How To Punctuate Successive Quotes

Mastery requires endurance. Mastery, a word we don’t use often, is not the equivalent of what we might consider its cognate—perfectionism—an inhuman aim motivated by a concern with how others view us. Mastery is also not the same as success—an event-based victory based on a peak point, a punctuated moment in time. Mastery is not merely a commitment to a goal, but to a curved-line, constant pursuit.

Mastery requires endurance. Mastery, a word we don’t use often, is not the equivalent of what we might consider its cognate—perfectionism—an inhuman aim motivated by a concern with how others view us. Mastery is also not the same as success—an event-based victory based on a peak point, a punctuated moment in time. Mastery is not merely a commitment to a goal, but to a curved-line, constant pursuit.

I was lucky to receive it. Most rogue interns never get a second chance. And here it’s worth mentioning that I benefited from what was known in 2009 as being fortunate, and is now more commonly called privilege. It’s not like I flashed an Ivy League gang sign and was handed a career. If I had stood on a street corner yelling, “I’m white and male, and the world owes me something!” it’s unlikely doors would have opened. What I did receive, however, was a string of conveniences, do-overs, and encouragements. My parents could help me pay rent for a few months out of school. I went to a university lousy with successful D.C. alumni. No less significantly, I avoided the barriers that would have loomed had I belonged to a different gender or race. Put another way, I had access to a network whether I was bullshit or not. A friend’s older brother worked as a speechwriter for John Kerry. When my Crisis Hut term expired, he helped me find an internship at West Wing Writers, a firm founded by former speechwriters for Bill Clinton and Al Gore. In the summer of 2009, my new bosses upgraded me to full-time employee. Without meaning to, I had stumbled upon the chance to learn a skill. The firm’s partners were four of the best writers in Washington, and each taught me something different. Vinca LaFleur helped me understand the benefits of subtle but well-timed alliteration. Paul Orzulak showed me how to coax speakers into revealing the main idea they hope to express. From Jeff Shesol, I learned that while speechwriting is as much art as craft, and no two sets of remarks are alike, there’s a reason most speechwriters punctuate long, flowy sentences with short, punchy ones. It works.

11 — I have explained where Wagner belongs—not in the history of music. What does he signify nevertheless in that history? The emergence of the actor in music: a capital event that invites thought, perhaps also fear. In a formula: "Wagner and Liszt."— Never yet has the integrity of musicians, their "authenticity," been put to the test so dangerously. One can grasp it with one's very hands: great success, success with the masses no longer sides with those who are authentic,—one has to be an actor to achieve that!— Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilizations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavorable. The actor, alone, can still kindle great enthusiasm.— And thus it is his golden age which is now dawning—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he "redeemed" them from monotony .... The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to Riemann's [Hugo Riemann (1849-1919): music theoretician] services to rhythmic; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it "phrasing"). All these people, and I say it with gratitude, are the best, the most respectable among Wagner's admirers—they have a perfect right to honor Wagner. The same instinct unites them with one another; in him they recognize their highest type, and since he has inflamed them with his own ardor they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner's influence has really been beneficial. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and obtain from themselves, they had never extracted before Wagner's time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there: the most difficult things are expected, blame is severe, praise very scarce—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more "dramatic" effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of décadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, "self-denial." Neither taste, voices, nor gifts: Wagner's stage requires one thing only—Teutons! ... Definition of the Teuton: obedience and long legs ... It is full of profound significance that the arrival of Wagner coincides in time with the arrival of the "Reich": both actualities prove the very same thing: obedience and long legs.— Never has obedience been better, never has commanding. Wagnerian conductors in particular are worthy of an age that posterity will call one day, with awed respect, the classical age of war. Wagner understood how to command; in this, too, he was the great teacher. He commanded as the inexorable will to himself, as lifelong self-discipline: Wagner who furnishes perhaps the greatest example of self-violation in the history of art (—even Alfieri, who in other respects is his next-of-kin, is outdone by him. The note of a Torinese). 12 The insight that our actors are more deserving of admiration than ever does not imply that they are any less dangerous ... But who could still doubt what I want,—what are the three demands for which my my love of art has compelled me?

Persistence gets you experience. Persistence is a sentence of failures punctuated by the briefest of successes, and eventually those successes will start to propel you toward mastery. Not one success or two. But many, many, many. How do you keep persisting when life is filled with changing careers, relationships, responsibilities, economic crashes, historical upswings, and so many things that can get in your way? There’s no answer. That’s why it’s called persistence. Because no matter where you are, there you are, doing what you always did. Not letting any of the above stop you. Using all of the above in your mastery arsenal to propel you to higher successes (if sometimes also deeper failures) and then even higher successes. It’s painful and brutal and no fun and nobody will ever understand why. And when you achieve success people will act as if it’s the most natural thing in the world to have happened to you.

Keith came from behind his desk and put his arm around my shoulder. "Calm down, Marco,” he said, leading me to the more comfortable love seat. “There's an un-blending process happening here. The various defender parts have a positive intention in defending against the pain from the abuse. It just happens to be in an incorrect manner.” Keith returned to his seat and leaned back in his chair. He took a deep breath. “When you're concentrating on one particular personality trait, the other parts work in conjunction, in different combinations with each other. They try to prevent you from getting to the core of the respective trait and having to relive the pain and shame from the abuse.” He leaned forward, punctuating his words. “The key ... to un-blending ... the defender parts ... successfully ... is to understand each attribute ... as it steps in to do its job. They protect you from the harmful emotions that are associated from the abuse.” Gazing at me over his wire-rimmed glasses, he said matter-of-factly, “Getting the defender parts to step aside so you can concentrate on the characteristic you want to address is the un-blending process. Once you are able to get through all the various defensive parts that get in the way of dealing with the core part, the true self is now able to answer the part in question in a divine loving place." I sat, pulled on my ear while thinking that over for a moment. "So, the true self is present to bear witness to all the feelings, beliefs, memories, and experiences of the inadequate part." Keith smiled. He leaned forward, resting his elbows on the desktop, his chin perched atop his clasped hands. "In essence, the past is being stirred up so all the associated burdens, pressures, and pain can be released and relieved. Following this unburdening process, the respective part can be cleansed. It can then be recomposed in a more constructive manner—similar to wiping a virus-infected computer hard drive clean ... then reprogramming it with anti-virus protected software." I stood up. With a few deep diaphragmatic breaths, I cleared my mind. While attempting to decipher what part came in and threw me off course, I sucked in my lips, vigorously shaking my head. Skepticism came in as a defensive part. I got back in Keith’s face. “This psychological un-blending is full of shit. The defense against the abuse is another trick to get me to believe that this crap actually works.” I flung my hands in the air. “How is this going to unburden the weight I carry on my shoulders every moment of the day? All my deficient personality traits are a result of me being a dirtball loser.” I shook my head. “I’m not worthy of the slightest bit of solace or happiness that this punishment called life has to offer.” Keith took a deep breath in and a longer breath out. "Marco, you're a miracle. A remarkable good-hearted human being. You're the most determined individual that I've come across in my thirty years of practice.

Kewauna traced a lot of her current academic difficulties to sixth grade, when, because of her poor grades and bad behavior, she was placed in a remedial class called WINGS. Officially, WINGS stood for Working Innovatively Now for Graduation Success, but Kewauna told me that at Plymouth, the joke was that it was called WINGS because the kids used to sit in class all day just eating chicken wings. That was an exaggeration, she said—but not much of one. “We never did anything in that class,” she said. “It was for kids who needed help, but they didn’t give us any help. We didn’t read. We didn’t study. We just played video games and watched movies and ate popcorn. It was fun, but that’s why I’m struggling with the ACT now. That’s why I’m getting denied from scholarships. Those two years were when we were supposed to be learning punctuation, commas, metaphors, all that stuff. When they bring it up today, they say, ‘Remember when we learned this?’ And I’m like, ‘No, I don’t! I never learned any of that.

Set foot in his classroom, and you’ll see that he hasn’t quite given up on these dreams. True to his compulsive nature and eclectic taste, he punctuates his courses with entertaining routines to keep his students engaged, playing four songs at the start of each class and tossing candy bars to the first students who shout out the correct answers to music trivia. This is how a poster of a rapper ended up on his wall. “If you want to engage your audience, if you really want to grab their attention, you have to know the world they live in, the music they listen to, the movies they watch,” he explains. “To most of these kids, accounting is like a root canal. But when they hear me quote Usher or Cee Lo Green, they say to themselves, ‘Whoa, did that fat old white-haired guy just say what I thought he said?’ And then you’ve got ’em.

I love you, Ellen Markham.” He kissed her cheek. “When are you going to tell me you love me?” “How can you be sure I do?” Val hiked a leg across her thighs. “First, you are sending me away. This is proof positive you love me, for you are trying to protect me from some sort of grave peril only you can perceive.” Ellen’s breathing hitched, and Val knew his guess had been right. Gratified by that success, he marched forward. “Second”—he slipped a hand over her breast—“you make love with me, Ellen. You hold nothing back, ever, and are so passionate I am nigh mindless with the pleasure of our intimacy.” He punctuated this sentiment by dipping his head and suckling gently on her nipple. She groaned and arched up toward him. “I make my point.” Val smiled in the dark and raised his head. “Third, there is the way I make love with you.” “And how is that?” She sounded more breathless than curious. Val shifted his body over hers. “As if I trust you. I know you are human, and you will do what you think best, but you do it with my interests in mind, Ellen. I don’t have to watch myself with you, because you love me, truly. I know it. It isn’t the way my siblings love me, though they are dear. It isn’t how my parents love me, which is more instinct than insight. It isn’t the way my friends love me, though they are both dear and insightful.” “So how is it?” Ellen asked, slipping her legs apart to cradle him intimately. “It’s the way I want and need to be loved,” Val said quietly, resting his weight against the soft, curving length of her. “It’s perfect.” “But I am sending you away,” Ellen reminded him, her fingers at his nape. Val levered up on his forearms and began to nudge lazily at her sex with his erection. “So you’re running out of time to tell me the things that matter, aren’t you?” If she was going to use words to answer, Val forestalled her reply by kissing her within an inch of her soul. Her response was made with her body, and to Val’s mind she told him, as emphatically as any woman ever told her man, she did, indeed, unequivocally love him. And always would. “What

Optimizing London Park Lane City Apartments Maintenance For Greater Success Most imperative for any new site is drawing in guests. Ensure that you have designed your website well and that you use search engine advertising to bring in visitors. There're a number of internet marketing tools available to you; make use of them to get the very best results. Here are some great recommendations on how to make a booming website. The most popular websites are well designed in appearance in addition to content. The experts advise against getting too creative with oddball fonts or crazy color schemes, or including so many graphics that the message gets lost in the confusion. Do not depend on your own eyes to catch blunders in spelling, punctuation, or grammar. Even minor blunders in grammar, spelling, or punctuation make people question your professionalism and credibility. If your website has been designed to run successfully on all different browsers then your online business will likely be even more fruitful. Maximizing your traffic can be achieved if your online site is accessed on all devices on any browser. You can lose a lot of visitors if your online site is just compatible with a select few internet browsers. Ensure that you address the issue of browser compatibility problems with your website designer, who will probably be your best friend in fixing this issue. If your pages do not load quickly, you'll have a tough time retaining visitors. Visitors have a relatively short attention span; on average, studies show that you have only five to ten seconds to hook their attention. It's important to do everything you can to effectively ensure quick load times, like compressing images and not using too many of them. Consider using a dedicated server to give your website more speed and precision. Use multiple domains to get a better ranking in search engine results. Using the proper search phrases is essential to driving visitors to your website through searches. The more search phrases are in your domain name, the more visitors your website will receive. Additionally, put copy on the page that is directly related to the search in order to maximize your numbers. London park lane city apartmentss require a high rate of speed in order to be used effectively. The operating speed of your webpage can be improved by using a high-quality hosting site. You can increase your website's speed and functionality by using CSS. The most vital thing to ask a potential designer for your website is how much they know about making your website faster. Choose key phrases that correlate closely with the content on your website. If you emphasize key phrases that do not align with your webpage, you may very well draw visitors you do not want. A poor choice in key phrases could damage your website's reputation. Ask a professional in the internet presence industry to critique your choice of key phrases to ensure you have the very best possible use. Park Lane City Apartments 92 Middlesex St London E1 7EZ 44 20 7377 1763

From his headquarters in Los Angeles, Bob Lorsch had entered the prepaid calling card space and built SmarTalk into a success. I was a VP at Salomon at the time and had heard stories about how crazy and fascinating Lorsch was, so I agreed to work with my colleague Mark Davis on a SmarTalk equity offering a year or so after the company’s IPO. We met at their Los Angeles offices at lunchtime. Lorsch burst into the room like a bad caricature of Danny DeVito, and even though I’d been warned that he was an unconventional CEO, I still wasn’t prepared for the encounter. We had put together the standard detailed presentation that analyzed the state of the public equity markets, how the SmarTalk stock had been performing, who owned it, et cetera. A young Salomon analyst who had been pulling all-nighters to assemble the books sat in a chair near the door. Mark and I passed around the presentation books. “So we’ve prepared a—” I started. “Just tell me,” Lorsch interjected. “Do we have Grubman or not?” Jack Grubman, Salomon’s famed equity analyst, had previously endorsed the SmarTalk IPO with a buy rating. “Yes,” Mark said. “We have Jack. We talked to him prior to the meeting and confirmed that he’ll continue to cover the company and support the offering.” “Then you’re hired,” Lorsch said with a smile, pushing his unopened book to the center of the table. “Let’s eat.” It seemed reckless to have made his decision on so little information, and I could only imagine how the analyst kid near the door felt, sleep-deprived and probably proud of his hard work, only to see the book tossed aside without so much as a cracking of the spine. While we ate the catered lunch that was delivered to the conference room, Mark mentioned that I was in the midst of planning my wedding for that summer. “Don’t get married!” Lorsch advised me. “Terrible, terrible idea.” He described a few of his own ill-fated unions, dropping in crude one-liners to punctuate the stories: “Why buy when you can rent? . . . If it flies, floats, or fucks, don’t buy it! . . .” Despite

Contrary to popular belief, an “overnight success” has often been years in the making. In the same way that we’re only able to see the tip of the iceberg that’s above water, the general public really only gets to see the “overnight” part of a success story. A truly successful project generally takes years to build and involves a series of smaller successes punctuated by a few failures. Eventually, a critical mass of attention is reached, and the project gets launched into the mainstream, where it circulates widely, and its identity is cemented in its current form—a form that, intentionally or otherwise, rarely pays obvious homage to the years of blood, sweat, tears, and more rudimentary sounds that engendered it.

In The Success System That Never Fails, W. Clement Stone advises that to sound enthusiastic you must act enthusiastic. If you act enthusiastic your emotions will follow and soon enough you will feel enthusiastic. He offers the following specific advice from his own experience: Talk loudly! This is particularly helpful if you are emotionally upset or if you have “butterflies in your stomach” when you stand before an audience. Talk rapidly! Your mind functions more quickly than you do. Emphasize! Stress words that are important to you or your listeners—a word like you, for example. Hesitate! Talk rapidly, but hesitate where there would be a period, comma, or other punctuation mark in the written words. When you employ the dramatic effect of silence, the mind of the person who is listening catches up with the thoughts you have expressed. Hesitation after a word you wish to emphasize accentuates the emphasis. Keep a smile in your voice! This eliminates gruffness as you talk loudly and rapidly. You can put a smile in your voice by putting a smile on your face, a smile in your eyes. Modulate! This is important if you are speaking for a long period. Remember, you can modulate both pitch and volume. You can speak loudly, but intermittently change to a conversational tone and a lower pitch if you wish. [This is the end of the excerpt from The Success System That Never Fails. The following resumes from How to Sell Your Way Through Life.]

Your success as an investor will be determined by how you respond to punctuated moments of terror, not the years spent on cruise control.

Hell has had an upgrade. We’re now in the era of Hell 2.0. God sentences the wicked to an eternity on Tinder, the worst punishment imaginable, a world of limitless suffering, of boredom, punctuated by all-too-brief glimpses of hope, soon dashed.