can mention my own errors, such as writing “for ever” instead of “forever.” AI can automatically identify and correct these inconsistencies, helping to ensure a uniform style. It can also check formatting, including fonts, spacing, and paragraph layout, so that the document meets professional standards. AI can point out gaps or abrupt transitions in the text too. These are all tasks that a human editor would normally carry out, and AI is simply doing the same. There is no reason why AI should be exempt from performing the work that is expected of a human editor.

The hard part, evolutionarily, was getting from prokaryotic cells to eukaryotic ones, then getting from single-celled organisms to multi cellar ones. Earth is around 4.5 billion years old, a timescale I simply cannot get my head around. Instead let’s imagine’s Earth’s history as a calendar year, with the formation of Earth being January 1 and today being December 31 at 11:59pm. The first life on Earth emerges around February 25. Photosynthetic organisms first appear in late March. Multicellular life doesn’t appear until August or September. The first dinosaurs like eoraptor show up about 230 million years ago, or December 13 in our calendar year. The meteor impact that heralds the end of the dinosaurs happens around December 26. Homo sapiens aren’t part of the story until December 31 at 11:48 pm. Agriculture and large human communities and the building of monolithic structures all occur within the last minute of this calendar year. The Industrial Revolution, two world wars, the invention of basketball, recorded music, the electric dishwasher, and vehicles that travel faster than horses all happen in the last couple of seconds. Put another way: It took Earth about three billion years to go from single-celled life to multicellular life. It took less than seventy million years to go from Tyrannosaurus rex to humans who can read and write and dig up fossils and approximate the timeline of life and worry about its ending. Unless we somehow manage to eliminate all multicellular life from the planet, Earth won’t have to start all over and it will be okay--- at least until the oceans evaporate and the planet gets consumed by the sun. I know the world will survive us – and in some ways it will be more alive. More birdsong. More creatures roaming around. More plants cracking through our pavement, rewilding the planet we terraformed. I imagine coyotes sleeping in the ruins of the homes we built. I imagine our plastic still washing up on beaches hundreds of years after the last of us is gone. I imagine moths, having no artificial lights toward which to fly, turning back to the moon.

Fynn disguise nobody but Fynn. At the time of writing I have known him for a couple of years. But there is another way in which I have known him all my life. For there is about him that transparent vulnerability which makes for a total and immediate correspondence with anyone who is prepared to throw prejudices to the wind and celebrate life as a lump of mysterious and joyful awe. But all the speculation about a trained scientist or theologian with imaginative leanings and communications was pretty well wide of the mark. Fynn, thank God, was not trained as either of these. Intelligent to the eyelashes and with a gargantuan appetite for knowledge, Fynn was early advised to eschew (may his adviser rest in peace) universities and other institutions for the purveying of processed thought. Some of his most formative thinking took place far from the quads and colleges and punted rivers amongst the small streets, warehouses, and canals of the East End. But with his modest job and his Woolworth's do-it-yourself laboratory he produced thought to which few PhD's have approximated.

Well, Gordon assigned me to write a major piece of software for the Apple Macintosh. Financial spreadsheet, accounting, that sort of thing, powerful, easy to use, lots of graphics. I asked him exactly what he wanted in it, and he just said, ‘Everything. I want the top piece of all-singing, all-dancing business software for that machine.’ And being of a slightly whimsical turn of mind I took him literally. “You see, a pattern of numbers can represent anything you like, can be used to map any surface, or modulate any dynamic process—and so on. And any set of company accounts are, in the end, just a pattern of numbers. So I sat down and wrote a program that’ll take those numbers and do what you like with them. If you just want a bar graph it’ll do them as a bar graph, if you want them as a pie chart or scatter graph it’ll do them as a pie chart or scatter graph. If you want dancing girls jumping out of the pie chart in order to distract attention from the figures the pie chart actually represents, then the program will do that as well. Or you can turn your figures into, for instance, a flock of seagulls, and the formation they fly in and the way in which the wings of each gull beat will be determined by the performance of each division of your company. Great for producing animated corporate logos that actually mean something. “But the silliest feature of all was that if you wanted your company accounts represented as a piece of music, it could do that as well. Well, I thought it was silly. The corporate world went bananas over it.

There were three great comedians in my formative years—Bill Cosby, Bill Murray, and Richard Pryor—and they wrecked comedy for a generation. How? By never saying anything funny. You can quote a Steve Martin joke, or a Rodney Dangerfield line, but Pryor, Cosby, and Murray? The things they said were funny only when they said them. In Cosby’s case, it didn’t even need to be sentences: “The thing of the thing puts the milk in the toast, and ha, ha, ha!” It was gibberish and America loved it. The problem was that they inspired a generation of comedians who tried coasting on personality—they were all attitude and no jokes. It was also a time when comedy stars didn’t seem to care. Bill Murray made some lousy movies; Richard Pryor and Eddie Murphy made even more; and any script that was too lame for these guys, Chevy Chase made. These were smart people—they had to know how bad these films were, but they just grabbed a paycheck and did them. Most of these comic actors started as writers—they could have written their own scripts, but they rarely bothered. Then, at the end of a decade of lazy comedy and half-baked material, The Simpsons came along. We cared about jokes, and we worked endless hours to cram as many into a show as possible. I’m not sure we can take all the credit, but TV and movies started trying harder. Jokes were back. Shows like 30 Rock and Arrested Development demanded that you pay attention. These days, comedy stars like Seth Rogen, Amy Schumer, Kristen Wiig, Melissa McCarthy, and Jonah Hill actually write the comedies they star in.

Blues Elizabeth Alexander, 1962 I am lazy, the laziest girl in the world. I sleep during the day when I want to, ‘til my face is creased and swollen, ‘til my lips are dry and hot. I eat as I please: cookies and milk after lunch, butter and sour cream on my baked potato, foods that slothful people eat, that turn yellow and opaque beneath the skin. Sometimes come dinnertime Sunday I am still in my nightgown, the one with the lace trim listing because I have not mended it. Many days I do not exercise, only consider it, then rub my curdy belly and lie down. Even my poems are lazy. I use syllabics instead of iambs, prefer slant to the gong of full rhyme, write briefly while others go for pages. And yesterday, for example, I did not work at all! I got in my car and I drove to factory outlet stores, purchased stockings and panties and socks with my father’s money. To think, in childhood I missed only one day of school per year. I went to ballet class four days a week at four-forty-five and on Saturdays, beginning always with plie, ending with curtsy. To think, I knew only industry, the industry of my race and of immigrants, the radio tuned always to the station that said, Line up your summer job months in advance. Work hard and do not shame your family, who worked hard to give you what you have. There is no sin but sloth. Burn to a wick and keep moving. I avoided sleep for years, up at night replaying evening news stories about nearby jailbreaks, fat people who ate fried chicken and woke up dead. In sleep I am looking for poems in the shape of open V’s of birds flying in formation, or open arms saying, I forgive you, all.

This reaction to the work was obviously a misunderstanding. It ignores the fact that the future Buddha was also of noble origins, that he was the son of a king and heir to the throne and had been raised with the expectation that one day he would inherit the crown. He had been taught martial arts and the art of government, and having reached the right age, he had married and had a son. All of these things would be more typical of the physical and mental formation of a future samurai than of a seminarian ready to take holy orders. A man like Julius Evola was particularly suitable to dispel such a misconception. He did so on two fronts in his Doctrine: on the one hand, he did not cease to recall the origins of the Buddha, Prince Siddhartha, who was destined to the throne of Kapilavastu: on the other hand, he attempted to demonstrate that Buddhist asceticism is not a cowardly resignation before life's vicissitudes, but rather a struggle of a spiritual kind, which is not any less heroic than the struggle of a knight on the battlefield. As Buddha himself said (Mahavagga, 2.15): 'It is better to die fighting than to live as one vanquished.' This resolution is in accord with Evola's ideal of overcoming natural resistances in order to achieve the Awakening through meditation; it should he noted, however, that the warrior terminology is contained in the oldest writings of Buddhism, which are those that best reflect the living teaching of the master. Evola works tirelessly in his hook to erase the Western view of a languid and dull doctrine that in fact was originally regarded as aristocratic and reserved for real 'champions.' After Schopenhauer, the unfounded idea arose in Western culture that Buddhism involved a renunciation of the world and the adoption of a passive attitude: 'Let things go their way; who cares anyway.' Since in this inferior world 'everything is evil,' the wise person is the one who, like Simeon the Stylite, withdraws, if not to the top of a pillar; at least to an isolated place of meditation. Moreover, the most widespread view of Buddhists is that of monks dressed in orange robes, begging for their food; people suppose that the only activity these monks are devoted to is reciting memorized texts, since they shun prayers; thus, their religion appears to an outsider as a form of atheism. Evola successfully demonstrates that this view is profoundly distorted by a series of prejudices. Passivity? Inaction? On the contrary, Buddha never tired of exhorting his disciples to 'work toward victory'; he himself, at the end of his life, said with pride: katam karaniyam, 'done is what needed to he done!' Pessimism? It is true that Buddha, picking up a formula of Brahmanism, the religion in which he had been raised prior to his departure from Kapilavastu, affirmed that everything on earth is 'suffering.' But he also clarified for us that this is the case because we are always yearning to reap concrete benefits from our actions. For example, warriors risk their lives because they long for the pleasure of victory and for the spoils, and yet in the end they are always disappointed: the pillaging is never enough and what has been gained is quickly squandered. Also, the taste of victory soon fades away. But if one becomes aware of this state of affairs (this is one aspect of the Awakening), the pessimism is dispelled since reality is what it is, neither good nor bad in itself; reality is inscribed in Becoming, which cannot be interrupted. Thus, one must live and act with the awareness that the only thing that matters is each and every moment. Thus, duty (dhamma) is claimed to be the only valid reference point: 'Do your duty,' that is. 'let your every action he totally disinterested.

As implied in Levy’s quote, the process of freely choosing what sort of person you become, despite whatever bad constitutive luck you’ve had, is usually framed as a gradual, usually maturational process. In a debate with Dennett, incompatibilist Gregg Caruso outlined chapter 3’s essence—we have no control over either the biology or the environment thrown at us. Dennett’s response was “So what? The point I think you are missing is that autonomy is something one grows into, and this is indeed a process that is initially entirely beyond one’s control, but as one matures, and learns, one begins to be able to control more and more of one’s activities, choices, thoughts, attitudes, etc.” This is a logical outcome of Dennett’s claim that bad and good luck average out over time: Come on, get your act together. You’ve had enough time to take responsibility, to choose to catch up to everyone else in the marathon.[2] A similar view comes from the distinguished philosopher Robert Kane, of the University of Texas: “Free will in my view involves more than merely free of action. It concerns self-formation. The relevant question for free will is this: How did you get to be the kind of person you now are?” Roskies and Shadlen write, “It is plausible to think that agents might be held morally responsible even for decisions that are not conscious, if those decisions are due to policy settings which are expressions of the agent [in other words, acts of free will in the past].”[3] Not all versions of this idea require gradual acquisition of past-tense free will. Kane believes that “choose what sort of person you’re going to be” happens at moments of crisis, at major forks in the road, at moments of what he calls “Self-Forming Actions” (and he proposes a mechanism by which this supposedly occurs, which we’ll touch on briefly in chapter 10). In contrast, psychiatrist Sean Spence, of the University of Sheffield, believes that those I-had-free-will-back-then moments happen when life is at its optimal, rather than in crisis.

The hard part, evolutionarily, was getting from prokaryotic cells to eukaryotic ones, then getting from single-celled organisms to multicellular ones. Earth is around 4.5 billion years old, a timescale I simply cannot get my head around. Instead let’s imagine’s Earth’s history as a calendar year, with the formation of Earth being January 1 and today being December 31 at 11:59pm. The first life on Earth emerges around February 25. Photosynthetic organisms first appear in late March. Multicellular life doesn’t appear until August or September. The first dinosaurs like eoraptor show up about 230 million years ago, or December 13 in our calendar year. The meteor impact that heralds the end of the dinosaurs happens around December 26. Homo sapiens aren’t part of the story until December 31 at 11:48 pm. Agriculture and large human communities and the building of monolithic structures all occur within the last minute of this calendar year. The Industrial Revolution, two world wars, the invention of basketball, recorded music, the electric dishwasher, and vehicles that travel faster than horses all happen in the last couple of seconds. Put another way: It took Earth about three billion years to go from single-celled life to multicellular life. It took less than seventy million years to go from Tyrannosaurus rex to humans who can read and write and dig up fossils and approximate the timeline of life and worry about its ending. Unless we somehow manage to eliminate all multicellular life from the planet, Earth won’t have to start all over and it will be okay--- at least until the oceans evaporate and the planet gets consumed by the sun. I know the world will survive us – and in some ways it will be more alive. More birdsong. More creatures roaming around. More plants cracking through our pavement, rewilding the planet we terraformed. I imagine coyotes sleeping in the ruins of the homes we built. I imagine our plastic still washing up on beaches hundreds of years after the last of us is gone. I imagine moths, having no artificial lights toward which to fly, turning back to the moon.

Success comes with an inevitable problem: market saturation. New products initially grow just by adding more customers—to grow a network, add more nodes. Eventually this stops working because nearly everyone in the target market has joined the network, and there are not enough potential customers left. From here, the focus has to shift from adding new customers to layering on more services and revenue opportunities with existing ones. eBay had this problem in its early years, and had to figure its way out. My colleague at a16z, Jeff Jordan, experienced this himself, and would often write and speak about his first month as the general manager of eBay’s US business. It was in 2000, and for the first time ever, eBay’s US business failed to grow on a month-over-month basis. This was critical for eBay because nearly all the revenue and profit for the company came from the US unit—without growth in the United States, the entire business would stagnate. Something had to be done quickly. It’s tempting to just optimize the core business. After all, increasing a big revenue base even a little bit often looks more appealing than starting at zero. Bolder bets are risky. Yet because of the dynamics of market saturation, a product’s growth tends to slow down and not speed up. There’s no way around maintaining a high growth rate besides continuing to innovate. Jeff shared what the team did to find the next phase of growth for the company: eBay.com at the time enabled the community to buy and sell solely through online auctions. But auctions intimidated many prospective users who expressed preference for the ease and simplicity of fixed price formats. Interestingly, our research suggested that our online auction users were biased towards men, who relished the competitive aspect of the auction. So the first major innovation we pursued was to implement the (revolutionary!) concept of offering items for a fixed price on ebay.com, which we termed “buy-it-now.” Buy-it-now was surprisingly controversial to many in both the eBay community and in eBay headquarters. But we swallowed hard, took the risk and launched the feature . . . and it paid off big. These days, the buy-it-now format represents over $40 billion of annual Gross Merchandise Volume for eBay, 62% of their total.65

Tim Tigner began his career in Soviet Counterintelligence with the US Army Special Forces, the Green Berets. That was back in the Cold War days when, “We learned Russian so you didn't have to,” something he did at the Presidio of Monterey alongside Recon Marines and Navy SEALs. With the fall of the Berlin Wall, Tim switched from espionage to arbitrage. Armed with a Wharton MBA rather than a Colt M16, he moved to Moscow in the midst of Perestroika. There, he led prominent multinational medical companies, worked with cosmonauts on the MIR Space Station (from Earth, alas), chaired the Association of International Pharmaceutical Manufacturers, and helped write Russia’s first law on healthcare. Moving to Brussels during the formation of the EU, Tim ran Europe, Middle East, and Africa for a Johnson & Johnson company and traveled like a character in a Robert Ludlum novel. He eventually landed in Silicon Valley, where he launched new medical technologies as a startup CEO. In his free time, Tim has climbed the peaks of Mount Olympus, hang glided from the cliffs of Rio de Janeiro, and ballooned over Belgium. He earned scuba certification in Turkey, learned to ski in Slovenia, and ran the Serengeti with a Maasai warrior. He acted on stage in Portugal, taught negotiations in Germany, and chaired a healthcare conference in Holland. Tim studied psychology in France, radiology in England, and philosophy in Greece. He has enjoyed ballet at the Bolshoi, the opera on Lake Como, and the symphony in Vienna. He’s been a marathoner, paratrooper, triathlete, and yogi.  Intent on combining his creativity with his experience, Tim began writing thrillers in 1996 from an apartment overlooking Moscow’s Gorky Park. Decades later, his passion for creative writing continues to grow every day. His home office now overlooks a vineyard in Northern California, where he lives with his wife Elena and their two daughters. Tim grew up in the Midwest, and graduated from Hanover College with a BA in Philosophy and Mathematics. After military service and work as a financial analyst and foreign-exchange trader, he earned an MBA in Finance and an MA in International Studies from the University of Pennsylvania’s Wharton and Lauder Schools.  Thank you for taking the time to read about the author. Tim is most grateful for his loyal fans, and loves to correspond with readers like you. You are welcome to reach him directly at tim@timtigner.com.

Robert Askins Brings ‘Hand to God’ to Broadway Chad Batka for The New York Times Robert Askins at the Booth Theater, where his play “Hand to God” opens on Tuesday. By MICHAEL PAULSON The conceit is zany: In a church basement, a group of adolescents gathers (mostly at the insistence of their parents) to make puppets that will spread the Christian message, but one of the puppets turns out to be more demonic than divine. The result — a dark comedy with the can-puppets-really-do-that raunchiness of “Avenue Q” and can-people-really-say-that outrageousness of “The Book of Mormon” — is “Hand to God,” a new play that is among the more improbable entrants in the packed competition for Broadway audiences over the next few weeks. Given the irreverence of some of the material — at one point stuffed animals are mutilated in ways that replicate the torments of Catholic martyrs — it is perhaps not a surprise to discover that the play’s author, Robert Askins, was nicknamed “Dirty Rob” as an undergraduate at Baylor, a Baptist-affiliated university where the sexual explicitness and violence of his early scripts raised eyebrows. But Mr. Askins had also been a lone male soloist in the children’s choir at St. John Lutheran of Cypress, Tex. — a child who discovered early that singing was a way to make the stern church ladies smile. His earliest performances were in a deeply religious world, and his writings since then have been a complex reaction to that upbringing. “It’s kind of frustrating in life to be like, ‘I’m a playwright,’ and watch people’s face fall, because they associate plays with phenomenally dull, didactic, poetic grad-schoolery, where everything takes too long and tediously explores the beauty in ourselves,” he said in a recent interview. “It’s not church, even though it feels like church a lot when we go these days.” The journey to Broadway, where “Hand to God” opens on Tuesday at the Booth Theater, still seems unlikely to Mr. Askins, 34, who works as a bartender in Brooklyn and says he can’t afford to see Broadway shows, despite his newfound prominence. He seems simultaneously enthralled by and contemptuous of contemporary theater, the world in which he has chosen to make his life; during a walk from the Cobble Hill coffee shop where he sometimes writes to the Park Slope restaurant where he tends bar, he quoted Nietzsche and Derrida, described himself as “deeply weird,” and swore like, well, a satanic sock-puppet. “If there were no laughs in the show, I’d think there was something wrong with him,” said the actor Steven Boyer, who won raves in earlier “Hand to God” productions as Jason, a grief-stricken adolescent with a meek demeanor and an angry-puppet pal. “But anybody who is able to write about such serious stuff and be as hilarious as it is, I’m not worried about their mental health.” Mr. Askins’s interest in the performing arts began when he was a boy attending rural Texas churches affiliated with the conservative Lutheran Church-Missouri Synod denomination; he recalls the worshipers as “deeply conservative, old farm folks, stone-faced, pride and suffering, and the only time anybody ever really livened up was when the children’s choir would perform.” “My grandmother had a cross-stitch that said, ‘God respects me when I work, but he loves me when I sing,’ and so I got into that,” he said. “For somebody who enjoys performance, that was the way in.” The church also had a puppet ministry — an effort to teach children about the Bible by use of puppets — and when Mr. Askins’s mother, a nurse, began running the program, he enlisted to help. He would perform shows for other children at preschools and vacation Bible camps. “The shows are wacky, but it was fun,” he said. “They’re badly written attempts to bring children to Jesus.” Not all of his formative encounters with puppets were positive. Particularly scarring: D

I come, in conclusion, to the difference between "projecting" the future and making a promise. The "projecting" of "futurologists" uses the future as the safest possible context for whatever is desired; it binds one only to selfish interest. But making a promise binds one to someone else's future. If the promise is serious enough, one is brought to it by love, and in awe and fear. Fear, awe, and love bind us to no selfish aims, but to each other. And they enforce a speech more exact, more clarifying, and more binding than any speech that can be used to sell or advocate some "future." For when we promise in love and awe and fear there is a certain kind of mobility that we give up. We give up the romanticism of progress, that is always shifting its terms to fit its occasions. We are speaking where we stand, and we shall stand afterwards in the presence of what we have said.

The first step in writing comments is to decide on conventions for commenting, such as what you will comment and the format you will use for comments.

However, information can be leaked even if it doesn’t appear in a module’s interface. Suppose two classes both have knowledge of a particular file format (perhaps one class reads files in that format and the other class writes them). Even if neither class exposes that information in its interface, they both depend on the file format: if the format changes, both classes will need to be modified.

Kindlе’ѕ Simplified Guidе tо Formatting Yоur еBооk or Publiѕhing fоr Mас Users.

The Four Dominant Learning Styles What are the Four Types of Learners? If you have spent any considerable amount of time in a learning institution, you know for almost a fact that each learner is different from the next. It is relatively easy to pick out the differences among learners. For instance, you can identify a student who has an easier time retaining information when presented in a particular format. Until recent decades, education seemed to be incredibly rigid towards the learners. Most often than not, they were subjected to a one-size-fits-all model that never accommodated for the differences in learning. However, research and studies made tremendous strides in identifying and reconciling these discrepancies. Nowadays, educators are developing strategies that help them reach out to each student's specific learning style. This gives each learner a fair chance at acquiring an education. This article seeks to breakdown the four main ways that learners acquire, process, and retain information. Visual Learners Information is optimally acquired and processed for this type of learners when conveyed in graphic or diagrammatic form. Such students retain content when it is presented as diagrams, charts, etcetera with much more ease. Some of them also lean towards pictures and videos at times. These learners tend to better at processing robust information rather than bits and pieces. This makes them holistic learners. Hence, they derive more value from summarized visual aids as opposed to segments. Auditory Learners On the other hand, these students learn more by processing information that has been delivered verbally. Such students are also more attentive to their instructors in class. Sometimes, they will do so at the expense of taking notes which can sometimes be mistaken for subpar engagement. Such learners will also thrive in group discussions where they get to talk through schoolwork with their peers. This not only reinforces their understanding but also presents an excellent opportunity to learn from others. Similarly, they can obtain significant value from reading out what they have written. Reading/Writing Learners These students lean more towards written information. For as long as they read through the content, they stand a better chance at retaining it. Such students prefer text-heavy learning. Thus, written assignments, handouts in class, or even taking notes are their most effective learning modes. Kinesthetic Learners Essentially, these students learn by doing. These are the students that rely on hands-on participation in class. For as long as they are physically proactive in the learning process, such learners stand a better chance at retaining and retrieving the knowledge acquired. This also earns them the popular term, tactile learners, since they tend to engage most of their sense in the learning process. As you would expect, such leaners have the most difficulties in conventional learning institutions. However, they tend to thrive in practical-oriented set-ups, such as workshops and laboratories. These four modalities will provide sufficient background knowledge on learning styles for you to formulate your own assessment. Ask yourself first, no less, what type of a learner are you?

The same goes for textual authoring. It is easy to dictate or type in volume and most people today do, in the form of short ‘text’ messages, social media posts or longer pieces for study, work or leisure. It is much harder to make this mass of text truly accessible–we still write mostly in columns, import illustrations from elsewhere and have severe restrictions for how we can connect or link information from different locations or sources and hardly any opportunity to address specific sections of text. We then leave little information in our primitive digital documents, which are currently in the PDF document format, when we publish the result of our work.

Broadly speaking, the format for creating an implementation intention is: “When situation X arises, I will perform response Y.” Hundreds of studies have shown that implementation intentions are effective for sticking to our goals, whether it’s writing down the exact time and date of when you will get a flu shot or recording the time of your colonoscopy appointment. They increase the odds that people will stick with habits like recycling, studying, going to sleep early, and stopping smoking. Researchers have even found that voter turnout increases when people are forced to create implementation intentions by answering questions like: “What route are you taking to the polling station? At what time are you planning to go? What bus will get you there?” Other successful government programs have prompted citizens to make a clear plan to send taxes in on time or provided directions on when and where to pay late traffic bills.

Holidays printable calendar is the best way to organize your important events, special days and family gatherings. Each month features a large grid format, making it easy for you to write down all your activities and inform your friends of the same. Use the blank years at the end of your calendar to jot down notes and make remarks about the happenings on that month.

It is a strange distortion, fostered by the biases of modern literary genealogy, that the novel is so often seen these days as the dominant and privileged genre of the nineteenth century. The Victorian novel, as a new, and of course, modern exploration of the self through narrative, has become an integral part of our story of modernity's culture... Novelists were indeed lions of literary society and creators of narratives by which the world was understood and lived... Yet such literary history distorts and diminishes the cultural significance of at least two other forms of genres. which in the nineteenth century were no less fundamental as narratives of the self, and which the novel is in constant dialogue with. The first... is poetry. ... Poetry as a narrative of self-formation - reading it, writing it, learning it so that it is inside you - is fundamental to nineteenth century Bildung... ... The second flourishing genre...biography is a fundamental way in which the process of 'writing down the self' was expressed. ... New theoretical models of psychological development, however, are equally influential in this changing sense of self-construction. Scientists and theoreticians of the mind - of which Freud is only the most starry example - were producing instrumental and wide ranging paradigms of psychological development as models of individual growth or as models of social transformation. How the child would or should become an adult - sexually, morally, socially - was becoming the question argued through at a particularly heated juncture between social science, educational theory, and medicine. Life-writing became the test cases of such intellectually explosive theorizing. Theories of psychology duly became systems of upbringing, which stimulated in turn a literature of resistance and questioning.

In this perspective, Islamophobia follows completely in the line of what we can call the anti-Jewish archive, using this term in the sense of Foucault’s early writings, not for a library, a body of documents and texts, but as the regulating mode of a discursive practice: ‘the law of what can be said, the system that governs the appearance of statements as unique events’, ‘the general system of the formation and transformation of statements’.30 Conceived in this way, anti-Semitism is a repertoire of stereotypes, images, places, representations, stigmas and reflexes conveying a perception and a reading of the real that are condensed and codified into a stable and continuous discourse.

What propelled Judah’s restoration, according to the narrative, were texts, and those who interpreted them, and in depicting how texts played this formative role, its authors made a compelling, and creative, case for their culture of writing and reading.

I suppose the most important memory is of Mr. Electrico. On Labor Day weekend, 1932, when I was twelve years old, he came to my hometown with the Dill Brothers…. He was a performer sitting in an electric chair and a stagehand pulled a switch and he was charged with fifty thousand volts of pure electricity. Lightning flashed in his eyes and his hair stood on end. I sat below, in the front row, and he reached down with a flaming sword full of electricity and he tapped me on both shoulders and then the tip of my nose and he cried, 'Live, forever!' And I thought, 'God, that’s wonderful. How do you do that?'...So when I left the carnival that day I stood by the carousel and I watched the horses running around and around to the music of 'Beautiful Ohio' and I cried. Tears streamed down my cheeks because I knew something important had happened to me that day because of Mr. Electrico. I felt changed. And so I went home and within days I started to write. And I’ve never stopped.

Research Proposal Writing Our team of specialists at Ondezx is ready to craft a compelling research proposal highlighting the feasibility and significance of your study. Work with us to turn your research dreams into a reality. For more info: Mail: info@ondezx.com Mob No: +91 9791191199

Product: •What is the product? •Who is it for? •What does it do? •How does it work? •How do people buy and use it? Benefits: •How does the product help people? •What are its most important benefits? Reader: •Who are you writing for? •How do they live? •What do they want? •What do they feel? •What do they know about the product, or this type of product? •Are they using a similar product already? Aim: •What do you want the reader to do, think or feel as a result of reading this copy? •What situation will they be in when they read it? Format: •Where will the copy be used? (Sales letter, web page, YouTube video, etc) •How long does it need to be? (500 words, 10 pages, 30 seconds, etc) •How should it be structured? (Main title, subtitles, sidebars, pullout quotes, calls to action, etc) •What other types of content might be involved? (Images, diagrams, video, music, etc) Tone: •Should the copy be serious, light-hearted, emotional, energetic, laid-back, etc? Constraints: •Maximum or minimum length •Anything that must be included or left out •Legal issues (regulations on scientific or health claims, prohibited words, trademarks, etc) •How this copy needs to fit in with other copy that’s already been written, or that will be written in the future •Whether the copy will form part of a campaign, so that different ideas along the same lines will be needed in future (see ‘Take it further’ in chapter 9) •Which countries the copy will appear in (whether in English, or translated) •SEO issues (for example, popular search terms that should feature in headings) •Brand or tone of voice guidelines (see ‘Tone of voice guidelines’ in chapter 15) Other background information about: •The product (development history, use cases, technical specifications, distribution, retail, buying processes, buying channels, marketing strategy) •The product’s market position (price point, offers and discounts, customer perceptions, competitors) •The target market (size, history, typical customer profile, marketing personas) •The client (history, current setup, culture, people, values) •The brand (history, positioning, values) Project management points: •Timescales (dates for copy plan, drafts, feedback, final copy, approval) •Who will provide feedback, and how •Who will approve the final copy, and how •How the copy will be delivered (usually a Word document, but not always) These are only suggestions.

Page Breaks Page break is a term used by writing tools but strictly speaking there is no such thing in an e-book, because the text must flow depending on the size of the screen and the viewing preferences of the person who is reading the book. There are, however, breaks that signify content should start on a new e-reader screen and for convenience the two terms are used interchangeably. You can add page breaks in your writing tool and these may or may not convert properly when you create your EPUB or HTML file. If not, you have a few options.

PROMPTS FOR WRITING RESUMES AND BIOS Generate a compelling professional summary for a marketing manager with 5 years of experience. Create a list of 10 action verbs to effectively describe accomplishments in a resume. Draft a LinkedIn bio for a recent college graduate with a degree in computer science. Suggest 5 resume formatting tips to create a visually appealing and easy-to-read document. Write an engaging personal bio for a freelance graphic designer’s website. How can transferable skills be effectively showcased in a career change resume? Create a list of 5 questions to ask a client before writing their resume or bio. Develop a powerful resume objective statement for a sales professional targeting a managerial role. Provide tips for optimizing a LinkedIn profile to increase visibility and attract recruiters. Write an attention-grabbing personal

It didn’t come down to intelligence. Contrary to the stereotypes of the day, these people weren’t savages. Hell, the Aborigines were weaving fish traps and building complex weirs and rock walls to farm wild fish for over forty thousand years! That’s about twenty thousand years longer than Europeans. They weren’t stupid or simple. The Brewarrina fishing pools span over half a mile, with intricate rock formations taking into account tides and seasonal flooding. Archeologists think those fish farms could have sustained a population of around three thousand people—which is as large as most medieval cities in Europe. No, the Aborigines weren’t dumb. What the Aborigines lacked was writing, which allows precise knowledge to accumulate from one generation to another.

But just across the U.S. border, up in the tar sands of Alberta, there is another equally horrific image. A gaping pit, an abyss on its way to becoming the size of Florida, exists where Imperial Oil -- the largest company in the world -- is using the wild Athabasca River to pressure-wash underground sand formations that they gouge up like honeycombs, using huge amounts of energy and clean fresh water to steam the oil from those sands. Native people in the area are dying from drastically abnormal incidences of rare cancers, and Imperial Oil is seeking to transport more giant mining equipment -- on trucks over two hundred feet long and three stories high-- up the Snake River to Lewiston, Idaho, along the same route where the Nez Perce tribe rescued Lewis and Clark and directed them to the Pacific, shortly before the U.S. betrayed the Nez Perce and chased them toward Canada before killing them. (Rick Bass)

Readership is highly dependent upon format and distribution as much as it is on content.

I am completely unflustered by whichever medium people choose to read my words. I'm just delighted they're reading them at all!

Come Clean with God It is a trustworthy statement, deserving full acceptance, that Christ Jesus came into the world to save sinners, among whom I am foremost of all. —1 TIMOTHY 1:15 NASB     One of the most watched TV series in recent years has been Donald Trump’s The Apprentice. The highlight of the program is when Mr. Trump delights in saying, “You’re fired!” This format has been so well received in America that other networks quickly introduced their versions. While we never want to hear our bosses utter, “You’re fired!” it could happen. But thankfully, we will only hear Jesus say, “You’re hired.” He gives us new life. But in order for us to be hired, we must humble ourselves and come clean with God. The apostle Paul had the same dilemma when he was challenged to deal with God’s grace. Some of these struggles can be found in his writings: • 1 Corinthians 15:9—I am the least of all the apostles. • Ephesians 3:8—I am the least deserving Christian there is. • 1 Timothy 1:15—I am the worst sinner of all. Paul was humbled by his past and wanted to change his direction in life. At one time in my life I had to make a decision. I had to let old things pass away and then turn to eternal values. As I faced decisions about how I lived and what I wanted, I had to ask, How do I come close to God? Examine Paul’s challenge in 1 Timothy 2:1-4: Here are my directions: Pray much for others; plead for God’s mercy upon them; give thanks for all he is going to do for them.   Pray in this way for kings and all others who are in authority over us, or are in places of high responsibility, so that we can live in peace and quietness, spending our time in godly living and thinking much about the Lord. This is good and pleases God our Savior, for he longs for all to be saved (TLB). Paul gives us three very valuable challenges and instructions: (1) pray for your needs, (2) pray for others, and (3) pray for thanksgiving. Notice that we are instructed to go from our internal needs first and then move to prayers for others and then thanksgiving to God. We are a very narcissistic

Little by little, writers develop their own styles, each as unique as a fingerprint. Traces of writers one reads in one's formative years remain, but the rhythm of each writer's thoughts...eventually becomes dominant. ... Yet every now and then stylistic copying recurs, always when the writer encounters some new and wonderful mode of expression that shows him a new way of seeing and saying.

In Edmund Gosse, Agnes Smedley, Geoffrey Wolff, we have a set of memoirists whose work records a steadily changing idea of the emergent self. But for each of them a flash of insight illuminating that idea grew out of the struggle to clarify one's own formative experience; and in each case the strength and beauty of the writing lie in the power of concentration with which this insight is pursued, and made to become the the writer's organizing principle. That principle at work is what makes a memoir literature rather than testament.

Music, in fact, plays a central role in the creation of identity and the formation of real communities. Musical memories are some of the strongest and most easily evoked. You can often remember events in your life by what songs were playing at the time. Simon Frith writes that music “provides us with an intensely subjective sense of being sociable. It both articulates and offers the immediate experience of collective identity. Music regularly sound tracks our search for ourselves and for spaces in which we can feel at home.”20 It

Personal essay writing that incites the mind and instigates personal growth involves examination and re-examination, a process of noticing and reflecting upon what a person perceives. Essayistic writing is an osmotic process wherein a person intuitively absorbs information and ideas, allows inchoate thoughts to gestate in the unconscious mind, and then consciously places the emergent strands of language and logic into an orderly and expressive format.

Working was a matter of pride and we did it because we wanted to, not because we had to. During our infrequent breaks, the reward was going to the small store we called a “geedunk.” Getting to it required a climb up the long ladder or wooden stairs from the dock area. The geedunk was owned by Ma & Pa McCloud and, although it wasn’t anything to write home about, it was a safe haven for underclassmen and had everything from lobster rolls to hot dogs and hamburgers. Having an old-fashioned soda fountain, some tables and booths, it was a place where we could sit and shoot the breeze, without being hassled by the upperclassmen. Although the Academy fed us well, I was at an age when I was always hungry and if I got some slack time from Bo’sun Haskell or Bill Cooms, and had the money, I’d climb the back ladder for some chow. Sometimes I’d even be able to afford a lobster roll, but they were few and far between. I always tried to stretch the break into at least twenty minutes. Our respite never seemed long enough, but just by looking at my hands you could tell that the work was hard and the day was long. Finally, when the working day was behind us, we usually just dragged ourselves back up the steep hill, forgetting the idea of marching in formation. Time was always a factor, so it was imperative that I get cleaned up and into the uniform of the day before the chow line closed.

The online encyclopedia, Wikipedia, has entries that tend to change rather often and is biased toward the religion of secularism. Even so, they write: Typically a steep-walled, narrow gorge is inferred to represent slow persistent erosion. But because many of the geological formations of Canyon Lake Gorge are virtually indistinguishable from other formations which have been attributed to long term (slower) processes, the data collected from Canyon Lake Gorge lends further credence to the hypothesis that some of the most spectacular canyons on Earth may have been carved rapidly during ancient megaflood events.7 Notice that the religion of secular humanism still reigns supreme in this quote. The encyclopedia refuses to give the possibility of a global Flood (Noah’s Flood) being the triggering factor (as well as subsequent factors resulting from the Flood) for many of the great canyon’s formations. Instead they appeal to “megafloods.” But regardless, major floods and other catastrophes destroy the idea of millions of years and long ages.

The proliferation of nominalizations in a discursive formation may be an indication of a tendency toward pomposity and abstraction.

Narrative writing represents a personal attempt to quantify and understand the psychological singularities behind the author’s personality traits as delineated by winnowed list of formative life experiences.

Business Plan Writers If you need a business plan in less than a week, our consulting service can help! Our business plan consultants will create a business strategy that will impress your investors. We looked at all the best business plan writing services and compared their features and pricing. Here is our in depth comparison and recommendations. A business plan writing service is a team of business experts that take your ideas & numbers, combine it with some of their own research and produce a professional, well-formatted business plan. We looked at the 3 top business plan writing services and compared their features and pricing. From start-up guidance to operations consulting, your company can become more successful with the support of one of our business consultants. First, let our team learn more about your business and listen to your needs. Then, we’ll identify key areas of opportunity, and help you to implement the right business plan and strategy for the growth of your company. It was a good startup. It had a good idea and, much more important, a market window, differentiation and experience to make it happen. One of my first engagements in business planning was as business plan consultant to a startup with three experienced founders. I met with them several times, listened always, and did their business plan. I built the financial model, wrote the text, and produced the document as a business plan document. But I wasn’t part of the team.

Customer Review 5.0 out of 5 starsA crime adventure story for the car enthusiast! ByAmazon Customeron March 9, 2016 Format: Kindle Edition This is a fast-paced story with surprising complexity from a first-time author. The story takes the reader on a thrilling journey across the globe that includes South Africa, Namibia, Singapore, Sri Lanka, England and France as a top racing driver finds himself inadvertently intertwined with criminals. The author's. attention to the detail of the cars in the story almost makes them characters themselves! He is clearly a car enthusiast with a real talent for crime writing. This book will appeal to anybody who loves a rollicking crime story, but especially to those who love their cars, motor racing and car chases!

Writing on this subject in 1904 Freud gave the reason for our unshakable conviction of freedom of choice. He remarked that it is far stronger with trivial decisions than with weighty ones; with the latter we commonly feel that our inner nature compels us, that we really have no alternative. With the former, however, for example the arbitrary choice of a number, we discern no motive and therefore feel it is an uncaused act on the part of our ego. If we now subject the example to a psycho-analysis we discover that the choice has after all been determined, but this time the motive is an unconscious one. We actually leave the matter to be decided by our unconscious mind and then claim the credit for the outcome. If unconscious motivation is taken into account, therefore, the rule of determinism is of general validity. Freud never wavered in this attitude and all his researches into the workings of the mind are entirely based on a belief in a regular chain of mental events. He would have endorsed the views of the great anthropologist Tylor that 'the history of mankind is part and parcel of the history of Nature, that our thoughts, will and actions accord with laws as definite as those which govern the motion of the waves'. When enumerating the essential elements of psycho-analytical theory, in 1924, he included 'the thorough-going meaningfulness and determinism of even the apparently most obscure and arbitrary mental phenomena.

Writing a novel is like a two-year love affair. The novel has a formation period ranging from instantaneous falling-in-love to decades. It then generally takes a year or two to write, during which it is consuming, riveting, and eventful. Once done, there is a recovery period. No other story can enter; one must use the hole left behind as a time of settling and reformation. When ready, we can move on, although, the essence of the experience will remain with us forever.

To exist as fully as the world expects one to, yet to remain absent inwardly: not equipped with words to articulate the secret I nevertheless understood it at a formative age. When I left the auditorium, I wondered when and where and how I had gone astray from that intuition. Why are we told to seek out people? In forming attachments, does one become more than oneself, or does one lose an essential means of preserving oneself? The danger of forming an attachment -- to a person, to a place, to a profession, to a cause, even to one's own life -- is that one can trick oneself into believing that an attachment has a reason, and worse, that the reason can be mistaken as a right.

His chosen format was the pamphlet: quick to write, cheap to print, cheap to buy, a form constantly in dialogue with itself, as pamphleteer responded to pamphleteer.