Pitching Confidence Quotes

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Her feelings of fear and helplessness had reached such a pitch that they were suddenly transformed into their opposites. Having overcome them, she felt corageous and self-confident enough to tackle any power on earth; more precisely, she had ceased to worry about herself.
Michael Ende (Momo)
the strongest predictor of who got the money was not the person’s credentials or the content of the pitch. The strongest predictors of who got the money were these traits: confidence, comfort level, and passionate enthusiasm.
Amy Cuddy (Presence: Bringing Your Boldest Self to Your Biggest Challenges)
After meticulously analyzing videos of 185 venture capital presentations — looking at both verbal and nonverbal behavior — Lakshmi ended up with results that surprised her: the strongest predictor of who got the money was not the person’s credentials or the content of the pitch. The strongest predictors of who got the money were these traits: confidence, comfort level, and passionate enthusiasm.
Amy Cuddy (Presence: Bringing Your Boldest Self to Your Biggest Challenges)
Having collected an army and concentrated his forces, he must blend and harmonize the different elements thereof before pitching his camp. [“Chang Yu says: “the establishment of harmony and confidence between the higher and lower ranks before venturing into the field;
Sun Tzu (The Art of War)
What Chinese parents understand is that nothing is fun until you're good at it[...] Tenacious practice, practice, practice is crucial for excellence; rote repetition is underrated in America. Once a child starts to excel at something—whether it's math, piano, pitching or ballet—he or she gets praise, admiration and satisfaction. This builds confidence and makes the once not-fun activity fun.
Amy Chua (Battle Hymn of the Tiger Mother)
My grandmother had never been very political, and she sure didn't follow high finance. But decades later, she was still repeating her line that she knew two things about Franklin Roosevelt: He made it safe to put money in banks and---she always paused here and smiled---he did a lot of other good things. And that was my pitch to Congressman Frank. Start with something that people understand, something that solves a problem they can see. Do that, and then they'll have confidence in the work you do to fix the parts they can't see... Start simple. Fix something people can see.
Elizabeth Warren (A Fighting Chance)
Good communicators don’t equivocate. They don’t start sentences with “I think that . . .” They also avoid wishy-washy language, such as sort of and kind of. They have the courage to say what they mean and confidently state their point.
Bill McGowan (Pitch Perfect: How to Say It Right the First Time, Every Time (How to Say It Right the First Time, Every Time Hardcover))
Well, did anything interesting happen today?' [my father] would begin. And even before the daily question was completed I had eagerly launched into my narrative of every play, and almost every pitch, of that afternoon's contest. It never crossed my mind to wonder if, at the close of a day's work, he might find my lengthy account the least bit tedious. For there was mastery as well as pleasure in our nightly ritual. Through my knowledge, I commanded my father's undivided attention, the sign of his love. It would instill in me an early awareness of the power of narrative, which would introduce a lifetime of storytelling, fueled by the naive confidence that others would find me as entertaining as my father did.
Doris Kearns Goodwin (Wait Till Next Year)
There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York--every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. By seven o'clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. The last swimmers have come in from the beach now and are dressing up-stairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names. The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light. Suddenly one of the gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvas platform. A momentary hush; the orchestra leader varies his rhythm obligingly for her, and there is a burst of chatter as the erroneous news goes around that she is Gilda Gray's understudy from the FOLLIES. The party has begun.
F. Scott Fitzgerald (The Great Gatsby)
Bowing low, he gave a last confident nod toward home plate, the kind that said, 'You know kid, I'm Danny Dragoon. I pitch fire, and you can't hit fire. No one can.
Anthony Trendl (My Biggest Game: A Baseball Story: A Bluster County Tale)
Look at me.” His voice was pitched low. Confident and compelling. The way he had sounded before the war had come between them. “I’ll find you again when the time is right. I swear it.
Rebecca Ross (Ruthless Vows (Letters of Enchantment, #2))
Having proven that solitary pleasures are as delicious as any others and much more likely to delight, it becomes perfectly clear that this enjoyment, taken in independence of the objectwe employ, is not merely of a nature very remote from what could be pleasurable to thatobject, but is even found to be inimical to that object’s pleasure: what is more, it may becomean imposed suffering, a vexation, or a torture, and the only thing that results from this abuse isa very certain increase of pleasure for the despot who does the tormenting or vexing; let usattempt to demonstrate this.”Voluptuous emotion is nothing but a kind of vibration produced in our soul by shockswhich the imagination, inflamed by the remembrance of a lubricious object, registers uponour senses, either through this object’s presence, or better still by this object’s being exposedto that particular kind of irritation which most profoundly stirs us; thus, our voluptuoustransport Ä this indescribable convulsive needling which drives us wild, which lifts us to thehighest pitch of happiness at which man is able to arrive Ä is never ignited save by twocauses: either by the perception in the object we use of a real or imaginary beauty, the beautyin which we delight the most, or by the sight of that object undergoing the strongest possiblesensation; now, there is no more lively sensation than that of pain; its impressions are certainand dependable, they never deceive as may those of the pleasure women perpetually feign andalmost never experience; and, furthermore, how much self-confidence, youth, vigor, healthare not needed in order to be sure of producing this dubious and hardly very satisfyingimpression of pleasure in a woman. To produce the painful impression, on the contrary,requires no virtues at all: the more defects a man may have, the older he is, the less lovable,the more resounding his success. With what regards the objective, it will be far more certainlyattained since we are establishing the fact that one never better touches, I wish to say, that onenever better irritates one’s senses than when the greatest possible impression has been produced in the employed object, by no matter what devices; therefore, he who will cause themost tumultuous impression to be born in a woman, he who will most thoroughly convulsethis woman’s entire frame, very decidedly will have managed to procure himself the heaviest possible dose of voluptuousness, because the shock resultant upon us by the impressionsothers experience, which shock in turn is necessitated by the impression we have of thoseothers, will necessarily be more vigorous if the impression these others receive be painful,than if the impression they receive be sweet and mild; and it follows that the voluptuousegoist, who is persuaded his pleasures will be keen only insofar as they are entire, willtherefore impose, when he has it in his power to do so, the strongest possible dose of painupon the employed object, fully certain that what by way of voluptuous pleasure he extractswill be his only by dint of the very lively impression he has produced.
Marquis de Sade
Her technique was not perfect. Here and there he heard an off-pitch note, and her run of sixteenths was uneven. But her attack was fierce, her bow digging into the strings with such confidence that even her mistakes sounded intentional, every note played without apology.
Tess Gerritsen (Playing with Fire)
Amma wanted her daughter to be free, feminist and powerful Later she took her on personal development courses for children to give her the confidence and articulacy to flourish in any setting Big mistake Mum, Yazz said at fourteen when she was pitching to go to Reading Music Festival with her friends, it would be to the detriment of my juvenile development if you curtailed my activities at this critical stage in my journey towards becoming the independent-minded and fully self-expressed adult you expect me to be, I mean, do you really want me rebelling against your old-fashioned rules by running away from the safety of my home to live on the streets and having to resort to prostitution to survive and thereafter drug addiction, crime, anorexia and abusive relationships with exploitative bastards twice my age before my early demise in a crack house? Amma fretted the whole weekend her little girl way away
Bernardine Evaristo (Girl, Woman, Other)
1. Project What is the project? Why is it unique? Why is the business needed? Why will customers love your product? 2. Partners Who are you? Who are the partners? What are your educational backgrounds? How much experience do you all have? How are you and your partners qualified to make the project a success? 3. Financing What is the total cost of the project? How much debt and how much equity is there? Are partners investing their own money? What is the investor’s return and reward for their risk? What are the tax consequences? Who is your CFO or accounting firm? Who is responsible for investor communications? What is the investor’s exit? 4. Management Who is running your company? What is their experience? What is their track record? Have they ever failed? How does their experience relate to your industry? Do you believe this is the strongest management team you can assemble? Can you pitch them with confidence?
Donald J. Trump
[Janet] Holmes’s numbers demonstrated that the total number of you knows collected were almost identical between genders, but women used the phrase with a flat pitch, communicating confidence, over 20 percent more than men. And yet, most people don’t hear it that way – at the first sign of a woman hedging, they automatically assume insecurity.
Amanda Montell (Wordslut: A Feminist Guide to Taking Back the English Language)
I was able to pitch a tent and carry a backpack twenty-five miles a day through mountains—I’d mastered a thousand amazing physical feats—physically I’d become undeniably confident and capable—but physical weakness had never been the problem that I had. My true problem had been passivity, the lifelong-conditioned submission that became my nature.
Aspen Matis (Girl in the Woods: A Memoir)
David stared right back. The head games were fun for David. Of course, if he could manage to get a hit, it would be even better. The second pitch was a curveball and David didn't come close to making contact. "Strike two!" said the ump even louder. David kept his mouth shut this time. For some reason, David felt more confident than he had before,
Mary Sue (The Enchanted Hat)
A voice is a product of the writer’s own Pandora Box of insight, insecurities, bravado, modesty, humility, affection, understanding, and confidence. In short, a voice reflects the writers’ sangfroid. The tenor of the writer’s voice also reflects their insecurities, self-doubt, egotism, testiness, and the ability to identify with their mental and physical infirmities. The inflection that distinguishes a writer’s pitch from other wordsmiths’ tone reflects their collective lifetime of mundane, tranquil, disturbing, and passionate experiences.
Kilroy J. Oldster (Dead Toad Scrolls)
Energy is a science-y term that psychics like to use a lot, though I’m not sure many of us would say we missed our calling as professors or technology gurus. I’ve met my share of mediums, and I’ve never heard any of them confide, “Gosh, I really wanted to be a physicist, but I knew talking to dead people would make me more popular at parties.” Are you out of your mind? If you handed me a radiometer, I’d probably use it as a paperweight. Even when the kids needed help with their science fair projects growing up, it was a group effort at our house—me, Larry, my parents, we’d all pitch in. And believe me when I say that I was rarely the one steering the rocket ship.
Theresa Caputo (There's More to Life Than This)
A dachshund came out of the bushes. Ruzena's father extended his pole toward him, but the dog alertly evaded it and ran over to the boy, who lifted him up and hugged him. Other old men rushed over to help Ruzena's father and tear the dachshund out of the boy's arms. The boy was crying, shouting, and grappling with them so that the old men had to twist his arms and put a hand over his mouth because his cries were attracting too much attention from the passersby, who were turning to look but not daring to intervene. [...] Jakub was leading the dog by the collar toward the hotel steps when one of the old men shouted: "Release that dog at once!" And the other old man: "In the name of the law!" Jakub pretended not to notice the old men and kept going, but behind him a pole slowly descended alongside his body and the wire loop wavered clumsily over the boxer's head. Jakub grabbed the end of the pole and brusquely pushed it aside. A third old man ran up and shouted: "Its an attack on law and order! I'm going to call the police!" And the high-pitched voice of another old man complained: "He ran on the grass! He ran in the playground, where it's prohibited! He pissed in the kids' sandbox! Do you like dogs more than children?" The boxer scampered around the room curiously, unaware that he had just escaped danger. Jakub stretched out on the daybed, wondering what to do with him. He liked the lively, good-natured dog. The insouciance with which, in a few minutes, he had made himself at home in a strange room and struck up a friendship with a strange man was nearly suspicious and seemed to verge on stupidity. After sniffing all corners of the room, he leaped up on the daybed and lay down beside Jakub. Jakub was startled, but he welcomed without reservation this sign of camaraderie. He put his hand on the dog's back and felt with delight the warmth of the animal's body. He had always liked dogs. They were familiar, affectionate, devoted, and at the same time entirely incomprehensible. We will never know what actually goes on in the heads and hearts of these confident, merry emissaries from incomprehensible nature.
Milan Kundera (Farewell Waltz)
I’m here!” Squirrelflight’s voice was high-pitched with terror. “I’m going to push a branch through to you. You can run along it to escape before it catches fire.” “Right. We’ll be ready,” Lionblaze replied. Hollyleaf felt a jolt of gratitude for her brother’s courage. Without him, she was certain she would have panicked, trapped between the fire and the long drop into the camp. But they would stick together, the three of them, protected by the prophecy as they had always been. Hollyleaf could hear the sound of something heavy being dragged through the undergrowth beyond the flames. Her burst of confidence blew away like ash. “She’ll never manage it,” she muttered to Lionblaze. “What about her wound? She’s not strong enough.” “Squirrelflight will always do what she has to,” Lionblaze replied. Small tongues of flame were creeping through the grass now; rain
Erin Hunter (Long Shadows (Warriors: Power of Three, #5))
From chapter three of THE GREAT GATSBY by Scott Fitzgerald: “By seven o’clock the orchestra has arrived . . . the bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter . . . The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. . . . already there are wanderers, confident girls who weave here and there among the stouter and more stable . . . excited with triumph glide on through the sea-change of faces and voices and color under the constantly changing light. “Suddenly one of these gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvass platform. . . . There is a burst of chatter as the erroneous news goes around that she is Gilda Gray’s understudy from the Follies. The party has begun.
F. Scott Fitzgerald (The Great Gatsby)
A bout of nerves crept up my spine and I tilted my head at him, hoping I was imagining the heat spreading over my cheeks to spare myself the embarrassment of blushing merely because he was piercing me with those chocolate eyes that I had never noticed were so amazing. “What are you staring at?” “Can I take you to prom?” He asked me. Just like that, no hesitation or insecurity to be found in his tone or facial expression. His confidence caught me completely off guard and I gaped at him in a stunned silence for almost twenty full seconds. His expression never faltered, though. He just watched my mouth work to make some sort of intelligible sound, waiting for my answer as he oozes at least the illusion of complete calm. “Huh?” I blurted in an embarrassingly high-pitched squeak. I sounded like a chipmunk and his smirk made me turn a deep shade of red. “Um… Uh… Prom?” I managed, eloquent as ever. He laughed at me fondly, nodding his head. “Yeah, prom.” Shock was not a deep enough word to describe what I was feeling over this proposal. This was Jim, the kid who swore up and down he would rather gouge out his eyes with a grapefruit spoon than put on dress clothes and he was offering to take me to a place where flannel shirts and ratty jeans were unacceptable and dance me around a room in uncomfortable shoes all night long? This couldn’t be real life. But it was real life. I was sitting in the car with him with my mouth hanging open like a fish waiting for him to laugh and tell me he was kidding, that there was no way he was going to put on a tie for my benefit, and he was sitting right there, a slightly nervous look crossing his features over my dumbstruck expression. Breathe, Lizzie, I scolded myself. Answer him! Say yes! You could have knocked me over with a feather and I was very relieved to be sitting down in a car so I could prevent anything humiliating from happening. Having already proved I could not trust my voice to answer him I jerkily nodded my head as my mouth grew into a Cheshire cat sized smile. I turned my face away and hid behind my hair as if I could hide my excitement from the world. Jim was visibly euphoric and that only made me want to squeal even more. He was excited to take me out. How cool was that?
Melissa Simmons (Best Thing I Never Had (Anthology))
was home plate, where Bill Mazeroski completed his electrifying home run while Umpire Bill Jackowski, broad back braced and arms spread, held off the mob long enough for Bill to make it legal. Pittsburgh’s steel mills couldn’t have made more noise than the crowd in this ancient park did when Mazeroski smashed Yankee Ralph Terry’s second pitch of the ninth inning. By the time the ball sailed over the ivy-covered brick wall, the rush from the stands had begun and these sudden madmen threatened to keep Maz from touching the plate with the run that beat the lordly Yankees, 10–9, for the title. Bear in mind that the story was written not at leisure but amid the din and distraction of a crowded press box in the immediate whooping aftermath of the game. Nor could a single thought or neat phrase (like “broad back braced and arms spread”) have been prepared in advance and casually dropped into the text. Since Mazeroski’s home run rudely upended a nation’s confident expectations of a victory by “the lordly Yankees,” every sportswriter present had to discard whatever he’d had in mind to say, even one batter earlier, and start afresh. Search as you will, you won’t find a better World Series game report on file anywhere, unless it was another
Bill Bryson (The Life and Times of the Thunderbolt Kid)
Before Chris passed away, I’d volunteered to coach Angel’s soccer team in our local recreational league. It was a commitment I vowed to keep. I was determined to show those little girls how to succeed on the soccer “pitch,” as the field is sometimes called. I may have gone a little overboard. I mean, how many six-year-old girls have the misfortune of being coached by the wife of a SEAL? Day One: “We start by running!” I shouted enthusiastically. “Everyone run around the park. Let’s go.” “The soccer field, Mrs. Kyle?” asked a player. “No! The entire complex. Come on!” I’m guessing it was maybe five or six times as far as they’d ever run before--or maybe ten or twenty--and a good deal farther than many teams with considerably older players ran. But the girls were good sports about it. We built endurance and worked on drills, and we had fun--you never knew when the coach might grab one the of the players and twirl her around enthusiastically for doing a good job. “I’m taking goal,” I’d say when shooting practice wasn’t going well. “Anyone who can hurt me gets an extra piece of candy!” I gave out a lot of candy that afternoon. We were a young team and a little rough at first, but we got better as we went. It was fun to watch the transition many of the girls made over the length of the season--they not only got in better shape and learned to play soccer better, but they seemed more confident as well. I will guarantee one thing: they slept pretty well the nights after practice.
Taya Kyle (American Wife: Love, War, Faith, and Renewal)
right to use Apple Corps for their record and business holdings. Alas, this did not resolve the issue of getting the Beatles onto iTunes. For that to happen, the Beatles and EMI Music, which held the rights to most of their songs, had to negotiate their own differences over how to handle the digital rights. “The Beatles all want to be on iTunes,” Jobs later recalled, “but they and EMI are like an old married couple. They hate each other but can’t get divorced. The fact that my favorite band was the last holdout from iTunes was something I very much hoped I would live to resolve.” As it turned out, he would. Bono Bono, the lead singer of U2, deeply appreciated Apple’s marketing muscle. He was confident that his Dublin-based band was still the best in the world, but in 2004 it was trying, after almost thirty years together, to reinvigorate its image. It had produced an exciting new album with a song that the band’s lead guitarist, The Edge, declared to be “the mother of all rock tunes.” Bono knew he needed to find a way to get it some traction, so he placed a call to Jobs. “I wanted something specific from Apple,” Bono recalled. “We had a song called ‘Vertigo’ that featured an aggressive guitar riff that I knew would be contagious, but only if people were exposed to it many, many times.” He was worried that the era of promoting a song through airplay on the radio was over. So Bono visited Jobs at home in Palo Alto, walked around the garden, and made an unusual pitch. Over the years U2 had spurned
Walter Isaacson (Steve Jobs)
Yeah, about last night … it’s been brought to my attention that I may have been a little out of line with somethings I did and said so—” “Really? Such as …” I can’t believe he’s going to make me say it. He’s so frustrating. One minute he’s cleaning puke off the drunk girl, showing his kind side, and the next he’s trying to humiliate me. Granted, I do a pretty good job of setting myself up for it. “Such as drinking too much to begin with, then maybe giving the impression that I was … jealous of Claire, or Dr. Brown.” “You mean Dr. Skank?” Shit! “Yes—I mean—no, not Dr. Skank. I don’t remember calling her that, but if I did then I’m sorry. I didn’t mean it.” I may have meant it. “Don’t sweat it, Syd. I think you’re adorable when you get all jealous.” “I was not jealous!” I yell in a high-pitched voice. “Uh … your striptease was entitled ‘Where Lautner’s hands will never be again if he doesn’t keep them off Dr. Skank.’” Kill me now and never let another drop of alcohol pass my lips. “So how was golf?” Lautner laughs. “I take it we’re done talking about last night?” “It’s pointless because it’s your word against mine, unless Swarley goes all Bush Beans Duke on me.” “God, you’re something else. So what did you call about?” “Oh … just to …” “I’m just flipping ya shit. I know why you called.” He does? I’m not entirely sure I know why I called so how can he know? “You do?” “I left you in a hot mess this morning and you need to be serviced.” His voice drips of confidence or most likely arrogance. “What? No, that’s not … um …” “Sorry, babe. I didn’t realize just how tightly wound you would be by now. Damn, you can’t even form a coherent thought. Get naked, I’ll see you in ten.” “Lau—” He hung up on me!
Jewel E. Ann (Undeniably You)
Fifteen years had passed since I first learned to improvise by copying George Shearing records. From the beginning, the goal was to move beyond imitation and find my own voice, and I felt that that was finally happening. Miles had been the guiding light to my growth, encouraging all of us in the band to develop our own styles of playing, and during my five and a half years in the quintet I did start to develop my own sound. But it wasn’t until I got out on my own that I felt I could really explore it. Now that I had my own sextet, I started thinking analytically about what actually goes on within a jazz group. At every moment onstage players are making choices, and each choice affects every other member of the group. So each player has to be prepared to change directions at any given moment—just as Miles did when I played that “wrong” chord onstage a few years earlier. Everybody in a jazz ensemble has learned the basic framework of harmony and scales and how they fit. They know the basic song structure of having the rhythm section—piano, bass, and drums—playing together while the horns carry the melody. But apart from those basics, jazz is incredibly broad. There are really uncountable ways of playing it. For the pianist alone there are so many choices to make: what pitch, how many notes, whether to play a chord or a line. I have ten fingers, and they’re in motion almost all the time, so all of those decisions must happen in an instant. I’m reacting to what the rest of the band is playing, but if I’m only reacting, then I’m not really making a choice; I’m just getting hit and being pushed along. Acting is making a choice, so all the players must be ready to act as well as react. The players have to be talented enough, and confident enough, to do both. I had watched Miles surround himself with amazing musicians and then give them the freedom to act.
Herbie Hancock (Herbie Hancock: Possibilities)
I remember every detail of it, you insignificant cow,” Morwen panted, affecting a crooked grin that failed to convey the same confidence it had before. “You screamed. You cried and blubbered like a baby before you died.” “It won’t work,” said Jenny. “You can’t rile me anymore.” “No? You should have seen your handsome Howard Carson after our vamp got through with him,” Morwen went on. For all her venom, she looked as though she might pass out at any moment. The trip through the wall had left several gashes along her arms, and her eyes appeared to be having difficulty focusing. “You could barely recognize his butchered corpse in the end,” she hissed. “We pitched what was left into the fire like greasy table scraps.” Jenny did not rise to the bait. She only drifted slowly to a stop, looming over Morwen. Morwen gripped her dark dagger so tightly her knuckles whitened. She lashed out wildly at the specter, but the blade met nothing more substantial than moonlight. The effort cost the nixie her balance, and she collapsed again onto the carpet. “It’s frustrating, isn’t it?” said Jenny calmly. “Not being able to make contact.” She reached down and easily plucked the blade out of Morwen’s grasp. She shifted the weapon from one hand to the other, regarding the dark metal curiously. The solidity of the thing sat at odds with her translucent fingers. Morwen pushed herself up with great difficulty, swaying to an unsteady slouch on one knee. The fight had left the nixie, but not her fury. Her dress was torn and she had plaster ground into her hair. Her voice was hollow. “Just get it over with.” “It is over,” said Jenny. She dropped the blade onto the carpet behind her with a soft thump. Morwen narrowed her eyes. “Don’t waste your pity on me, ghost,” she spat. “I won’t,” said Jenny. “Nor any fear nor fury. I’m done with you, Morwen. My friends, however . . . are not. Mr. Jackaby?” Jackaby stepped forward. He unwound the chain from his hand as he moved around toward Morwen. “Done with me?” Morwen spat. “You only exist because of me, ghost! You’re nothing but a ripple in my wake, you worthless trash. I made you!” “You didn’t make me,” Jenny said gently. “I made myself, and I will continue to make myself forever after. What you did to me? That made you. It made you a murderer and it made you a monster. They buried the girl you killed, Morwen. I’m the spirit you couldn’t kill. You have no power over me.
William Ritter (Ghostly Echoes (Jackaby, #3))
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ETHEREUM AND USDT RECOVERY EXPERT HIRE ADWARE RECOVERY SPECIALIST
During his time working for the head of strategy at the bank in the early 1990s, Musk had been asked to take a look at the company’s third-world debt portfolio. This pool of money went by the depressing name of “less-developed country debt,” and Bank of Nova Scotia had billions of dollars of it. Countries throughout South America and elsewhere had defaulted in the years prior, forcing the bank to write down some of its debt value. Musk’s boss wanted him to dig into the bank’s holdings as a learning experiment and try to determine how much the debt was actually worth. While pursuing this project, Musk stumbled upon what seemed like an obvious business opportunity. The United States had tried to help reduce the debt burden of a number of developing countries through so-called Brady bonds, in which the U.S. government basically backstopped the debt of countries like Brazil and Argentina. Musk noticed an arbitrage play. “I calculated the backstop value, and it was something like fifty cents on the dollar, while the actual debt was trading at twenty-five cents,” Musk said. “This was like the biggest opportunity ever, and nobody seemed to realize it.” Musk tried to remain cool and calm as he rang Goldman Sachs, one of the main traders in this market, and probed around about what he had seen. He inquired as to how much Brazilian debt might be available at the 25-cents price. “The guy said, ‘How much do you want?’ and I came up with some ridiculous number like ten billion dollars,” Musk said. When the trader confirmed that was doable, Musk hung up the phone. “I was thinking that they had to be fucking crazy because you could double your money. Everything was backed by Uncle Sam. It was a no-brainer.” Musk had spent the summer earning about fourteen dollars an hour and getting chewed out for using the executive coffee machine, among other status infractions, and figured his moment to shine and make a big bonus had arrived. He sprinted up to his boss’s office and pitched the opportunity of a lifetime. “You can make billions of dollars for free,” he said. His boss told Musk to write up a report, which soon got passed up to the bank’s CEO, who promptly rejected the proposal, saying the bank had been burned on Brazilian and Argentinian debt before and didn’t want to mess with it again. “I tried to tell them that’s not the point,” Musk said. “The point is that it’s fucking backed by Uncle Sam. It doesn’t matter what the South Americans do. You cannot lose unless you think the U.S. Treasury is going to default. But they still didn’t do it, and I was stunned. Later in life, as I competed against the banks, I would think back to this moment, and it gave me confidence. All the bankers did was copy what everyone else did. If everyone else ran off a bloody cliff, they’d run right off a cliff with them. If there was a giant pile of gold sitting in the middle of the room and nobody was picking it up, they wouldn’t pick it up, either.” In
Ashlee Vance (Elon Musk: How the Billionaire CEO of SpaceX and Tesla is Shaping our Future)
Buyers only put off those decisions they lack the confidence to make, so help them gain the certainty they need to commit right then and there.
David Hoffeld (The Science of Selling: Proven Strategies to Make Your Pitch, Influence Decisions, and Close the Deal)
Premium Pricing Improves Commitment We never want our clients to be in situations where it is easy for them to decide to not take our advice. Any time someone hires an outside expert, the ultimate outcome he seeks is to move forward with confidence. What is the value of good advice not acted upon? Yes, it is our job to tell him what to do, but that is often the easy part. We are equally obliged to give him the strength to do it. We are not meeting our full obligations to our clients when we make recommendations that they find easy to ignore. The price we charge for such guidance should be enough that our clients feel compelled to act, lest they experience a profound sense of wasted resources. There must be the appropriate amount of pain associated with our pricing. This implies the need for our pricing to change as the size of the client changes. Larger organizations need to pay more to ensure their commitment. Larger Clients Get Greater Value Another reason larger clients must pay more is they derive greater financial value from similar work we would do for smaller organizations. To charge John Doe Chevrolet what we would charge General Motors for the same work would be irresponsible of us. The larger client pays more to ensure his commitment to solving his problem and to ensure his commitment to working with us – and he pays more because we are delivering a service that has a greater dollar value to him. Reinvesting in Ourselves Of all the investment opportunities we will face in our lives, few will yield returns greater than those opportunities to invest in ourselves. Price premiums give us the profit to reinvest in our people, our enterprise and ourselves. The corporations that we most admire are the ones that invest in research and development. We must follow their path. While others get by on slim margins, winning on price, we will use some of our greater profit margins to better ourselves and put greater distance between our competition and us. Better Margins Equal Better Firms and Better Clients On these many levels, charging more improves our ability to help our clients and increases the likelihood that we will deliver high-quality outcomes. It allows us to select the best clients – those that we are most able to help. Like leaning into the discomfort of money conversations, charging more might not come naturally or seem easy, but it is better for everyone, including the client, and so this too we shall learn to do with confidence.
Blair Enns (A Win Without Pitching Manifesto)
Keep in mind that you are making a pitch, so the focus should not be on you, but on the company. Your battle plan should not be “me-centric” but should be “you-centric” — the company cares about the bottom line, and your task is to help it achieve such. And if you’re speaking to one specific boss or supervisor, you should consider how you can make his or her life easier and how you can make them look better too.  The more specific you are with your plans, the better your chances are of getting that much-coveted raise!
Geoffrey Wright (How to Ask for a Raise: Negotiating Your Salary Increase with Ease and Confidence to Get the Raise You Want and Deserve)
Customers don’t get convinced because we start being unconvinced about convincing them, percentage of rejection becomes zero when we start our sales pitch with confidence. Say it with confidence & get an understanding audience, and most importantly, when you get successful do not hesitate to thank the customer for choosing something which you made them choose, make it look like their victory because when they feel good about their choice – they will keep coming back.
ShahenshahHK
A high-pitched voice may sound less authoritative, more youthful, and less experienced, whereas, a lower pitched voice may be perceived as being more authoritative, confident, and credible. It is unfortunate that listeners will make assumptions based on these differences before even knowing the depth and value of your message. Play with your ranges and find a comfortably low pitch. Practice it to see if it makes a difference in conveying more authority and brilliance.
Susan C. Young (The Art of Communication: 8 Ways to Confirm Clarity & Understanding for Positive Impact(The Art of First Impressions for Positive Impact, #5))
Jewel and I come up from the field, following the path in single file. Although I am fifteen feet ahead of him, anyone watching us from the cottonhouse can see Jewel’s frayed and broken straw hat a full head above my own. The path runs straight as a plumb-line, worn smooth by feet and baked brick-hard by July, between the green rows of laidby cotton, to the cottonhouse in the center of the field, where it turns and circles the cottonhouse at four soft right angles and goes on across the field again, worn so by feet in fading precision. The cottonhouse is of rough logs, from between which the chinking has long fallen. Square, with a broken roof set at a single pitch, it leans in empty and shimmering dilapidation in the sunlight, a single broad window in two opposite walls giving onto the approaches of the path. When we reach it I turn and follow the path which circles the house. Jewel, fifteen feet behind me, looking straight ahead, steps in a single stride through the window. Still staring straight ahead, his pale eyes like wood set into his wooden face, he crosses the floor in four strides with the rigid gravity of a cigar store Indian dressed in patched overalls and endued with life from the hips down, and steps in a single stride through the opposite window and into the path again just as I come around the corner. In single file and five feet apart and Jewel now in front, we go on up the path toward the foot of the bluff. Tull’s wagon stands beside the spring, hitched to the rail, the reins wrapped about the seat stanchion. In the wagon bed are two chairs. Jewel stops at the spring and takes the gourd from the willow branch and drinks. I pass him and mount the path, beginning to hear Cash’s saw. When I reach the top he has quit sawing. Standing in a litter of chips, he is fitting two of the boards together. Between the shadow spaces they are yellow as gold, like soft gold, bearing on their flanks in smooth undulations the marks of the adze blade: a good carpenter, Cash is. He holds the two planks on the trestle, fitted along the edges in a quarter of the finished box. He kneels and squints along the edge of them, then he lowers them and takes up the adze. A good carpenter. Addie Bundren could not want a better one, a better box to lie in. It will give her confidence and comfort. I go on to the house, followed by the                                     Chuck.   Chuck.   Chuck.of the adze.
William Faulkner (As I Lay Dying)
How exactly does social selling work? For the purposes of prospecting for new business, social selling involves contacting prospective customers on social media platforms, most commonly LinkedIn and Twitter. Here are some pointers: Cultivate a relationship: Social selling is not for the quick wins, generally speaking. You can start simply by following a prospect, engaging with their content, and then inviting them to connect. You want to draw their attention, but not overwhelm them. Don’t pitch right away: In the early days of social selling, it was possible to immediately pitch a prospect online with some success. That time has passed, so don’t assume that when someone accepts your connection request it means they want to buy from you. Be someone worth talking to: Your prospects will see your public profile, so be sure to demonstrate your expertise in your profile and content. If you’re still using your LinkedIn account as a resume, you’re doing it wrong. Move from online to offline: The goal of social selling is not to run through the entire sale over social media. As with all initial contacting, your goal is to set up a real-time conversation over the phone or in person. While nearly all great salespeople communicate with prospects across all three of these channels, it’s best to become confident with one before adding another. Cold calling, while unattractive to many, will yield the greatest number of opportunities to learn which offers and messaging resonate with our prospects. The skill of adapting to prospects in live conversation is invaluable throughout the sales process. In fact, it’s one of the most important skills to master in order to advance your sales career.
Rex Biberston (Outbound Sales, No Fluff: Written by two millennials who have actually sold something this decade.)
What’s your unique angle in thirty seconds or less?” In other words, why would anyone care to read his newsletter? I know that sounds harsh, but that’s the first question you have to answer before you put yourself into the public sphere. Pressed into defining his unique angle, Ben paused. He rumpled his face up, laughed nervously, and shrugged. This is hard! Finally he spoke, slowly, and then with confidence. Listen to how Ben defined his angle, his sauce: “I’ve been a performance coach for the last fourteen years, working with the best athletes in the world. Helping people perform better is my groove. I want to help anybody who wants to have a great day and shift them into the mentality to dominate their life. I have information to share when it comes to dealing with the best.” That is beautiful! Both in its heartfelt honesty and authenticity, but also in its clarity. Let’s pick it apart and look at what he did in those four sentences: He defines who he is, Why you should trust him, What he is passionate about, and What unique thing this prepares him to do for you. It is clear, approachable, direct, and short. The first three sentences define what makes him special (fourteen years helping the best athletes in the world perform better!), and the fourth (how he’s solving his customers’ problems, teaching mindsets needed to dominate life) defines the kind of love and attention he’ll generously dispense to cultivate a community. Take a minute, and as Ben has done, write out a pitch in your journal describing your special sauce. CHALLENGE Write out your unique angle. There are no right answers here. You can change these any time you’d like. Who are you? Why should people listen? What are you passionate about? What will you do for people?
Noah Kagan (Million Dollar Weekend: The Surprisingly Simple Way to Launch a 7-Figure Business in 48 Hours)
What Chinese parents understand is that nothing is fun until you're good at it[...] Tenacious practice, practice, practice is crucial for excellence; rote repetition is underrated in America. Once a child starts to excel at something—whether it's math, piano, pitching or ballet—he or she gets praise, admiration and satisfaction. This builds confidence and makes the once not-fun activity fun.
Amu Chua
When you find yourself in an explosive situation—one of those “tense situations” that seems likely to get out of hand at almost any minute—deliberatly lower the tone of your voice and keep it soft. This will literally force the other fellow to keep his own voice soft. And he can’t become angry and emotional as long as he keeps his voice pitched in a soft tone. If you wait until the other person becomes angry, it won’t work—but you can turn anger away before it arrives by using this technique.
Les Giblin (How to Have Confidence and Power in Dealing with People)
meticulously analyzing videos of 185 venture capital presentations — looking at both verbal and nonverbal behavior — Lakshmi ended up with results that surprised her: the strongest predictor of who got the money was not the person’s credentials or the content of the pitch. The strongest predictors of who got the money were these traits: confidence, comfort level, and passionate enthusiasm. Those who succeeded did not spend their precious moments in the spotlight worrying about how they were doing or what others thought of them. No spirit under the stairs awaited them, because they knew they were doing their best. In other words, those who succeeded were fully present, and their presence was palpable. It came through mostly in nonverbal ways — vocal qualities, gestures, facial expressions, and so on.6
Amy Cuddy (Presence: Bringing Your Boldest Self to Your Biggest Challenges)
But maybe she’d have herself a little adventure in there somewhere. Maybe on her cruise, on one of her trips. Not with this kind of man, of course. He was too mature, for one thing. One look convinced her—he knew everything about men and women, while she knew very little. He looked a little dangerous and very, very physical. Scary. He had that warrior appearance, complete with tattoos. The sight of him bare-chested had rattled her, but the big horse beneath her had given her plenty of confidence. His shoulders were so large, strong and muscular, and he had a barbed-wire armband tattooed on his rippling left biceps. His belly was flat and hard with a trail of chest hair that disappeared into his jeans. The stubble along his jaw made his grin a little taunting and definitely naughty; it had made her shiver. And he had an aura of carelessness. He would take a bite of her, then pitch her out, forgetting her before morning. But while Shelby had looked him over, everything inside her had grown warm. Something about him, a forbidden quality, was absolutely delicious. Even the damn dirt looked good on him. Despite her common sense, she wondered, wouldn’t that be interesting? And her very next thought was, no, no, no, not him! My adventure will come in a polo shirt, cheeks as smooth as a baby’s butt, styled hair, no tattoos and hopefully an advanced degree. Not some scary Black Hawk pilot who has a Ph.D. in one-night stands! *
Robyn Carr (Temptation Ridge)
Neen James (NeenJames.com) is an eloquent and successful international speaker who stands at four-feet-eleven with a rich Australian dialect and a high-pitched voice. For years, fellow speakers with good intentions told her she needed to take voice lessons to lower her pitch to give her more depth for a compelling stage presence. With complete confidence and loyalty to her uniqueness, she ignored the naysayers and her amazing signature voice has become a powerful brand.
Susan C. Young (The Art of Communication: 8 Ways to Confirm Clarity & Understanding for Positive Impact(The Art of First Impressions for Positive Impact, #5))
Conversational Callie: Callie is a master communicator. She uses a variety of pitches and volumes when she speaks. She draws you in. Her lower and slower tone of voice attracts your attention…and then she delivers her message with power and humor. She knows that variety is truly the spice of life, and when she speaks she harnesses that variety so you stay engaged. Rarely does she speak with sarcasm, so if the joke is on someone, it’s on herself. You like being around Callie because she uses her tone to build up others and strengthen her message.
Christy Largent (31 Positive Communication Skills Devotional for Women: Encouraging Words to Help You Speak Your Truth with Confidence)
Bakke recounts an earlier anecdote that explains how his view on work was shaped from early childhood—one of a strand of many experiences that would determine his vocation to create organizations that make work fun and fulfilling: On this particular day, my mother had organized the evening work in her usual style. The kitchen was abuzz with activity. I was 16 years old and charged with cooking creamed peas for supper. My younger brother was carrying wood from the shed to the storage area next to the kitchen. Kenny’s older sisters [Kenny and his sisters were foster children at the Bakke home] were clearing dirty cooking dishes and setting the table with dinner ware. …. No one was paying attention to Kenny. …. Suddenly the two-year-old … picked up the spoon on his tray. “I want jobs, I want jobs, I want jobs,” he chanted as he pounded his spoon. I think this little guy with a crooked smile and troubled past was saying, “I want to contribute. I can make a difference. I want to be part of the team. I’m somebody. I want to have fun working, too!” Over the years, I have reflected on that moment and come to believe that it captures the early and substantial influence Mom had on my concept of fun in the workplace. Somehow, she created an environment in which everyone was energized, not from fear of punishment or promise of reward, but from a desire to accomplish something positive. She had unbridled confidence in our ability to accomplish the tasks at hand. … She gave us enormous freedom to work and make decisions. Somehow she made work so attractive that even an abused two-year-old wanted desperately to pitch in for the sheer joy and excitement of it.41
Frederic Laloux (Reinventing Organizations: A Guide to Creating Organizations Inspired by the Next Stage of Human Consciousness)
The encouraging news is that when we have a good grasp of conversion, we realize that evangelism does not depend on eloquence, using the correct mood lighting, emotionally sappy stories and songs, or high-pressure sales pitches. We are free to simply and deeply trust God and the power of the gospel to produce the fruit he desires (Rom. 1:17). We realize that, though we are ambassadors for Christ pleading with men to be reconciled to God, it is God himself who makes the plea through us, his fellow workers (1 Cor. 3:9; 2 Cor. 5:20; 6:1), and his Spirit who guarantees that his Word will not return void (Isa. 55:11). We are to plant and water faithfully, confidently trusting that God will give the increase (1 Cor. 3:7).
Thabiti M. Anyabwile (What Is a Healthy Church Member?)
don’t have twenty bucks to split, we’ll call it a day and the difference is on me. If we have at least that much, or more, then it is in our best interests to forge an accord,” he says, his voice overly formal. I can’t help but smile. He’s kind of a goofball, for all his model looks and snake-oil-salesman charm. He’s actually not as confident as he pretends, I can see now. Which makes me feel better and at the same time…is endearing. I give him my black-belt ninja-level eye roll, which has the power to destroy worlds. It has no effect. Damn him again for his superpowers. I’ll have to try something else. He interprets my silence as an opportunity to keep pitching the idea. “You’ve got nothing to lose. It’s risk-free.” A thought occurs to me. “What happened to your last partner?” His face grows serious. “I had to kill him and eat him. It was a long winter.” “He?” “Don’t look at me like that. He was actually quite tender after a couple of days. The secret’s in the marinade.” I find myself laughing against my will, and he joins me, the dimples back in full force. I so want to say no, just to do it, but I’m also thinking it couldn’t hurt to give it a try. If he’s right, it might be the first Monday ever that I clear more than twenty bucks. “Seriously. What happened?” His expression darkens for a nanosecond, and then he brightens again. “He didn’t make it south. Stayed in the old country.” He watches me expectantly. “So how about it?” “You have the cash to cover any shortfall?” “I’m toting
R.E. Blake (Less Than Nothing (Less Than Nothing, #1))
I used to be really shy. I wouldn’t talk in front of the class,’’ Martinez said. “But with BUILD, I learned to have confidence in myself.’’ Christopher Stephenson, a local entrepreneur who worked with the B-Ties team as they developed their idea, said it was remarkable to watch the transformation in the children from the time they started in the program in September. “I know what it’s like to pitch, to deal with failure,’’ he said, “but to see kids at 14 or 15 going through this, showing courage and creativity, it was the most amazing experience.
Anonymous
I think I’m the only woman you’ve loved in forever. And you were going to pitch me out that fast, just because I make you nervous. I thought you didn’t trust me, but now I think you don’t trust yourself.” She shook her head. “I don’t want a man like that. I need a man with guts, who’s sure of himself. Confident enough to stand by me. I need a man who’s not afraid to take a risk or two for something important.” “I’ve taken a risk or two,” he said. “And you don’t scare me. Come up here on the porch.” “No. Not until you say that if we stay solid, there will be a real relationship and a family. I don’t want any of this ‘I don’t get involved’ shit. It’s all crap, Luke. You can have some time to be sure, I’m patient. But I’m not giving you up.” He smiled at her. “I don’t need time to be sure. I know how I feel.” “Still on that? Still that ‘never gonna happen’ bullshit?” “Okay, I guess it could happen,” he said. “If it did happen, it would happen with you. I just always thought you deserved more.” “More than everything I’ve ever wanted in the world? See what an idiot you turned out to be?” He had to laugh. She was something, this woman. “Shelby, come here. I don’t have to think about it—you’re the most solid thing I’ve ever had in my life. Now come here.” “I thought I wasn’t enough for you—but I was too much,” she said. “And you don’t get to decide what I deserve. What I deserve is a man who looks at me grow fat on his baby and feels pride. Love and pride.” “Okay then,” he said. “I love you. Come here.” “Not good enough. You have to say something to convince me this is worth the gamble. I came a long way and I came alone. I was betting on you, on us. I love you and you love me and I’m sick of screwing around. Say the right thing for once. Say something profound.” He stared at her and his smile slowly faded. He put his hands on his hips. He took a deep breath and felt tears gather in his eyes. “You’re all I need to be happy, Shelby,” he said. “You’re everything I need…” He actually surprised her. Her arms dropped from over her chest and she gaped at him for a second. “You’re everything,” he said. “It scares me to death, but I want it all with you. I want you for life. I want what you want, and I want it right now.” “Huh?” “Everything, Shelby. I want you to be the lead in my shoes that keeps me on the ground. The mother of my children. My best friend, my wife, my mistress. It’s a tall order.” He took a breath. “If you won’t quit, I won’t.” “You’re sure about that?” she asked him. “Sure it scares the hell out me you’ll change your mind? Or sure I want it all? Oh, yeah, honey. I’m sure.” “I won’t change my mind,” she said softly. “I can’t hear you!” he yelled. “I can’t hear you because you won’t come out of the frickin’ rain!” She ran up the porch steps and into his arms.
Robyn Carr (Temptation Ridge)
The next time you are in a situation where you are in charge of selling, pitching, or speaking, make sure you have thought through your Strike and opening line so you come into the moment like a woman who knows what she wants and is going to tell you how she is going to get it. Find whatever motion or sentence will help focus your thinking and pull all your ideas together. Once you have figured out what that is, you can channel it into the moment to give you the confidence to present yourself in an authentic way.
Lydia Fenet (The Most Powerful Woman in the Room Is You: Command an Audience and Sell Your Way to Success)
The gun industry collectively reinforced Glock’s pitch that small handguns were the perfect response to crime-ridden streets. The prolific Massad Ayoob advised in Shooting Industry, a periodical aimed at gun retailers: “Customers come to you every day out of fear. Fear is what they read in the newspaper. Fear of what they watch on the 11 o’clock news. Fear of the terrible acts of violence they see on the street. Your job, in no uncertain terms, is to sell them confidence.… An impulse of fear has sent that customer to your shop, so you want a quality product in stock to satisfy the customer’s needs and complete the impulse purchase.
Paul M. Barrett (Glock: The Rise Of America's Gun)
To dial up was like watching a rocket launch: first the top light was on, then the second . . . then came the sound of the modem talking to whatever it was talking to . . . sounding like an Atari game’s parody of birdsong or of a clarinet solo, pinging and ponging as more and more of the little lights came on, blinking and then steady, orange and then green . . . the sound building to a crescendo that recalled the noise of TV static, as machines confided who-knows-what secret binary handshakes between them while I listened. Then came a key change. Then the pitch of the static pulse tweaked, now higher, now lower, and then, gloriously, the final light went to green and I was online, in orbit: cyberspace.
Pete Buttigieg (Trust: America's Best Chance)
think the only way to avoid talking about your own loss is to do the project: focus on other people’s situations instead.’ Rachel sighed again. She couldn’t deny there was a certain logic to this. ‘And what about you?’ she asked. ‘I mean, asking to switch assignments won’t do you any favours in terms of your position here. This is a huge account and we both know you can bring it in – it would cement your celebrity status for good.’ Jack ignored her sarcasm. ‘I’m good at what I do. There’ll be plenty more chances for me to get this agency coveted, lucrative clients.’ Rachel pulled her hand out of his and crossed her arms. He was infuriatingly confident. ‘On the other hand …’ Jack said, ‘if we go ahead with Lighthouse, I’ll be with you, supporting you – and I’ll know the truth. And at least it sounds as if the content side of things won’t require too much soul-searching. It seems pretty clear Olivia Mason already knows what’s best when it comes to writing material for her new website.’ ‘True.’ Rachel stood up straighter and pulled her shoulders back a little. Jack was right: refusing to work on this account was guaranteed to raise questions about her past, not to mention her emotional stability. What kind of person was still this churned up about a bereavement – even a close one – after almost sixteen years? A loss they never breathed a word about, even to good friends? She decided to put those questions away for examination at some future, unspecified time. Then there was the risk that she’d mark herself out as difficult or unprofessional by refusing to do the work she’d been given. All things considered, it might be better to put her head down and get on with this. It would be a difficult few weeks, but ploughing on was probably preferable to publicly dredging up past pain. ‘Okay,’ Rachel said, subdued but certain. ‘Okay?’ ‘Yeah. I don’t think I have much choice here, do I? Sticking with the account seems like the lesser of two evils.’ ‘It’s going to be fine,’ Jack said bracingly. ‘And it’ll be over within a few weeks, just like the BHGH pitch. Once we get this done, we’ll be on to the next big thing – other people will be manning the account – and we never have to talk about any of this again if you don’t want to.’ Rachel nodded. Jack reached for her hand again, squeezing it and then letting go as they turned to walk back into the building. ‘Will you be all right?’ he asked as she headed towards the ladies. ‘I think so,’ she said. ‘And … I’m sorry I had a go at
Laura Starkey (Rachel Ryan's Resolutions)
For those of you in future generations who’ve never seen “Trump, Live in Concert,” the experience is ... uncanny. His voice is oddly nasal, and just slightly higher pitched than most other men; not pleasing, yet impossible to ignore. He sounds somehow self-confident and whiny at the same time. He often speaks without a teleprompter, which is unheard of in my time, he just makes up 90-minute rants on the spot. And although the results can be unconventional and even bizarre, it also feels more like a real conversation than any politician I’ve ever seen.
Ben Hamilton (Sorry Guys, We Stormed the Capitol: The Preposterous, True Story of January 6th and the Mob That Chased Congress From the Capitol. Told in Their Own Words. (The Chasing History Project #1))
Watching McGraw go through his repertoire of pitches, observing his seriousness and diligence, I understood that my cousin was more than a budding major leaguer. He was a dedicated craftsman, and the rewards he’d gained from hard work went far beyond mastering a slider and a change. He’d mastered himself. He didn’t work hard merely because he was talented, but because he knew that hard work was the right path for a man, the only path. He wasn’t paralyzed, as I was, by the fear of making a mistake. When he bounced a pitch in front of me, or threw it over my head, he didn’t care. He was experimenting, exploring, finding himself, and finding his way by trial and error to a kind of truth. No matter how foolish he looked on a pitch, no matter how badly he missed the target, with the next pitch he was focused, confident, relaxed
J.R. Moehringer (The Tender Bar)
Say the number with an exclamation point, not a question mark, and shut up. What I mean by exclamation point is when you are asked what you want, say, “I’d like $50,000!” Don’t say, “Umm . . . I’d like $50,000???” ending with your voice becoming high-pitched so it sounds like you’re asking a question. If you’re asking the question and not telling, it sounds like you’re not sure you’re worth the money, so why should they be sure? Say your number with confidence and then say nothing else. Sit there and wait for their response. It is not your time to say more because it will look like you’re overexplaining. Before the number comes up, you’ve already talked about the value you bring, so now is the time for you to kick the ball into their court and wait for them to pick it up.
Luvvie Ajayi Jones (Professional Troublemaker: The Fear-Fighter Manual)
When training new closers and reviewing their calls, I notice that often people try to rush this part. They tend to skip through the intro, rush through the discovery, and then slow down in the pitch. This is backwards. If you rush through the discovery phase, you’ll miss your prospect 99 percent of the time. You can’t rush this part of the process. I’ve helped people sell a product they could barely understand simply because they mastered the art of the discovery. The goal of this section is to have the prospect feel ready to buy, but more importantly to make sure the prospect feels heard. Some sales scripts will tell you to start by digging into the pain and asking what their challenges are. I strongly disagree; this is the incorrect way to begin this part of the process. Think about it this way: If you just met someone and within ten minutes they ask you what your deepest, darkest secret is or maybe what your fears or insecurities are, most likely you’re going to put up a wall and speak at a surface level. The same thing happens on a sales call. If we dig too early into the pain without properly building rapport and confidence, your prospect won’t open up to you.
Chad Aleo (The Book on High Ticket Sales: The Ultimate Guide to Making Millions Through Remote Selling)
Sweet and Sour Summers “There is something my parents did, and it was pretty unique. My brother and I refer to it as ‘The Sweet and Sour Summer.’ My parents would send us, for the first half of the summer, to an internship with a relative or a friend of the family who had an interesting job. So, at 12, I went and interned with my godbrother, who is a lobbyist in D.C. I would go along with him to pitch congressmen. I had one tie, and I was a pretty good writer. I’d write up one-page summaries of these bills we were pitching, and I’d literally sit there with these congressmen with these filthy mouths—you know, the old Alabaman senator and stuff like that—and watch the pitch happen. It was awesome. I learned so much and developed so much confidence, and really honed my storytelling skills. “But then, from there, I would come home and work in a construction outfit, in a nasty, nasty job. I mean, hosing off the equipment that had been used to fix septic systems, gassing shit up, dragging shit around in the yard, filling up propane tanks. Just being the junior guy on the totem pole, and quite literally getting my ass kicked by whichever parolee was angry at me that day. I think it was part of their master plan, which was: There’s a world of cool opportunities out there for you, but let’s build within you a sense of not just work ethic, but also, a little kick in the ass about why you don’t wanna end up in one of those real jobs. . . .” TIM: “You had the introduction to the godbrother, for the lobbying. Did your parents also help organize the sour part of each summer?” CHRIS: “The guy who ran that construction company is my dad’s best friend, and he was under strict orders to make sure we had the roughest day there.
Timothy Ferriss (Tools of Titans: The Tactics, Routines, and Habits of Billionaires, Icons, and World-Class Performers)
A well-crafted pitch deck is not just a presentation; it's a story that inspires confidence, captures imagination, and compels action.
Abhysheq Shukla (Crosspaths Multitude to Success)
All you need is to be savvy enough to build an alluring storefront or craft a message that will hook your potential prey. (The bad grammar and seemingly implausible notes: those aren’t from stupidity. They’re actually well thought out beforehand. Scammers have learned the hard way that notes that sound too legitimate hook too many fish, making the weeding-out process incredibly costly. Now only the true sucker falls for the pitch.)
Maria Konnikova (The Confidence Game: Why We Fall for It . . . Every Time)
THE REASON WHY all this has to be stated here is simply that women, who could state it much better, have almost unanimously refrained from discussing such matters at all. One finds, indeed, a sort of general conspiracy, infinitely alert and jealous, against the publication of the esoteric wisdom of the sex, and even against the acknowledgment that any such body of erudition exists at all. Men, having more vanity and less discretion, are a good deal less cautious. There is, in fact, a whole literature of masculine babbling, ranging from Machiavelli's appalling confession of political theory to the egoistic confidences of such men as Nietzsche, Jean Jacques Rousseau, Casanova, Max Stirner, Benvenuto Cellini, Napoleon Bonaparte and Lord Chesterfield. But it is very rarely that a Marie Bashkirtsev or Margot Asquith lets down the veils which conceal the acroamatic doctrine of the other sex. It is transmitted from mother to daughter, so to speak, behind the door. One observes its practical workings, but hears little about its principles. The causes of this secrecy are obvious. Women, in the last analysis, can prevail against men in the great struggle for power and security only by keeping them disarmed, and, in the main, unwarned. In a pitched battle, with the devil taking the hindmost, their physical and economic inferiority would inevitably bring them to disaster. Thus they have to apply their peculiar talents warily, and with due regard to the danger of arousing the foe. He must be attacked without any formal challenge, and even without any suspicion of challenge. This strategy lies at the heart of what Nietzsche called the slave morality--in brief, a morality based upon a concealment of egoistic purpose, a code of ethics having for its foremost character a bold denial of its actual aim.
H. L. Macken
Here are nine reasons I’ve seen and heard most often as I search to understand why we hesitate: Why people hesitate to act Gotten too comfortable Study things to death Lack of confidence Think the big deal will fly in the window Think it’s already too late for them Fear of losing what they have Afraid nobody will pitch in Family pressures to not take the risk Lack of financial safety net
Jason Jennings (The Reinventors: How Extraordinary Companies Pursue Radical Continuous Change)
When you have some distance from the incident, a next step might be to pitch your idea again down the road to your boss or to another manager. Brainstorm with a trusted colleague on how you might go about doing that. After you process the upset, move on.
Helene Lerner (The Confidence Myth: Why Women Undervalue Their Skills, and How to Get Over It)
Practicing the pitch is critical. It’s really like a piece of performance art. You must treat it this way. You don’t want to fumble; you need to sound confident and smooth. You need to ensure you hit the critical points and excite the investors.
Adam Beguelin (Silicon Valley Stories: A sampler of startups, stories, and lessons learned)
Finally, it was Evan’s turn. Showtime. He approached the front of the room like the entrance to a party, strutting confidently to show the crowd what he, Reggie, and Bobby had been working on tirelessly for the past six weeks. Confident and comfortable, Evan enthusiastically explained to the other thirty students, two professors, and half a dozen venture capitalists that not every photograph is meant to last forever. He passionately argued that people would have fun messaging via pictures. The response? Less than enthusiastic. Why would anyone use this app? “This is the dumbest thing ever,” seemed to be the sentiment underlying everyone’s tones. One of the venture capitalists suggested that Evan make the photos permanent and work with Best Buy for photos of inventory. The course’s teaching assistant, horrified, pulled Evan aside and asked him if he’d built a sexting app. The scene was reminiscent of another Stanford student’s class presentation half a century earlier. In 1962, a student in Stanford’s Graduate School of Business named Phil Knight presented a final paper to his class titled “Can Japanese Sports Shoes Do to German Sports Shoes What Japanese Cameras Did to German Cameras?” Knight’s classmates were so bored by the thesis that they didn’t even ask him a single question. That paper was the driving idea behind a company Knight founded called Nike. The VCs sitting in Evan’s classroom that day likely passed up at least a billion-dollar investment return. But it’s very easy to look at brilliant ideas with the benefit of hindsight and see that they were destined to succeed. Think about it from their perspective—Picaboo’s pitch was basically, “Send self-destructing photos to your significant other.” Impermanence had a creepy vibe to it, belonging only to government spies and perverts. With the benefit of hindsight, we can see that Facebook developed the conditions that allowed Snapchat to flourish. But it wasn’t at all obvious watching Evan’s pitch in 2011 that this was a natural rebellion against Facebook or that it would grow beyond our small Stanford social circle.
Billy Gallagher (How to Turn Down a Billion Dollars: The Snapchat Story)
The executives [listening to the pitches] thought they were evaluating the plans based on rational measures, such as: How original is this idea? How does it fit the current market? How well developed is this plan?” Pentland wrote. “While listening to the pitches, though, another part of their brain was registering other crucial information, such as: How much does this person believe in this idea? How confident are they when speaking? How determined are they to make this work? And the second set of information—information that the business executives didn’t even know they were assessing—is what influenced their choice of business plans to the greatest degree.
Daniel Coyle (The Culture Code: The Secrets of Highly Successful Groups)
For the entrepreneurs out there: venture capitalists invest in people. Once you understand how to pitch a company, even if investors think your idea isn’t a home run, they’ll be confident enough in you to offer some advice and you can continue to build a relationship that could last a lifetime. All from a successful pitch.
Bradley Miles (#BreakIntoVC: How to Break Into Venture Capital And Think Like an Investor Whether You're a Student, Entrepreneur or Working Professional (Venture Capital Guidebook Book 1))
Have confidence in your convictions my boy. For then the whispering in your ears will pass. Those tongues are forked, like pointed prongs. Silence echoes in the mind after the tongue has been bitten. But the ringing from the tuning fork lives on a little while. Can you hear the pitch boy?
Jack De'Lacy (Twelve Dots)
Mackay always carried a ball when he came out onto the pitch. And he oozed confidence. As he ran out he’d throw the ball high into the air shouting across to the other team: ‘Have a kick now because you won’t get one when the game starts.’ When it came down he’d kill the ball stone dead. His control was frightening. It was meant to be.
Ken Ferris (The Double: The Inside Story of Spurs' Triumphant 1960-61 Season)
My wife and I can't recall how many years we've been married, but we'll never forget our first backpacking trip together. We'd just begun dating and I was her trail-hardened outdoorsman, a knight in shining Cordura, the guy who could handle any wilderness emergency. She was my...well, let's just say I was bent on making a good impression. This was her first backpacking experience and I wanted to have many more with her as my hiking partner. I'd checked and double-checked everything--trail conditions, equipment, weather forecast. I even bought a new stove for the occasion. We set off under overcast skies with packs loaded and spirits high. There was precipitation in the forecast, but it was November and too early for snow, I assured her. (Did I mention that we were just a few miles south of Mount Washington, home to the worst, most unpredictable weather in the Northeast?) As we climbed the few thousand feet up a granite ridge, the trail steadily steepened and we strained a bit under our loads. On top, a gentle breeze pushed a fluffy, light snowfall. The flakes were big and chunky, the kind you chase with your mouth open. Certainly no threat, I told her matter-of-factly. After a few miles, the winds picked up and the snowflakes thickened into a swirling soup. The trail all but dissolved into a wall of white, so I pulled out my compass to locate the three-sided shelter that was to be our base for the night. Eventually we found it, tucked alongside a gurgling freshet. The winds were roaring no, so I pitched our tent inside the shelter for added protection. It was a tight fit, with the tent door only two feet from the log end-wall, but at least we were out of the snowy gale. To ward off the cold and warm my fair belle, I pulled my glittering stove from its pouch, primed it, and confidently christened the burner with a match. She was awestruck by my backwoods wizardry. Color me smug and far too confident. That's when I noticed it: what appeared to be water streaming down the side of the stove. My new cooker's white-gas fuel was bathing the stove base. It was also drenching the tent floor between us and the doorway--the doorway that was zipped tightly shut. A headline flashed through my mind: "Brainless Hikers Toasted in White Mountains." The stove burst into flames that ran up the tent wall. I grabbed a wet sock, clutched the stove base with one hand, and unzipped the tent door with the other. I heaved the hissing fireball through the opening, assuming that was the end of the episode, only to hear a thud as it hit the shelter wall before bouncing back inside to melt some more nylon. My now fairly unimpressed belle grabbed a pack towel and doused the inferno. She breathed a huge sigh of relief, while I swallowed a pound of three of pride. We went on to have a thoroughly disastrous outing. The weather pounded us into submission. A full day of storm later with no letup in sight, we decided to hike out. Fortunately, that slippery, slithery descent down a snowed-up, iced-over trail was merely the end of our first backpacking trip together and not our relationship. --John Viehman
Karen Berger (Hiking & Backpacking A Complete Guide)
Are you sad, lonely, scared? Happy, confident? Getting your period? Experiencing a peak of class anxiety? So-called advertisers can seize the moment when you are perfectly primed and then influence you with messages that have worked on other people who share traits and situations with you. I say “so-called” because it’s just not right to call direct manipulation of people advertising. Advertisers used to have a limited chance to make a pitch, and that pitch might have been sneaky or annoying, but it was fleeting. Furthermore, lots of people saw the same TV or print ad; it wasn’t adapted to individuals. The biggest difference was that you weren’t monitored and assessed all the time so that you could be fed dynamically optimized stimuli—whether “content” or ad—to engage and alter you.
Jaron Lanier (Ten Arguments for Deleting Your Social Media Accounts Right Now)
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Mastering the Art of Breathing: The Secret Behind Powerful Performance Breathing is something we do every moment of our lives, yet most of us never think about how we breathe—or how we should breathe. For singers, actors, athletes, and even public speakers, breathing technique is one of the most essential skills to master. It’s not just about taking air in and out; it’s about using your breath to support your voice, improve stamina, control emotions, and enhance overall performance. Why Breathing Technique Matters Proper breathing allows you to control your voice better, project sound without strain, and maintain energy throughout long performances. It also helps reduce anxiety and tension, especially during high-pressure situations. In singing, breathing affects everything—from tone quality to pitch control. A well-supported breath can make your voice sound fuller, more stable, and more expressive. Without good breath control, even the most talented singers can fall short in performance. The Foundation: Diaphragmatic Breathing Also known as belly breathing or deep breathing, diaphragmatic breathing is the foundation of all professional vocal techniques. Instead of shallow breaths that only expand the chest, this method engages the diaphragm—an essential muscle located just below the lungs. Here’s how to practice it: Lie down or sit up straight with your shoulders relaxed. Place one hand on your chest and one on your stomach. Inhale slowly through your nose. Focus on expanding your belly, not your chest. Exhale gently through your mouth, keeping your chest still. Repeat for several minutes a day to train your body to breathe efficiently. When done correctly, the breath feels deeper and more satisfying, and you’ll notice increased breath capacity over time. Breath Control and Support Once you’ve mastered basic diaphragmatic breathing, it’s time to work on breath control—the ability to manage your air supply while speaking or singing. This doesn’t mean holding your breath; it means learning how to release air gradually and steadily. Try this simple exercise: Take a deep breath using the diaphragm. Blow out a steady stream of air while making a soft “sss” sound. Aim to keep the sound consistent and even, without sudden drops. This helps train your muscles to regulate airflow, which is crucial for long phrases or powerful notes in singing. Tips to Improve Your Breathing Technique Practice daily. Like any muscle, your diaphragm improves with regular use. Warm up before performances. Gentle breathing exercises prepare your body and calm your nerves. Stay hydrated. Dry vocal cords can affect breath efficiency and vocal tone. Watch your posture. An upright, relaxed posture allows your lungs to expand fully. Avoid shallow breaths. Focus on breathing into your lower lungs, not your chest. Conclusion Breathing may be natural, but breathing well is a skill—one that can transform your voice, boost your confidence, and elevate your performance. Whether you're an aspiring singer, a stage performer, or someone who wants to speak more clearly and confidently, investing time in mastering your breath is one of the most powerful things you can do.
Monkey Mart
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The girl – I couldn’t get over how lovely she looked, even though she was still a bit nervous – straightened up and squared her shoulders back. Her left leg gave a little tremor, but she took a deep breath. Her face was blank for a moment – she was probably wondering which song she wanted to sing – and then, with more confidence, she said, 'Right. Here we go.' She raised her head, and even though it wasn’t intentional, her eyes locked on mine as she opened her mouth and, in a crystal clear, pitch-perfect voice, sang the first line of 'We’ll Meet Again.
Alex Diaz-Granados (Reunion: Coda: Book 2 of the Reunion Duology)
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