Select Your Battles Quotes

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We win some, but we lose many. We lose a lot. We lose our friends and we lose our family. In the end we lose everything. No matter who's with us, we always die alone. When you fight your battles, whatever battles you fight, it's always going to be about life.
Neil Gaiman (The View from the Cheap Seats: Selected Nonfiction)
Be selective in your battles, sometimes peace is better than being right.
Chief John Shenandoah c. 1706 - March 11, 1816 "Pine Tree Chief" of the ONEIDA (In Loving Memory)
Be selective in your battles...
Brandi L. Bates (Remains To Be Seen)
Selethen was names Hawk. Alyss had been given the title of Tsuru, or Crane. . .Evanlynn was Kitsune, the Nihon-Jan word for Fox . . .Halt strangly enough had been known only as Halto-san. . . But Will had been taken aback in his confrotation with Arisaka to discover that his name - Chocho - meant "butterfly". It seemed a highly unwarlike name to him- not at all glamorous.And he was puzzled to know why they had selected it. His friends,of course, were delighted in helping him guess the reason. "I assume its because you're such a snazzy dresser," Evanlynn said. "You Rangers are like a riot of color after all." Will glared at her and was mortified to hear Alyss snigger at the princess's sally. He'd thought Alyss, at least, might stick up for him. "I think it might be more to do with the way he raced around the the training ground, darting here and there to correct the way a man might be holding his sheidl then dashing off to show someone how to put theri body weight into their javelin cast," said Horace, a little more sympathetically. Then he ruined the effect by adding thoughtlessly, "I must say, your cloak did flutter around like a butterfly's wings." "It was neither of those things," Halt said finally, and they all turned to look at him. "I asked Shigeru," he explained. "He said that they had all noticed how Will's mind and imagination darts from one idea to another at such high speed," . . Will looked mollified. "Isuppose it's not too bad it you put it that way. It's just it does seem a bit . . girly." .... " I like my name Horace said a little smugly. "Black Bear. It describes my prodigous strength and my mighty prowess in battle." Alyss might have let him get away with it if it hadn't been for his tactless remark about Will's cloak flapping like a butterfly's wings. "Not quite," she said. "I asked Mikeru where the name came from. He said it described your prdogious appetite and your mighty prowess at the dinner table. It seems that when you were escaping through the mountains, Shigeru and his followers were worried you'd eat the supplies all by yourself." There was a general round of laughter. After a few seconds, Horace joined in.
John Flanagan (The Emperor of Nihon-Ja (Ranger's Apprentice, #10))
It's easy to be cynical about death when you're young. When you are young, death is an anomaly. It's not real. It only affects other people. It's a bullet you'll dodge easily. It's why young people can go into battle: they really will live forever. They know. As you stick around, as you go around the Earth, you realize that life is an ever-narrowing conveyor belt. Slowly, inexorably, it takes us all along with it, and one by one we tumble off the side of the conveyor belt into darkness. . . They fall off the conveyor belt into the darkness, our friends, and we cannot talk to them anymore.
Neil Gaiman (The View from the Cheap Seats: Selected Nonfiction)
In the communication jungle out there, the only hope to score big is to be selective, to concentrate on narrow targets, to practice segmentation. In a word, "positioning.
Al Ries (Positioning: The Battle for Your Mind)
Be selective in your battles sometimes peace is better than being right.
Ritu Ghatourey
The phrase “choose your battles wisely” means to be selective of how we spend our time and who we spend our time with. To be selective. To not join every argument or confrontation. To learn to walk away from unproductive battles.
Dana Arcuri (Sacred Wandering: Growing Your Faith In The Dark)
The most difficult part of positioning is selecting that one specific concept to hang your hat on. Yet you must, if you want to cut through the prospect's wall of indifference.
Al Ries (Positioning: The Battle for Your Mind)
THE FORTRESS Under the pink quilted covers I hold the pulse that counts your blood. I think the woods outdoors are half asleep, left over from summer like a stack of books after a flood, left over like those promises I never keep. On the right, the scrub pine tree waits like a fruit store holding up bunches of tufted broccoli. We watch the wind from our square bed. I press down my index finger -- half in jest, half in dread -- on the brown mole under your left eye, inherited from my right cheek: a spot of danger where a bewitched worm ate its way through our soul in search of beauty. My child, since July the leaves have been fed secretly from a pool of beet-red dye. And sometimes they are battle green with trunks as wet as hunters' boots, smacked hard by the wind, clean as oilskins. No, the wind's not off the ocean. Yes, it cried in your room like a wolf and your pony tail hurt you. That was a long time ago. The wind rolled the tide like a dying woman. She wouldn't sleep, she rolled there all night, grunting and sighing. Darling, life is not in my hands; life with its terrible changes will take you, bombs or glands, your own child at your breast, your own house on your own land. Outside the bittersweet turns orange. Before she died, my mother and I picked those fat branches, finding orange nipples on the gray wire strands. We weeded the forest, curing trees like cripples. Your feet thump-thump against my back and you whisper to yourself. Child, what are you wishing? What pact are you making? What mouse runs between your eyes? What ark can I fill for you when the world goes wild? The woods are underwater, their weeds are shaking in the tide; birches like zebra fish flash by in a pack. Child, I cannot promise that you will get your wish. I cannot promise very much. I give you the images I know. Lie still with me and watch. A pheasant moves by like a seal, pulled through the mulch by his thick white collar. He's on show like a clown. He drags a beige feather that he removed, one time, from an old lady's hat. We laugh and we touch. I promise you love. Time will not take away that.
Anne Sexton (Selected Poems)
The kind of stories that need you to be brave to tell them, braver still to publish them so that other people can look inside your head and know what makes you tick and what makes you hard and what makes you cry. They tell you that the hardest battles are the ones you fight inside your own head when nobody else is going to know if you’ve won or lost or even if a battle was fought at all.
Neil Gaiman (The View from the Cheap Seats: Selected Nonfiction)
Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that gray vault. The sea. The sea has locked them up. The sea is History. First, there was the heaving oil, heavy as chaos; then, likea light at the end of a tunnel, the lantern of a caravel, and that was Genesis. Then there were the packed cries, the shit, the moaning: Exodus. Bone soldered by coral to bone, mosaics mantled by the benediction of the shark's shadow, that was the Ark of the Covenant. Then came from the plucked wires of sunlight on the sea floor the plangent harp of the Babylonian bondage, as the white cowries clustered like manacles on the drowned women, and those were the ivory bracelets of the Song of Solomon, but the ocean kept turning blank pages looking for History. Then came the men with eyes heavy as anchors who sank without tombs, brigands who barbecued cattle, leaving their charred ribs like palm leaves on the shore, then the foaming, rabid maw of the tidal wave swallowing Port Royal, and that was Jonah, but where is your Renaissance? Sir, it is locked in them sea sands out there past the reef's moiling shelf, where the men-o'-war floated down; strop on these goggles, I'll guide you there myself. It's all subtle and submarine, through colonnades of coral, past the gothic windows of sea fans to where the crusty grouper, onyx-eyed, blinks, weighted by its jewels, like a bald queen; and these groined caves with barnacles pitted like stone are our cathedrals, and the furnace before the hurricanes: Gomorrah. Bones ground by windmills into marl and cornmeal, and that was Lamentations - that was just Lamentations, it was not History; then came, like scum on the river's drying lip, the brown reeds of villages mantling and congealing into towns, and at evening, the midges' choirs, and above them, the spires lancing the side of God as His son set, and that was the New Testament. Then came the white sisters clapping to the waves' progress, and that was Emancipation - jubilation, O jubilation - vanishing swiftly as the sea's lace dries in the sun, but that was not History, that was only faith, and then each rock broke into its own nation; then came the synod of flies, then came the secretarial heron, then came the bullfrog bellowing for a vote, fireflies with bright ideas and bats like jetting ambassadors and the mantis, like khaki police, and the furred caterpillars of judges examining each case closely, and then in the dark ears of ferns and in the salt chuckle of rocks with their sea pools, there was the sound like a rumour without any echo of History, really beginning.
Derek Walcott (Selected Poems)
There were darker stories that Anthony had crafted from his life that had not made it into that first book. Stories of obsession and desire. Stories of loss and fear and hate. The kind of stories that need you to be brave to tell them, braver still to publish them so that other people can look inside your head and know what makes you tick, and what makes you hard, and what makes you cry, that tell you that the hardest battles are the ones you fight inside your own head, when nobody else is going to know if you won or lost or even if a battle was fought at all.
Neil Gaiman (The View from the Cheap Seats: Selected Nonfiction)
I have a hunch it’s a thing that only fails to be basic because it’s never had material recognition. The weakness of this profession is its attraction for the man a little crippled and broken. Within the walls of the profession he compensates by tending toward the clinical, the ‘practical’— he has won his battle without a struggle.” “On the contrary, you are a good man, Franz, because fate selected you for your profession before you were born. You better thank God you had no ‘bent’— I got to be a psychiatrist because there was a girl at St. Hilda’s in Oxford that went to the same lectures. Maybe I’m getting trite but I don’t want to let my current ideas slide away with a few dozen glasses of beer.
F. Scott Fitzgerald (Tender Is the Night)
The potential for manipulation here is enormous. Here’s one example. During the 2012 election, Facebook users had the opportunity to post an “I Voted” icon, much like the real stickers many of us get at polling places after voting. There is a documented bandwagon effect with respect to voting; you are more likely to vote if you believe your friends are voting, too. This manipulation had the effect of increasing voter turnout 0.4% nationwide. So far, so good. But now imagine if Facebook manipulated the visibility of the “I Voted” icon on the basis of either party affiliation or some decent proxy of it: ZIP code of residence, blogs linked to, URLs liked, and so on. It didn’t, but if it had, it would have had the effect of increasing voter turnout in one direction. It would be hard to detect, and it wouldn’t even be illegal. Facebook could easily tilt a close election by selectively manipulating what posts its users see. Google might do something similar with its search results.
Bruce Schneier (Data and Goliath: The Hidden Battles to Collect Your Data and Control Your World)
■​A good negotiator prepares, going in, to be ready for possible surprises; a great negotiator aims to use her skills to reveal the surprises she is certain to find. ■​Don’t commit to assumptions; instead, view them as hypotheses and use the negotiation to test them rigorously. ■​People who view negotiation as a battle of arguments become overwhelmed by the voices in their head. Negotiation is not an act of battle; it’s a process of discovery. The goal is to uncover as much information as possible. ■​To quiet the voices in your head, make your sole and all-encompassing focus the other person and what they have to say. ■​Slow. It. Down. Going too fast is one of the mistakes all negotiators are prone to making. If we’re too much in a hurry, people can feel as if they’re not being heard. You risk undermining the rapport and trust you’ve built. ■​Put a smile on your face. When people are in a positive frame of mind, they think more quickly, and are more likely to collaborate and problem-solve (instead of fight and resist). Positivity creates mental agility in both you and your counterpart. There are three voice tones available to negotiators: 1.​The late-night FM DJ voice: Use selectively to make a point. Inflect your voice downward, keeping it calm and slow. When done properly, you create an aura of authority and trustworthiness without triggering defensiveness. 2.​The positive/playful voice: Should be your default voice. It’s the voice of an easygoing, good-natured person. Your attitude is light and encouraging. The key here is to relax and smile while you’re talking. 3.​The direct or assertive voice: Used rarely. Will cause problems and create pushback. ■​Mirrors work magic. Repeat the last three words (or the critical one to three words) of what someone has just said. We fear what’s different and are drawn to what’s similar. Mirroring is the art of insinuating similarity, which facilitates bonding. Use mirrors to encourage the other side to empathize and bond with you, keep people talking, buy your side time to regroup, and encourage your counterparts to reveal their strategy.
Chris Voss (Never Split the Difference: Negotiating as if Your Life Depended on It)
Her carvings became more and more numerous. They clung to trees or sat astride the branches, they rested against the trunks or settled into the ground. With outstretched arms, they sank in the marsh, or they curled up quietly and slept by a root. Sometimes they were only a profile in the shadows, and sometimes there were two or three together, entwined in battle or in love. Grandmother worked only in old wood that had already found its form. That is, she saw and selected those pieces of wood that expressed what she wanted them to say. One time she found a big white vertebra in the sand. It was too hard to work but could not have been made any prettier anyway, so she put it in the magic forest as it was. She found more bones, white or grey, all washed ashore by the sea. “What is it you’re doing?” Sophia asked. “I’m playing,” Grandmother said. Sophia crawled into the magic forest and saw everything her grandmother had done. “Is it an exhibit?” she asked. But Grandmother said it had nothing to do with sculpture, sculpture was another thing completely.
Tove Jansson (The Summer Book)
I reassessed the map and my timing. I had to come up with a plan to get myself out of this mess, and fast. I turned 90 degrees and started to climb back up onto the high ground that I had just come off. This was way off-route, I should be heading down, but I just knew that the high ground would be better than fighting a losing battle in the bog. I had done that before--and lost. The wind was blowing hard now, down from the plateau, as if trying to deter me. I put my head down, ignored the shoulder straps that pulled and heaved against my lower neck muscles, and went for it. I had to take control. I was refusing to fail Selection again in this godforsaken armpit of a place. Once on the ridge, I started to run. And running anywhere in that moon grass, with the weight of a small person on your back, was a task. But I was on fire. I kept running. And I kept clawing back the time and miles. I ran all the way into the last checkpoint and then collapsed. The DS looked at me strangely and chuckled to himself. “Good effort,” he commented, having watched me cover the last mile or so of rough ground. I had made it within time. Demons dead. Adrenaline firing.
Bear Grylls (Mud, Sweat and Tears)
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The journey up to battle camp started badly. “If you can’t even load a bloody truck with all your kit properly, then you’ve got no bloody chance of passing what’s ahead of you, I can assure you of that!” Taff, our squadron DS, barked at us in the barracks before leaving. I, for one, was more on edge than I had ever felt so far on Selection. I was carsick on the journey north, and I hadn’t felt that since I’d been a kid heading back to school. It was nerves. We also quizzed Taff for advice on what to expect and how to survive the “capture-initiation” phase. His advice to Trucker and me was simple: “You two toffs just keep your mouths shut--23 DS tend to hate recruits who’ve been to private school.” The 23 SAS were running the battle camp (it generally alternated between 21 and 23 SAS), and 23 were always regarded as tough, straight-talking, hard-drinking, fit-as-hell soldiers. We had last been with them at Test Week all those months earlier, and rumor was that “the 23 DS are going to make sure that any 21 recruits get it the worst.” Trucker and I hoped simply to try and stay “gray men” and not be noticed. To put our heads down and get on and quietly do the work. This didn’t exactly go according to plan. “Where are the lads who speak like Prince Charles?” The 23 DS shouted on the first parade when we arrived. “Would you both like newspapers with your morning tea, gents?” the DS sarcastically enquired. Part of me was tempted to answer how nice that would be, but I resisted. The DS continued: “I’ve got my eye on you two. Do I want to have to put my life one day in your posh, soft hands? Like fuck I do. If you are going to pass this course you are going to have to earn it and prove yourself the hard way. You both better be damned good.” Oh, great, I thought. I could tell the next fortnight was going to be a ball-buster.
Bear Grylls (Mud, Sweat and Tears)
How the temptation to sin always aids our progress. You should know that the impulse to sin always brings great benefit for someone who is righteous. Now listen to this. Imagine two individuals, one of whom is the type of person who experiences little or no temptation while the other is the type who is much troubled by temptation. The mere presence of certain things rouses their outer self so that they are moved to anger, to vanity or to sensuality, according to the nature of the stimulus. But with their higher powers they remain steadfast and unmoved, and determined not to give in to their weakness, whether it be losing their temper or any other sin, and they strongly resist it. Perhaps it is a question of a weakness which is rooted in their own nature, just as certain people are irascible or vain or whatever but do not wish to commit the sin. These are far worthier of praise and deserving of a far greater reward, and are far nobler than the first type, for the perfection of virtue is born in struggle, as St Paul says: ‘virtue is perfected in weakness’ (2 Cor. 12:9). It is not being tempted to sin which is sinful, but consenting to sin; it is wanting to lose your temper which is sinful. In fact, if someone who is in the right state of mind had the power to make the temptation to sin go away, then they would not exercise that power, for without temptation we would be untried in all things and in all that we do, unaware of the dangers of things, and without the honour of battle, victory and reward. The assault and stimulation of vice bring virtue and our struggle’s reward. Temptation makes us work harder in the practice of virtue, and it drives us forcefully into the arms of virtue and is a sharp lash which teaches us vigilance and virtue; for the weaker someone is, the more they should arm themselves with strength and victory, since virtue, like vice, is a matter of the will.
Meister Eckhart (Selected Writings)
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I don’t know where you think you men are, but if you expect to become Rangers then I expect you to know our creed.” His eyes found me. “I know for a fact Old Navy here doesn’t know the Ranger Creed.” I’d been studying it for months and could have recited it while standing on my head. For effect, I cleared my throat and got loud. “Recognizing that I volunteered as a Ranger, fully knowing the hazards of my chosen profession, I will always endeavor to uphold the prestige, honor, and high spirit de corps of the Rangers!” “Very surpri…” He tried to cut me off, but I wasn’t done. “Acknowledging the fact that a Ranger is a more elite Soldier who arrives at the cutting edge of battle by land, sea, or air, I accept the fact that as a Ranger my country expects me to move further, faster, and fight harder than any other Solider!” The RI nodded with a wry smile, but this time stayed out of my way. “Never shall I fail my comrades! I will always keep myself mentally alert, physically strong, and morally straight, and I will shoulder more than my share of the task whatever it may be, 100 percent and then some! “Gallantly will I show the world that I am a specially selected and well-trained Soldier! My courtesy to superior officers, neatness of dress, and care of equipment shall set the example for others to follow! “Energetically will I meet the enemies of my country! I shall defeat them on the field of battle for I am better trained and will fight with all my might! Surrender is not a Ranger word! I will never leave a fallen comrade to fall into the hands of the enemy and under no circumstances will I ever embarrass my country! “Readily will I display the intestinal fortitude required to fight on to the Ranger objective and complete the mission though I be the lone survivor! “Rangers lead the way!” I recited all six stanzas, and afterward he shook his head in disbelief, and mulled the ideal way to get the last laugh. “Congratulations, Goggins,” he said, “you are now first sergeant.
David Goggins (Can't Hurt Me: Master Your Mind and Defy the Odds)
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Second, you must remember Scripture. Scripture memory is not just a pious spiritual discipline for people who are more holy or mature than you are. Scripture memory is a powerful weapon that can give you victory in your battle against porn. The psalmist says to God, “I have hidden your word in my heart that I might not sin against you” (Psalm 119:11). The Bible—internalized as a treasure in your heart—is available as a powerful ally against temptation. You have access to an entire Bible full of passages you can hide in your heart to help you in temptation. You can memorize Psalm 119:11; Matthew 5:27–30; or any other Bible verse in this book. The passages you select do not even need to address sexual purity. A diverse stockpile of biblical truth is needed to combat the lies of temptation when they come.
Heath Lambert (Finally Free: Fighting for Purity with the Power of Grace)
What is your process for selecting which elements of your architecture you should enhance and defend, and which you should accept as commoditizing? The more competition feels head-to-head, characterized by intense battles for well-defined market share, the more commoditized is the value being fought over. The greater the variation in value creation—a direct consequence of different architectures—the more potential for coexistence in the market.
Ron Adner (Winning the Right Game: How to Disrupt, Defend, and Deliver in a Changing World (Management on the Cutting Edge))
A new day has dawned. New Secondary Skills are unlocked: Strider’s Focus: You have grown closer to Nature and learned the basics of this skill without a trainer. Somatic Battle-Weaving: This skill has increased through extensive use without the need to allocate skill points to it. Equilibrium: This skill allows you to keep your balance and avoid effects that cause dizziness or disorientation. Suffer through more such effects to increase it. Blades: You have increased your knowledge of which techniques to use in which situations. He had little time to bask in the glory of his skill increases, as the true prize of level four awaited him: Focus Unlocked. At level 4, you may select a Focus for one of your Attributes. This Focus increases your effective score in that Attribute whenever the relevant trait is tested. For instance, Prowess(Strength) allows you better results when lifting heavy objects, but you receive no bonus for feats of agility (such as dodging attacks)
Gregory Blackburn (Unbound (Arcana Unlocked #1))
Malcolm Gladwell goes so far as to say that attending the most highly selective schools can even harm you. In his best-selling book David and Goliath: Underdogs, Misfits, and the Art of Battling Giants, Gladwell explains that most kids shouldn’t attend the most prestigious schools they get into, because at every college it’s the top kids who get the most attention, resources, and opportunities that lead to greater success in grad school.12 Going to a place where you will be in the bottom half of the class not only means you won’t get goodies such as attention from faculty and access to select experiences in your chosen major, but it also damages your self-esteem, says Gladwell. If you want college to be the strongest possible springboard for what will come next in your life, Gladwell advises going to a college where you know you can be in the top 5 or 10 percent there. The only exceptions to this rule are students from underrepresented backgrounds for whom attending a name-brand school seems to provide a bump in after-college options regardless of where they rank in their college class.
Julie Lythcott-Haims (How to Raise an Adult: Break Free of the Overparenting Trap and Prepare Your Kid for Success)
We need an extra level of vigilance to prevent our brains from absorbing irrelevant, counterproductive or downright destructive input. It’s a never-ending battle to be selective and to stand guard against any information that can derail your creative potential.
Darren Hardy (The Compound Effect)
The Secret on How to Write Comedy In a fashionable context, comedy is a subjective element. Making humans funny is an incredibly difficult job and developing a chunk of comedy is even more difficult. If you are an aspiring comedy writer, there is loads to be found out and Filipino concert in Las Vegas( ticklemecomedy.com) in case you lack that writing skills, there's no way you may produce an excellent comedy piece. So how do you write stuff that is actually funny and will make everyone roll round in laughter? Are there definitely techniques on how to write comedy or steps with a view to decorate your comedic writing? Maybe these are the questions rambling around your thoughts now. Well, happily, there are some easy strategies on for writing humorous cloth. Tips on How to Write Comedy Like all different forms of writing, comedy writing is no one of a kind. It additionally takes exercise to get it right. Some comedic writers might also master the artwork of comedy writing with only a little exercise while a few conflict lots before getting Filipino show in Las Vegas to know it. With that being said, every person who wants to realize the secret to writing high-quality comedy need to consider some easy pointers. Whether you come to be being funny or no longer, the most essential element is which you have discovered how to excellent write comedic cloth and are capable of produce quality comedy pieces. To assist you emerge as a very good comedic writer, beneath are some guidelines. • Choose the type of comedy - One tip on how to write comedic portions is to pick out the type of humor you need to exhibit. There are various forms of comedy along with slapstick, parody, dark humor, edgy humor, own family humor, dry observational humor, and plenty of others. You simply need to select one in your comedy piece and paintings on it. Failure to consciousness on one sort of humor will end result on your audience being careworn. • Use warfare - Another golden rule is to discover the battle in anything and play on the boundaries. Professional comedic writers say that anger is frequently the middle of all comedy. But this doesn't suggest however that you need to be a raging psycho simply so one can realize the way to write comedy. This virtually approach that you got to have the ability to address a conflict in a humorous manner. • Carefully choose your words - Successful comedic playwrights realize nicely the way to maximize the comedic impact. Obviously, they are experts in finding the funniest in everything. Choose phrases that sound funny and discover ways to tweak your paintings to give you actual funny piece. • Know how and whilst to magnify - In comedy, "extra" is generally better. Think approximately conditions that might be funnier if things have been exaggerated a chunk. Something mildly humorous can quickly Las Vegas Filipino shows become hilarious with a little bit of embellishment. • Timing - In comedy, timing is the whole thing. It is a totally critical component in writing comedy. You want to inject the proper joke inside the proper location and in the right time. This is in which your punch traces ought to appear. This also manner understanding whilst to end. But take word that timing depends significantly at the sort of comedy you're pursuing. Practice makes best After being given these few hints on how to write comedy, you need to have a terrific begin composing fine, comedic work. But as the famous adage says "Practice makes best" so preserve to exercise and work at your stuff. You don't always want to be intrinsically humorous to study comedic writing but it'll help.
Saima Mir
Well, time to cut this off at the pass. I selected Sir Dalton on the Battle Map and brought up a mind link to him, “Sir Dalton.” “That’s strange.  The voices in my head sound different than normal,” replied Sir Dalton.  “That’s because it's Jim,” I said. “No, Jim’s voice would be in Jim’s head,” argued my somewhat mush-minded companion.  I had to blink three times to clear my head.  “Okay, Sir Dalton, can we hold off on the charge until the enemy forces are more committed?” “Well, brain, we all know I listen to my gut at times like this,” replied Sir Dalton haughtily. “And what does ‘our’ gut say?” I asked. “It says to charge,” replied the Knight. What followed wasn’t something I was proud of.  I increased the pitch in my voice and said, “Dalton, it's me, your gut.  I think we need to hold off for five more minutes.” “Are you sure?” asked Sir Dalton, before catching himself.  “No, I always listen to my gut!  Five more minutes it is!” Shaking my head, I broke the connection
Ryan Rimmel (Castle of the Noobs (Noobtown, #3))
Be selective in your battles, sometimes peace is better than being right. —CHIEF SHENANDOAH
Alex Woodard (Ordinary Soil)
Select your battles carefully. Ultimately, victory and defeat are a matter of your own careful—or reckless—choices. —TLALOC, Weaknesses of the Empire
Brian Herbert (The Machine Crusade (Legends of Dune, #2))
After being together with someone for a few years, their attractions stand to become grievously familiar. We will ignore them and become experts on their most trying dimensions. But we are never without a chance to reverse the process. It might be that we watch them when they are with friends. We pick up again on their shy smile, their sympathetic look, or the purposeful way they push back the sleeves of their pullover. Or perhaps we hear that a casual acquaintance thinks that they are fascinating and elegant and – mixed in with a dose of jealous irritation – via this potential rival’s eye, we see again all that we could conceivably lose. We are adaptable creatures. Disenchantment is not a one-way street. We are capable of a second, more accurate look. We can turn to art for hints on how to perform the manoeuvre of re-enchantment. Many works of art look with particular focus at what has been ignored and taken for granted. In the 18th century, the French painter Chardin didn’t paint the grand things that other painters of the period went in for: heroic battles, majestic landscapes or dramatic scenes from history. Instead he looked around him and portrayed the quiet, ordinary objects of everyday life: kitchen utensils, a basket of fruit, a teacup. He brought to these objects a deeply loving regard. Normally you might not have given them a moment’s thought. But, encouraged by Chardin, we start to see their allure. He’s not pretending; he’s showing us their real but easily missed virtues. He isolates them, he concentrates attention, he carefully notes what is worthy of respect. He re-enchants our perception. In the 19th century, the English painter John Constable did something similar for clouds. Nothing, perhaps, sounds duller. Maybe as children we liked to watch the grey banks of cloud drift and scud across the arc of the sky. We had favourites among them; we saw how they merged and separated; how they were layered; how a blue patch could be revealed and then swiftly covered. Clouds are lovely things, we once knew. Then we forgot. Constable’s many cloud paintings remind us of the ethereal poetry unfolding above our heads at all moments, ready to delight us when we have the imagination to look up. Imagine meeting your partner through the lens of art. You would find again the allure of things about them that – through familiarity and haste – had been neglected. We could study once more the magic of a palm that we once longed to caress; we could attend again to a way of tilting the head that once seemed so suggestive. In the early days, we knew how to see. Now as artists of our lives – in our own fashion – we can rediscover, we can select, refocus, appreciate. We can become the explorers of lost continents filled with one another’s overlooked qualities.
The School of Life (How to Get Married)
Your soldier’s Banner is then displayed in several places when playing Fortnite: Battle Royale, including near the top-left corner of the Lobby, and on the Profile screen (which you can access by selecting the Career tab found at the top of the Lobby screen).
Jason R. Rich (Battle Pass Success for Fortniters: An Unofficial Guide to Battle Royale (Master Combat Book 6))
Show a friendly stance to the enemy, so that they will let down their guard against you. Meanwhile, prepare yourself for battle and take extreme care not to let your enemy know your true intention.
Shawn Conners (Military Strategy Classics of Ancient China - English & Chinese: The Art of War, Methods of War, 36 Stratagems & Selected Teachings)
Here are some of the key lessons from this chapter to remember: A good negotiator prepares, going in, to be ready for possible surprises; a great negotiator aims to use her skills to reveal the surprises she is certain to find. Don’t commit to assumptions; instead, view them as hypotheses and use the negotiation to test them rigorously. People who view negotiation as a battle of arguments become overwhelmed by the voices in their head. Negotiation is not an act of battle; it’s a process of discovery. The goal is to uncover as much information as possible. To quiet the voices in your head, make your sole and all-encompassing focus the other person and what they have to say. Slow. It. Down. Going too fast is one of the mistakes all negotiators are prone to making. If we’re too much in a hurry, people can feel as if they’re not being heard. You risk undermining the rapport and trust you’ve built. Put a smile on your face. When people are in a positive frame of mind, they think more quickly, and are more likely to collaborate and problem-solve (instead of fight and resist). Positivity creates mental agility in both you and your counterpart. There are three voice tones available to negotiators: The late-night FM DJ voice: Use selectively to make a point. Inflect your voice downward, keeping it calm and slow. When done properly, you create an aura of authority and trustworthiness without triggering defensiveness. The positive/playful voice: Should be your default voice. It’s the voice of an easygoing, good-natured person. Your attitude is light and encouraging. The key here is to relax and smile while you’re talking. The direct or assertive voice: Used rarely. Will cause problems and create pushback. Mirrors work magic. Repeat the last three words (or the critical one to three words) of what someone has just said. We fear what’s different and are drawn to what’s similar. Mirroring is the art of insinuating similarity, which facilitates bonding. Use mirrors to encourage the other side to empathize and bond with you, keep people talking, buy your side time to regroup, and encourage your counterparts to reveal their strategy.
Chris Voss (Never Split the Difference: Negotiating as if Your Life Depended on It)
Making medical decisions was like being led to a table and forced to select the revolver, the chainsaw, the meat cleaver, the bow and arrow—not which one, but which order.” This is how I would describe our journey with this vile cancer and our decision-making processes as well. You listen to the doctors and believe what they say to be the Gospel, because, what is the alternative? They are the experts. But none of your options are ideal. Do you even call them options? Or are they simply different forms of torture?
Rachel Shomate (The Unexpected Widow: A Young Family's Battle Against Cancer)