…auch anderen ethischen Vorstellungen sollten wir uns nicht vergleichen. Und wenn wir es "müssen", dann läuft etwas falsch.”
„Sie haben noch gar nichts begriffen. In den letzten drei Jahrhunderten hat sich unglaublich viel verändert. Es ist für die Menschen nicht länger wichtig, große Reichtümer zu besitzen. Wir haben den Hunger eliminiert, die Not, die Notwendigkeit, reich zu sein. Die Menschheit ist erwachsen geworden.”
Da hat Jonas von Uberspace.de aber ein richtig schönes Stück Artikel vollbracht.
Mit Perlen wie:
„und ich bin ohnehin nicht davon überzeugt, dass "Wettbewerb" das einzige oder gar das geeignetste Mittel ist, Menschen zu den besten Versionen ihrer selbst zu machen - ist vor allem anderen nur dann möglich, wenn auch alle Teilnehmer nach den gleichen Regeln spielen. Mit einem Land mit ganz anderer Kostenstruktur, anderem Sozialsystem und vor allem…
As learned through James Alburger today in a live session:
„I want you to understand the words. I want you to taste the words. I want you to love the words. Because the words are important. But they’re only words. You leave them on the paper and you take the thoughts and put them into your mind and then you as an actor recreate them, as if the thoughts had suddenly occurred to you."
— Daws Butler (Scenes for Actors and Voices)
So a really careful writer will make sure that they’re not doing—not visiting an indecorum on the word’s derivation. So it’s very labor intensive.
I mean it takes a long time to sometimes—to get your sentence right, rhythmically, and to clear the main words in it from misuse.
Source: How to use a thesaurus to actually improve your writing | Martin Amis https://www.youtube.com/watch?v=UnWIsWoUQuk
And you just do that by going to your thesaurus. And also going to your dictionary.
Do not use words against the derivation.
For example, dilapidate.
It’s fine to talk about a dilapidated building but not fine to talk about a dilapidated hedge, because dilapidated comes from „lapis“, which means „stone“.
A thesaurus is – you come to a point in a sentence and it’s usually towards the end of a sentence where you’re unhappy with the word you’ve chosen not because of its meaning but because of its rhythm. And you may want a monosyllable for this concept or you may want a trisyllable. So you look in the thesaurus, you find a simile that has the right number, you know, for the whole sentence to maintain its rhythmical integrity.
Now Nabokov said,
> Of course I avoided the repetition of the suffix so chose to call it „Invitation to a Beheading“ rather than „Invitation to an Execution“, which is sort of rhythmically ugly.
You’ve got to think about the bits of the word as well as the word in its totality.
Avoiding repetition of prefixes and suffixes as well as rhymes and half-rhymes, intentional alliteration, et cetera, can be achieved by anyone simply by using a dictionary and a thesaurus.
And that’s just something that the writer was taught when they were 12— never to use a word twice in a sentence.
And they’ve become terrorized by that and then addicted to a new „ingenuity“ where you avoid it.
But I’m talking more about sounds and rhythms.
The Nabokov novel we know of as „Invitation to a Beheading“ was originally called – not for very long – „Invitation to an Execution.“
„You’re unhappy with the word you’ve chosen because of its rhythm“
Repetition has its uses and anything is better than trying to avoid repetition through what they call „elegant variation“.
This is an example from a biography of Lincoln:
> While in Chicago he appeared to back concessions to the South.
> In New York he seemed to support…
You know, there’s no point in using a different word when there’s no change in meaning.
Beautiful words and photography by Elizabeth Gadd.
Here’s her story:
It’s like a playground […]
being in the wilderness brings a sense of calm that I can’t quite find anywhere else.
It’s a place where life’s frenetic pace loses its grasp on my thoughts and become no more than simple distractions that fall to the wayside and then I’m just simply there, present.
It’s where I can allow myself a freedom, a time without inhibition to reflect, replenish, heal. To create. It’s a world where beauty is boundless and never fails to leave me awestruck.
@yukorabbit You should fix the link of „Yuko Rabbit”.
You’re trying to link to a page with the address https://yukorabbit,art/ - the comma is wrong ;)
As a copywriter I can’t make a shitty product great or twist reality and turn something unethical into a flagship product. It’s on you.
„When you have a product that solves a real problem for people who are confident in your ability to deliver, people will pay for it.”
There are stories of Tiger Woods hitting 1,000 balls at the range without a break. And of Jason Williams practicing dribbling for hours on end without ever shooting a ball.
That’s how you become an expert. That’s how you get amazing results.
At least in some fields.
Deliberate practice (https://jamesclear.com/deliberate-practice-theory) is mostly built off of 4 criteria:
Designed and evaluated by an expert
Stretches you and is uncomfortable
Requires your total concentration
Consists of a lot of repetition
Usually, it comes down to exercising one aspect of something. If you want to get good at drawing people, don't just draw 100 people. Draw 100 eyes. 100 noses. 100 hands.
If you want to get good at putts, make 100 putts. From the same spot. Then move a little. And make 100 more putts.
What types of deliberate practice do we have in the tech industry?
Lebensaufgabe: Bremsen und Faker identifizieren und ignorieren. Leute reden lassen. Eigenes Ding machen - mit den richtigen Partnern. Focus!
(21. Juni 2013, 10:04) https://twitter.com/Naii/status/348124290379571200
Some things will never change.
Email 💌 Direct-Response Copywriter For Bootstrapping Tech 🚀 Startups. I put ideas into your head.
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