Paragraph Best Quotes

since feeling is first who pays any attention to the syntax of things will never wholly kiss you; wholly to be a fool while Spring is in the world my blood approves, and kisses are a far better fate than wisdom lady i swear by all flowers. Don't cry --the best gesture of my brain is less than your eyelids' flutter which says we are for eachother: then laugh, leaning back in my arms for life's not a paragraph And death i think is no parenthesis

It was terrible and awful when someone left you. You could move on, do the best you could, but like Eli had said, an ending was an ending. No matter how many pages of sentences and paragraphs of great stories led up to it, it would always have to have the last word.

Being a nerd, which is to say going too far and caring too much about a subject, is the best way to make friends I know. For me, the spark that turns an acquaintance into a friend has usually been kindled by some shared enthusiasm . . . At fifteen, I couldn't say two words about the weather or how I was doing, but I could come up with a paragraph or two about the album Charlie Parker with Strings. In high school, I made the first real friends I ever had because one of them came up to me at lunch and started talking about the Cure.

The books we enjoy as children stay with us forever -- they have a special impact. Paragraph after paragraph and page after page, the author must deliver his or her best work.

I learned a lot from the stories my uncle, aunts and grandparents told me: that no one is perfect but most people are good; that people can’t be judged by their worst or weakest moments; that harsh judgements can make hypocrites of us all; that a lot of life is just showing up and hanging on; that laughter is often the best, and sometimes the only response to pain. Perhaps most important, I learned that everyone has a story – of dreams and nightmares, hope and heartache, love and loss, courage and fear, sacrifice and selfishness. All my life I’ve been interested in other people’s stories. I wanted to know them, understand them, feel them. When I grew up into politics, I always felt the main point of my work was to people a chance to have better stories. - Page 15, Paragraph 5, ‘My Life’ by Bill Clinton. –Hard cover version-

There’s this feeling you get when you write a really good, true sentence or paragraph or scene, and it makes you feel invincible, as if you can do anything. It feels like a superpower, and in that moment no one can touch you. You’re the best there is. That’s how you make me feel, Jeremiah Crew. Like I’m the best there is.

wholly to be a fool while Spring is in the world my blood approves, and kisses are a better fate than wisdom lady i swear by all flowers. Don't cry -the best gesture of my brain is less than your eyelid's flutter which says we are for each other: then laugh, leaning back in my arms for life's not a paragraph And death i think is no parenthesis

Miss Elizabeth Mapp might have been forty, and she had taken advantage of this opportunity by being just a year or two older. Her face was of high vivid colour and was corrugated by chronic rage and curiosity; but these vivifying emotions had preserved to her an astonishing activity of mind and body, which fully accounted for the comparative adolescence with which she would have been credited anywhere except in the charming little town which she had inhabited so long. Anger and the gravest suspicions about everybody had kept her young and on the boil.

Whetstone is providing a social service by allowing dozens of overeducated postgrads to do what they do best - sit around all day, read, smoke, moan, drink coffee, write one-paragraph essays - and get paid for it. It's like university, except without the cheap beer and bad sex.

Sometimes I think of my life as a great big story. Each silly thing I do is a new paragraph. And each morning I turn to the next chapter. It's fun to think of life that way, each day being an adventure of the grandest proportions. If I can give you any advice, my dear, and I am unworthy, at best, to be doling out such wisdom, I might just say this: Whenever you're down on your luck, and when things aren't going the way you like, remember that you are the author of your own story. You can write it any way you like, with anyone you choose. And it can be a beautiful story or a sad and tragic one. You get to pick.

People say, when I complain of being less lively, less energetic, less high - spirited, "Well, now you're just like the rest of us," meaning, among other things to be reassuring. But I compare myself with my former self, not with the others. Not only that, I tend to compare my current self with the best I have been, which is when I have been mildly manic. When I am my present "normal" self, I am far removed from when I have been my liveliest, most productive, most intense, most outgoing and effervescent. In short, for myself, I am a hard act to follow. And I miss Saturn very much." An Unquiet Mind by Kay Redfield Jamison page 92, paragraph 1 sentence 2 -4 and paragraph 2

Life is a cracked surface at best. Fiction is a nice edifice. / every word/sentence/paragraph gives a writer an opportunity to reinforce or deliberately crack the edifice by screwing with meaning, structure, grammar, the fourth wall, etc. / different types and degrees of cracking produce different arrangements of order and chaos.

Why read at all? Why does anyone do it in the first place? Why do I? There is the element of escape, which is real enough—that’s a real-enough comfort. But also we read as a way to come to grips with the randomness of our being alive. To read a book by an observant, sympathetic mind is to see the human landscape in all its odd detail, and the reader says to him or herself, Yes, that’s how it is, only I didn’t know it to describe it. There’s a fraternity achieved, then: we are not alone. Sometimes an author’s voice is familiar to us from the first page, first paragraph, even if the author lived in another country, in another century.” Bob held up his stack of Russians. “How can you account for this familiarity? I do believe that, at our best, there is a link connecting us.

This was no coincidence. The best short stories and the most successful jokes have a lot in common. Each form relies on suggestion and economy. Characters have to be drawn in a few deft strokes. There's generally a setup, a reveal, a reversal, and a release. The structure is delicate. If one element fails, the edifice crumbles. In a novel you might get away with a loose line or two, a saggy paragraph, even a limp chapter. But in the joke and in the short story, the beginning and end are precisely anchored tent poles, and what lies between must pull so taut it twangs.

A book unwritten is a delightful universe of infinite possibilities. Set down one word, however, and immediately it becomes earthbound. Set down one sentence and it's halfway to being just like every other bloody book that's sver been written. But the best must never be allowed to drive out the good. In the absence of genius there is always craftmanship. One can at least try to write something that will encourage them, after reading the first paragraph, to take a look at the second, and then the third.

The worst thing about knowing that Gary Fairchild had been dead a month was seeing him every day at work.

It’s easy to write a sentence, paragraph, or book. What’s difficult is writing the best sentence, paragraph, or book, you can write.

I think like an academic egghead, believing that if I write enough paragraphs about a scary subject, give enough lectures about it, it will give up and go away quietly. And if everyone took enough classes about the biology of violence and studied hard, we’d all be able to take a nap between the snoozing lion and lamb. Such is the delusional sense of efficacy of a professor.

-the best gesture of my brain is less than your eyelids' flutter which says we are for each other: then laugh, leaning back in my arms for life's not a paragraph And death i think is no parenthesis

You've finally written it? That's great! She asked me if I'd read to her from it and I said no. Just a paragraph? No. A sentence? No. Half a sentence! One word? No. A letter? I said okay, that I would read the first letter of the novel. She smiled and closed her eyes and sort of burrowed into her bed like she was preparing herself for a delicious treat. I asked her if she was ready and she nodded, still smiling, eyes closed. I stood and cleared my throat and paused and then began to read. L. She sighed and lifted her chin to the ceiling, opened her eyes and told me it was beautiful, BEAUTIFUL, and true, the best thing I'd written yet.

My name is Mary Katherine Blackwood. I am eighteen years old, and I live with my sister Constance. I have often thought that with any luck at all I could have been born a werewolf, because the two middle fingers on both my hands are the same length, but I have had to be content with what I had. I dislike washing myself, and dogs, and noise. I like my sister Constance, and Richard Plantagenet, and Amanita phalloides, the death-cap mushroom. Everyone else in my family is dead.

Ecclesiastes This is a book of the Old Testament. I don't believe I've ever read this section of the Bible - I know my Genesis pretty well and my Ten Commandments (I like lists), but I'm hazy on a lot of the other parts. Here, the Britannica provides a handy Cliff Notes version of Ecclesiastes: [the author's] observations on life convinced him that 'the race is not swift, nor the battle strong, nor bread to the wise, nor riches to the intelligent, nor favor to the men of skill; but time and chance happen to them all' (9:11). Man's fate, the author maintains, does not depend on righteous or wicked conduct but is an inscrutable mystery that remains hidden in God (9:1). All attempts to penetrate this mystery and thereby gain the wisdom necessary to secure one's fate are 'vanity' or futile. In the face of such uncertainty, the author's counsel is to enjoy the good things that God provides while one has them to enjoy. This is great. I've accumulated hundreds of facts in the last seven thousand pages, but i've been craving profundity and perspective. Yes, there was that Dyer poem, but that was just cynical. This is the real thing: the deepest paragraph I've read so far in the encyclopedia. Instant wisdom. It couldn't be more true: the race does not go to the swift. How else to explain the mouth-breathing cretins I knew in high school who now have multimillion-dollar salaries? How else to explain my brilliant friends who are stuck selling wheatgrass juice at health food stores? How else to explain Vin Diesel's show business career? Yes, life is desperately, insanely, absurdly unfair. But Ecclesiastes offers exactly the correct reaction to that fact. There's nothing to be done about it, so enjoy what you can. Take pleasure in the small things - like, for me, Julie's laugh, some nice onion dip, the insanely comfortable beat-up leather chair in our living room. I keep thinking about Ecclesiastes in the days that follow. What if this is the best the encyclopedia has to offer? What if I found the meaning of life on page 347 of the E volume? The Britannica is not a traditional book, so there's no reason why the big revelation should be at the end.

(Paragraph 128) Since many people may find paradoxical the notion that a large number of good things can add up to a bad thing, we illustrate with an analogy. Suppose Mr. A is playing chess with Mr. B. Mr. C, a Grand Master, is looking over Mr. A’s shoulder. Mr. A of course wants to win his game, so if Mr. C points out a good move for him to make, he is doing Mr. A a favor. But suppose now that Mr. C tells Mr. A how to make ALL of his moves. In each particular instance he does Mr. A a favor by showing him his best move, but by making ALL of his moves for him he spoils his game, since there is not point in Mr. A’s playing the game at all if someone else makes all his moves. The situation of modern man is analogous to that of Mr. A. The system makes an individual’s life easier for him in innumerable ways, but in doing so it deprives him of control over his own fate.

is time that we started reclaiming the idea of retirement. Retirement is not the finish line; it is the new beginning. Retirement is not your last paragraph; it is the long, rich, rewarding final chapters of your own book—as many pages as you can dream up. Retirement is not the end of your life; it is the beginning of the best years of your life! But

It is the simplest phrase you can imagine,” Favreau said, “three monosyllabic words that people say to each other every day.” But the speech etched itself in rhetorical lore. It inspired music videos and memes and the full range of reactions that any blockbuster receives online today, from praise to out-of-context humor to arch mockery. Obama’s “Yes, we can” refrain is an example of a rhetorical device known as epistrophe, or the repetition of words at the end of a sentence. It’s one of many famous rhetorical types, most with Greek names, based on some form of repetition. There is anaphora, which is repetition at the beginning of a sentence (Winston Churchill: “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields”). There is tricolon, which is repetition in short triplicate (Abraham Lincoln: “Government of the people, by the people, and for the people”). There is epizeuxis, which is the same word repeated over and over (Nancy Pelosi: “Just remember these four words for what this legislation means: jobs, jobs, jobs, and jobs”). There is diacope, which is the repetition of a word or phrase with a brief interruption (Franklin D. Roosevelt: “The only thing we have to fear is fear itself”) or, most simply, an A-B-A structure (Sarah Palin: “Drill baby drill!”). There is antithesis, which is repetition of clause structures to juxtapose contrasting ideas (Charles Dickens: “It was the best of times, it was the worst of times”). There is parallelism, which is repetition of sentence structure (the paragraph you just read). Finally, there is the king of all modern speech-making tricks, antimetabole, which is rhetorical inversion: “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” There are several reasons why antimetabole is so popular. First, it’s just complex enough to disguise the fact that it’s formulaic. Second, it’s useful for highlighting an argument by drawing a clear contrast. Third, it’s quite poppy, in the Swedish songwriting sense, building a hook around two elements—A and B—and inverting them to give listeners immediate gratification and meaning. The classic structure of antimetabole is AB;BA, which is easy to remember since it spells out the name of a certain Swedish band.18 Famous ABBA examples in politics include: “Man is not the creature of circumstances. Circumstances are the creatures of men.” —Benjamin Disraeli “East and West do not mistrust each other because we are armed; we are armed because we mistrust each other.” —Ronald Reagan “The world faces a very different Russia than it did in 1991. Like all countries, Russia also faces a very different world.” —Bill Clinton “Whether we bring our enemies to justice or bring justice to our enemies, justice will be done.” —George W. Bush “Human rights are women’s rights and women’s rights are human rights.” —Hillary Clinton In particular, President John F. Kennedy made ABBA famous (and ABBA made John F. Kennedy famous). “Mankind must put an end to war, or war will put an end to mankind,” he said, and “Each increase of tension has produced an increase of arms; each increase of arms has produced an increase of tension,” and most famously, “Ask not what your country can do for you; ask what you can do for your country.” Antimetabole is like the C–G–Am–F chord progression in Western pop music: When you learn it somewhere, you hear it everywhere.19 Difficult and even controversial ideas are transformed, through ABBA, into something like musical hooks.

As I will be saying over and over again in this rambling volume, I am not dismayed by ultimate mysteries. What is the difference between something and nothing? Why is there something rather than nothing? Should the something of which the universe is fundamentally composed be regarded as like atoms or be regarded as more like a mind? Or is the substratum best thought of as something neutral: material when structured one way, mental when structured another way? I have no desire even to try to answer such questions. I find nothing absurd about the notion that the external world is the mind of God, nor do I find it repulsive to suppose that God can create a world of substance, utterly unlike ideas in God’s mind or anybody’s mind, that can exist whether God thinks about it or not. How can I, a mere mortal slightly above an ape in intelligence, know what it means to say that something is “created” by God, or “thought” by God? One can play endless metaphysical games with such phrases,3 but I can no more grasp what is behind such questions than my cat can understand what is behind the clatter I make while I type this paragraph.

post real information. Perhaps you’ll mention the literati you met at Book Expo America, the latest insight you gleaned from Bob Mayer’s blog Write It Forward, the book festival where you’ll be a presenter, or a courageous new book a colleague is publishing. The news can’t always be about you, right? But your posts can and should be informative and interesting, like the first paragraph of a Wall Street Journal article.

I think of her as a best seller, handwritten by God on pages made from his magnificent robe. her choices are every word. her eyes are every page. her heart is an untold story. each chapter may have missing paragraphs, but the further you get inside the more she will become easily comprehended. I advise that you take your time with her; learning of her has to be a marathon or you'll sprint past some important details.

I think of her as a best seller, handwritten by God on pages made from his magnificent robe. her choices are every word. her eyes are every page. her heart is an untold story. each chapter may have missing paragraphs, but the further you get inside the more she will become easily comprehended. I advise that you take your time with her; learning of her has to be a marathon or you'll sprint past some important details.

The news that she had gone of course now spread rapidly, and by lunch time Riseholme had made up its mind what to do, and that was hermetically to close its lips for ever on the subject of Lucia. You might think what you pleased, for it was a free country, but silence was best. But this counsel of perfection was not easy to practice next day when the evening paper came. There, for all the world to read were two quite long paragraphs, in "Five o'clock Chit-Chat," over the renowned signature of Hermione, entirely about Lucia and 25 Brompton Square, and there for all the world to see was the reproduction of one of her most elegant photographs, in which she gazed dreamily outwards and a little upwards, with her fingers still pressed on the last chord of (probably) the Moonlight Sonata. . . . She had come up, so Hermione told countless readers, from her Elizabethan country seat at Riseholme (where she was a neighbour of Miss Olga Bracely) and was settling for the season in the beautiful little house in Brompton Square, which was the freehold property of her husband, and had just come to him on the death of his aunt. It was a veritable treasure house of exquisite furniture, with a charming music-room where Lucia had given Hermione a cup of tea from her marvellous Worcester tea service. . . . (At this point Daisy, whose hands were trembling with passion, exclaimed in a loud and injured voice, "The very day she arrived!") Mrs. Lucas (one of the Warwickshire Smythes by birth) was, as all the world knew, a most accomplished musician and Shakespearean scholar, and had made Riseholme a centre of culture and art. But nobody would suspect the blue stocking in the brilliant, beautiful and witty hostess whose presence would lend an added gaiety to the London season.

This novel humbled me in a number of ways. I was reading manuscripts for a magazine called Accent, and had in front of my prose-bleary eyes a piece called “A Horse in a London Flat.” And I was in a doze. More dreariness. More pretension. When will it all end? How shall I phrase my polite rejection? Something, I don’t remember what it was now, but something ten pages along woke me up, as if I had nearly fallen asleep and toppled from my chair. Perhaps it was the startle of an image or the rasp of a line. I went back to the beginning, and soon realized that I had let my eyes slide over paragraphs of astonishing prose without responding to them or recognizing their quality. That was my first humiliation. I then carried the manuscript to my fellow editors, as if I were bringing the original “good news,” only to learn that they were perfectly familiar with the work of John Hawkes and admired it extravagantly. Hadn’t I read The Cannibal, or The Goose on the Grave? Where had I been! What a dummy! (Though my humiliation would have been worse if I had written that rejection.) A number of years had to erode my embarrassment before I could confess that I had not spotted him at once (as I initially pretended). What a dummy indeed. The Lime Twig is a beautiful and brutal book, and when it comes to the engravement of the sentence, no one now writing can match him.

I x-ray sentences; I claw away a paragraph and reshape it as carefully as I can, and test it again, and peer into the pages to see if things in there are any clearer, any more resolved. Often they are not. But to write a story is to inch backward and forward along a series of planks you are cantilevering out into the darkness, plank by plank, inch by inch, and the best you can hope is that each day you find yourself a little bit farther out over the abyss.

Rilke had a line...something about fishes. Or was that by someone else? Too much had already been written, too many pages, too many words. Maybe writers would be better to just stop, himself included, so that people could catch up. Maybe one day they'd reach a limit. No more books would be able to fit into the universe's bookshelves, not another paragraph squeezed in, not even a punctuation mark. Writers would have to find something else to do. It might be the best thing.

What we feel and how we feel is far more important than what we think and how we think. Feeling is the stuff of which our consciousness is made, the atmosphere in which all our thinking and all our conduct is bathed. All the motives which govern and drive our lives are emotional. Love and hate, anger and fear, curiosity and joy are the springs of all that is most noble and most detestable in the history of men and nations. The opening sentence of a sermon is an opportunity. A good introduction arrests me. It handcuffs me and drags me before the sermon, where I stand and hear a Word that makes me both tremble and rejoice. The best sermon introductions also engage the listener immediately. It’s a rare sermon, however, that suffers because of a good introduction. Mysteries beg for answers. People’s natural curiosity will entice them to stay tuned until the puzzle is solved. Any sentence that points out incongruity, contradiction, paradox, or irony will do. Talk about what people care about. Begin writing an introduction by asking, “Will my listeners care about this?” (Not, “Why should they care about this?”) Stepping into the pulpit calmly and scanning the congregation to the count of five can have a remarkable effect on preacher and congregation alike. It is as if you are saying, “I’m about to preach the Word of God. I want all of you settled. I’m not going to begin, in fact, until I have your complete attention.” No sermon is ready for preaching, not ready for writing out, until we can express its theme in a short, pregnant sentence as clear as crystal. The getting of that sentence is the hardest, most exacting, and most fruitful labor of study. We tend to use generalities for compelling reasons. Specifics often take research and extra thought, precious commodities to a pastor. Generalities are safe. We can’t help but use generalities when we can’t remember details of a story or when we want anonymity for someone. Still, the more specific their language, the better speakers communicate. I used to balk at spending a large amount of time on a story, because I wanted to get to the point. Now I realize the story gets the point across better than my declarative statements. Omit needless words. Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell. Limits—that is, form—challenge the mind, forcing creativity. Needless words weaken our offense. Listening to some speakers, you have to sift hundreds of gallons of water to get one speck of gold. If the sermon is so complicated that it needs a summary, its problems run deeper than the conclusion. The last sentence of a sermon already has authority; when the last sentence is Scripture, this is even more true. No matter what our tone or approach, we are wise to craft the conclusion carefully. In fact, given the crisis and opportunity that the conclusion presents—remember, it will likely be people’s lasting memory of the message—it’s probably a good practice to write out the conclusion, regardless of how much of the rest of the sermon is written. It is you who preaches Christ. And you will preach Christ a little differently than any other preacher. Not to do so is to deny your God-given uniqueness. Aim for clarity first. Beauty and eloquence should be added to make things even more clear, not more impressive. I’ll have not praise nor time for those who suppose that writing comes by some divine gift, some madness, some overflow of feeling. I’m especially grim on Christians who enter the field blithely unprepared and literarily innocent of any hard work—as though the substance of their message forgives the failure of its form.

Subliminal cuing and unconscious priming influence numerous behaviors unrelated to this book. People think potato chips taste better when hearing crunching sounds. We like a neutral stimulus more if, just before seeing it, a picture of a smiling face is flashed for a twentieth of a second. The more expensive a supposed (placebo) painkiller, the more effective people report the placebo to be. Ask subjects their favorite detergent; if they’ve just read a paragraph containing the word “ocean,” they’re more likely to choose Tide—and then explain its cleaning virtues.6

Oh, but it is!" said Dot. "You see, I've taken many, many writing workshops. You'd be surprised how many." No I wouldn't, thought Amy, although she would be surprised if any of the other classes had actually encouraged critical reading. Dot was ideal prey for the sort of writing guru who praised everybody's use of metaphor whenever a metaphor, however exhausted, was actually used. No doubt Dot had been told more than once that her work was publishable, and Dot, hearing identical assurances given to others, had believed in her heart of hearts that she was the only one not being patronized. There was a local industry devoted to Dots: weekend writing conferences, during which the Dots could pay extra to have a real-live literary agent actually read one of their paragraphs; expensive weeklong retreats in Anza-Borrego or Julian or Ensenada, where the Dots could locate their inner voices; and at least three annual fiction-writing contests which the Dots could enter at will, for a hefty fee. Amy was willing to bet that in Dot's living room an entire wall was devoted to framed literary awards, including Third Runner-Up Best Unpublished Romance Manuscript.

In a meeting, the Estonian president, Toomas Ilves, insisted to Obama that we had to take Putin at his word if he said he would take Kiev. Ilves had an academic manner, and he described methodically how Russia was using fake news and disinformation to turn Estonia’s Russian-speaking minority against Europe. Speaking in paragraphs, he tied together Putin, the emergence of right-wing political parties in Europe, and ISIL. These are people, he said, who fundamentally reject the legitimacy of the liberal order. They are looking for another form of legitimacy—one that is counter to our notion of progress. After the meeting, I joined Obama for lunch and told him I thought Ilves did the best job I’d heard of tying these disparate threads together, explaining a theory of the forces at work in the world without having to rely on a construct that roots them all in American foreign policy. Without missing a beat, Obama said, “That’s the same dynamic as with the Tea Party. I know those forces because my presidency has bumped up against them.” He paused. “It’s obviously manifest in different ways, but people always look to tear down an ‘other’ when they need legitimacy—immigrants, gays, minorities, other countries.

Sometimes I think of my life as a great big story. Each silly thing I do is a new paragraph. And each morning I turn to the next chapter. It’s fun to think of life that way, each day being an adventure of the grandest proportions. If I can give you any advice, my dear, and I am unworthy, at best, to be doling out such wisdom, I might just say this: Whenever you’re down on your luck, and when things aren’t going the way you like, remember that you are the author of your own story. You can write it any way you like, with anyone you choose. And it can be a beautiful story or a sad and tragic one. You get to pick.

For all their shared boundaries, the experiences of fiction and nonfiction are fundamentally different. In the traditional short story or novel, a fictive space is opened up that allows you the reader to disappear into the action, even to the point of forgetting you are reading. In the best nonfiction, it seems to me, you’re always made aware that you are being engaged with a supple mind at work. The story line or plot in nonfiction consists of the twists and turns of a thought process working itself out. This is certainly true for the essay, but it is also true, I think, for classic nonfiction in general, be it Thucydides or Pascal or Carlyle, which follows an organizing principle that can be summarized as “tracking the consciousness of the author.” What makes me want to keep reading a nonfiction text is the encounter with a surprising, well-stocked mind as it takes on the challenge of the next sentence, paragraph, and thematic problem it has set for itself. The other element that keeps me reading nonfiction happily is an evolved, entertaining, elegant, or at least highly intentional literary style. The pressure of style should be brought to bear on every passage. “Consciousness plus style equals good nonfiction” is one way of stating the formula.

This was no coincidence. The best short stories and the most successful jokes have a lot in common. Each form relies on suggestion and economy. Characters have to be drawn in a few deft strokes. There's generally a setup, a reveal, a reversal, and a release. The structure is delicate. If one element fails, the edifice crumbles. In a novel you might get away with a loose line or two, a saggy paragraph, even a limp chapter. But in the joke and in the short story, the beginning and end are precisely anchored tent poles, and what lies between must pull so taut it twangs. I'm not sure if there is any pattern to these selections. I did not spend a lot of time with those that seemed afraid to tell stories, that handled plot as if it were a hair in the soup, unwelcome and embarrassing. I also tended not to revisit stories that seemed bleak without having earned it, where the emotional notes were false, or where the writing was tricked out or primped up with fashionable devices stressing form over content. I do know that the easiest and the first choices were the stories to which I had a physical response. I read Jennifer Egan's "Out of Body" clenched from head to toe by tension as her suicidal, drug-addled protagonist moves through the Manhattan night toward an unforgivable betrayal. I shed tears over two stories of childhood shadowed by unbearable memory: "The Hare's Mask," by Mark Slouka, with its piercing ending, and Claire Keegan's Irishinflected tale of neglect and rescue, "Foster." Elizabeth McCracken's "Property" also moved me, with its sudden perception shift along the wavering sightlines of loss and grief. Nathan Englander's "Free Fruit for Young Widows" opened with a gasp-inducing act of unexpected violence and evolved into an ethical Rubik's cube. A couple of stories made me laugh: Tom Bissell's "A Bridge Under Water," even as it foreshadows the dissolution of a marriage and probes what religion does for us, and to us; and Richard Powers's "To the Measures Fall," a deftly comic meditation on the uses of literature in the course of a life, and a lifetime. Some stories didn't call forth such a strong immediate response but had instead a lingering resonance. Of these, many dealt with love and its costs, leaving behind indelible images. In Megan Mayhew Bergman's "Housewifely Arts," a bereaved daughter drives miles to visit her dead mother's parrot because she yearns to hear the bird mimic her mother's voice. In Allegra Goodman's "La Vita Nuova," a jilted fiancée lets her art class paint all over her wedding dress. In Ehud Havazelet's spare and tender story, "Gurov in Manhattan," an ailing man and his aging dog must confront life's necessary losses. A complicated, only partly welcome romance blossoms between a Korean woman and her demented

Human beings innate complexities resist reduction into simple sentences and neat paragraphs. The stories that come nearest to expressing the ambivalent nature of people are textured and occasionally inconsistent and express waves of inner uncertainty. A simile and a metaphor are not literally true. A figure of speech, symbols, and allegories are mere expressions that when interlinked with other text assist explain facts, ideas, and emotions. Useful facts are elusive; we must look for them, and then express them using whatever mechanism proves most authoritative. We can never directly describe emotions; we resort to metaphors to describe emotions and other illusive thoughts. Ideas by virtue of their untested nature are often untrue or at best rough approximations of truth. Lyrical writing is equivocal; it is never exactly true or precisely false. Lyrical language attempts to express and connect sentiments through extrapolation and misdirection. The writer’s task is to melt away durable facts, breakdown the symbolic depictions of solid reality, and discover the liquidity of a passionate inner life that provides the hot breath to our steamy humanness.

Monday, September 17, 1945 We all drove to the airfield in the morning to see Gay and Murnane off in the C-47 /belonging to the Army. Then General Eisenhower and I drove to Munich where we inspected in conjunction with Colonel Dalferes a Baltic displaced persons camp. The Baltic people are the best of the displaced persons and the camp was extremely clean in all respects. Many of the people were in costume and did some folk dances and athletic contest for our benefit. We were both, I think, very much pleased with conditions here. The camp was situated in an old German regular army barracks and they were using German field kitchens for cooking. From the Baltic camp, we drove for about 45 minutes to a Jewish camp in the area of the XX Corps. This camp was established in what had been a German hospital. The buildings were therefore in a good state of repair when the Jews arrived but were in a bad state of repair when we arrived, because these Jewish DP's, or at least a majority of them, have no sense of human relationships. They decline, when practicable, to use latrines, preferring to relive themselves on the floor. The hospital which we investigated was fairly good. They also had a number of sewing machines and cobbler instruments which they had collected, but since they had not collected the necessary parts, they had least fifty sewing machines they could not use, and which could not be used by anyone else because they were holding them. This happened to be the feast of Yom Kippur, so they were all collected in a large wooden building which they called a synagogue. It behooved General Eisenhower to make a speech to them. We entered the synagogue, which was packed with the greatest stinking bunch of humanity I have ever seen. When we got about half way up, the head rabbi, who was dressed in a fur hat similar to that worn by Henry VIII of England, and in a surplice heavily embroidered and very filthy, came down and met the General. A copy of Talmud, I think it is called, written on a sheet and rolled around a stick, was carried by one of the attending physicians. First, a Jewish civilian made a very long speech which nobody seemed inclined to translate. Then General Eisenhower mounted the platform and I went up behind him and he made a short and excellent speech, which was translated paragraph by paragraph. The smell was so terrible that I almost fainted, and actually about three hours later, lost my lunch as the result of remembering it. From here we went to the Headquarters of the XX Corps, where General Craig gave us an excellent lunch which I, however, was unable to partake of, owing to my nausea.

The trick was to use the maximum number of words with the maximum number of legitimate interpretations. Put that way, it sounds terrible, but there’s no other way to do it. If a constituent writes to ask the governor the best way to get into politics, and you (in the governor’s voice) write back using words like “I think you should run” or “Go for it,” you may soon hear about some nitwit running for county council claiming he’s been endorsed by the governor. Or take the “Won’t you please run for president?” letters, of which there were many around this time. In case the letter was made public, you couldn’t have the governor responding in a way that could be construed as an admission of an intent to run or of an interest in running, or as an admission of anything. At the same time, though, you wouldn’t want to deny an intention to run for president because that would have been obviously dishonest and, as I thought, soon disprovable. In both these cases you’d want to give the letter writers at least two full paragraphs in response; otherwise it looked cold and dismissive. So you would elongate every sentence with superfluous phrases. “I believe” would become “I have every reason to believe,” and platitudinous observations would be prefaced by “What I’d say—and I am absolutely certain about this—is that . . .” The phrase “going forward” was very useful, as was “from where I stand.

John Calvin writes, in one of the best paragraphs you’ll ever read, “We see that our whole salvation and all its parts are comprehended in Christ [Acts 4:12]. We should therefore take care not to derive the least portion of it from anywhere else. If we seek salvation we are taught by the very name of Jesus that it is ‘of him’ [1 Cor. 1:30]. If we seek any other gifts of the Spirit, they will be found in his anointing. If we seek strength, it lies in his dominion; if purity, in his conception; if gentleness, it appears in his birth. For by his birth he was made like us in all respects [Heb. 2:17] that he might learn to feel our pain [cf. Heb. 5:2]. If we seek redemption, it lies in his passion; if acquittal, in his condemnation; if remission of the curse, in his cross [Gal. 3:13]; if satisfaction, in his sacrifice; if purification, in his blood; if reconciliation, in his descent into hell; if mortification of the flesh, in his tomb; if newness of life, in his resurrection; if immortality, in the same; if inheritance of the Heavenly Kingdom, in his entrance into heaven; if protection, if security, if abundant supply of all blessings, in his Kingdom; if untroubled expectation of judgment, in the power given to him to judge. In short, since rich store of every kind of good abounds in him, let us drink our fill from this fountain and from no other” (Institutes 2.16.19). 2Institutes 3.2.24.

Under the spell of moonlight, music, flowers, or the cut and smell of good tweeds, I sometimes feel the divine urge for an hour, a day or maybe a week. Then it is gone and my interest returns to corn pone and mustard greens, or rubbing a paragraph with a soft cloth. Then my ex-sharer of a mood calls up in a fevered voice and reminds me of every silly thing I said, and eggs me on to say them all over again. It is the third presentation of turkey hash after Christmas. It is asking me to be a seven-sided liar. Accuses me of being faithless and inconsistent if I don’t. There is no inconsistency there. I was sincere for the moment in which I said the things. It is strictly a matter of time. It was true for the moment, but the next day or the next week, is not that moment. No two moments are any more alike than two snowflakes. Like snowflakes, they get that same look from being so plentiful and falling so close together. But examine them closely and see the multiple differences between them. Each moment has its own task and capacity; doesn’t melt down like snow and form again. It keeps its character forever. So the great difficulty lies in trying to transpose last night’s moment to a day which has no knowledge of it. That look, that tender touch, was issued by the mint of the richest of all kingdoms. That same expression of today is utter counterfeit, or at best the wildest of inflation. What could be more zestless than passing out canceled checks?

Most of my friends put their preferred pronoun in their Instagram bios—he/she, him/her, they/their—but I respond to any and all of them. I like to think of it as collecting pronouns: the more I get, the more fun I’m having. To get the obvious out of the way, because that’s apparently important to people, I think of myself as post-gender. I was trying to figure out how to explain that because sometimes it’s a paragraph and sometimes it’s a term paper depending on who I’m talking to, and I have no idea who will be reading this in the aftermath. Then I noticed that one of my fellow passengers has a cat with him, and that’s perfect. When you visit a friend and find they have a cat, you just see it as a cat in all its pure catness, it doesn’t require further definition. You’ll probably get a name, and if you ask, whether it was born male or female, but even after you have that information you still don’t think of it any differently. It’s not a He-Cat or a She-Cat or a They-Cat. It’s just a cat. And unless the cat’s name has any gender-specific connotations you’ll probably forget pretty fast which gender it was born into. My name is Theo, and by that logic, I am a cat. What I was or was not born into has nothing to do with how I see myself. It’s not about going from one gender to another, or suggesting that they don’t exist. Some of my friends say that the moment you talk about gender you invalidate the conversation because you’re accepting the limits of outmoded paradigms, but I’m not sure I agree with that. I just think gender shouldn’t matter. If you’re a man, aren’t there moments when you feel more female, like when you’re listening to music, or your cheek is being gently stroked, or you see a spectacularly handsome man walk into the room? If you’re a woman, aren’t there moments when you feel more male, when you have to be strong in the face of conflict, or stand behind your opinion, or when a spectacularly beautiful woman walks into the room? Well, in those moments, you are all of those things, so why deny that part of yourself? For me, it’s not about being binary or non-binary. It’s about moving the needle to the center of the dial and accepting all definitions as equally true while remaining free to shift in emphasis from moment to moment. It’s about being a Person, not a She-Person or a He-Person or a They-Person. (...) When you go into a clothing store, you don’t just go to the “one size fits all” rack. You look for clothes that fit your waist, hips, legs, chest, and neck, clothes that complement your form and shape, and reflect not just how you see yourself but how you want to be seen by others. If it’s still not quite right, and you can afford it, you get the clothes tailored to fit exactly who you are. That’s what I’m doing. Post-gender is one term for it. Another might be tailored gender. Maybe bespoke gender. But definitely not one-size-fits-all. The world doesn’t get to decide what best fits who I am and how I choose to be seen. I do.

Scientists have found that there are two important genes, the CREB activator (which stimulates the formation of new connections between neurons) and the CREB repressor (which suppresses the formation of new memories). Dr. Jerry Yin and Timothy Tully of Cold Spring Harbor have been doing interesting experiments with fruit flies. Normally it takes ten trials for them to learn a certain task (e.g., detecting an odor, avoiding a shock). Fruit flies with an extra CREB repressor gene could not form lasting memories at all, but the real surprise came when they tested fruit flies with an extra CREB activator gene. They learned the task in just one session. “This implies these flies have a photographic memory,” says Dr. Tully. He said they are just like students “who could read a chapter of a book once, see it in their mind, and tell you that the answer is in paragraph three of page two seventy-four.” This effect is not just restricted to fruit flies. Dr. Alcino Silva, also at Cold Spring Harbor, has been experimenting with mice. He found that mice with a defect in their CREB activator gene were virtually incapable of forming long-term memories. They were amnesiac mice. But even these forgetful mice could learn a bit if they had short lessons with rest in between. Scientists theorize that we have a fixed amount of CREB activator in the brain that can limit the amount we can learn in any specific time. If we try to cram before a test, it means that we quickly exhaust the amount of CREB activators, and hence we cannot learn any more—at least until we take a break to replenish the CREB activators. “We can now give you a biological reason why cramming doesn’t work,” says Dr. Tully. The best way to prepare for a final exam is to mentally review the material periodically during the day, until the material becomes part of your long-term memory. This may also explain why emotionally charged memories are so vivid and can last for decades. The CREB repressor gene is like a filter, cleaning out useless information. But if a memory is associated with a strong emotion, it can either remove the CREB repressor gene or increase levels of the CREB activator gene. In the future, we can expect more breakthroughs in understanding the genetic basis of memory. Not just one but a sophisticated combination of genes is probably required to shape the enormous capabilities of the brain. These genes, in turn, have counterparts in the human genome, so it is a distinct possibility that we can also enhance our memory and mental skills genetically. However, don’t think that you will be able to get a brain boost anytime soon. Many hurdles still remain. First, it is not clear if these results apply to humans.

Blessed Man” is a tribute to Updike’s tenacious maternal grandmother, Katherine Hoyer, who died in 1955. Inspired by an heirloom, a silver thimble engraved with her initials, a keepsake Katherine gave to John and Mary as a wedding present (their best present, he told his mother), the story is an explicit attempt to bring her back to life (“O Lord, bless these poor paragraphs, that would do in their vile ignorance Your work of resurrection”), and a meditation on the extent to which it’s possible to recapture experience and preserve it through writing. The death of his grandparents diminished his family by two fifths and deprived him of a treasured part of his past, the sheltered years of his youth and childhood. Could he make his grandmother live again on the page? It’s certainly one of his finest prose portraits, tender, clear-eyed, wonderfully vivid. At one point the narrator remembers how, as a high-spirited teenager, he would scoop up his tiny grandmother, “lift her like a child, crooking one arm under her knees and cupping the other behind her back. Exultant in my height, my strength, I would lift that frail brittle body weighing perhaps a hundred pounds and twirl with it in my arms while the rest of the family watched with startled smiles of alarm.” When he adds, “I was giving my past a dance,” we hear the voice of John Updike exulting in his strength. Katherine takes center stage only after an account of the dramatic day of her husband’s death. John Hoyer died a few months after John and Mary were married, on the day both the newlyweds and Mary’s parents were due to arrive in Plowville. From this unfortunate coincidence, the Updike family managed to spin a pair of short stories. Six months before he wrote “Blessed Man,” Updike’s mother had her first story accepted by The New Yorker. For years her son had been doing his filial best to help get her work published—with no success. In college he sent out the manuscript of her novel about Ponce de León to the major Boston publishers, and when he landed at The New Yorker he made sure her stories were read by editors instead of languishing in the slush pile. These efforts finally bore fruit when an editor at the magazine named Rachel MacKenzie championed “Translation,” a portentous family saga featuring Linda’s version of her father’s demise. Maxwell assured Updike that his colleagues all thought his mother “immensely gifted”; if that sounds like tactful exaggeration, Maxwell’s idea that he could detect “the same quality of mind running through” mother and son is curious to say the least. Published in The New Yorker on March 11, 1961, “Translation” was signed Linda Grace Hoyer and narrated by a character named Linda—but it wasn’t likely to be mistaken for a memoir. The story is overstuffed with biblical allusion, psychodrama, and magical thinking, most of it Linda’s. She believes that her ninety-year-old father plans to be translated directly to heaven, ascending like Elijah in a whirlwind, with chariots of fire, and to pass his mantle to a new generation, again like Elijah. It’s not clear whether this grand design is his obsession, as she claims, or hers. As it happens, the whirlwind is only a tussle with his wife that lands the old folks on the floor beside the bed. Linda finds them there and says, “Of all things. . . . What are you two doing?” Her father answers, his voice “matter-of-fact and conversational”: “We are sitting on the floor.” Having spoken these words, he dies. Linda’s son Eric (a writer, of course) arrives on the scene almost immediately. When she tells him, “Grampy died,” he replies, “I know, Mother, I know. It happened as we turned off the turnpike. I felt

It would not have made a good book, I think. It would have been a folly. Its best telling was in these paragraphs: they contain all the ironies a tome would have contained, and waste less ink.

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In social crisis and political revolution, when a government breaks down, power falls into the hands of the working masses; and for the propertied class, for capitalism arises the problem how to wrest it out of their hands. So it was in the past, so it may happen in the future. Democracy is the means, the appropriate instrument of persuasion. The arguments of formal and legal equality have to induce the workers to give up their power and to let their organization be inserted as a subordinate part into the State structure. Against this the workers have to carry in them a strong conviction that council organization is a higher and more perfect form of equality. It realizes social equality; it is the form of equality adapted to a society consciously dominating production and life. It might be asked whether the term democracy fits here, because the ending—"-cracy"—indicates domination by force, which here is lacking. Though the individuals have to conform to the whole there is no government above the people; people itself is government. Council organization is the very means by which working mankind, without need of a ruling government, organizes its vital activities. Adhering, then, to the emotional value attached of old to the word democracy we may say that council organization represents the higher form of democracy, the true democracy of labor. Political democracy, middle-class democracy, at its best can be no more than a formal democracy; it gives the same legal rights to everybody, but does not care whether this implies security of life; because economic life, because production is not concerned. The worker has his equal right to sell his labor power; but he is not certain that he will be able to sell it. Council democracy, on the contrary, is actual democracy since it secures life to all collaborating producers, free and equal masters of the sources of their life. The equal right in deciding needs not to be secured by any formal regulating paragraph; it is realized in that the work, in every part, is regulated by those who do the work. That parasites taking no part in production automatically exclude themselves from taking part in the decisions, cannot be considered as a lack in democracy; not their person but their function excludes them. It is often said that in the modern world the point of dispute is between democracy and dictatorship; and that the working class has to throw in its full weight for democracy. The real meaning of this statement of contrast is that capitalist opinion is divided whether capitalism better maintains its sway with soft deceitful democracy, or with hard dictatorial constraint. It is the old problem of whether rebellious slaves are kept down better by kindness or by terror. The slaves, if asked, of course prefer kind treatment to terror; but if they let themselves be fooled so as to mistake soft slavery for freedom, it is pernicious to the cause of their freedom. For the working class in the present time the real issue is between council organization, the true democracy of labor, and the apparent, deceitful middle-class democracy of formal rights. In proclaiming council democracy the workers transfer the fight from political form to economic contents. Or rather—since politics is only form and means for economy—for the sounding political slogan they substitute the revolutionizing political deed, the seizure of the means of production. The slogan of political democracy serves to detract the attention of the workers from their true goal. It must be the concern of the workers, by putting up the principle of council organization, of actual democracy of labor, to give true expression to the great issue now moving society.

As a teacher, I have tried to make explicit some of the rules I learned about what makes for good writing about science and nature. Shun jargon, embrace metaphor. Strive for zero uses of the passive voice. Make sure your paragraphs fit in a particular order. Bring people to life with visual details and judiciously selected quotes. Remember that the reader can read your story, not your mind.

Since feeling is first who pays any attention to the syntax of things will never wholly kiss you; wholly to be a fool while spring is in the world My blood approves and kisses are a better fate than wisdom Lady I swear by all flowers. Don’t cry —the best gesture of my brain is less than your eyelids' flutter which says we are for each other: then laugh, leaning back in my arms for life's not a paragraph and death I think is no parenthesis.

Come on stub-ears, you can do better than that!" Steel danced and shone before Elly as she desperately blocked strike after strike, her attacker toying with her, relentless in aggression both physical and verbal. He was taller than her, lighter than her, and he moved with true elven grace, gliding around her with his elegantly curved and vicious sword. He lashed out with a practised flick of his wrist that she struggled to read and barely caught with her blade, but he was already moving on, his sword flowing around, a killing blow coming straight for her neck if she did not move– "Sorry stub-ears, I'll try to slow down…" A feint! He could have ended it there, and yet it wasn't enough; no, he had to humiliate her. Before her cheeks could redden he was on her again, thrusting, striking at her thighs, her shoulders, the sting of the metal slowing her down and throwing her off-balance. Elly focused on protecting what she could, guarding her head and torso, anger building in her, wrestling with her for control of the light sword that was her best defence against– "Death!" The tip of his blade was under her raised arm, against the gap in her breastplate beside her triceps. And at once he sprang back, swung his nimble weapon in a lazy figure-of-eight, rolled his shoulders less from tension and more to perform his ease, his casualness, the lack of challenge in fighting her. Where the flat of his blade had stung, she throbbed. "Good showing. How about best of three?

1/3/1 The 1/3/1 structure is the best place to start. In 1/3/1, you have one strong opening sentence, three description sentences, and then one conclusion sentence. Visually, this is a powerful way to tell the reader you aren’t going to make them suffer through big blocks of text, and that you have their best interests in mind. Here’s how it works: This first sentence is your opener. This second sentence clarifies your opener. This third sentence reinforces the point you’re making with some sort of credibility or amplified description. And this fourth sentence rounds out your argument, guiding the reader toward your conclusion. This fifth sentence is your strong conclusion. Now, just so you can understand why this technique is so powerful, not just from a written perspective but from a visual perspective, look at those same five sentences all clumped together. This first sentence is your opener. This second sentence clarifies your opener. This third sentence reinforces the point you’re making with some sort of credibility or amplified description. And this fourth sentence rounds out your argument, guiding the reader toward your conclusion. This fifth sentence is your strong conclusion. If you clicked on an article and were immediately confronted with a five-sentence paragraph, you would feel (viscerally in your body) the weight of what you were about to read.

lady i swear by all flowers. Don’t cry -the best gesture of my brain is less than your eyelids’ flutter which says we are for each other: then laugh, leaning back in my arms for life’s not a paragraph And death i think is no parenthesis

First, let us take a quick pass of the 11 questions. Some of them might seem trite or useless at first glance. . . . But lo! Things are not always what they appear. What is the book (or books) you’ve given most as a gift, and why? Or what are one to three books that have greatly influenced your life? What purchase of $100 or less has most positively impacted your life in the last six months (or in recent memory)? My readers love specifics like brand and model, where you found it, etc. How has a failure, or apparent failure, set you up for later success? Do you have a “favorite failure” of yours? If you could have a gigantic billboard anywhere with anything on it—metaphorically speaking, getting a message out to millions or billions—what would it say and why? It could be a few words or a paragraph. (If helpful, it can be someone else’s quote: Are there any quotes you think of often or live your life by?) What is one of the best or most worthwhile investments you’ve ever made? (Could be an investment of money, time, energy, etc.) What is an unusual habit or an absurd thing that you love? In the last five years, what new belief, behavior, or habit has most improved your life? What advice would you give to a smart, driven college student about to enter the “real world”? What advice should they ignore? What are bad recommendations you hear in your profession or area of expertise? In the last five years, what have you become better at saying no to (distractions, invitations, etc.)? What new realizations and/or approaches helped? Any other tips? When you feel overwhelmed or unfocused, or have lost your focus temporarily, what do you do? (If helpful: What questions do you ask yourself?)

Identify Your Strengths With Strengths Finder 2.0 One tool that can help you remember your achievements is the ‘Strengths Finder’ "assessment. The father of Strengths Psychology, Donald O. Clifton, Ph.D, along with Tom Rath and a team of scientists at The Gallup Organization, created StrengthsFinder. You can take this assessment by purchasing the Strengths Finder 2.0 book. The value of SF 2.0 is that it helps you understand your unique strengths. Once you have this knowledge, you can review past activities and understand what these strengths enabled you to do. Here’s what I mean, in the paragraphs below, I’ve listed some of the strengths identified by my Strengths Finder assessment and accomplishments where these strengths were used. “You can see repercussions more clearly than others can.” In a prior role, I witnessed products being implemented in the sales system at breakneck speed. While quick implementation seemed good, I knew speed increased the likelihood of revenue impacting errors. I conducted an audit and uncovered a misconfigured product. While the customer had paid for the product, the revenue had never been recognized. As a result of my work, we were able to add another $7.2 million that went straight to the bottom line. “You automatically pinpoint trends, notice problems, or identify opportunities many people overlook.” At my former employer, leadership did not audit certain product manager decisions. On my own initiative, I instituted an auditing process. This led to the discovery that one product manager’s decisions cost the company more than $5M. “Because of your strengths, you can reconfigure factual information or data in ways that reveal trends, raise issues, identify opportunities, or offer solutions.” In a former position, product managers were responsible for driving revenue, yet there was no revenue reporting at the product level. After researching the issue, I found a report used to process monthly journal entries which when reconfigured, provided product managers with monthly product revenue. “You entertain ideas about the best ways to…increase productivity.” A few years back, I was trained by the former Operations Manager when I took on that role. After examining the tasks, I found I could reduce the time to perform the role by 66%. As a result, I was able to tell my Director I could take on some of the responsibilities of the two managers she had to let go. “You entertain ideas about the best ways to…solve a problem.” About twenty years ago I worked for a division where legacy systems were being replaced by a new company-wide ERP system. When I discovered no one had budgeted for training in my department, I took it upon myself to identify how to extract the data my department needed to perform its role, documented those learnings and that became the basis for a two day training class. “Sorting through lots of information rarely intimidates you. You welcome the abundance of information. Like a detective, you sort through it and identify key pieces of evidence. Following these leads, you bring the big picture into view.” I am listing these strengths to help you see the value of taking the Strengths Finder Assessment.

Let us analyze the two letters and find out why one failed while the other succeeded. This analysis should start with one of the most important fundamentals of salesmanship: motive. The opening paragraph of the first letter violates an important fundamental of salesmanship, because it suggests that the object of the letter is to gain some advantage for its writer and it does not even hint at any advantage to the person to whom it is sent. Instead of neutralizing the mind of the recipient of the letter, as it should do, it has just the opposite effect: it makes it easy for him to say no. The reader can clearly see that the object of the letter is to secure an endorsement that will help sell the book, but the benefit to the reader only appears in this sentence: “I believe those who purchase the book would welcome the opportunity of receiving a message from you as to the best method of marketing one’s personal services.” The most important selling argument—in fact, the only selling argument—has been lost because it was not brought out and established as the real motive for making the request.

The next two paragraphs can be skipped if you already have enough complications in your life

Clayton was the book she wanted to read again and again. Beneath its handsome cover were paragraphs of thoughtfulness , sweetness, kindness, laughter, patience, trust, and all the best words to lose herself within their pages.

The main feature of an absolute vacuum is that it is nonexistent nothingness. But, if we put it like this, it may sound that if nothingness is nonexistent, it exists. If nothingness is nonexistent, it means that there is no nothingness. No world or universe can be made without nothingness because there is no space without it. In actuality, space is nothingness. Without nothingness, which is nonexistence, somethingness or existence would not be possible. If we analyze the previous paragraph, we come to some strange or not-so-strange conclusions, knowing that language is not the perfect instrument for expressing ideas but is still the best currently available to humans. If nothingness is nonexistent, it means that there is no nothingness. Yet, if there is nothingness, it should mean that nothingness exists. We may think this kind of reasoning is pure scholasticism or nonsense, but in reality, linguistic and transcendental are often in collision. The most abstract and profound ideas often escape or try to escape language formulations. The “weakness” of language becomes more apparent when facing Reality's formidable immensity and depth, especially the metaphysical “side” of Reality.

THE AUTHOR OF almost every book retards his instructions by a preface,’ wrote Johnson, less than two years after the Dictionary was published. This was in an introductory essay for the New Year issue of Dodsley’s evening paper the London Chronicle. Johnson was paid just one guinea for the piece, but, as was his wont, made the best of a job that others would have executed in more desultory fashion. He was a prolific author of prefaces and introductions, and was aware of the faults of the work he did in this strain. Prefaces, he knew, are usually attempts to avert criticism, or to respond to it. They are opportunities to improvise a few paragraphs of complacent autobiography. They are excuses to lambaste the deficiencies of other writers, or of the republic of letters, or of the world at large. The

Books are our best friends we say, so can we call 'Paragraphs' as our 'Just Friends'?

I have no idea what will happen when I write. One night I wrote effortlessly for hours, churning out one brilliant paragraph after another. The next morning, I reviewed my work and, realizing I had produced nearly two thousand words of mediocre crap, threw it all away. A week later I felt uninspired and lazy, but forced myself to write anyway. I struggled through every sentence, tearing each unruly word from my obstinate brain until an edge of hopelessness crept into my psyche. I awoke the next day with few expectations, but upon rereading my improbable effort discovered some of the best prose I had ever created.

You are not a tragedy, you are a personal essay. You must rise above and you must do it in the last paragraph with basic grammar and easily recognized words.

What is the book (or books) you’ve given most as a gift, and why? Or what are one to three books that have greatly influenced your life? What purchase of $100 or less has most positively impacted your life in the last six months (or in recent memory)? My readers love specifics like brand and model, where you found it, etc. How has a failure, or apparent failure, set you up for later success? Do you have a “favorite failure” of yours? If you could have a gigantic billboard anywhere with anything on it—metaphorically speaking, getting a message out to millions or billions—what would it say and why? It could be a few words or a paragraph. (If helpful, it can be someone else’s quote: Are there any quotes you think of often or live your life by?) What is one of the best or most worthwhile investments you’ve ever made? (Could be an investment of money, time, energy, etc.) What is an unusual habit or an absurd thing that you love? In the last five years, what new belief, behavior, or habit has most improved your life? What advice would you give to a smart, driven college student about to enter the “real world”? What advice should they ignore? What are bad recommendations you hear in your profession or area of expertise? In the last five years, what have you become better at saying no to (distractions, invitations, etc.)? What new realizations and/or approaches helped? Any other tips? When you feel overwhelmed or unfocused, or have lost your focus temporarily, what do you do? (If helpful: What questions do you ask yourself?)

And, the best short definition of natural rights and property rights I can give you is to be found in five paragraphs from Ayn Rand’s essay, “Man’s Rights,” in the book The Virtue Of Selfishness–Copyright 1963

Studies have shown that a concept known as spaced repetition is far more effective for learning and memory than daily rote memorization. This means the brain is like a muscle, and it simply needs time to recover and make neural connections for the information that you’ve consumed. It also means that if you overdo it and burn out, you are wasting time by attempting to learn more than your brain can handle at the time. Then, you encounter the phenomenon where you are reading the same paragraph over and over and don’t comprehend it. Finally, it places an emphasis on memorization versus understanding and analysis, the latter of which is what will help information stick in your brain the best. More isn’t better; smarter is better.

alt.sex.stories The newsgroup quickly became one of the most popular text-based newsgroups (i.e. not intended for posting binary files) on Usenet. Amateur writers of all sorts began posting fictional “erotic stories” and finding a worldwide audience for their work. However, because of the very nature of unmoderated newsgroups, alt.sex.stories soon found itself a repository for a great number of poorly-written, sometimes barely coherent “stroke” stories consisting of a few sentences or paragraphs. The average quality of the stories posted to the newsgroup seemed somewhat lower and more crude than the stories seen in pornographic magazines and books, and this state of affairs continues to the current day.[citation needed] Yes, the “stroke” stories certainly undermined the credibility of the newsgroup that had produced stories such as “Balling Lil’ Sis,” “Showtime - Part 6 Featuring Jennifer Love Hewitt and a Vanna White Lookalike,” and “Alex and Brian,” which features the immortal sentence “‘Shhhhhhh, if you do as i say you wont get this!’ he said as he pulled out a 12 inch dildo with the name ‘MegaMan’ on it.

CODE OF BUSINESS CONDUCT AND ETHICS Amazon.com employees should always act lawfully, ethically, and in the best interests of Amazon.com. This Code of Business Conduct and Ethics (the “Code of Conduct”) sets out basic guiding principles. Employees who are unsure whether their conduct or the conduct of their coworkers complies with the Code of Conduct should contact their manager or the Legal Department. Employees may also report any suspected noncompliance as provided in the Legal Department’s reporting guidelines referred to in paragraph IX below.

Here are eight tips for writing effective cover letters.   Address the cover letter to a specific person, ensuring the correct name, title, company, and address. This shows respect for the person you are sending the résumé to. “To Whom It May Concern” salutations should be used only if you can’t determine the name of the hiring person or the company (for instance, when responding to a blind ad). If you were referred by someone, be sure this is included in the first sentence of the cover letter: “Jennifer Wells suggested I contact you in regard to an accounts receivable position you have open …” It’s an attention grabber. If asked to include salary history or requirements, you must address this or risk being disqualified. Provide a healthy range, such as “Over the past five years I have earned between $35,000 and $48,000. However, I am open to any reasonable offer consistent with my ability to produce results and meet your performance expectations.” If asked for salary requirements, use the same strategy: “I am aware that the salary range for a loss prevention manager in the Houston area averages between $75,000 and $110,000. Given my experience and, most importantly, my ability to make significant contributions to your company, I would hope to be on the upper end of this scale.” If you are sending the résumé out electronically, the cover letter can be inserted as the e-mail itself; just attach your résumé. If you prefer that your cover letter is the first page of the attachment, that’s fine. But the general guideline is not to attach multiple files. Make it easy on the hiring manager and send only one attachment or file to open (unless you have a good reason to do otherwise). Do not rehash what is on the résumé. This is disrespectful of the reader’s time. If you have done a good job with your résumé, you want the cover letter to quickly entice the hiring manager to read your résumé. Cover letters should not be preachy. Sales managers know that sales are the heartbeat of any company; you don’t have to lecture them on this. Nurse supervisors know the importance of compassionate patient care; you don’t have to tell them what they already know. Keep the letter short and concise. The cover letter is not the place to preach or teach. It’s the place to invite recipients to read your résumé! Finally, the four most important words on the cover letter are “I respect your time.” The following cover letter is a sample template to use in these challenging and troubled times. Notice the first four words of the second paragraph.

-the best gesture of my brain is less than your eyelids' flutter which says we are for each other: then laugh, leaning back in my arms for life's not a paragraph And death i think is no parenthesis

Delacorte Review Stories do not write themselves, much as writers may modestly insist they do. Stories exist because writers need to tell them—a need so deep that they will endure false starts, woeful sentences, dead-end paragraphs, two-dimensional characters, flabby prose, wrong turns, and shaky narratives. In short, they will risk all the things that, taken together, comprise the writer’s greatest fear: failure. Specifically, failing to tell the story they need to tell. Still, they persist. If the best fiction is propelled by imagination, we believe that the best narrative nonfiction is propelled by the relentless and often-lonely business of finding out things that are often maddeningly difficult to find. In a word: reporting. Nonfiction storytelling can be as compelling, riveting, and transporting as fiction—so long as you come back, as they say, with the goods. The Delacorte Review’s mission is discovery -- for readers to discover new, original works of ambitious narrative nonfiction. For writers to discover the stories they need to tell.

If a paragraph of writing is a little confusing, you can reread it. If a joke is confusing, the joke fails. Live comedy must be perfectly intelligible to a diverse audience the first time around, which means that the best comics are master communicators, in addition to being funny.

Each novel you read (never mind the novels you write) will give you some theory of which attitude is best to strike at which moment, and—if you experience enough of them—will provide you, at the very least, with a wide repertoire of possible attitudes. But out in the field, experience has no chapter headings or paragraph breaks or ellipses in which to catch you breath…it just keeps coming at you. 7

Start paragraphs with a central point that the rest of the paragraph develops.

Op-Ed Practice Pointers •  Lead off with a short and memorable opening line. •  Narrate the factual and procedural context. •  Introduce the parties and juxtapose their competing legal positions. •  Conclude with a sentence or paragraph summarizing the result and offering at least one reason in support.

As I pointed out in Part 1, when judges write the opening paragraphs of their opinions, they face three decisions: how much detail they want to provide, how much of their ultimate conclusion they want to reveal, and how much effort they want to devote to engaging readers from the outset.

you can ask it to create an outline (which you can later use to generate the whole blog - I’ll show this in the next example) Prompt: Write a 7-paragraph outline for a blog post with the title "The Legalities of Drone Flying: Understanding FAA Regulations and Best Practices

On 8 September 1947, Lewis appeared on the front cover of Time magazine, which declared this “best-selling author,” who was also “the most popular lecturer in [Oxford] University,” to be “one of the most influential spokesmen for Christianity in the English-speaking world.” Screwtape had taken England and America by storm. (America, it must be recalled, had not heard Lewis’s broadcast talks on the BBC.) The opening paragraph helps capture the tone of the piece: a quirky and slightly weird Oxford academic—“a short, thickset man with a ruddy face and a big voice”—unexpectedly hits the big time.[524] Were there more bestsellers on the way? Time cautioned its excited readers that they would just have to wait: “He has no immediate plans for further ‘popular’ books, fantastic or theological.” The Time article of 1947 can be seen as a tipping point—both signaling Lewis’s arrival on the broader cultural scene, and extending his reach by drawing wider attention to his works.

Editor’s introduction: Welcome our guide on guest blogging in seo. That’s right, send it a spot on profcontent from our friend alex. Alex breaks down everything beginners need to know to start blogging on the web. Take that, Alex. What is good blogging? Guest blogging- also referred to as blogging – is the need to contribute to another person’s blog to build relevant exposure, leads and links. Link are a primary ranking factor in goggle, and seo offer a strong chance of getting a link back from another website, among other marketing considerations in guest blogging. Guest blogging build a relationship with the blogger hosting your post, connects with the blogger hosting your post, connects with their audience for additional exposure, and helps you build authority among that audience. The premise is simple: you write a blog article tailored to the needs of a particular blogger and get a backlink in return, What Is Guest Blogging in SEO? A Guide for usually below the article in what’s called an author box. Blogger are inserted in publishing high- quality content on their blogs that they can use to attract new readers as well as share with their exiting audience. This makes guest blogging a win-win solution for both website owners who want to rank higher in search engines (and need link to do so) and bloggers who want to drive more readers to their blog. Interested in attracting more readers their blog. Is guest blogging good for bloggers? The short answer is yes again. As extensive as the blogger is shrewdness and eager to spend time sifting through and excision posts from outside bases, guest blogging can be a great source of valuable content for the blogger’s audience. An important portion of removal any external role is reviewing the links inside the content Take a look at this (or another) post a bout guest blogging and inbound marketing written by Neil Patel. Almost every paragraph has an external link. You get, Neil knows that links add price to a post by if more material and additional incomes. Be like Neil. To be on the benign side, examine guest posts for superiority and make sure you only link to superiority websites that add price to the mesh. To type sure the websites you’re involving to are immobile available, aren’t recurring 404s, or readdressing to dissimilar content. 1.find list of top blogs. The first step of prospects is pretty obvious: type a phrase like “ top [ industry specific] blogs list” into goggle and review the results. Opinion all the blogs registered one by one on each sheet in the search fallouts. Most likely you find great blogs this way, but only a few of them can accept guest articles from contributors. 2. Advanced search with search strings: Google has many hunt strings to help you find exact happy on the web, which you can syndicate into search If you are novel to this, you can learn extra here or here. If you search for [“keyword” and “write for us”], your results will look like the image under. 3. Shadow people or businesses who actively visitor blog. One of the best ways to find great guest blogging opportunities is to find other people who consistently contribute quality guest posts to industry- related websites. Most people and companies share their posts through social media profiles. Once I ran across a twitter profile that was basically sharing their guest posts, so I pretty much grew my list in no time. Stab this search thread to find sites anywhere a precise person or business published a guest post: “individual name “or” corporation name” “guest column”.

scared. Like the doorman where she lived still not admitting to anyone else he was gay. Like the aunt who was conducting a secret pen friend affair with a lifer in prison. Mum used to say Alex had been born with the face of someone who’d signed a confidentiality agreement. Secrets were often seen as dark and deceptive, but sometimes they were simply sad truths that people tried to hide. Perhaps that had been the problem with her third book – readers had worked out that, secretly, her heart wasn’t in it. Her husband’s cheating was one factor that had pushed her to become an author, to forge an independent, successful existence. During the first year or two that followed, the series of her young lovers, a binge of light-hearted romance, had translated into two huge best-sellers, leaving readers clamouring for more of her heart-breaking heroes and arousing paragraphs. Trouble was, that binge eventually left Alex so sated that by the time she came to write the third novel, simply the word ‘romance’ turned her stomach. ‘Mum had been Dad’s life for so long, the two of them were each other’s school sweetheart, so the coffee shop became his life instead,’ Tom continued. ‘My mates loved this place. We’d pile in after school for Coke floats and they’d pester their parents to visit at the weekend. Slowly, by word of mouth, its fried breakfasts gained a reputation. Benedict Cumberbatch came in once when he studied drama at the university. We even served the

We analyzed the ten tech companies worth over a billion dollars that went public in 2014 and 2015, and the average company spent a jaw-dropping $0.72 on sales and marketing for every $1.00 of sales during the three-year hypergrowth period before going public. As a matter of fact, one of the companies, Box, spent $1.59 for every $1.00 in sales! You’re probably wondering, how does a company like Box justify spending more money on sales and marketing than they generate in sales? The answer is “customer lifetime value.” Once Box mathematically proved that they could acquire a customer for less than the lifetime value (LTV) of that customer, they raised a war chest of investment capital and didn’t care if they spent more on sales and marketing than they generated in annual sales, because they knew that they would generate a big return in the long run. You probably don’t have access to a massive war chest of investment capital, but that doesn’t mean you are unable to invest more resources on growth. Instead of benchmarking your growth investment against customer lifetime value, benchmark against your bottom-line profits. Here is a list of financial scenarios and corresponding actions: If you desire growth and have a profitable business, operate at a break-even point and reinvest the profit, or a portion of the profit, back into growth. If you are running a break-even or unprofitable business, spend some time going through your expenditures looking for redundancies or unnecessary expenses. If you cannot find any opportunities to save money, prepare yourself to take a temporary pay cut (you can time this around your tax refund or right after your busy period if your business has seasonality). If you are unable to take a temporary pay cut, prepare yourself to work some extra hours (start by batching activities so you can spend a day per week working from home, and use the time you save when not having a work commute to invest in growth). If you are unable to take a temporary pay cut AND unable to work any extra hours, then read the paragraph below.

Throughout the years of research and writing, my wife, Silvana, has been my best friend and sharpest critic, providing incisive feedback, unwavering support, good humor, and timely kicks in the rear. She scrutinized every word of this book, except for this paragraph, and her wise judgment vastly improved the final product. More important, her love and laughter lifted my spirits and made me whole. This book would not exist without her, and my life would not be nearly as fulfilling.

The Fearless Flyer began life in 1969 during the Good Time Charley phase of Trader Joe’s as the Insider’s Wine Report, a sheet of gossip of “inside” information on the wine industry at a time where there weren’t any such gossip sheets, for the excellent reason that few people were interested in wine. As of the writing of this book, 11 percent of Americans drink 88 percent of the wine according to contemporary wine gossip magazine the Wine Spectator. In the Insider’s Wine Report we gave the results of the wine tastings that we were holding with increasing frequency, as we tried to gain product knowledge. This growing knowledge impressed me with how little we knew about food, so in 1969, we launched a parallel series of blind tastings of branded foods: mayonnaise, canned tuna, hot dogs, peanut butter, and so on. The plan was to select the winner, and sell it “at the lowest shelf price in town.” To report these results, I designed the Insider’s Food Report, which began publication in 1970. It deliberately copied the physical layout of Consumer Reports: the 8.5” x 11” size, the width of columns, and the typeface (later changed). Other elements of design are owed to David Ogilvy’s Confessions of an Advertising Man. The numbered paragraphs, the boxes drawn around the articles, are all Ogilvy’s ideas. I still think his books are the best on advertising that I’ve ever read and I recommend them. Another inspiration was Clay Felker, then editor of New York magazine, the best-edited publication of that era. New York’s motto was, “If you live in New York, you need all the help you can get!” The Insider’s Food Report borrowed this, as “The American housewife needs all the help she can get!” And in the background was the Cassandra-like presence of Ralph Nader, then at the peak of his influence. I felt, however, that all the consumer magazines, never mind Mr. Nader, were too paranoid, too humorless. To leaven the loaf, I inserted cartoons. The purpose of the cartoons was to counterpoint the rather serious, expository text; and, increasingly, to mock Trader Joe’s pretensions as an authority on anything.

Another paragraph from Chris’s journal replays in my mind: “The things that tempt me from following God daily aren’t sinful things,” he wrote. “They’re good things—duty to my family, to my father’s company, to the people at my church. But if I am going to devote myself to following God, I must be willing to leave the good things behind as I seek the best thing—total submission and obedience.

It was terrible and awful when someone left you. You could move on, do the best you could, but like Eli had said, an ending was an ending. No matter how many pages of sentences and paragraphs of great stories led up to it, it would always have the last word.

A pair of images that help clarify things here are those of the kayak and the superyacht. To be human, according to this analogy, is to occupy a little one-person kayak, borne along on the river of time towards your inevitable yet unpredictable death. It’s a thrilling situation, but also an intensely vulnerable one: you’re at the mercy of the current, and all you can really do is to stay alert, steering as best you can, reacting as wisely and gracefully as possible to whatever arises from moment to moment. The German philosopher Martin Heidegger described this state of affairs using the word Geworfenheit, or ‘thrownness,’ a suitably awkward word for an awkward predicament: merely to come into existence is to find oneself thrown into a time and place you didn’t choose, with a personality you didn’t pick, and with your time flowing away beneath you, minute by minute, whether you like it or not. That’s how life is. But it isn’t how we want it to be. We’d prefer a much greater sense of control. Rather than paddling by kayak, we’d like to feel ourselves the captain of a superyacht, calm and in charge, programming our desired route into the ship’s computers, then sitting back and watching it all unfold from the plush-leather swivel chair on the serene and silent bridge. Systems and schemes for self-improvement, and ‘long-term projects,’ all feed this fantasy: you get to spend your time daydreaming that you’re on the superyacht, master of all you survey, and imagining how great it’ll feel to reach your destination. By contrast, actually doing one meaningful thing today – just sitting down to meditate, just writing a few paragraphs of the novel, just giving your full attention to one exchange with your child – requires surrendering a sense of control. It means not knowing in advance if you’ll carry it off well (you can be certain you’ll do it imperfectly), or whether you’ll end up becoming the kind of person who does that sort of thing all the time. And so it is an act of faith. It means facing the truth that you’re always in the kayak, never the superyacht.

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