Style Guide Quotes

When the going gets tough, the tough reinvent.

I seem to be having tremendous difficulty with my life-style

Few activities are as delightful as learning new vocabulary.

Whatever you proclaim as your identity here in the material realm is also your drag. You are not your religion. You are not your skin color. You are not your gender, your politics, your career, or your marital status. You are none of the superficial things that this world deems important. The real you is the energy force that created the entire universe!

True wealth is having a healthy mind, body, and spirit. True wealth is having the knowledge to maneuver and navigate the mental obstacles that inhibit your ability to soar.

Richard Feynman once wrote, “If you ever hear yourself saying, ‘I think I understand this,’ that means you don’t.

The better you know something, the less you remember about how hard it was to learn. The curse of knowledge is the single best explanation I know of why good people write bad prose.

My attitude toward friendship has remained the same. I will support and encourage you with all the love in my heart, but if it's not reciprocal, I gotta go [...] If your friends are bitter about your success to the extent that they act out, don't expect them to change [...] Move on.

As people age, they confuse changes in themselves with changes in the world, and changes in the world with moral decline—the illusion of the good old days.

Only godless savages eschew the series comma.

Walking with your chest out and your head held high says you have earned the right to stomp and pummel this particular piece of real estate.

They say stress is the silent killer. But poison darts are also pretty damn quiet.

When a woman is secure with herself, she isn't afraid to define herself and defy public opinion. She has her own look. Her own style. Her own charisma. Her own brand of charm. A man wants something he doesn't see every day. Not in terms of a redhead versus a blonde. He wants the rare woman who can think for herself.

In explaining any human shortcoming, the first tool I reach for is Hanlon’s Razor: Never attribute to malice that which is adequately explained by stupidity.

I'm six foot four - hello. And with hair, heels, and attitude... I'm through the mother-freakin' roof!

The amount of respect you have for others is in direct proportion to how much respect you have for yourself.

I change clothes at least three times a day. It's the only way I can justify all the shopping I do. Prada to the grocery store? Yes! Gucci to the dry cleaner's? Why not? Dolce & Gabbana to the corner deli? I insist!

It takes cognitive toil and literary dexterity to pare an argument to its essentials, narrate it in an orderly sequence, and illustrate it with analogies that are both familiar and accurate.

Writing and reading are the only ways to find your voice. It won't magically burst forth in your poems the next time you sit down to write, or the next; but little by little, as you become aware of more choices and begin to make them -- consciously and unconsciously -- your style will develop.

Classic writing, with its assumption of equality between writer and reader, makes the reader feel like a genius. Bad writing makes the reader feel like a dunce.

Be very careful of what you allow to infiltrate your consciousness and subconsciousness. When you watch too much television, you'll start to feel inferior from all the commercials hard selling the idea that you're not complete unless you buy their product [...] The ad agencies appeal to your fear of not being wanted or loved. It's the same with the local news. They get you to stay tuned with a constant stream of fear tactics [...] It's as if our culture is addicted to fear and the flat screen is our drug dealer. Don't allow that crap into your head!

we can remind ourselves of the reasons to strive for good style: to enhance the spread of ideas, to exemplify attention to detail, and to add to the beauty of the world.

A writer, like a cinematographer, manipulates the viewer’s perspective on an ongoing story, with the verbal equivalent of camera angles and quick cuts.

Simply put, slurs go out of style at the same time the underlying belief in them does.

Style is a deeply personal expression of who you are, and every time you dress, you are asserting a part of yourself.

Many experiments have shown that readers understand and remember material far better when it is expressed in concrete language that allows them to form visual images,

Ghastly," continued Marvin, "it all is. Absolutely ghastly. Just don't even talk about it. Look at this door," he said, stepping through it. The irony circuits cut in to his voice modulator as he mimicked the style of the sales brochure. " 'All the doors in his spaceship have a cheerful and sunny disposition. It is their pleasure to open for you, and their satisfaction to close again with the knowledge of a job well done.' " As the door closed behind them it became apparent that it did indeed have a satisfied sighlike quality to it. "Hummmmmmmyummmmmmmah!" it said.

The best words not only pinpoint an idea better than any alternative but echo it in their sound and articulation, a phenomenon called phonesthetics, the feeling of sound.

So perhaps the real secret to style is filling yourself to the absolute brim with engagement. Loving not wisely, but too well and all that.

From time to time, you may see a girl wearing her black opaque tights as pants. They are, in fact, not.

remember to love yourself, because if you can’t love yourself, how in the hell are you gonna love somebody else? Can I get an amen in here?

Above all, believe in true love and know that men are like shoes. A couple is like a left and a right foot, and out there is your perfect fit. Sometimes you need to change styles and shop around to find it. Sometimes you have to break styles in, sometimes you feel like something that is unstylish but comfortable, and sometimes a style - as much as you like - just doesn't suit you and will never fit.

Meddle not in the affairs of dragons, for thou art crunchy and taste good with ketchup.

Fashion is life-enhancing and I think it's a lovely, generous thing to do for other people

Journalists assigned to an issue often cover the coverage, creating the notorious media echo chamber.

The early bird gets the worm, but the second mouse gets the cheese

I think about how language works so I can best explain how language works.

Unfortunately for cosmic justice, many gifted writers are scoundrels, and many inept ones are the salt of the earth.

The sexiest and most sensual women are those that dress to be overwhelmingly desired, not rationally considered.

It’s as if our culture is addicted to fear and the flat screen is our drug dealer.

Labels are boring and often have nothing to with the person; it is just the way others perceive you, or choose to perceive you.

as we become familiar with something, we think about it more in terms of the use we put it to and less in terms of what it looks like and what it is made of.

Rules are there for a reason. You are only allowed to break them if you are a master. If you’re not a master, don’t confuse your ignorance with creativity or style.

And if whatever you’re shooting doesn’t die after you pump eight thirty-two-caliber slugs into it, it’s probably a dragon.

If I wanted to work hard, I’d be a farmer.

We are primates, with a third of our brains dedicated to vision, and large swaths devoted to touch, hearing, motion, and space. For us to go from “I think I understand” to “I understand,” we need to see the sights and feel the motions.

The form in which thoughts occur to a writer is rarely the same as the form in which they can be absorbed by a reader. The advice in this and other stylebooks is not so much on how to write as on how to revise.

A good sentence, I find myself saying frequently, is one that the reader can follow from beginning to end, no matter how long it is, without having to double back in confusion because the writer misused or omitted a key piece of punctuation, chose a vague or misleading pronoun, or in some other way engaged in inadvertent misdirection.

Whether it’s the Manual that peers down from your bookshelf, or Strunk and White, or the APA style guide, or Fowler, or Lynne Truss, it’s fair to ask why we consider these books authoritative, and if there might not be some better way to assess our writing than through their dicta.

A good government had to guide its people, sometimes gently, sometimes strictly, just as parents did. It could allow certain freedoms, but in a style that suited the country.

The problem with thoughtless signposting is that the reader has to put more work into understanding the signposts than she saves in seeing what they point to,

Through my observations, it became clear that most of society’s rules and customs are rooted in fear and superstition!

According to the English scholar Richard Lloyd-Jones, some of the clay tablets deciphered from ancient Sumerian include complaints about the deteriorating writing skills of the young.

One day I would like to make up my own DSM-111 with a list of “disorders” I have seen in my practice. For example, I would want to include the diagnosis “psychological modernism,” an uncritical acceptance of the values of the modern world. It includes blind faith in technology, inordinate attachment to material gadgets and conveniences, uncritical acceptance of the march of scientific progress, devotion to the electronic media, and a life-style dictated by advertising.

Harry S. Truman, in his typical no-nonsense style, once said that ‘An expert is someone who doesn’t want to learn anything new, because then he would not be an expert.’ Expert knowledge is absolutely necessary, but

Know, first, who you are; and then adorn yourself accordingly.” —Epictetus

Linguistic research has shown that the passive construction has a number of indispensable functions because of the way it engages a reader’s attention and memory.

The key is to assume that your readers are as intelligent and sophisticated as you are, but that they happen not to know something you know.

After licking my wounds, I created new dreams. I planted more seeds. I had begun to understand that my ability to change my perception and reinvent myself was my trump card.

Shifting my priorities from worrying about what other people think of me to fortifying myself with the truth of who I really am is how I constantly fill that void.

Keep in mind a bit of wisdom from the linguist Ann Farmer: 'It isn't about being right. It's about getting it right.

It's wisest always to be so clad that our friends need not ask us for our names.

Only godless savages eschew the series comma. No sentence has ever been harmed by a series comma, and many a sentence has been improved by one.

Step back, I’m about to hit the CAPS LOCK key. DO NOT EVER ATTEMPT TO USE AN APOSTROPHE TO PLURALIZE A WORD. “NOT EVER” AS IN “NEVER.” You may reapproach.

Patients must be willing to give up their maladaptive coping styles in order to change. For example, patients who continue surrendering to the schema—by remaining in destructive relationships or by not setting limits in their personal or work lives -perpetuate the schema and are not able to make significant progress in therapy.

The American punctuation rule sticks in the craw of every computer scientist, logician, and linguist, because any ordering of typographical delimiters that fails to reflect the logical nesting of the content makes a shambles of their work.

Perhaps you like to torture yourself by trying on some jeans from a few years ago to see if you can button them. Clothes do not exist to humiliate their owners. Please do not force garments into performing psychological tasks for which they were not designed.

Gratuitous redundancy makes prose difficult not just because readers have to duplicate the effort of figuring something out, but because they naturally assume that when a writer says two things she means two things, and fruitlessly search for the nonexistent second point.

As with any form of mental self-improvement, you must learn to turn your gaze inward, concentrate on processes that usually run automatically, and try to wrest control of them so that you can apply them more mindfully.

Like the one-sentence paragraph, the second-person point of view can also make us suspect that style is being used as a substitute for content.

Savoring good prose is not just a more effective way to develop a writerly ear than obeying a set of commandments; it’s a more inviting one.

Good writers are avid readers. They have absorbed a vast inventory of words, idioms, constructions, tropes, and rhetorical tricks,

To a literate reader, a crisp sentence, an arresting metaphor, a witty aside, an elegant turn of phrase are among life’s greatest pleasures. And

A boss in essence is every woman willing to try, push, succeed, fail but ultimately do the work in her lifescape to make her mark on the world the way she wants to draw it.

I had no songs in my repertoire for commercial radio anyway. Songs about debauched bootleggers, mothers that drowned their own children, Cadillacs that only got five miles to the gallon, floods, union hall fires, darkness and cadavers at the bottom of rivers weren't for radiophiles. There was nothing easygoing about the folk songs I sang. They weren't friendly or ripe with mellowness. They didn't come gently to the shore. I guess you could say they weren't commercial. Not only that, my style was too erratic and hard to pigeonhole for the radio, and songs, to me, were more important that just light entertainment. They were my preceptor and guide into some altered consciousness of reality, some different republic, some liberated republic. Greil Marcus, the music historian, would some thirty years later call it "the invisible republic." Whatever the case, it wasn't that I was anti-popular culture or anything and I had no ambitions to stir things up. i just thought of popular culture as lame as hell and a big trick. It was like the unbroken sea of frost that lay outside the window and you had to have awkward footgear to walk on it. I didn't know what age of history we were in nor what the truth of it was. Nobody bothered with that. If you told the truth, that was all well and good and if you told the un-truth, well, that's still well and good. Folk songs taught me that.

At the highest levels of any kind of competitive discipline, everyone is great. At this point the decisive factor is rarely who knows more, but who dictates the tone of the battle. For this reason, almost without exception, champions are specialists whose styles emerge from profound awareness of their unique strengths, and who are exceedingly skilled at guiding the battle in that direction.

The things I like best in T. S. Eliot’s poetry, especially in the Four Quartets, are the semicolons. You cannot hear them, but they are there, laying out the connections between the images and the ideas. Sometimes you get a glimpse of a semicolon coming, a few lines farther on, and it is like climbing a steep path through woods and seeing a wooden bench just at a bend in the road ahead, a place where you can expect to sit for a moment, catching your breath.

Whenever you feel overwhelmed, distracted and out of sorts. Turn your attention to your breath, inhale, exhale, and listen to the sound and movement of your everyday breath flowing softly in and out through your nose. You will reclaim your calm and refocus on what matters.

Third, don’t confuse an anecdote or a personal experience with the state of the world. Just because something happened to you, or you read about it in the paper or on the Internet this morning, it doesn’t mean it is a trend. In a world of seven billion people, just about anything will happen to someone somewhere, and it’s the highly unusual events that will be selected for the news or passed along to friends. An event is a significant phenomenon only if it happens some appreciable number of times relative to the opportunities for it to occur, and it is a trend only if that proportion has been shown to change over time.

We are going to die, and that makes us the lucky ones. Most people are never going to die because they are never going to be born. The potential people who could have been here in my place but who will in fact never see the light of day outnumber the sand grains of Arabia. Certainly those unborn ghosts include greater poets than Keats, scientists greater than Newton. We know this because the set of possible people allowed by our DNA so massively exceeds the set of actual people. In the teeth of these stupefying odds it is you and I, in our ordinariness, that are here.

The cognitive difference between believing that a proposition is true (which requires no work beyond understanding it) and believing that it is false (which requires adding and remembering a mental tag) has enormous implications for a writer. The most obvious is that a negative statement such as The king is not dead is harder on the reader than an affirmative one like The king is alive.20 Every negation requires mental homework, and when a sentence contains many of them the reader can be overwhelmed. Even worse, a sentence can have more negations than you think it does.

Good writing takes advantage of a reader’s expectations of where to go next. It accompanies the reader on a journey, or arranges the material in a logical sequence (general to specific, big to small, early to late), or tells a story with a narrative arc.

The guiding metaphor of classic style is seeing the world. The writer can see something that the reader has not yet noticed, and he orients the reader’s gaze so that she can see it for herself. The purpose of writing is presentation, and its motive is disinterested truth. It succeeds when it aligns language with the truth, the proof of success being clarity and simplicity. The truth can be known, and is not the same as the language that reveals it; prose is a window onto the world. The writer knows the truth before putting it into words; he is not using the occasion of writing to sort out what he thinks. Nor does the writer of classic prose have to argue for the truth; he just needs to present it. That is because the reader is competent and can recognize the truth when she sees it, as long as she is given an unobstructed view. The writer and the reader are equals, and the process of directing the reader’s gaze takes the form of a conversation.

Home is the first point of investment. The first and most important thing to invest in is your home. Make sure your house is in good condition physically and energetically, make sure you’re paid up on the household bills, make sure you’re stocked up on supplies and food, make sure your home is furnished to your style and comfort, make sure you’ve got nice plants to clean the air, nice art, nice crystals and essential oils, nice things that promote your wellbeing…. Make sure your garden is growing nutritious plants. Invest in your household and your family because they have the greatest Return on Investment. And your investment in your home will be a magnet for many other different kinds of investments.

Brutalist architecture was Modernism's angry underside, and was never, much as some would rather it were, a mere aesthetic style. It was a political aesthetic, an attitude, a weapon, dedicated to the precept that nothing was too good for ordinary people. Now, after decades of neglect, it's devided between 'eyesores' and 'icons'; fine for the Barbican's stockbrokers but unacceptable for the ordinary people who were always its intended clients.

Language is not a protocol legislated by an authority but rather a wiki that pools the contributions of millions of writers and speakers, who ceaselessly bend the language to their needs and who inexorably age, die, and get replaced by their children, who adapt the language in their turn.

Being guided by your own thoughts and abilities, living out there on the high wire and being rewarded for it: That was the Chicago way. Nothing else counted. If it were sensational enough, whether a scientific breakthrough, a rousing new style of music, or an underworld murder, it would be celebrated.

Do you guys even realize that you’re not really playing ultimate?” Megan asked. “I looked it up online and you’re doing it entirely wrong.” “We’re doing it McGowan style,” Doug replied with a knowing nod. “What does that mean?” Megan asked. “It’s football with a Frisbee,” Finn told her. “And at the end of the game we like to high five a lot and make barking noises. No one knows why or when we started it; we just did.

Conversation lets you be an artist every time you open your mouth--or shut it. As Robert Louis Stevenson said, "The most important art is to omit"; the key to being a master conversationalist is to listen at least as much as you talk. Just as the other arts include pauses in a dramatic play, white margins around printed text, and space between a singer's phrases, conversation is about silences as well as about words.

Having money, power, and respect pacifies the ego only temporarily and does nothing to relieve the deeper feeling of emptiness. We’re all sold on this idea that wholeness can be bought, married into, or wished real hard for, but the more substantial definition of success requires a lot more than just worldwide recognition and acquiring things.

Kitsch is much more than a question of style; it's a preference for consolation over truth. Disney's version of reality is not just cleaned up, it's pernicious. Unlike the best forms of art and philosophy, it undercuts the possibility of transformation because it portrays a world that's just fine as it is--or as it will be by the time the credits come up.

I trusted them, wholly, and didn’t look over their shoulders, and that bred a powerful two-way loyalty. My management style wouldn’t have worked for people who wanted to be guided, every step, but this group found it liberating, empowering. I let them be, let them do, let them make their own mistakes, because that’s how I’d always liked people to treat me.

Strunk was born in 1869, and today’s writers cannot base their craft exclusively on the advice of a man who developed his sense of style before the invention of the telephone (let alone the Internet), before the advent of modern linguistics and cognitive science, before the wave of informalization that swept the world in the second half of the twentieth century.

Style still matters, for at least three reasons. First, it ensures that writers will get their message across, sparing readers from squandering their precious moments on earth deciphering opaque prose. When the effort fails, the result can be calamitous-as Strunk and White put it, "death on the highway caused by a badly worded road sign, heartbreak among lovers caused by a misplaced phrase in a well-intentioned letter, anguish of a traveler expecting to be met at a railroad station and not being met because of a slipshod telegram." Governments and corporations have found that small improvements in clarity can prevent vast amounts of error, frustration, and waste, and many countries have recently made clear language the law of the land. Second, style earns trust. If readers can see that a writer cares about consistency and accuracy in her prose, they will be reassured that the writer cares about those virtues in conduct they cannot see as easily. Here is how one technology executive explains why he rejects job applications filled with errors of grammar and punctuation: "If it takes someone more than 20 years to notice how to properly use it's, then that's not a learning curve I'm comfortable with." And if that isn't enough to get you to brush up your prose, consider the discovery of the dating site OkCupid that sloppy grammar and spelling in a profile are "huge turn-offs." As one client said, "If you're trying to date a woman, I don't expect flowery Jane Austen prose. But aren't you trying to put your best foot forward?" Style, not least, adds beauty to the world. To a literate reader, a crisp sentence, an arresting metaphor, a witty aside, an elegant turn of phrase are among life's greatest pleasures. And as we shall see in the first chapter, this thoroughly impractical virtue of good writing is where the practical effort of mastering good writing must begin.

There will always be people who are smarter and better writers than you - but what if your story is better than theirs? While experience and education help you become a better storyteller, it doesn't always help with creativity. Sometimes being a good writer has nothing to do with style or skill, but depends solely on your imagination. Remember, if you have a story in your heart, then you have the right to write it.

people learn by integrating new information into their existing web of knowledge. They don’t like it when a fact is hurled at them from out of the blue and they have to keep it levitating in short-term memory until they find a relevant background to embed it in a few moments later. Topic-then-comment and given-then-new orderings are major contributors to coherence, the feeling that one sentence flows into the next rather than jerking the reader around.

One image for understanding this situation is to see the Holy Spirit as the photographer, and the evangelists and other inspired writers of the Old and New Testaments as different kinds of cameras. Cameras are available in many styles, from little disposable cameras to expensive 35 mm cameras with many lenses. Each type of camera reflects the truth of the scene, but its limits and strengths give a different type of photograph of that scene. So also with the divinely inspired writers of Scripture: Each of them tells the truth about what God shows them, but we would do well to understand how they look at things, their perspectives, and their limits.

Stored personal memories along with handed down collective memories of stories, legends, and history allows us to collate our interactions with a physical and social world and develop a personal code of survival. In essence, we all become self-styled sages, creating our own book of wisdom based upon our studied observations and practical knowledge gleaned from living and learning. What we quickly discover is that no textbook exist how to conduct our life, because the world has yet to produce a perfect person – an ideal observer – whom is capable of handing down a concrete exemplar of epistemic virtues. We each draw upon the guiding knowledge, theories, and advice available for us in order to explore the paradoxes, ironies, inconsistencies, and the absurdities encountered while living in a supernatural world. We mold our personal collection of information into a practical practicum how to live and die. Each day we define and redefine who we are, determine how we will react today, and chart our quest into an uncertain future.

Some people find illeism annoying (although it doesn’t bother Daniel Pink). But its existence as a style of speech and narration exemplifies the final step in the regret-reckoning process. Talking about ourselves in the third person is one variety of what social psychologists call “self-distancing.” When we’re beset by negative emotions, including regret, one response is to immerse ourselves in them, to face the negativity by getting up close and personal. But immersion can catch us in an undertow of rumination. A better, more effective, and longer-lasting approach is to move in the opposite direction—not to plunge in, but to zoom out and gaze upon our situation as a detached observer, much as a movie director pulls back the camera. After self-disclosure relieves the burden of carrying a regret, and self-compassion reframes the regret as a human imperfection rather than an incapacitating flaw, self-distancing helps you analyze and strategize—to examine the regret dispassionately without shame or rancor and to extract from it a lesson that can guide your future behavior.

How old is she now?” “Oh, she’s twenty now.” She hesitated. She was obligated to end our little chat with a stylized flourish. The way it’s done in serial television. So she wet her little bunny mouth, sleepied her eyes, widened her nostrils, patted her hair, arched her back, stood canted and hip-shot, huskied her voice and said, “See you aroun’, huh?” “Sure, Marianne. Sure.” Bless them all, the forlorn little rabbits. They are the displaced persons of our emotional culture. They are ravenous for romance, yet settle for what they call making out. Their futile, acne-pitted men drift out of high school into a world so surfeited with unskilled labor there is competition for bag-boy jobs in the supermarkets. They yearn for security, but all they can have is what they make for themselves, chittering little flocks of them in the restaurants and stores, talking of style and adornment, dreaming of the terribly sincere stranger who will come along and lift them out of the gypsy life of the two-bit tip and the unemployment, cut a tall cake with them, swell them up with sassy babies, and guide them masterfully into the shoal water of the electrified house where everybody brushes after every meal. But most of the wistful rabbits marry their unskilled men, and keep right on working. And discover the end of the dream. They have been taught that if you are sunny, cheery, sincere, group-adjusted, popular, the world is yours, including barbecue pits, charge plates, diaper service, percale sheets, friends for dinner, washer-dryer combinations, color slides of the kiddies on the home projector, and eternal whimsical romance—with crinkly smiles and Rock Hudson dialogue. So they all come smiling and confident and unskilled into a technician’s world, and in a few years they learn that it is all going to be grinding and brutal and hateful and precarious. These are the slums of the heart. Bless the bunnies. These are the new people, and we are making no place for them. We hold the dream in front of them like a carrot, and finally say sorry you can’t have any. And the schools where we teach them non-survival are gloriously architectured. They will never live in places so fine, unless they contract something incurable.