Short And Concise Quotes

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell.

Not that the story need be long, but it will take a long while to make it short.” [Letter to Harrison Blake; November 16, 1857]

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessay sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all sentences short or avoid all detail and treat subjects only in outline, but that every word tell.

Coding like poetry should be short and concise.

Beautiful code is short and concise, so if you were to give that code to another programmer they would say, “oh, that’s well written code.” It’s much like as if you were writing a poem.

The story of the return of the Jewish people to its ancestral homeland became, in short, one of the great dramas in the history of humankind.

If you make people think they're thinking, they'll love you; but if you really make them think, they'll hate you." In short, entertainment fulfills our expectations. Art, on the other hand, makes no compromise for public taste as it inspires us to consider life's complexities and ambiguities. Art is the opposition testing the strength of societal and cultural values-values that are thoughtlessly adopted by the mass of individuals living unexamined lives and all who cannot imagine a different way of seeing life.

Meteorologists seem to be better at forecasting the weather (at least in the short term) than we are at forecasting our own mood in the future.

Seal the Deal Tip: When you deliver information the way the other person wants to receive it, you increase your conversion rates. Notice if someone is talking in short, concise bullet points – then deliver information the same way and watch your conversions soar.

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all sentences short or avoid all detail and treat subjects only in outline, but that every word tell.

Let's press ahead a little further by sketching out a few variations among short shorts: ONE THRUST OF INCIDENT. (Examples: Paz, Mishima, Shalamov, Babel, W. C. Williams.) In these short shorts the time span is extremely brief, a few hours, maybe even a few minutes: Life is grasped in symbolic compression. One might say that these short shorts constitute epiphanies (climactic moments of high grace or realization) that have been tom out of their contexts. You have to supply the contexts yourself, since if the contexts were there, they'd no longer be short shorts. LIFE ROLLED UP. (Examples: Tolstoy's 'Alyosha the Pot,' Verga's 'The Wolf,' D. H. Lawrence's 'A Sick Collier.') In these you get the illusion of sustained narrative, since they deal with lives over an extended period of time; but actually these lives are so compressed into typicality and paradigm, the result seems very much like a single incident. Verga's 'Wolf' cannot but repeat her passions, Tolstoy's Alyosha his passivity. Themes of obsession work especially well in this kind of short short. SNAP-SHOT OR SINGLE FRAME. (Examples: Garda Marquez, Boll, Katherine Anne Porter.) In these we have no depicted event or incident, only an interior monologue or flow of memory. A voice speaks, as it were, into the air. A mind is revealed in cross-section - and the cut is rapid. One would guess that this is the hardest kind of short short to write: There are many pitfalls such as tiresome repetition, being locked into a single voice, etc. LIKE A FABLE. (Examples: Kafka, Keller, von Kleist, Tolstoy's 'Three Hermits.') Through its very concision, this kind of short short moves past realism. We are prodded into the fabulous, the strange, the spooky. To write this kind of fable-like short short, the writer needs a supreme self-confidence: The net of illusion can be cast only once. When we read such fable-like miniatures, we are prompted to speculate about significance, teased into shadowy parallels or semi allegories. There are also, however, some fables so beautifully complete (for instance Kafka's 'First Sorrow') that we find ourselves entirely content with the portrayed surface and may even take a certain pleasure in refusing interpretation. ("Introduction")

The great masters of modern analysis are Lagrange, Laplace, and Gauss, who were contemporaries. It is interesting to note the marked contrast in their styles. Lagrange is perfect both in form and matter, he is careful to explain his procedure, and though his arguments are general they are easy to follow. Laplace on the other hand explains nothing, is indifferent to style, and, if satisfied that his results are correct, is content to leave them either with no proof or with a faulty one. Gauss is as exact and elegant as Lagrange, but even more difficult to follow than Laplace, for he removes every trace of the analysis by which he reached his results, and studies to give a proof which while rigorous shall be as concise and synthetical as possible.

He wrote: “Most of these woolly phrases are mere padding, which can be left out altogether, or replaced by a single word. Let us not shrink from using the short expressive phrase, even if it is conversational.” The resulting prose, he wrote, “may at first seem rough as compared with the flat surface of officialese jargon. But the saving of time will be great, while the discipline of setting out the real points concisely will prove an aid to clear thinking.

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

Evagrius, presbyter, to his dearest son Innocent, greeting in the Lord. A word-for-word translation from one language to another obscures the sense and as it were chokes the wheat with luxuriant grass. For in slavishly following cases and constructions, the language scarcely explains by lengthy periphrasis what it might state by concise expression. To avoid this, I have at your request rendered the Life of the blessed Antony in such a way as to give the full sense, but cut short somewhat of the words. Let others try to catch syllables and letters; you seek the meaning.

The emotion of love is an affective emotion, directly reacting to goodness, rather than an aggressive one, reacting to challenge. Not only our so-called natural ability to grow and propagate exemplify natural love, but every faculty has a built-in affinity for what accords with its nature. By passion we mean some result of being acted on: either a form induced by the agent (like weight) or a movement consequent on the form (like falling to the ground). Whatever we desire acts on us in this way, first arousing an emotional attachment to itself and making itself agreeable, and then drawing us to seek it. The first change the object produces in our appetite is a feeling of its agreeableness: we call this love (weight can be thought of as a sort of natural love); then desire moves us to seek the object and pleasure comes to rest in it. Clearly then, as a change induced in us by an agent, love is a passion: the affective emotion strictly so, the will to love by stretching of the term. Love unites by making what is loved as agreeable to the lover as if it were himself or a part of himself. Though love is not itself a movement of the appetite towards an object, it is a change the appetite undergoes rendering an object agreeable. Favour is a freely chosen and willing love, open only to reasoning creatures; and charity―literally, holding dear―is a perfect form of love in which what is loved is highly prized. To love, as Aristotle says, is to want someone’s good; so its object is twofold: the good we want, loved with a love of desire, and the someone we want it for (ourselves or someone else), loved with a love of friendship. And just as what exist in the primary sense are subjects of existence, and properties exist only in a secondary sense, as modes in which subjects exist; so too what we love in the primary sense is the someone whose good we will, and only in a secondary sense do we love the good so willed. Friendship based on convenience or pleasure is friendship inasmuch as we want our friend’s good; but because this is subordinated to our own profit or pleasure such friendship is subordinated to love of desire and falls short of true friendship.

Headed, appropriately enough, by the succinct title “BREVITY,” the minute began: “To do our work, we all have to read a mass of papers. Nearly all of them are far too long. This wastes time, while energy has to be spent in looking for the essential points.” He set out four ways for his ministers and their staffs to improve their reports. First, he wrote, reports should “set out the main points in a series of short, crisp paragraphs.” If the report involved discussion of complicated matters or statistical analysis, this should be placed in an appendix. Often, he observed, a full report could be dispensed with entirely, in favor of an aide-mémoire “consisting of headings only, which can be expanded orally if needed.” Finally, he attacked the cumbersome prose that so often marked official reports. “Let us have an end to phrases such as these,” he wrote, and quoted two offenders: “It is also of importance to bear in mind the following considerations…” “Consideration should be given to the possibility of carrying into effect…” He wrote: “Most of these woolly phrases are mere padding, which can be left out altogether, or replaced by a single word. Let us not shrink from using the short expressive phrase, even if it is conversational.” The resulting prose, he wrote, “may at first seem rough as compared with the flat surface of officialese jargon. But the saving of time will be great, while the discipline of setting out the real points concisely will prove an aid to clear thinking.

Antislavery insurgencies gravely threatened racial capitalism and forced the hand of Southern politicians. Southern elites viewed the preservation of slavery and the enforcement of the Fugitive Slave Act to be nonnegotiable. The leading white women of Broward’s Neck, Florida, informed the Jacksonville Standard shortly after the election of 1858, “In our humble opinion the single issue is now presented to the Southern people, will they submit to all the degradation threatened by the North toward our slave property and be made to what England has made white people experience in the West India Islands—the negroes afforded a place on the same footing with their former owners, to be made legislators, to sit as Judges.” In the spring of 1860, Democrats in Jacksonville stated that regardless of who was nominated to run for president, “The amplest protection and security to slave property in the territories owned by the General Government” and “the surrender [of] fugitive slaves when legally demanded” were vital to Florida’s interests. If these terms were not met, they asserted, “then we are of the opinion that the rights of the citizens of Florida are no longer safe in the Union, and we think that she should raise the banner of secession and invite her Southern sisters to join her.”47 The following year, John C. McGehee, the president of the Florida Secession Convention, gave the most concise reason why the majority of his colleagues supported secession: “At the South, and with our People of course, slavery is the element of all value, and a destruction of that destroys all that is property.

On Friday, August 9, for example, amid a rising tide of urgent war matters, he found time to address a minute to the members of his War Cabinet on a subject dear to him: the length and writing style of the reports that arrived in his black box each day. Headed, appropriately enough, by the succinct title “BREVITY,” the minute began: “To do our work, we all have to read a mass of papers. Nearly all of them are far too long. This wastes time, while energy has to be spent in looking for the essential points.” He set out four ways for his ministers and their staffs to improve their reports. First, he wrote, reports should “set out the main points in a series of short, crisp paragraphs.” If the report involved discussion of complicated matters or statistical analysis, this should be placed in an appendix. Often, he observed, a full report could be dispensed with entirely, in favor of an aide-mémoire “consisting of headings only, which can be expanded orally if needed.” Finally, he attacked the cumbersome prose that so often marked official reports. “Let us have an end to phrases such as these,” he wrote, and quoted two offenders: “It is also of importance to bear in mind the following considerations…” “Consideration should be given to the possibility of carrying into effect…” He wrote: “Most of these woolly phrases are mere padding, which can be left out altogether, or replaced by a single word. Let us not shrink from using the short expressive phrase, even if it is conversational.” The resulting prose, he wrote, “may at first seem rough as compared with the flat surface of officialese jargon. But the saving of time will be great, while the discipline of setting out the real points concisely will prove an aid to clear thinking.” That evening, as he had done almost every weekend thus far, he set off for the country.

The Twelve Behaviors 1.​Focus on customers and growth (serve customers well and aggressively pursue growth). 2.​Lead impactfully (think like a leader and serve as a role model). 3.​Get results (consistently meet any commitments that you make). 4.​Make people better (encourage excellence in peers, subordinates, and/or managers). 5.​Champion change (drive continuous improvement in our operations). 6.​Foster teamwork and diversity (define success in terms of the entire team). 7.​Adopt a global mind-set (view the business from all relevant perspectives, and see the world in terms of integrated value chains). 8.​Take risks intelligently (recognize that we must take greater but smarter risks to generate better returns). 9.​Be self-aware (recognize your behavior and how it affects those around you). 10.​Communicate effectively (provide information to others in a timely, concise, and thoughtful way). 11.​Think in an integrative fashion (make more holistic decisions beyond your own bailiwick by applying intuition, experience, and judgment to the available data). 12.​Develop technical or functional excellence (be capable and effective in your particular area of expertise).

Dharmas are not fixed, permanent objects, but momentary forces that are said to arise in a continual stream. They exist for a very short time, and during that time have a real existence. A mental dharma lasts for one-seventeenth of the time of a material dharma. For this reason we tend to identify the ‘self’ with the body, because it seems more permanent than our evanescent mental states.

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all sentences short or avoid all detail and treat subjects only in outline, but that every word tell.

So the working out, however laborious, of an original technique is worth the time expended, the loneliness entailed. With that well in mind, let us consider those times when advice should be taken. You have a genuine problem. The first step, then, should be to write it out, or to formulate it verbally with exactness, so that you can see just what it is that is troubling you. If you simply let the problem wash around in your mind, it will seem greater, and much vaguer, than it will appear on close examination. Then find your expert, whether friend or stranger, but make every effort to find one whose views seem to be congenial to you, since that usually implies similar or congenial mental processes. To do so earlier will mean that you are wasting both your time and his by making him the audience of part of your self-examination. If you are successful in getting an interview, make that as short and concise as possible while still covering all your points. Then follow the advice you are given until you see definite results. If you are tempted to say “Oh, that won’t work for me,” then you should suspect your own motives. Such a rejection implies that you already had a course of action in mind, and were more than half-hoping that you would be advised to follow it. Watching an example of the wrong attitude towards advice and instruction here may be more illuminating than any positive example.

TREVATHAN RARELY REWROTE his short stories. At a nickel a word he could not afford to. Furthermore, he had acquired a facility over the years which enabled him to turn out acceptable copy in first draft. Now, however, he was trying something altogether new and different, and so he felt the need to take his time getting it precisely right. Time and again he yanked false starts from the typewriter, crumpled them, hurled them at the wastebasket. Until finally he had something he liked. He read it through for the fourth or fifth time, then took it from the typewriter and read it again. It did the job, he decided. It was concise and clear and very much to the point. He reached for the phone. When he’d gotten through to Jukes he said, “Warren? I’ve decided to take your advice.” “Wrote another story for us? Glad to hear it.” “No,” he said, “another piece of advice you gave me. I’m branching out in a new direction.” “Well, I think that’s terrific,” Jukes said. “I really mean it. Getting to work on something big? A novel?” “No, a short piece.

A reasonable amount of rain is good for the fruitfulness of the earth, but too much jus swamps it. A moderate amount of food is good for the stomach, but too much revolts it. A short act of worship encourages devotion, but one that is too long just sends people to sleep.

History always wins.

The decisions he penned were often staid and always short. Adjectives, like wild birds, had to be wiped off the face of the earth.

Paints a vivid picture of Jesus’ groundbreaking lessons . . . An impressively concise portrayal of Jesus as a moral philosopher [and] social reformer, just as one might study the teachings of the Buddha or the Reverend Martin Luther King Jr. . . . Thorough and erudite . . . written in an almost conversationally informal style.” —Kirkus Reviews “Thoughtful and well researched, Nordstrom’s book is a welcome perspective on Jesus. [Fountain of Change] documents Jesus’s progressive stances on politics, theology, and women’s rights [and] impart a great deal of practical wisdom allowing for [the] intrinsic meaning to be gleaned by any reader. . . . Nordstrom has a knack for language. Well-crafted, alluring prose . . . Short, concise chapters keep the text clipping along nicely.” —Foreword Reviews “An extraordinary read from cover to cover and very highly recommended . . . Informed and informative, thoughtful and thought-provoking, inspired and inspiring . . . Will prove to be of immense interest for non-Christian readers . . . An enduringly popular addition to church, seminary, community, and academic library Christian History collections.” —Midwest Book Review “Well-written, enjoyable, and informative . . . like a conversation with an intelligent friend . . . Here, we see Jesus not as a god, but as a man who preached love and acceptance. . . . Easy to understand exegesis, commentary, and reflections on Jesus’ public ministry.” —BlueInk

In the second Unzeitgemäße Betrachtung Nietzsche speaks about “individuals who form a kind of bridge over the wild stream of becoming” and live in “timeless simultaneity” “thanks to history, which allows for such cooperation”; “they live as the republic of geniuses, of which Schopenhauer speaks somewhere.” Individuals live in timeless simultaneity insofar as they are inspired in turn “to the production of what is great” by the great individuals of the past, who are made present by the monumental consideration of history. Schopenhauer, who in his last work will make Rousseau’s motto, Vitam impendere vero, his own, using it as an epigraph, says about the republic of geniuses: “In this it goes as follows:—one giant calls out to another across the bleak interval of centuries, without the world of dwarfs, creeping along below, perceiving any more than noise and without understanding any more than that something is happening: and again, this tribe of dwarfs below ceaselessly pulls its pranks and makes a lot of noise, drags along what those giants have let fall from above, proclaims heroes who are themselves dwarfs, and more of the same, which leaves those giant minds undisturbed, to continue their elevated conversation of spirits. I mean: each genius understands what those of his kind once said, with- out being understood by the living, either contemporary or during the interval, and he says what those he lives among do not understand, but which someday his equal will appreciate and an- swer.” The agreement with Rousseau is obvious. Still, there are differences. Unlike Rousseau’s “inhabitants of the ideal world,” Schopenhauer’s “giants,” to judge by this short text, remain in their historical location. And neither Schopenhauer’s geniuses nor Nietzsche’s individuals are more specifically determined or more precisely identified by un signe caractéristique. Despite all his dissatisfactions with historicism, Schopenhauer’s speech about the conversation of spirits among the geniuses, which impressed the young Nietzsche on his way to philosophy, does not rise to the concise reply Rousseau gave to historicism in his allegory of the world of the philoso- phers.

Scriptures are not written for one individual, they are written by keeping everyone in mind. The text pertaining to the celestials, human beings and for moksha [ultimate liberation] is very short and concise in the scriptures.

At this juncture you must be wondering why this chapter reads like a clipped diary entry or even a concise narration of an unremarkable event. You should know that the harsh terrain rewards a short account where dialogue is kept to the minimum because words can hang mid-air.

How to Write a Suggestion Letter No need to ramble on about your environmental concerns or the ideology behind your lifestyle. Keep your letter short and concise, your words tactful and courteous, and your content diplomatic and hopeful. In short, write a letter that you would like to receive. 1. Start with gratitude: state your appreciation for the company, such as the efficiency, affordability, or availability of their product or service. 2. Show understanding of the current practice employed. 3. Address the problem. 4. Propose up to three constructive solutions. 5. Support your solutions with working examples: how other companies have addressed the problem effectively. 6. Mention how the change would benefit your addressee, focusing on financial profit. 7. Gracefully conclude with a positive note.

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

ABC is the essence of a short story: Accuracy, Brevity, Conciseness

KIRKUS REVIEWS BOOK REVIEW A retired professor explores the life and writings of Carl Sandburg in this debut book. “During the first half of the twentieth century,” Quinley writes, “Carl Sandburg seemed to be everywhere and do everything.” Though best known for his Pulitzer Prize–winning poetry and multivolume biography of Abraham Lincoln, Sandburg had a wide-ranging career as a public intellectual, which included stints in journalism as a columnist and investigative reporter, in musicology as a leading advocate and performer of folk music, and in the nascent movie industry as a consultant and film critic. He also dabbled in political activism, children’s literature, and novels. Not only does Quinley, a retired college administrator and professor, hail Sandburg as a 20th-century icon (“If my grandpa asks you a question,” his grandchildren joke, “the answer is always Carl Sandburg”), but much of his own life has been adjacent to that of the poet as well. Born in Maywood, Illinois, a “few blocks” from Sandburg’s home 30 years prior, Quinley would eventually move to the Appalachian Mountains. He lived just a few miles from Sandburg’s famed residence in Hendersonville, North Carolina. As a docent for the Carl Sandburg Home National Historic Site, the author was often asked for literature about the luminary’s life. And though much has been written about Sandburg, biographies on the iconoclast are either out of print or are tomes with more than 800 pages. Eschewing comprehensiveness for brevity, Quinley seeks to fill this void in the literary world by offering readers a short introduction to Sandburg’s life and writings. At just 122 pages, this accessible book packs a solid punch, providing readers with not just the highlights of Sandburg’s life, but also a sophisticated analysis of his passions, poetry, and influence on American culture. This engaging approach that’s tailored to a general audience is complemented by an ample assortment of historical photographs. And while its hagiographic tone may annoy some readers, this slim volume is backed by more than 260 endnotes and delivers an extensive bibliography for readers interested in learning more about the 20th century’s “voice of America.” A well-written, concise examination of a literary legend Kirkus Indie, Kirkus Media LLC, 2600 Via Fortuna Suite 130 Austin, TX 78746 indie@kirkusreviews.com

Simplicity and concision are tough. The French philosopher Blaise Pascal famously noted that he’d written a long letter, having lacked the time required to write a shorter one.2 As I believe, if you can’t convey a thought clearly and in a few words, then your comprehension of it is probably lacking.

Normalize the inevitability of conflict & establish a safe forum for it. Discuss and agree to as many of these guidelines as seem useful. The goal is to inform and negotiate for change, not punish. Punishment destroys trust. Love can open the “ears” of the other’s heart. Imagine how it would be easiest to hear about your grievance from the other. Say it as it would be easiest for you to hear. Preface complaints with acknowledgement of the good of the other and your mutual relationship. No name-calling, sarcasm or character assassination. No analyzing the other or mind reading. No interrupting or filibustering Be dialogical. Give short, concise statements that allow the other to reflect back and paraphrase key points to let you hear that you are accurately being heard. No denial of the other’s rights as outlined in the Bill of Rights above. Differences are often not a matter of right or wrong; both people can be right, and merely different. Be willing to sometimes agree to differ. Avoid “you” statements. Use “I” statements that identify your feelings and your experience of what you perceive as unfair. One specific issue, with accompanying identifiable behavior, at a time. Ask yourself what hurts the most to try to find your key complaint. Stick to the issue until both persons feel fully heard. Take turns presenting issues. No interrupting or filibustering. Present a complaint as lovingly and calmly as possible. Timeouts: If discussion becomes heated either person can call a timeout [one minute to 24 hours], as long as s/he nominates a time to resume. {See 1 below} Discharge as much of any accumulated charge before hand as possible. Own responsibility for any accumulated charge in the anger that might come from not talking about it soon enough. Own responsibility for accumulated charge displaced from other hurts. {See 2 below} Commit to grow in your understanding of how much of your charge comes from childhood abuse/neglect. Commit to recovering from the losses of childhood by effectively identifying, grieving, and reclaiming them. Apologize from an unashamed place. Make whatever amends are possible.

Accepting that the Gospels are problematic sources, we can still sketch Jesus's life and teachings. The evidence puts him among the Jewish peasantry of first-century Palestine. He was born ca. 4 BCE, more likely in or around Nazareth than in Bethlehem, given both widespread doubts about the historicity of Matthew's and Luke's Nativity narratives and recognition of their apologetic aims. He came from a family of modest means, spoke Aramaic, and worked as a carpenter or builder. At about age thirty, he was baptized by an itinerant preacher named John, after which he spent one (or more) years in the Galilee, gaining disciples and sometimes teaching in synagogues. By all accounts he moved easily among and displayed great compassion for people at society's margins. He fomented a major disturbance in Jerusalem, for which he was executed. Some of what Jesus taught was already familiar—the Golden Rule (Matt. 7:12) parallels a saying of the Jewish sage Hillel, his elder contemporary—but much represented a distinctive message about "the kingdom of God," a highly disputed term that many researchers understand as a place and time to come in which God will reign supreme. Heavenly or earthly, future or present, the kingdom would be ushered in by the "Son of Man," an apocalyptic figure whom Jesus may—or may not—have identified as himself. The kingdom's advent is imminent and would occasion a catastrophe, leading to a universal judgment of each person's fitness to enter it that would radically remake the social order. Mark 1:15 offers a concise precis: "The time is fulfilled, and the kingdom of God has come, repent, and believe the good news.

Spartans tended to be silent, or say very little. They were encouraged to give answers that were as short as possible, a style called “Laconic” (since the Spartans came from Laconia). The Spartans would have been amazing users of Twitter. Their tweets would have been supremely concise, abrupt and rude. They made short answers into an art form. The ideal was to produce just one-word answers to devastate their enemies.

Be brief, for [life] is short.

Too long speeches are boring even if they're full of humour. Short speeches are very entertaining even if they lack humour. Be concise. Be simple. Make your speech short but very valuable.

As ever, though, facts take second place when it comes to building narratives of power and authority

Clear and concise language should be the aim of most fiction authors with few exceptions. The main way to achieve this is to use simple language, as it will be more effective and communicate your meaning more easily. Using long words is not going to make you seem smarter or a better writer. Know your readers. If the novel is aimed at a tech savvy audience, then some amount of technical jargon will have to be used, but even then, simple language should be the basis for the book with the computer terms sprinkled in only as required. Keep sentences short. Nothing makes a text more difficult to read than long run-on sentences with multiple independent clauses. Also, avoid the comma splice, which is when you put together two independent clauses with the use of a comma between them. This technique is one of which I am guilty of using all too frequently. There is the Flesch-Kincaid grading system that was developed in the 1970s to evaluate the readability of text. It is widely used and gives a score based on a US grade level of reading ability. Most successful novels will have a score of no more than grade 8, which is the average person’s reading level. There are free online web pages that can evaluate text using the Flesch-Kincaid system.

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that he make every word tell.”6

Goal Setting If you want to achieve anything really worthwhile in life, then it is vital that you start by writing down your goals. It’s important to spend plenty of time asking yourself what it is that you really want. And once you are clear about exactly what it is that you want, it’s important to write down your goal in a concise way. When each of our goals is long and wordy it’s almost like the power that we can put into them is diluted. But when you reduce your goals to very short statements, it is far easier to emotionalise them and they can be a lot more powerful. So, as I say the very first step is becoming clear about what it is that you really desire. Then you need to write down your goal in a crystal clear concise statement. But that’s not all. You also need to include a reason why you wish to achieve that goal and preferably a date by which you will achieve it. When you have a strong reason why, then it gives your goals a lot more power and energy and your subconscious mind can really go to work on creating the circumstances that will enable you to achieve your goals. Also when you give yourself a deadline it keeps you accountable and it can speed up the process dramatically. So, once you have a clear concise statement for each of your goals including a reason why you will achieve it and preferably a date by which you will achieve it you then need to rewrite your goal in the form of an affirmation.

Mindfulness is extremely difficult to define in words—not because it is complex, but because it is too simple and open. The same problem crops up in every area of human experience. The most basic concept is always the most difficult to pin down. Look at a dictionary and you will see a clear example. Long words generally have concise definitions, but short basic words like “the” and “be,” can have definitions a page long.

that there is no reason he should grieve. He will perhaps say it was too early for me to leave for the forest. But even if affection should prevent me from leaving my family just now of my own accord, in due course death would tear us apart, and in that we would have no say. Birds settle on a tree for a while, and then go their separate ways again. The meeting of all living beings must likewise inevitably end in their parting. This world passes away and disappoints the hopes of everlasting attachment. It is therefore unwise to have a sense of ownership for people who are united with us as in a dream—for a short while only and not in fact.3

The distance between us and the maleness of our friendship precluded revealing anything that truly mattered, and at the time I was too naive to know that if you were friends with someone––truly friends––then you told him what was going on ("It's called 'catching up,'" my wife informed me when I asked how it was possible for her to yap with her girlfriends for as long as she did and share every innocuous detail of her life). Instead, I thought that by concisely presenting the most easygoing and put-together version of myself, I was being "all good." Really, I was just fronting. And Rob was doing the same.

(‘A clever stratagem or plan intended to deceive or trick’; ‘Smaller; inferior; minor’, the respective definitions in Chambers Concise Dictionary state). Information on spelling is similar, based on evidence rather than opinion. The dictionary as reference book sorts out with ease the unintentional influence of homophones (as in the inadvertent use of baited breath rather than bated breath, of flare when flair was intended, or the different semantic territories of Viking hordes and Viking hoards).

Another benefit of getting plenty of sleep is that dream periods get longer and closer together as the night proceeds. The first dream of the night is the shortest, perhaps only five to ten minutes long, while after eight hours of sleep, dream periods can last forty to sixty minutes. We all dream every night, about one dream period every ninety minutes. People who say they never dream simply never remember their dreams. You may have more than one dream during a REM (dream) period, separated by short arousals that are most often forgotten.

We could express this power in the following way: Most of the time we live in an interior world of dreams, desires, and obsessive thoughts. But in this period of exceptional creativity, we are impelled by the need to get something done that has a practical effect. We force ourselves to step outside our inner chamber of habitual thoughts and connect to the world. At these moments, suddenly exposed to new details and ideas, we become more inspired and creative. Once the deadline has passed or the crisis is over, this feeling of power and heightened creativity generally fades away. We return to our distracted state and the sense of control is gone. The problem we face is that this form of power and intelligence is either ignored as a subject of study or is surrounded by all kinds of myths and misconceptions, all of which only add to the mystery. We imagine that creativity and brilliance just appear out of nowhere, the fruit of natural talent, or perhaps of a good mood, or an alignment of the stars. It would be an immense help to clear up the mystery—to name this feeling of power, and to understand how it can be manufactured and maintained. Let us call this sensation mastery—the feeling that we have a greater command of reality, other people, and ourselves. Although it might be something we experience for only a short while, for others—Masters of their field—it becomes their way of life, their way of seeing the world. And at the root of this power is a simple process that leads to mastery—one that is accessible to all of us. The process can be illustrated in the following manner: Let us say we are learning the piano, or entering a new job where we must acquire certain skills. In the beginning, we are outsiders. Our initial impressions of the piano or the work environment are based on prejudgments, and often contain an element of fear. When we first study the piano, the keyboard looks rather intimidating—we don’t understand the relationships between the keys, the chords, the pedals, and everything else that goes into creating music. In a new job situation, we are ignorant of the power relationships between people, the psychology of our boss, the rules and procedures that are considered critical for success. We are confused—the knowledge we need in both cases is over our heads. Although we might enter these situations with excitement about what we can learn or do with our new skills, we quickly realize how much hard work there is ahead of us. The great danger is that we give in to feelings of boredom, impatience, fear, and confusion. We stop observing and learning. The process comes to a halt. If, on the other hand, we manage these emotions and allow time to take its course, something remarkable begins to take shape. As we continue to observe and follow the lead of others, we gain clarity, learning the rules and seeing how things work and fit together. If we keep practicing, we gain fluency; basic skills are mastered, allowing us to take on newer and more exciting challenges.

So should the one inflamed with anger not pray at all? By no means! But instead of reaching for what is unattainable and even dangerous on account of his passionate condition, he should resort to those “short and intense” invocations of Christ, mentioned everywhere in the early monastic literature: those “short prayers” (as Augustine calls them), out of which the well-known “Jesus Prayer” developed. If you want to put the enemy to flight, pray without ceasing. These “concise,” “terse,” “repeated,” indeed “ceaseless” short prayers are the daily bread of whoever is tempted—even of him who is tempted directly by the demon of anger.

think this is a brilliant summary of storytelling. Tell a good story—but keep it short and concise. Do the work so your consumer doesn’t have to.

Consider this quote from the coding prodigy Santiago Gonzalez describing his work to an interviewer: Beautiful code is short and concise, so if you were to give that code to another programmer they would say, “oh, that’s well written code.” It’s much like as if you were writing a poem.

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