Positive Scripting Quotes

Your life is a movie. You are the main character. You say your scripts and act to your lines. Of course you do your lines in each scene. There is a hidden camera and a director who you can ask for help anytime up above.

Seeing the mud around a lotus is pessimism, seeing a lotus in the mud is optimism.

God has a way of picking a “nobody” and turning their world upside down, in order to create a “somebody” that will remove the obstacles they encountered out of the pathway for others.

Individuals often turn to poetry, not only to glean strength and perspective from the words of others, but to give birth to their own poetic voices and to hold history accountable for the catastrophes rearranging their lives.

Son, there is no reason except a stupid one for anybody to project on that screen anything that will worry him or dull that vital edge. After all, we are the absolute bosses of that whole theatre and show in our minds. We even write the script. So always write positive, dynamic scripts and show only the best movies for you on that screen whether you are pimp or priest.

Have you ever wondered whether there could be a different, more positive script in which the one who feels well survives?

In many ways, the work of a critic is easy. We risk very little yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defence of the new. The world is often unkind to new talent, new creations, the new needs friends... Not everyone can become a great artist, but a great artist can come from anywhere.

Evidence is always partial. Facts are not truth, though they are part of it – information is not knowledge. And history is not the past – it is the method we have evolved of organising our ignorance of the past. It’s the record of what’s left on the record. It’s the plan of the positions taken, when we to stop the dance to note them down. It’s what’s left in the sieve when the centuries have run through it – a few stones, scraps of writing, scraps of cloth. It is no more “the past” than a birth certificate is a birth, or a script is a performance, or a map is a journey. It is the multiplication of the evidence of fallible and biased witnesses, combined with incomplete accounts of actions not fully understood by the people who performed them. It’s no more than the best we can do, and often it falls short of that.

This is an example of what Jung called “the regressive restoration of the persona,” namely, the re-identification with a former position, role, ideology because it offers a predictable content, security, and script. In the face of the new and uncertain, we often return to the old place, which is why we so often stop growing. (It has become clear to me, for example, that aging itself does not bring wisdom. It often brings regression to childishness, dependency, and bitterness over lost opportunities.

Stay out of trouble. Be positive forces to the world.

He was an old Drag man with his bit getting short. He was the first to attempt to teach me to control my emotions. He would say, “Always remember whether you be sucker or hustler in the world out there, you’ve got that vital edge if you can iron-clad your feelings. I picture the human mind as a movie screen. If you’re a dopey sucker, you’ll just sit and watch all kinds of mindwrecking, damn fool movies on that screen.” He said. “Son, there is no reason except a stupid one for anybody to project on that screen anything that will worry him or dull that vital edge. After all, we are the absolute bosses of that whole theatre and show in our minds. We even write the script. So always write positive, dynamic scripts and show only the best movies for you on that screen whether you are pimp or priest.” His rundown of his screen theory saved my sanity many years later. He was a twisted wise man and one day when he wasn’t looking, a movie flashed on the screen. The title was “Death For an Old Con.

You can start training yourself in this Stoic practice of objective representation right now by writing down a description of an upsetting or problematic event in plain language. Phrase things as accurately as possible and view them from a more philosophical perspective, with studied indifference. Once you’ve mastered this art, take it a step further by following the example of Paconius Agrippinus and look for positive opportunities. Write how you could exercise strength of character and cope wisely with the situation. Ask yourself how someone you admire might cope with the same situation or what that person might advise you to do. Treat the event like a sparring partner in the gym, giving you an opportunity to strengthen your emotional resilience and coping skills. You might want to read your script aloud and review it several times or compose several versions until you’re satisfied it’s helped you change how you feel about events.

If where you are is worthwhile then where you are from doesn't matter.

Don't compare the size of your roof with the size of the sky.

The actor, like the modern man of reason, must have his place determined and his lines memorized before he goes on stage. (...) The public itself has been soothed to such an extent by scripted debates imbued with theoretically "right" answers that it no longer seems to respond positively to arguments which create doubt. Real doubt creates real fear. (...) De Gaulle found a sensible compromise, given the times. He reserved his public thinking for the printed page and on those pages he allowed himself to ask fundamental questions. But when he spoke, it was either with reason or with emotion - that is to say, with answers or with mythology. He divided himself between the man of letters, who knows how to live with doubt, and the man of state, who is the epitome of certainty. the brilliance of this approach could be seen in the frustration and sometimes fury of the opposing elites. The truism today is that mythological figures and men of power should not think in public. They should limit themselves to affirming truths. Stars, after all, are rarely equipped to engage in public debate. They would abhor the idea that the proper way to deal with confusion in society is to increase that confusion by asking uncomfortable questions until the source of the difficulties is exposed.

Not having the knowledge just makes you teachable, not stupid. Not being in shape just makes you moldable, not lazy. Not having the experience just makes you eager, not ignorant. Flip the script and force yourself to see the positive where you’ve only seen negative. What are the advantages of not knowing, not understanding, not conquering, not having, not achieving your goals yet? The yet matters. The yet reminds us that we have a whole week, month, life ahead of us to become who we were made to be. You are enough. Today. As you are. Stop beating yourself up for being on the beginning side of yet, no matter what age you are. Yet is your potential. Yet is a promise. Yet is what keeps you moving forward. Yet is a gift, and you are enough to get to the other side of it.

The amount of time & creativity spent on scripting our excuses on failures & lack of efforts, is much higher than genuinely making positive efforts. The problem starts when we start believing in the script written only for pleasing the audience

In 90% of cases, you can start with one of the two most effective ways to open a speech: ask a question or start with a story. Our brain doesn’t remember what we hear. It remembers only what we “see” or imagine while we listen. You can remember stories. Everything else is quickly forgotten. Smell is the most powerful sense out of 4 to immerse audience members into a scene. Every sentence either helps to drive your point home, or it detracts from clarity. There is no middle point. If you don’t have a foundational phrase in your speech, it means that your message is not clear enough to you, and if it’s not clear to you, there is no way it will be clear to your audience. Share your failures first. Show your audience members that you are not any better, smarter or more talented than they are. You are not an actor, you are a speaker. The main skill of an actor is to play a role; to be someone else. Your main skill as a speaker is to be yourself. People will forgive you for anything except for being boring. Speaking without passion is boring. If you are not excited about what you are talking about, how can you expect your audience to be excited? Never hide behind a lectern or a table. Your audience needs to see 100% of your body. Speak slowly and people will consider you to be a thoughtful and clever person. Leaders don’t talk much, but each word holds a lot of meaning and value. You always speak to only one person. Have a conversation directly with one person, look him or her in the eye. After you have logically completed one idea, which usually is 10-20 seconds, scan the audience and then stop your eyes on another person. Repeat this process again. Cover the entire room with eye contact. When you scan the audience and pick people for eye contact, pick positive people more often. When you pause, your audience thinks about your message and reflects. Pausing builds an audiences’ confidence. If you don’t pause, your audience doesn’t have time to digest what you've told them and hence, they will not remember a word of what you've said. Pause before and after you make an important point and stand still. During this pause, people think about your words and your message sinks in. After you make an important point and stand still. During this pause, people think about your words and your message sinks in. Speakers use filler words when they don’t know what to say, but they feel uncomfortable with silence. Have you ever seen a speaker who went on stage with a piece of paper and notes? Have you ever been one of these speakers? When people see you with paper in your hands, they instantly think, “This speaker is not sincere. He has a script and will talk according to the script.” The best speeches are not written, they are rewritten. Bad speakers create a 10 minutes speech and deliver it in 7 minutes. Great speakers create a 5 minute speech and deliver it in 7 minutes. Explain your ideas in a simple manner, so that the average 12-year-old child can understand the concept. Good speakers and experts can always explain the most complex ideas with very simple words. Stories evoke emotions. Factual information conveys logic. Emotions are far more important in a speech than logic. If you're considering whether to use statistics or a story, use a story. PowerPoint is for pictures not for words. Use as few words on the slide as possible. Never learn your speech word for word. Just rehearse it enough times to internalize the flow. If you watch a video of your speech, you can triple the pace of your development as a speaker. Make videos a habit. Meaningless words and clichés neither convey value nor information. Avoid them. Never apologize on stage. If people need to put in a lot of effort to understand you they simply won’t listen. On the other hand if you use very simple language you will connect with the audience and your speech will be remembered.

Your Script Here’s what to tell someone or yourself while you’re totally unable to understand the reason for or source of a problem. Dear [Me/Family Member/Spouse/Overly Logical Friend]: I know it’s hard to understand why a [positive adjectives] person like me should have a problem with [addiction/politics/attraction to morons] but I do, and, to date, treatment with [three analysts/kabbalah/Judge Judy] hasn’t given me an answer that makes a difference. I’ve decided that ignorance is okay, but my problem isn’t, and that from now on I need to do everything I can to improve and manage my behavior, just to be the person I want to be. So I will be open about my problem [in meetings/press releases/tweets], welcome observations about my behavior [with/without retaliating], and track my progress over time [in my computer/Facebook/a secret journal that you should burn if I die]. And I will not give up.

In 2010, on the ABC’s 7.30 program, he made the bizarre qualification that what he said spontaneously couldn’t be taken as his formal position: ‘In the heat of discussion you go a little bit further than you would if it was an absolutely calm, considered, prepared, scripted remark. Which is one of the reasons why the statements that need to be taken absolutely as gospel truth [are] those carefully prepared, scripted remarks.’ In a comment that wasn’t off-the-cuff, Abbott was exempting himself from being held to his own words – a privilege he never gave prime minister Julia Gillard.

Yet, despite the snappy repartee and often-witty scripts, West Wing was a remarkably silly program. Has there ever been a group of real White House staffers as admirable and lovable as the West Wing ensemble, that selfless, high-minded, public-spirited, fundamentally decent pack of . . . political operators? Sorkin’s White House existed in a Bizarro World where the Oval Office is apparently devoid of office politics. Fans of the show never saw the sort of infighting, backstabbing, and jockeying for position that appear in real-world accounts of White House life, like George Reedy’s Twilight of the Presidency and John Dean’s Blind Ambition.

We could argue that the ancient Egyptians were positively constrained by their hieroglyphic system of writing to express abstract qualities in a crudely physical way. Against such an interpretation, it is important to bear in mind that language is not simply the vehicle of expression of a given mentality, it actually is that mentality giving expression to itself. The very structures of language are the articulation of the mentality. We should be wary of thinking that the ancient Egyptian mind was “really” like ours, but was constrained by the hieroglyphic script. Rather, the hieroglyphic script was the medium most appropriate for the articulation of the ancient Egyptian mentality. Far from being crude, it reflected richly symbolic modes of conceiving and relating to both the physical and the psychic spheres of existence. It has already become apparent that these two spheres were not experienced as separated from each other—as we today tend to experience them. It is now necessary to go further, and seriously consider the idea that psychic attributes were indeed experienced as “situated” in various parts of the body. The pictorial character of the hieroglyphic form of writing made possible a quite effortless translation of this experience into the written word. For the hieroglyphic script, because it was pictorial, had not yet created a division between concrete and abstract, between “outer” and “inner.” And it had not done so just because the ancient Egyptian mentality had not done so.

American parents and educators are told to give children choices, to respect their desires, to ask them questions as opposed to issuing orders, to refrain from pressuring or coercing them to do work they don’t want to do, and to offer positive reinforcement all the time. Children are supposed to want to do the work—otherwise, they shouldn’t have to do it. In contrast, the scripts that Asian culture offers its parents include statements, not questions, and orders, not requests. Children are routinely told what to do, and particularly when it comes to academic work, parents and educators don’t spend much time asking them what they want or catering to those desires. Asian parents see these scripts as the natural order of the family and society; the elder has wisdom and a responsibility to teach and discipline the child, and the child needs to learn from those elders.

How do you build peaks? You create a positive moment with elements of elevation, insight, pride, and/ or connection. We’ll explore those final three elements later, but for now, let’s focus on elevation. To elevate a moment, do three things: First, boost sensory appeal. Second, raise the stakes. Third, break the script. (Breaking the script means to violate expectations about an experience—the next chapter is devoted to the concept.) Moments of elevation need not have all three elements but most have at least two. Boosting sensory appeal is about “turning up the volume” on reality. Things look better or taste better or sound better or feel better than they usually do. Weddings have flowers and food and music and dancing. (And they need not be superexpensive—see the footnote for more.IV) The Popsicle Hotline offers sweet treats delivered on silver trays by white-gloved waiters. The Trial of Human Nature is conducted in a real courtroom. It’s amazing how many times people actually wear different clothes to peak events: graduation robes and wedding dresses and home-team colors. At Hillsdale High, the lawyers wore suits and the witnesses came in costume. A peak means something special is happening; it should look different. To raise the stakes is to add an element of productive pressure: a competition, a game, a performance, a deadline, a public commitment. Consider the pregame jitters at a basketball game, or the sweaty-hands thrill of taking the stage at Signing Day, or the pressure of the oral defense at Hillsdale High’s Senior Exhibition. Remember how the teacher Susan Bedford said that, in designing the Trial, she and Greg Jouriles were deliberately trying to “up the ante” for their students. They made their students conduct the Trial in front of a jury that included the principal and varsity quarterback. That’s pressure. One simple diagnostic to gauge whether you’ve transcended the ordinary is if people feel the need to pull out their cameras. If they take pictures, it must be a special occasion. (Not counting the selfie addict, who thinks his face is a special occasion.) Our instinct to capture a moment says: I want to remember this. That’s a moment of elevation.

Time management also involves energy management. Sometimes the rationalization for procrastination is wrapped up in the form of the statement “I’m not up to this,” which reflects the fact you feel tired, stressed, or some other uncomfortable state. Consequently, you conclude that you do not have the requisite energy for a task, which is likely combined with a distorted justification for putting it off (e.g., “I have to be at my best or else I will be unable to do it.”). Similar to reframing time, it is helpful to respond to the “I’m not up to this” reaction by reframing energy. Thinking through the actual behavioral and energy requirements of a job challenges the initial and often distorted reasoning with a more realistic view. Remember, you only need “enough” energy to start the task. Consequently, being “too tired” to unload the dishwasher or put in a load of laundry can be reframed to see these tasks as requiring only a low level of energy and focus. This sort of reframing can be used to address automatic thoughts about energy on tasks that require a little more get-up-and-go. For example, it is common for people to be on the fence about exercising because of the thought “I’m too tired to exercise.” That assumption can be redirected to consider the energy required for the smaller steps involved in the “exercise script” that serve as the “launch sequence” for getting to the gym (e.g., “Are you too tired to stand up and get your workout clothes? Carry them to the car?” etc.). You can also ask yourself if you have ever seen people at the gym who are slumped over the exercise machines because they ran out of energy from trying to exert themselves when “too tired.” Instead, you can draw on past experience that you will end up feeling better and more energized after exercise; in fact, you will sleep better, be more rested, and have the positive outcome of keeping up with your exercise plan. If nothing else, going through this process rather than giving into the impulse to avoid makes it more likely that you will make a reasoned decision rather than an impulsive one about the task. A separate energy management issue relevant to keeping plans going is your ability to maintain energy (and thereby your effort) over longer courses of time. Managing ADHD is an endurance sport. It is said that good soccer players find their rest on the field in order to be able to play the full 90 minutes of a game. Similarly, you will have to manage your pace and exertion throughout the day. That is, the choreography of different tasks and obligations in your Daily Planner affects your energy. It is important to engage in self-care throughout your day, including adequate sleep, time for meals, and downtime and recreational activities in order to recharge your battery. Even when sequencing tasks at work, you can follow up a difficult task, such as working on a report, with more administrative tasks, such as responding to e-mails or phone calls that do not require as much mental energy or at least represent a shift to a different mode. Similarly, at home you may take care of various chores earlier in the evening and spend the remaining time relaxing. A useful reminder is that there are ways to make some chores more tolerable, if not enjoyable, by linking them with preferred activities for which you have more motivation. Folding laundry while watching television, or doing yard work or household chores while listening to music on an iPod are examples of coupling obligations with pleasurable activities. Moreover, these pleasant experiences combined with task completion will likely be rewarding and energizing.

As the Princess performs the impossible balancing act which her life requires, she drifts inexorably into obsession, continually discussing her problems. Her friend Carolyn Bartholomew argues it is difficult not to be self-absorbed when the world watches everything she does. “How can you not be self-obsessed when half the world is watching everything you do; the high-pitched laugh when someone is talking to somebody famous must make you very very cynical.” She endlessly debates the problems she faces in dealing with her husband, the royal family, and their system. They remain tantalizingly unresolved, the gulf between thought and action achingly great. Whether she stays or goes, the example of the Duchess of York is a potent source of instability. James Gilbey sums up Diana’s dilemma: “She can never be happy unless she breaks away but she won’t break away unless Prince Charles does it. He won’t do it because of his mother so they are never going to be happy. They will continue under the farcical umbrella of the royal family yet they will both lead completely separate lives.” Her friend Carolyn Bartholomew, a sensible sounding-board throughout Diana’s adult life, sees how that fundamental issue has clouded her character. “She is kind, generous, sad and in some ways rather desperate. Yet she has maintained her self-deprecating sense of humour. A very shrewd but immensely sorrowful lady.” Her royal future is by no means well-defined. If she could write her own script the Princess would like to see her husband go off with his Highgrove friends and attempt to discover the happiness he has not found with her, leaving Diana free to groom Prince William for his eventual destiny as the Sovereign. It is an idle pipe-dream as impossible as Prince Charles’s wish to relinquish his regal position and run a farm in Italy. She has other more modest ambitions; to spend a weekend in Paris, take a course in psychology, learn the piano to concert grade and to start painting again. The current pace of her life makes even these hopes seem grandiose, never mind her oft-repeated vision of the future where she see herself one day settling abroad, probably in Italy or France. A more likely avenue is the unfolding vista of charity, community and social work which has given her a sense of self-worth and fulfillment. As her brother says: “She has got a strong character. She does know what she wants and I think that after ten years she has got to a plateau now which she will continue to occupy for many years.” As a child she sensed her special destiny, as an adult she has remained true to her instincts. Diana has continued to carry the burden of public expectations while enduring considerable personal problems. Her achievement has been to find her true self in the face of overwhelming odds. She will continue to tread a different path from her husband, the royal family and their system and yet still conform to their traditions. As she says: “When I go home and turn my light off at night, I know I did my best.

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

CONFUSION 3: HOW TO GET YOUR CUSTOMER TO BUY If your Marketing Process begins with the identification of who your Customer is, followed by your Positioning Strategy to attract that Customer to your door, this Benchmark calls for the creation of an organized Selling Process. It’s what we at E-Myth call your Lead Conversion Process. This is the system through which you consistently assure your customers that, indeed, your business was created just for them. And just like your USP, your Lead Conversion Process demands that you organize just the right words in just the right order, to support your Customers’ need for congruity. In this case, congruity means consistency—meaning that the script your salespeople use is congruent with the promise your USP made. And it’s done in exactly the same way each time. While your USP makes a promise to your Customers, your Lead Conversion System helps your prospective Customers understand exactly how you intend to keep that promise when they buy your services. CONFUSION 4: HOW TO KEEP YOUR CUSTOMER HAPPY Let’s say you’ve overcome the first three confusions—now how do you keep your Customer happy?

As I listened to his cunning, scripted message, I became even angrier. He never apologized to us. He never apologized for putting us in that position. He lied out of both ends of his mouth, blaming the Secret Service while saying he wanted to be forthcoming but couldn’t—two lies in one! He and his staff created the Protective Function Privilege. He was the one who did the deed, committed the misconduct. He was the one who lied. Not only did he never apologize for costing the taxpayers, the Justice Department, the Secret Service, his staff, his constituents, or anyone for putting them through the ringer, endangering our careers, and our very lives. He wanted us to believe that he was sorry for embarrassing his family, Chelsea and Hillary. (I can understand about Chelsea.)

position: absolute” positions an element based on the position of its most closely positioned parent.

Follow-up Call (Script) Seller: “Hello Mr. Prospect, my name is Tom Freese, and I’m the regional manager for KnowledgeWare in Kansas City. I wanted to contact you about the CASE application development seminar we are hosting at IBM’s Regional Headquarters on August 26. Do you remember receiving the invitation we sent you? (Pause for a response) “Frankly, we are expecting a record turnout—over one hundred people, including development managers from Sprint, Hallmark Cards, Pepsi Co., Yellow Freight, Kansas Power & Light, the Federal Reserve Bank, Northwest Mutual Life, American Family Life, St. Luke’s Hospital, Anheuser-Busch, MasterCard, American Express, Worldspan, and United Airlines, just to name a few. “I wanted to follow up because we haven’t yet received an RSVP from your company, and I wanted to make sure you didn’t get left out.” Granted, this was a highly positioned approach, but it was also 100 percent accurate. I wanted prospects to know that IBM was endorsing this event. I also wanted to let them know that I expected “everyone else” to participate. I accomplished this by rattling off an impressive list of marquee company names that we were “expected” to attend. Most importantly, I wanted to make sure that they didn’t get left out.

In an attempt to make things less difficult for LGBTQIA+ individuals, we encourage them to "be who they are," but to also align themselves as closely as possible with heteronormative happiness scripts. This means you can be whatever you want, but if you really want to be happy, you still need to get married, have children, and get a job.

Visualization As you hone and create your identity and new narrative, being able to picture yourself moving through this new life actually helps it become your reality. As you use imagery as a tool, be aware that there is a huge difference between fantasizing and visualizing. It’s like the saying “If you write it down, it’s a plan; if you don’t, it’s a wish.” Fantasizing is the activity of imagining scenarios that satisfy your desire for gratification and vengeance. Fantasizing is wishing, which is not a bad place to start. Fantasy often uses a third-person POV, like watching yourself in the best movie ever, starring you. It might be fun to fantasize, but as a psychological tool that enables you to get what you want in life, it’s more or less useless. Fantasy is usually about outcome. You imagine yourself being respected or thin, in a sexual or romantic relationship, or on the beach, but you are no closer to realizing those dreams than you were before you fantasized about them. Visualizing is like writing it down to make a plan; more specifically, it is making a model in your mind of the process leading to the desired result. Visualizing is a scientific methodology for rehearsing different reality-based scenarios in your head before an important event or interaction. If you learn to visualize effectively, you can condition yourself to succeed, even in stressful, anxious situations. To visualize for success: First, use the third-person POV to see yourself showing up as required in your life, on task, and with the performance you desire. Next, use the first-person POV, where you enter into the scene and you see and feel the experience. Go over the specifics of a job interview and see yourself being assertive. Feel your steady heart rate. Smell the confidence. Train your brain to associate walking into that interview with assurance and calm. Visualize every sensation and step. The coldness of the doorknob, the plush carpet under your shoes, the overhead lighting, the sound of the copy machine down the hall. Immerse yourself in detail. Script the scene with positive, powerful phrases, like I can and I am. I can get the job done. I am the person you’re looking for. Repeat the scenario. During the week before the specific event or interaction is to take place, practice daily. Later on, when it’s all over, examine how close your visualization was to reality. Even if the two look completely different, you’ll be glad you did all you could to be prepared and to succeed. This is a tried-and-true method of practicing for success. Athletic coaches on the sports field and personal life coaches advocate and outright require this kind of thorough mental preparation. There is no substitute except to rely on luck, which is not really a plan. Prepare, prepare, prepare, and remember what Louis Pasteur said: “Chance seems to favor the prepared mind.

The future of education is not a pre-written script, but a story waiting to be co-authored – by Talent Alchemists, educators, policymakers, and learners alike. By embracing innovation, prioritizing ethics, and fostering collaboration, we can ensure that chip-enabled learning becomes a force for positive change in the ever-evolving landscape of education.

The "new" Anglo-American feminist theory argues that too little mothering, and, in particular, the absence of mother-son connection, is what engenders both sexism and traditional masculinity in men. (...) This perspective positions mothering as central to feminist politics in its insistence that true and lasting gender equality will occur only when boys are raised as the sons of mothers. As the early feminist script of mother-son connection required the denial of the mother's power and the displacement of her identity as mother, the new perspective affirms the maternal and celebrates mother-son connection. In this, it rewrites the patriarchal and early feminist narrative to give (...) voice and presence to the mother and make mother-son connection central to the redesign of both traditional masculinity and the larger patriarchal culture.

So what makes a winning greeting? It comprises primarily of two elements, namely TONE and POSITIVE SCRIPTING.

Self-affirmations are positive self-scripts or statements that can condition your subconscious mind to help you have a more positive perception of yourself.

If you are not ready to walk away from an opportunity, then you probably are not in a position to reach final agreement effectively either. The principle here is simple, but the ability to adhere to it is not. If you don’t know the value that your solution provides to the prospective buyer, you are at a distinct disadvantage. Why? Because you have little, if any, bargaining power.

parts positioned as close together as possible. At a glance, the image looked as if someone had drawn a line through the middle of it in black magic marker, a clear gap separating the two halves. Despite the splice through the middle, the image tattooed onto the skin was clear, a script letter K standing two and a half inches tall, the letters OTB stretched between the two bottom legs. After thirteen years with the force, Reed had seen a fair bit of ink. He had watched

two entertainers got together to create a 90-minute television special. They had no experience writing for the medium and quickly ran out of material, so they shifted their concept to a half-hour weekly show. When they submitted their script, most of the network executives didn’t like it or didn’t get it. One of the actors involved in the program described it as a “glorious mess.” After filming the pilot, it was time for an audience test. The one hundred viewers who were assembled in Los Angeles to discuss the strengths and weaknesses of the show dismissed it as a dismal failure. One put it bluntly: “He’s just a loser, who’d want to watch this guy?” After about six hundred additional people were shown the pilot in four different cities, the summary report concluded: “No segment of the audience was eager to watch the show again.” The performance was rated weak. The pilot episode squeaked onto the airwaves, and as expected, it wasn’t a hit. Between that and the negative audience tests, the show should have been toast. But one executive campaigned to have four more episodes made. They didn’t go live until nearly a year after the pilot, and again, they failed to gain a devoted following. With the clock winding down, the network ordered half a season as replacement for a canceled show, but by then one of the writers was ready to walk away: he didn’t have any more ideas. It’s a good thing he changed his mind. Over the next decade, the show dominated the Nielsen ratings and brought in over $1 billion in revenues. It became the most popular TV series in America, and TV Guide named it the greatest program of all time. If you’ve ever complained about a close talker, accused a partygoer of double-dipping a chip, uttered the disclaimer “Not that there’s anything wrong with that,” or rejected someone by saying “No soup for you,” you’re using phrases coined on the show. Why did network executives have so little faith in Seinfeld? When we bemoan the lack of originality in the world, we blame it on the absence of creativity. If only people could generate more novel ideas, we’d all be better off. But in reality, the biggest barrier to originality is not idea generation—it’s idea selection. In one analysis, when over two hundred people dreamed up more than a thousand ideas for new ventures and products, 87 percent were completely unique. Our companies, communities, and countries don’t necessarily suffer from a shortage of novel ideas. They’re constrained by a shortage of people who excel at choosing the right novel ideas. The Segway was a false positive: it was forecast as a hit but turned out to be a miss. Seinfeld was a false negative: it was expected to fail but ultimately flourished.

in the end, I found that the proportions obtain­ing in Colebrooke (British Orientalist, d. 1837)’s 1818 donation to the India Office Library generally held up. Out of a total of some twenty thousand manuscripts listed in these catalogs on Yoga, Nyaya­ Vaisheshika, and Vedanta philoso­phy, a mere 260 were Yoga Sutra manuscripts (in­cluding commentaries), with only thirty­ five dating from before 1823 ; 513 were manuscripts on Hatha or Tantric Yoga, manuscripts of works attributed to Ya­jnavalkya, or of the Yoga Vasistha; 9,032 were Nyaya manuscripts, and 10,320 were Vedanta manuscripts. (...) What does this quantitative analysis tell us ? For every manuscript on Yoga philosophy proper (excluding Hatha and Tantric Yoga) held in major Indian manu­script libraries and archives, there exist some forty Ve­danta manuscripts and nearly as many Nyaya­ Vaisheshika manuscripts. Manuscripts of the Yoga Sutra and its commentaries account for only one­ third of all manuscripts on Yoga philosophy, the other two­ thirds being devoted mainly to Hatha and Tantric Yoga. But it is the figure of 1.27 percent that stands out in highest relief, because it tells us that after the late sixteenth century virtually no one was copying the Yoga Sutra because no one was commissioning Yoga Sutra manuscripts, and no one was commissioning Yoga Sutra manuscripts because no one was interested in reading the Yoga Sutra. Some have argued that instruction in the Yoga Sutra was based on rote memorization or chanting : this is the position of Krishnam­acharya’s biographers as well as of a number of critical scholars. But this is pure speculation, undercut by the nineteenth­ century observations of James Ballantyne, Dayananda Saraswati, Rajendralal Mitra, Friedrich Max Müller, and others. There is no explicit record, in either the commentarial tradition itself or in the sa­cred or secular literatures of the past two thousand years, of adherents of the Yoga school memorizing, chanting, or claiming an oral transmission for their traditions. Given these data, we may conclude that Cole­brooke’s laconic, if not hostile, treatment of the Yoga Sutra undoubtedly stemmed from the fact that by his time, Patanjali’s system had become an empty signifier, with no traditional schoolmen to expound or defend it and no formal or informal outlets of instruction in its teachings. It had become a moribund tradition, an object of universal indifference. The Yoga Sutra had for all intents and purposes been lost until Colebrooke found it.

The main thing to remember when trying to get information from other is that they need to feel you are listening and that you’re interested in what they have to say. Use positive body language and always take notes. One final trick: If you want people to say more than they have, if you think they have left out something important but you’re not sure what it is, say nothing. Let the silence hang. Nature abhors a vacuum, and so do most people. Chances are they will start talking, just to fill the gap. If they have been giving you a prepared “script,” they will probably drop it, because the one thing they were not prepared for was silence. Try it and see. It’s surprisingly effective.

I have found this to be true in my own ministry. As a church we often put ourselves in the client position, offering to help those who are poor. We serve meals to the poor, but seldom eat with the poor, or acknowledge that we are the poor, or embrace the poor as us and vice versa. One reason I love the Sunday Suppers program that an ecumenical group of churches organizes here in Fayetteville is because, at least in theory, it is supposed to be a community meal, with everyone eating together. However, all of us find that in practice it is harder to break out of the scripts we inhabit. It is easier as church people to go serve the meal than it is to go and just eat the meal. And vice versa, those who go to eat the meal are not as likely to help serve the meal, because they are playing their part in the script.

Another collaborator who found an important position in the Prime Minister’s Secretariat was Mahbubul Alam[6]. Alam was the Dacca correspondent of the English daily from Karachi, Dawn. During the liberation war, he was characterized as a Sarkari[7] newsman by the Pakistani authorities to distinguish him from other Bengali journalists. Alam was known to be pro-Pakistani and the military authorities commissioned him to write scripts for Plain Truth, a propaganda program of Radio Pakistan against the liberation war. He received thirty to fifty rupees for each piece[8]. Alam was now the Press Secretary to the Prime Minister." [6] Mahbubul Alam is currently the editor of the Independent. [7] Sarkari means government owned or government minded. [8] Anthony Mascarenhas, Bangladesh: A Legacy of Blood, Kent: Hodder and Stoughton, 1986.

Initial Contact Script Good morning__________, this is__________from__________. The reason I'm calling you today specifically is so I can stop by and tell you about our new__________ program that increases__________. I'm sure that you, like__________, are interested in__________. (Positive response). That's great__________; let's get together. How's__________? Third-Party Endorsement Script Good morning__________, this is__________ from__________. (Insert your brief commercial on your company.) The reason I'm calling you today specifically is that we've just completed working on a major project for__________, which was extremely successful in increasing__________. What I'd like to do is stop by next__________to tell you about the success I had at__________. How's__________? Follow-Up Script Good morning__________, this is__________ from__________. A number of weeks ago I contacted you, and you asked me to call you back today to set up an appointment. Would__________ be good for you? About the Author STEPHAN SCHIFFMAN is president of D.E.I.

Life is not a rehearsal, so don’t be afraid to rewrite your script and try something new, even if it’s later in the play.

Self-love is your VIP backstage pass to life's greatest show. It's like the glitter that makes your existence sparkle! When you truly love yourself, you're the star of your own story, and you don't let anyone else write your script. You become a magnet for positivity and good vibes, radiating confidence like a rockstar. Self-love isn't just a feeling; it's a whole concert of self-celebration, where you're the headliner! So, dance to your own beat, sing your own song!

Bullying: the schoolyard version of a bad sitcom. It's like someone pressing the "stress" button on your mental health remote, but don't worry, we've got the power to change the channel. Let's rewrite the script: bullies become the comic relief, and mental health takes center stage as the hero. We'll bring in some plot twists, like confidence boosts and supportive allies, turning the whole situation into a laugh-out-loud comedy.

If we truly want to be helpful to people in pain, we need to be willing to reject the dominant story of pain as an aberrant condition in need of transformation or redemption. We need to stop trotting out the stages of grief that were never meant to become universal scripts. In telling better stories, we weave a culture that knows how to bear witness, to simply show up and be present to that which can never be transformed. In telling better stories, we learn to be better companions, to ourselves, and to each other. Pain is not always redeemed, in the end or otherwise. Being brave—being a hero—is not about overcoming what hurts or turning it into a gift. Being brave is about waking to face each day when you would rather just stop waking up. Being brave is staying present to your own heart when that heart is shattered into a million different pieces and can never be made right. Being brave is standing at the edge of the abyss that just opened in someone’s life and not turning away from it, not covering your discomfort with a pithy “think positive” emoticon. Being brave is letting pain unfurl and take up all the space it needs. Being brave is telling that story. It’s terrifying. And it’s beautiful. Those are the stories we need.

And so, out there behind suburban doors, George and Martha run through the gamut of Kama Sutra positions (or so I imagine it, in my own undoubtedly lewd mind) and the smoke of Shiva fills the air, and the pope looks down on all of it, but cannot speak or object in any way. And, then, his rebellion acted out and cathartically discharged for a few days or a week, George rises in the morning, dresses in his middle-class uniform, and joins the terrapin multitude of other cars driving toward the city and the daily tasks of conformity and responsibility. Take away the pot and the picture of the pope and who knows what other form of rebellion (political? cultural? psychotic?) George and Martha might attempt next, to prove to themselves that they are individuals with free wills and not just actors in a bourgeois script authored by Dr. Laura Schlessinger.

Allow yourself to settle down comfortably, all your limbs, your legs, your arms, those hands, those feet… moving to the most comfortable position where it’s all just right.  Curl all of your fingers and all of your toes, as tightly as possible. Really get them tense.  A bit more… keep on holding those fingers and those toes just like that… with as much tension as you can manage… Not much longer now… because as you're holding all those fingers and all those toes like that, you probably haven't been paying attention to the temperatures inside your left thumb. You might not even have noticed how those temperatures shift and move. And you can allow the toes on your left foot to relax fully now, only to the extent that they relax one by one and that tension is gone, and as each of those toes falls into deep relaxation, you might notice that you can also allow the toes on that right foot to relax completely now. All the way down, as that sensation begins to spread further and further. Allow all of those fingers to relax now, as you're feeling that calm, relaxing, peaceful, comfortable… and those fingers and toes and hands and feet can move into just the right position to be totally comfortable now… snug… let them move until they're exactly where they want to be.

The framework is also single-threaded, and its model relies on concurrency which is based on an event loop. It operates in a non-blocking mode, which means that the programs are not blocked but allowed  to continue with execution. What happens is that it registers the callback, and then allows the program to continue with the process of execution. Due to the ability of the framework to handle concurrent operations effectively without having multiple threads in the state of execution, the applications are always in a position to scale well.

It was always the favorite time of the year, for me at least. The world blossomed with new flowers, and new flowers blossomed with new hope. The world was like an art, a rejuvenating art drawn by an enthusiastic nature. The air was becoming warmer, and warmth had all to do with positives. It was the best time of the year, a time of warmth, a time of hope and a time of positives.

If the world drew an art of positives, so did schools, of promises.

Imran had joined the army when he was a little over seventeen and had died in operations in Swat within his first three months of active duty. The father’s drooping, sorrowful figure walking back and forth to his son’s grave and sitting by it for long periods is a common sight in the village. The social studies teacher in the government school in Palwal, a young man, reflected on the grief of Imran’s father: “I have noticed him; he has taken it to heart. He has not thought about it from the other angle [of shahadat]. If he thinks from this angle, that shahadat has its own position, reputation, then he might have got some relief. He is not thinking from this angle; he is only thinking from one angle: that his son is no more.” The schoolteacher suggests that Imran’s father finds it difficult to follow the path that will allow him to move on and come to terms with his son’s unexpected and violent death. It is a story of grief that refuses to follow script, despite instruction. This and other similar stories are expressed even as the parallel script of shahadat remains intact, flowing along unhindered and unchecked, like the tears. 195/378

Initial Contact Script Good morning _______, this is _______ from _______. The reason I’m calling you today specifically is so I can stop by and tell you about our new _______ program that increases _______. I’m sure that you, like _______, are interested in _______. (Positive response). That’s great, _______; let’s get together. How’s _______? Third-Party Endorsement Script Good morning _______, this is _______ from _______. (Insert your brief commercial on your company.) The reason I’m calling you today specifically is that we’ve just completed working on a major project for _______, which was extremely successful in increasing _______. What I’d like to do is stop by next _______ to tell you about the success I had at _______. How’s _______? Follow-Up Script Good morning _______, this is _______ from _______. A number of weeks ago I contacted you, and you asked me to call you back today to set up an appointment. Would _______ be good for you?

Where does intrinsic security come from? It doesn’t come from what other people think of us or how they treat us. It doesn’t come from the scripts they’ve handed us. It doesn’t come from our circumstances or our position. It comes from within. It comes from accurate paradigms and correct principles deep in our own mind and heart. It comes from inside-out congruence, from living a life of integrity in which our daily habits reflect our deepest values. I believe that a life of integrity is the most fundamental source of personal worth. I do not agree with the popular success literature that says that self-esteem is primarily a matter of mind-set, of attitude—that you can psych yourself into peace of mind. Peace of mind comes when your life is in harmony with true principles and values and in no other way.

Where does intrinsic security come from? It doesn’t come from what other people think of us or how they treat us. It doesn’t come from the scripts they’ve handed us. It doesn’t come from our circumstances or our position. It comes from within. It comes from accurate paradigms and correct principles deep in our own mind and heart. It comes from inside-out congruence, from living a life of integrity in which our daily habits reflect our deepest values. I believe that a life of integrity is the most fundamental source of personal worth. I do not agree with the popular success literature that says that self-esteem is primarily a matter of mind-set, of attitude—that you can psych yourself into peace of mind. Peace of mind comes when your life is in harmony with true principles and values and in no other way.

The job interview is perhaps the most obvious example of this sort of unpaid emotional labour: here the candidate must appear sufficiently confident and enthusiastic to satisfy a selection panel assessing "presentation" and "personality", as if these were objective scientific criteria. So the interview, regardless of the job, becomes a kind of talent show audition hinging on generic questions about change, teamwork etc. (the equivalents of the standard repertoire of X Factor ballads), while the interviewee must project an all-purpose positivity by extemporising around this script without revealing its artificiality. The candidate must project the right image and hit the right notes, and must put his 'heart and soul' into every performance, even for the most dreary role.

So now Kadlec—who had, for twenty years, been writing scripts for using a pandemic to overthrow democracy and curtail constitutional rights—was in a perfect position to do just that. With this virus simulation, he included all the key players who would manage what was to become a de facto coup d’état sixty days hence.

If I follow the script and play the role assigned to me I'll be a model citizen, with a seamless CV and immaculate presentational skills, exceeding expectations and going the extra mile. I'll show how in this society of endless mobility and boundless opportunity anyone can get to "the top" with a flexible approach, a winning smile and a ruthless eye for profit. And if I ever falter or fluff my lines my Team Leader will be there to remind me: don't worry about other people or look for any big social picture. Forget all that stuff, just look after yourself. Put those books and ideas away now, their time has gone. Just look straight ahead, keep moving, and think positive. Or else.

It’s a beautiful thing to be in Hollywood... the feeling of it... that classical glamour never dies.” She walked to the closet and back to the bed. “The actress lives a beautiful life once at a certain level... when her sink has a view and her phone calls aren’t rejections anymore, but producers, offices, playhouses in London, a director pitching his sacred screenplay. The food gets healthier, people around you are more positive... driving in traffic is even different because your car is nice, and the music you normally hate sounds different when life works... when you get the furniture you want... And mentors pass down movie posters from their mentors—so Hepburn never really dies. You keep it in your home... there’s room for everything... I treasure letters from other artists... studio invitations... Being a woman in Hollywood is entirely different than a man’s experience. All the time, by everyone, for everything, a woman is wanted... dinners... so many dinners... so many scripts lying around the room, in the sun... the people you have yet to meet... it’s not about fame—I do not care for the public praise... but what is truly compelling is when you make it big, you finally understand why there are palm trees in this city... Los Angeles suddenly turns on. Like a bulb you thought disliked you and would never light. But it lights. Of course, one must put the cocktail down, leave the house, and make more movies. But this is to say, the after hours are nice. When the camera is off and I return home, I get to love what is left.

A Joyful Purpose is the opposite of a false script.

We can choose to reflect back to others a clear, undistorted vision of themselves. We can affirm their proactive nature and treat them as responsible people. We can help script them as principle-centered, value-based, independent, worthwhile individuals. And, with the Abundance Mentality, we realize that giving a positive reflection to others in no way diminishes us. It increases us because it increases the opportunities for effective interaction with other proactive people.

As you walk the player around the map, you may notice a slight jittering effect . The jittering is especially pronounced when you stop walking and the virtual camera damping slowly brings the tracking to a halt. This jittering effect is due to overly precise camera coordinates. The camera is tracking the player but it’s moving to subpixel positions, whereas the player is only moving around from pixel to pixel. We made sure of that when we did the calculations for the Orthographic Camera size earlier. To fix this jittering, we want to force the final Cinemachine Virtual Camera position to stay within pixel boundaries. We’re going to script a simple “extension” component that we’ll add to the Cinemachine Virtual Camera. Our extension component will grab the last coordinates of the Cinemachine Virtual Camera and round them to a value that lines up with our PPU.

The Left Shift Operator (<<): It moves all bits in its first operand to the left by the number of places specified in the second operand. New bits are filled with zeros. Shifting a value left by one position is equivalent to multiplying by 2, shifting two positions is equivalent to multiplying by 4, etc. (A << 1) is 4. The Signed Right Shift Operator (>>): It moves all bits in its first operand to the right by the number of places specified in the second operand. The bits filled in on the left depend on the sign bit of the original operand, in order to preserve the sign of the result. If the first operand is positive, the result has zeros placed in the high bits; if the first operand is negative, the result has ones placed in the high bits. Shifting a value right one place is equivalent to dividing by 2 (discarding the remainder), shifting right two places is equivalent to integer division by 4, and so on. (A >> 1) is 1. The Unsigned Right Shift Operator (>>>): This operator is just like the >> operator, except that the bits shifted in on the left are always zero. (A >>> 1) is

With a StoryBrand-inspired narrative, ordinary jobs become extraordinary adventures. With a unifying BrandScript, the above story would have gone more like this: Before even applying for a job, the prospective employee has already heard the buzz on the street about this cool company. It’s somehow more alive. The people who work there love it and so do their customers. They exude a sense of competence within their industry as well as across the community in general. Their leaders are respected. Even their former employees talk about it with a hint of sentimental longing. On the list of ideal places to work, there are few that compare. During the first interview, the candidate starts to understand where the buzz has been coming from. The hiring manager describes the company the way you might describe Lewis and Clarke preparing to tame the western frontier. There are interesting characters whose lives have led them to this place. Business goals sound like plot twists. There are mountains to climb and rivers to cross. There are storms to weather, bears to hunt, and treasure to find. The hiring manager is visibly excited as she walks effortlessly through the seven categories of the company’s narrative. But not just anyone gets selected for this expedition. The employees of this company aren’t trying to be snobs; they’re just staying true to the story they’re following and they don’t want to compromise the plot. If you happen to be selected, it’s because destiny basically demands it. Instantly the candidate’s concept of work shifts up a level. It’s no longer just about what he can get out of it. It’s also about who he will become if he’s allowed to enter the story. He senses that working for this company will transform him. By the second and third interviews, the candidate has met most of the team and even been interviewed by them. Everyone he meets tells the exact same story he heard on the street and in the first interview. The story is growing on him. He realizes he needs to be part of a story like this to be fully satisfied in life. We all do. Finally, his first day on the job arrives, and the onboarding experience is more like being adopted than getting hired. He spends quality time with a facilitator who takes a small, new team through a curriculum explaining the story of their customer and how the company positions themselves as the guide in their customers’ story. Amazingly, the onboarding is more about the company’s customers than it is about the company itself. This organization loves their customers and is obsessed with seeing them win the day. Finally, the new employee discovers the secret. These people are here to serve a customer they love.

I noticed, first, upper-caste people tended to be lighter in complexion and sharper in features, though that is not an ironclad indicator. Secondly, I noticed that they were more likely to speak English with British diction, although that could be a sign of education and class as much as caste hierarchy. More revealingly and more consistently, I began to be able to distinguish people from their bearing and demeanor, in accord with the universal script of caste. It was no accident that my caste radar worked more efficiently when there was a group of people interacting among themselves. Caste is, in a way, a performance, and I could detect the caste positions of people in a group but not necessarily a single Indian by himself or herself.

if tech wants to be seen as special—and therefore able to operate outside the rules—then it helps to position the people working inside tech companies as special too. And the best way to ensure that happens is to build a monoculture, where insiders bond over a shared belief in their own brilliance. That’s also why you see so many ridiculous job titles floating around Silicon Valley and places like it: “rock-star” designers, “ninja” JavaScript developers, user-experience “unicorns” (yes, these are all real). Fantastical labels like these reinforce the idea that tech and design are magical:

Total unconditional forgiveness” and “unconditional love” are two of the most powerful solvents as positive feelings you can use to replace the old negative feelings in the Script.

Ojih Odutola’s radical visual reversals function like thought experiments that take us beyond the merely hierarchical. By positioning the unexpected figure of the black woman as master, as oppressor, she suspends, for a moment, our focus on the individual sins of people—the Mississippi overseer, the British slave merchant, the West African slave raider—and turns it back upon enabling systems. It was a racist global system of capital and exploitation—coupled with a perverse and asymmetric understanding of human resource and value—that allowed the trade in humans to occur, and although that trade no longer exists in its previous form, many of its habits of mind persist. In “A Countervailing Theory,” the habit of thought that recognizes some beings and ignores others is presented to us as an element of a physical landscape, the better to emphasize its all-encompassing nature. That system is the air Akanke and Aldo breathe, the bodies they’re in, the land they walk on. For Ojih Odutola, it is expressed by one unending, unfurling charcoal line: The purpose of beginning the story from the perspective of Aldo, one who is subjugated, is intentional: to show how easily one can be indoctrinated into a systemic predicament. Between Aldo and Akanke, there isn’t a clear demarcation of good or bad with regard to their respective worlds and who they are. The system in which they coexist is illustrated through the striated systems in place—with literal motifs of lines throughout the pictures—representing how the system is ever present and felt, but not explicitly stated. The system is fact. How can such systems be dismantled? Surely, as Audre Lorde knew, it is not by using the master’s tools. “A Countervailing Theory” offers some alternative possibilities. Here love is radical—between women, between men, between women and men, between human and nonhuman—because it forces us into a fuller recognition of the other. And cunnilingus is radical, and seeing is radical, and listening is radical, for the same reason. We know we don’t want to be victims of history. We know we refuse to be slaves. But do we want to be masters—to behave like masters? To expect as they expect? To be as tranquil and entitled as they are? To claim as righteous our decision not to include them in our human considerations? Are we content that all our attacks on them be ad hominem, as they once spoke of us? If our first response to these portraits of black, female masters is some variation on #bowdownbitches or #girlboss, well, no one can deny the profound pleasures of role reversal, of the flipped script, but when we speak thus we must acknowledge that we can make no simultaneous claim to having put down the master’s tools. Akanke is in these images—but so is Aldo. He must be recognized. The dream of Frantz Fanon was not the replacement of one unjust power with another unjust power; it was a revolutionary humanism, neither assimilationist nor supremacist, in which the Manichaean logic of dominant/submissive as it applies to people is finally and completely dismantled, and the right of every being to its dignity is recognized. That is decolonization. - from "Toyin Ojih Odutola’s Visions of Power

So often as a mom I get caught up in all the “do nots” instead of the “dos” of teaching and training my kids. I forget how very much I encourage them with my positive reinforcement and belief in them to do their best.

suggestions need to be phrased positively and in the present tense. It is also important to say the suggestions when practicing self-hypnosis as if you really mean it, in a gentle, soothing but yet a convincing manner.

Your Success Path I have a 3 part plan for you to be successful... Believe in your value Position yourself in value Communicate your value Go to TheForeverWomanFormula.com, watch the video on the page, and sign up for my free course, The Forever Woman Program. If you get The Forever Woman and use the principles in it... You’ll attract a man who loves and cherishes you He’ll pursue you for a committed, lasting relationship You’ll do less work and feel more appreciated and valued by your man. If you don't get it... You’ll stay stuck in your problems and challenges with men. You’ll feel like you’re doing everything in a relationship only to be taken for granted, have guys pull away, and eventually disappear on you You’ll wonder if you’re ever going to get into the relationship you want. Go to TheForeverWomanFormula.com and check it out for free... if you decide you want to stay a part of our community, you can learn about how to do that as well there.

Where does intrinsic security come from? It doesn’t come from what other people think of us or how they treat us. It doesn’t come from the scripts they’ve handed us. It doesn’t come from our circumstances or our position. It comes from within. It comes from accurate paradigms and correct principles deep in our own mind and heart. It comes from inside-out congruence, from living a life of integrity in which our daily habits reflect our deepest values.

Klossowski’s writings therefore invite us to move beyond the impasse of certain intellectual positions inherited from the 1960s: on the one hand, arguments that society is all-determining as a set of institutional and disci- plinary constraints (Frankfurt School, structuralism), and on the other hand, arguments for the perpetual vitality and agency of the subject which continually subverts and undermines these restrictions (post-structural- ism, Deleuze and Guattari). Rather than collapsing these positions, Klossowski requires us to take on board a more complex network of libidi- nal drives that require perpetual restaging and renegotiation. This tension between structure and agency, particular and universal, spontaneous and scripted, voyeur and voyant, is key to the aesthetic effect and social import of the best examples of delegated performance.

Getting our little people nodding and smiling is good for the soil of their hearts! So often we want to go pound seeds into hard soil, but talking about positives first helps to turn and condition the soil, making hearts soft and receptive to fruit-bearing seeds.

Looking good, nice hair.” Molly’s that classic bitch you knew in middle school who never snapped out of it. We have to be nice to her because she’s head of the PTA and seems to have the authority to randomly assign volunteer positions.

In psychology, we have a name for the automatic scripts our brains piece together when we repeatedly do the same thing in the same way: procedural memory. It’s such an important repository of information that only the most frequently repeated patterns get stored like this. It functions somewhat separately from other memory systems, and the specific information encoded isn’t accessible to consciousness. This kind of cognitive coding is a sort of mental equivalent of admin-only files on your computer. Your computer’s best functioning relies on you not naively messing around in its most fundamental code, which it stashes away behind several layers of obfuscation. This is why we don’t know much about our habits. The information we learn as a habit is to some extent separated from other neural regions. Procedural coding protects information from change. This is the advantage to the way our minds encode habits. You don’t forget how to ride a bike regardless of how well you learn to ride a skateboard or surf. You can do it years after stopping. You balance and push the pedals without thinking. While cycling, you can even talk to others or enjoy the scenery. Your bike-riding habit didn’t get overwritten by new thoughts and experiences. Other habits are almost as sticky. Speaking a second language, playing a musical instrument, or cooking a favorite dish are skills that fade only slowly as you fail to use them. Past procedural learning is well preserved.

Pay attention today to how you speak to yourself and the stories you tell yourself about what’s happening in your life. If it ever feels like being negative is easier than being positive, flip the script. Find the positive. It’s like you’re giving yourself a mental massage.

Seeing Dead-End Scripts When ruminative thoughts and warning lights go unseen, partners end up enacting dead-end scripts. Dead-end scripts are harmful, predictable ways of speaking, acting, and reacting to your partner that interfere with spontaneity, devitalize your relationship, and hold partners hostage to the past by recreating it in the present. Dead-end scripts lock you into outdated versions of yourselves that keep you stuck as a couple. When you see your dead-end script, you and your partner are in a better position to change the lines and rewrite the plot.