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Shakespeare said:

Art of Life 🦋

1,094,476 subscribers

105,228 views • 1 year ago •via X (Twitter)

Education Health & Wellness Arts

Anya Rossi• Live Now

Private livecam show

10 Comments

Self healing1 year ago

Drop 11:11

Cadet.1 year ago

Positivity is the summary.

Mujeeb Mohammed1 year ago

Nice

Byblos🇦🇺🇱🇧🇦🇺1 year ago

🤍🤍

Jack1 year ago

powerfull

Joan Ghali/Couturier1 year ago

100% 👍

Kinky&hot&playful&badassgirlwithacuteface1 year ago

Yes that's why I don't have expectations anymore. I have requirements 😎

Hick1 year ago

@CricketAus

Subham polpagedar1 year ago

@TweetHelperBot download this

InquisitiveMuse1 year ago

Shakespeare didn't say any of this.

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She really said: I don't care if you're the next Shakespeare, get in the house😭🍿🎥

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ON ADVERSITY | We must learn to welcome, not dread, our personal challenges. Adversity holds secret gems that help us grow. As Ben Franklin said… “that which hurts, instructs.” #adversity #shakespeare

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When Shakespeare said “life is too short to love you in one, I promise to look for you in the next life,” I felt it on this scene DREAM FILM OUT NOW #LISAxDREAM

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'Poor unfortunate skull'💀 #BBCGhosts Ben 👐 has joined our #WhatYouWill 'Wall of Fame'. This example imagines what unalived jester Yorick🎭 (from Hamlet) would have said had Shakespeare given him the chance, which sadly he didn’t... Poor Yorick!😢

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“The majority of disabled people support assisted dying.” Sir Tom Shakespeare said the Bill is more compassionate and safer than the current law — and evidence from countries where assisted dying for terminally ill adults is legal shows that these laws work safely.

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THE POPE. THE PENTAGON. THE SCRIPT WE ALL FOLLOW. Pope Leo XIV reportedly watched the film Conclave to prepare for the papacy. From the Pentagon to the Vatican, the world’s most powerful institutions are taking cues from fiction. Shakespeare said, “All the world’s a stage.” Today… even the Pope is following the script. We are all Anonymous.

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Jeopardy contestant gets emotional as she reveals that the Final Jeopardy answer was her great, great, great-aunt, the woman she was named after. This is insane. Fans were shocked when contestant Emily Croke revealed that the Final Jeopardy answer, Emily Folger, was her distant relative. "In 1895, the Vassar-educated wife of this man wrote, 'Thousands of dollars may be paid for a copy of Shakespeare,'" the Final Jeopardy clue read. Croke was the only contestant to get the answer right. "Emily Folger, the one we mentioned in the clue is the person you, Emily Croke, are named after?" said a stunned Ken Jennings. "Yes," Croke said, who ended up winning a total of $13,201. Emily Folger was the co-founder of the Folger Shakespeare Library in Washington, DC, "the world’s largest collection of the playwright’s works," according to the New York Post.

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2,778,340 views • 1 year ago

P.L.O Lumumba: If I were him at this stage because he has chosen to fight, if he was to resign it would have been a little earlier. As William Shakespeare said, he has waded so deep into blood that to go back is as tedious as to go forth so he must go forth to the very end and let the chips fall where they may #JKLive Jeff Koinange, MBS

P.L.O Lumumba: If I were him at this stage because he has chosen to fight, if he was to resign it would have been a little earlier. As William Shakespeare said, he has waded so deep into blood that to go back is as tedious as to go forth so he must go forth to the very end and let the chips fall where they may #JKLive Jeff Koinange, MBS

Citizen TV Kenya

201,423 views • 1 year ago

MICHAEL SAYLOR SAID WORKING HARD IS THE WORST ADVICE YOU CAN GET. “YOU DON'T WANT TO MAKE MONEY BY BEING TALENTED AND WORKING HARD. THE ROBOTS ARE GOING TO WORK HARD. THE CARS ARE GOING TO DRIVE THEMSELVES.” “ONCE YOU TRAIN THE AI ON A SHAKESPEAREAN SONNET, IT WILL SPIT BACK SONNETS JUST AS GOOD AS SHAKESPEARE IN HIS PRIME. IF YOU STUDIED FOR 20 YEARS TO LEARN HOW TO COMPOSE, THAT'S BECOMING LESS VALUABLE — JUST LIKE WRITING A 100-PAGE LEGAL DOCUMENT.” “HUMAN CAPITAL IS GETTING DEMONETIZED.”

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Vivek Sen

560,870 views • 1 month ago

A homeless man won $30 MILLION in the lottery. Five years later, the woman who promised to protect his fortune buried him beneath a concrete slab. – In November 2006, Abraham "Abe" Shakespeare bought a Florida Lottery ticket from a convenience store in Florida. – He won a $30 MILLION jackpot and chose a lump-sum payment of roughly $17 million before taxes. – Overnight, his life changed. – Strangers, distant relatives, and scammers began asking him for money. – Shakespeare later admitted he regretted winning the lottery, saying: "I'd have been better off broke." – In 2008, he met a woman named Dee Dee Moore. – Moore claimed she wanted to help protect him from people trying to exploit his newfound wealth. – Instead, she gradually took control of his finances. – As Shakespeare disappeared from public view, Moore told friends and reporters he had simply left town because he was tired of everyone asking him for money. – His family didn't believe her. – After months without hearing from him, they reported him missing. – In January 2010, investigators searched property owned by Moore. – They discovered Shakespeare's body buried beneath a concrete slab in the backyard. – Prosecutors said Moore had shot him twice before hiding his body. – They argued she murdered him to gain control of what remained of his lottery fortune. – In 2012, a Florida jury found Dee Dee Moore guilty of first-degree murder. – She was sentenced to life in prison without the possibility of parole. A homeless man became a millionaire overnight. The woman who claimed she would protect his fortune murdered him and buried him beneath a concrete slab.

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Crypto Pirates 🏴‍☠️

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Keanu Reeves says he turned down $12,000,000 for Speed 2 and went to Winnipeg to play Hamlet ‘It just didn’t feel right a bus that can slow down is a ticking clock a boat is not a ticking clock so I said no to 8 figures and flew to Manitoba to do Shakespeare for scale in the dead of a Canadian winter at the Manitoba theatre center’ ‘Fox then blacklisted me for year costing me a lot of roles, speed 2 came out and became one of the most notorious flops of the 90s it won a razzie’ ‘Sandra bullock has called doing it her biggest career regret my Hamlet got a review from the Chicago Trubunes’

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Orson Welles: "Shakespeare said everything. Poetry has since then been neither necessary nor possible because when you can make the dawn over Elsinore with a lantern and a pot of paint there's no call for having a character stop in the middle of the action and say a line like, "But look, the morn, in russet mantle clad, walks o'er the dew of yon high eastern hill," even supposing you could write a line like it. You can't see and hear beauty, fully, at the same time... because poetry is its own scenery and because we've stuck to physical scenery and isolated our actor from his audience...we've stuck to prose. Before the Restoration, theatres were courtyards around platforms where you went to hear and be heard. Since then they've been birthday cakes in front of picture-frames where you go to see and to be seen...". "Shakespeare said everything. Brain to belly; every mood and minute of a man’s season. His language is starlight and fireflies and the sun and moon. He wrote it with tears and blood and beer, and his words march like heartbeats. He speaks to everyone and we all claim him but it’s wise to remember, if we would really appreciate him, that he doesn’t properly belong to us but to another world; a florid and entirely remarkable world that smelled assertively of columbine and gun powder and printer’s ink, and was vigorously dominated by Elizabeth. Shakespeare speaks everybody’s language, but with an Elizabethan accent. When he came squawking and red faced into it, England could carry a tune and was learning to talk. It was a kid of a country, waking up noisily and too suddenly into adolescence and bounding blithely into the sunny, early morning of modern times. About sixty years earlier, Columbus had bumped into a couple of new continents and the Conquistadors were busy opening them up and exploiting them. Down in Italy things had been happening. Men had taken the hoods of the dusty, dusky old Middle Ages off their heads and had begun to look around. Questions were being asked; books were being written instead of copied; people had stopped taking Aristotle’s word for it and were nosing about the world, taking it apart to see what made it run. All kinds of old established convictions were being questioned and money in huge sums was being made. By the time Shakespeare was a butcher’s boy in Stratford, all of this bustle and uncertainty and excitement had gotten across the channel and into the moist English air. An extraordinary woman was in charge and she was gathering about her throne still more extraordinary men. England was getting up on its hind legs. The touring companies of actors that came to Stratford still played rusty things that smacked of the old Moralities and the Miracle plays, but down in London real shows were being put on in place of masques and roustabouts and these plays were about real people instead of virtues and vices and other symbolic figures that never actually lived. By the time Shakespeare was married and teaching school, the Theatre, already the most complete expression of the times, was well started on a golden age. Peele and Greene and Lodge and Nash were turning out smash-hits. Kyd was busy with blood-and-thunder shockers like The Spanish Tragedy. Lyly was discovering that good plays could be written in prose and Marlowe was making dramatic poetry worth writing. The Theatre, along with a lot of other high doings, was in the air. So Shakespeare kissed his wife goodbye and went to London. London and the wide world are very lucky that he did. It was almost as though America was discovered, Elizabeth made Queen, and pirates and poets and other valorous people congregated in one age just so the young schoolteacher would come to London and we could have William Shakespeare. To know something about Shakespeare we must know something about that England in which he was born; still more important we must know something of that peculiarly pure theatre he found in London and for which he wrote. It was neither new nor clumsy. It was not a rude thing but rather, like the classic theatres and the theatres of high convention in China and Japan, a refinement. England’s stage came out of the church when the actors got too entertaining. It lingered for a couple of hundred years in front of it in the marketplace and then moved into the inn yard where it stayed until it got over being a holiday treat and became an institution and they built the first theatre. This was simply an inn yard fixed up for a play but without the inn. The stage platform was made permanent with a roof over it to protect the actors but the rabblement still had to stand around this platform in the rain or sun. An inner stage with a curtain and a level above it like a gallery was added inside. Benches were built in the spectators’ galleries where you sat if you had money and in veils if you were a lady, and there, with only slight elaboration over its daddy, the hotel courtyard, was the Elizabethan playhouse." Orson Welles's introduction to The Mercury Shakespeare, 1934 Audio: Hamlet - Orson Welles, Mercury 1936 ’Tis gone. We do it wrong, being so majestical, To offer it the show of violence It was about to speak when the cock crew. And then it started like a guilty thing Upon a fearful summons. But look, the morn in russet mantle clad Walks o’er the dew of yon high eastward hill.

Orson Welles: "Shakespeare said everything. Poetry has since then been neither necessary nor possible because when you can make the dawn over Elsinore with a lantern and a pot of paint there's no call for having a character stop in the middle of the action and say a line like, "But look, the morn, in russet mantle clad, walks o'er the dew of yon high eastern hill," even supposing you could write a line like it. You can't see and hear beauty, fully, at the same time... because poetry is its own scenery and because we've stuck to physical scenery and isolated our actor from his audience...we've stuck to prose. Before the Restoration, theatres were courtyards around platforms where you went to hear and be heard. Since then they've been birthday cakes in front of picture-frames where you go to see and to be seen...". "Shakespeare said everything. Brain to belly; every mood and minute of a man’s season. His language is starlight and fireflies and the sun and moon. He wrote it with tears and blood and beer, and his words march like heartbeats. He speaks to everyone and we all claim him but it’s wise to remember, if we would really appreciate him, that he doesn’t properly belong to us but to another world; a florid and entirely remarkable world that smelled assertively of columbine and gun powder and printer’s ink, and was vigorously dominated by Elizabeth. Shakespeare speaks everybody’s language, but with an Elizabethan accent. When he came squawking and red faced into it, England could carry a tune and was learning to talk. It was a kid of a country, waking up noisily and too suddenly into adolescence and bounding blithely into the sunny, early morning of modern times. About sixty years earlier, Columbus had bumped into a couple of new continents and the Conquistadors were busy opening them up and exploiting them. Down in Italy things had been happening. Men had taken the hoods of the dusty, dusky old Middle Ages off their heads and had begun to look around. Questions were being asked; books were being written instead of copied; people had stopped taking Aristotle’s word for it and were nosing about the world, taking it apart to see what made it run. All kinds of old established convictions were being questioned and money in huge sums was being made. By the time Shakespeare was a butcher’s boy in Stratford, all of this bustle and uncertainty and excitement had gotten across the channel and into the moist English air. An extraordinary woman was in charge and she was gathering about her throne still more extraordinary men. England was getting up on its hind legs. The touring companies of actors that came to Stratford still played rusty things that smacked of the old Moralities and the Miracle plays, but down in London real shows were being put on in place of masques and roustabouts and these plays were about real people instead of virtues and vices and other symbolic figures that never actually lived. By the time Shakespeare was married and teaching school, the Theatre, already the most complete expression of the times, was well started on a golden age. Peele and Greene and Lodge and Nash were turning out smash-hits. Kyd was busy with blood-and-thunder shockers like The Spanish Tragedy. Lyly was discovering that good plays could be written in prose and Marlowe was making dramatic poetry worth writing. The Theatre, along with a lot of other high doings, was in the air. So Shakespeare kissed his wife goodbye and went to London. London and the wide world are very lucky that he did. It was almost as though America was discovered, Elizabeth made Queen, and pirates and poets and other valorous people congregated in one age just so the young schoolteacher would come to London and we could have William Shakespeare. To know something about Shakespeare we must know something about that England in which he was born; still more important we must know something of that peculiarly pure theatre he found in London and for which he wrote. It was neither new nor clumsy. It was not a rude thing but rather, like the classic theatres and the theatres of high convention in China and Japan, a refinement. England’s stage came out of the church when the actors got too entertaining. It lingered for a couple of hundred years in front of it in the marketplace and then moved into the inn yard where it stayed until it got over being a holiday treat and became an institution and they built the first theatre. This was simply an inn yard fixed up for a play but without the inn. The stage platform was made permanent with a roof over it to protect the actors but the rabblement still had to stand around this platform in the rain or sun. An inner stage with a curtain and a level above it like a gallery was added inside. Benches were built in the spectators’ galleries where you sat if you had money and in veils if you were a lady, and there, with only slight elaboration over its daddy, the hotel courtyard, was the Elizabethan playhouse." Orson Welles's introduction to The Mercury Shakespeare, 1934 Audio: Hamlet - Orson Welles, Mercury 1936 ’Tis gone. We do it wrong, being so majestical, To offer it the show of violence It was about to speak when the cock crew. And then it started like a guilty thing Upon a fearful summons. But look, the morn in russet mantle clad Walks o’er the dew of yon high eastward hill.

films7

85,584 views • 24 days ago

Look who’s banging with the big boys? Sir Francis Bacon himself! My favorite Agent Of Mis Information aka thefittestflatearther aka CIA Agent Timothy McVeigh whose wife is allegedly Terry Nichols is back at it saying that people who look like other people are other people. Hahahahahaha He keeps saying I look like Sir Francis Bacon because of a drawing and my last name sounds like a brand of ham. He basically thinks I am the guy who founded the Freemasons, wrote Shakespeare and invented arithmetic is now a guy who is functionally illiterate and flunked first grade! What a downgrade! My favorite part of this video is where he calls all of us liars then lies about not believing what he just said for basically “legal” reasons. Please check out his new podcast where he basically takes a shit in ears with his unhinged basic bitch takes!

Sam Tripoli

68,250 views • 3 months ago

🚨 Bishop Robert Barron just DROPPED TRUTH BOMBS on AOC! 🚨 She called Western culture "thin" and "ephemeral" — dismissing the very foundations that built our world. Bishop Barron fired back: "The culture that gave us Dante, Shakespeare, the rule of law, individual rights, democracy, and the entire university system… **that's thin?!**" 😤 He didn't stop there: "This is straight out of the **Marxist playbook**. Marx said culture is just a flimsy 'superstructure' on top of economics — ignore it, focus on class struggle and material conditions." As a Catholic bishop, he's sounding the alarm: "Marx's first target was always **religion**. The tyrannies went after the Church first. I'm deeply concerned that Marxist ideas are taking root among some leading political figures in America." Wake up, folks — this isn't just politics. It's a battle for the soul of the West. 🇺🇸✝️ Who's with Bishop Barron? Drop a 🔥 if you're tired of the cultural takedown!

🚨 Bishop Robert Barron just DROPPED TRUTH BOMBS on AOC! 🚨 She called Western culture "thin" and "ephemeral" — dismissing the very foundations that built our world. Bishop Barron fired back: "The culture that gave us Dante, Shakespeare, the rule of law, individual rights, democracy, and the entire university system… that's thin?!" 😤 He didn't stop there: "This is straight out of the Marxist playbook. Marx said culture is just a flimsy 'superstructure' on top of economics — ignore it, focus on class struggle and material conditions." As a Catholic bishop, he's sounding the alarm: "Marx's first target was always religion. The tyrannies went after the Church first. I'm deeply concerned that Marxist ideas are taking root among some leading political figures in America." Wake up, folks — this isn't just politics. It's a battle for the soul of the West. 🇺🇸✝️ Who's with Bishop Barron? Drop a 🔥 if you're tired of the cultural takedown!

Reverend Jordan Wells

383,460 views • 5 months ago

🔵A word of advice to Zanu PF leaders on the political turmoil currently rocking the party triggered by the controversial third term campaign, debate on succession power struggle and governance problems from an anonymous commentator. For non-Shona speakers, an English translation of this message will be provided later. But in short the interlocutor is raising issues about internal Zanu PF issues and advising that party leaders should sit down and discuss the current explosive internal strife which many end up exploding with deadly repercussions, affecting everyone; the whole nation. Good advice is always certain to be ignored, but that's no reason not to give it, Agatha Christie, the English author, once said. Outsold only by the Bible and Shakespeare, Christie is the best-selling novelist of all time. She is best known for her 66 detective novels and 14 short story collections, as well as the world’s longest-running play – The Mousetrap.

🔵A word of advice to Zanu PF leaders on the political turmoil currently rocking the party triggered by the controversial third term campaign, debate on succession power struggle and governance problems from an anonymous commentator. For non-Shona speakers, an English translation of this message will be provided later. But in short the interlocutor is raising issues about internal Zanu PF issues and advising that party leaders should sit down and discuss the current explosive internal strife which many end up exploding with deadly repercussions, affecting everyone; the whole nation. Good advice is always certain to be ignored, but that's no reason not to give it, Agatha Christie, the English author, once said. Outsold only by the Bible and Shakespeare, Christie is the best-selling novelist of all time. She is best known for her 66 detective novels and 14 short story collections, as well as the world’s longest-running play – The Mousetrap.

TheNewsHawks

37,406 views • 1 year ago

Aaron Sorkin will write and direct a sequel to the “The Social Network”. The screenwriter has said of his scripts, “what the words sound like are as important to me as what the words mean.” This Insider clip shows how Sorkin made dialogue “musical” with The Social Network: ▫️Iambic Meter: Similar to Shakespeare, many of Sorkin's lines follow an iambic meter (“a million dollars isn’t cool; you know what’s cool?”), which creates a poetic rhythm. ▫️Cadence: Sorkin's dialogue is fast at 316 syllables per minute (50% more syllables than other comparable dialogue heavy films). ▫️Repetition: Similar to pop songs — with repetitive choruses — Sorkin repeats words or phrases over and over for music-like rhythm. ▫️Orchestral Effect: In group scenes, Sorkin has multiple voices overlapping, with characters speaking over each other or cutting off at sudden points (Director David Fincher had the extras talk very loud in the opening scene to accentuate the effect). Combine Aaron Sorkin’s script with Fincher’s exacting standards — Jesse Eisenberg and Rooney Mara did 99 takes of the opening 7-minute conversation when Zuck gets dumped — and you have a masterpiece. Quentin Tarantino called “The Social Network” the best film of 2010s…and will be almost certainly be impossible to top. *** Full Insider video here:

Aaron Sorkin will write and direct a sequel to the “The Social Network”. The screenwriter has said of his scripts, “what the words sound like are as important to me as what the words mean.” This Insider clip shows how Sorkin made dialogue “musical” with The Social Network: ▫️Iambic Meter: Similar to Shakespeare, many of Sorkin's lines follow an iambic meter (“a million dollars isn’t cool; you know what’s cool?”), which creates a poetic rhythm. ▫️Cadence: Sorkin's dialogue is fast at 316 syllables per minute (50% more syllables than other comparable dialogue heavy films). ▫️Repetition: Similar to pop songs — with repetitive choruses — Sorkin repeats words or phrases over and over for music-like rhythm. ▫️Orchestral Effect: In group scenes, Sorkin has multiple voices overlapping, with characters speaking over each other or cutting off at sudden points (Director David Fincher had the extras talk very loud in the opening scene to accentuate the effect). Combine Aaron Sorkin’s script with Fincher’s exacting standards — Jesse Eisenberg and Rooney Mara did 99 takes of the opening 7-minute conversation when Zuck gets dumped — and you have a masterpiece. Quentin Tarantino called “The Social Network” the best film of 2010s…and will be almost certainly be impossible to top. *** Full Insider video here:

Trung Phan

63,102 views • 1 year ago

In "Dead Poets Society" (1989), Peter Weir allowed Robin Williams to improvise on most of the scenes, but remained vigilant so that he didn't erupt beyond the boundaries of the character. Weir said, "Keating’s humor had to be part of the personality, Robin and I agreed at the start that he was not going to be an entertainer in the classroom. That would have been wrong for the film as a whole. It would have been so easy for him to have the kids rolling on the floor, doubled up with laughter. So he had to put the brakes on at times.” According to Robin Williams, as a guide, Peter came up with the name ‘Robin Keating’ to define what he wanted: the scripted character, shaded with an additional 15 percent of Williams’s own off-the-cuff dialogue. After seeing the dailies, Robin Williams felt he had gone over the top. He said, "It was like clown makeup on a Kabuki dancer. It didn’t fit.” Weir did cut Williams loose for what he calls Keating’s “creative radiation bombardment” lectures. For the first time Keating faces the seven young poets in the classroom, Weir asked Williams to read a bit of Shakespeare aloud and wing it from there. “I had two cameras going, obviously, and I just said, ‘Boys, this is not a scripted scene. Treat Robin as your teacher and react accordingly, and don’t forget that it’s 1959.’” Although Weir admitted that at times Williams’s impromptu performances caused shooting delays of precious minutes—as in the dining hall—he let him fly. “When he’s inspired, it would be a terrible thing to interrupt him, And he did keep everybody in a very good frame of mind.” Robin Williams found it tough to verbalize Peter Weir's special charisma. “I rank him up there with the best of people I’ve worked with". He praised Weir’s intuition and “incredible sensitivity about how far to push someone.” All in all, he found Weir an inspiration. “He was, in essence, Keating, for all of us." ("Poetry Man: Dead Poets Society", Nancy Griffin, Premiere Magazine, 1989)

In "Dead Poets Society" (1989), Peter Weir allowed Robin Williams to improvise on most of the scenes, but remained vigilant so that he didn't erupt beyond the boundaries of the character. Weir said, "Keating’s humor had to be part of the personality, Robin and I agreed at the start that he was not going to be an entertainer in the classroom. That would have been wrong for the film as a whole. It would have been so easy for him to have the kids rolling on the floor, doubled up with laughter. So he had to put the brakes on at times.” According to Robin Williams, as a guide, Peter came up with the name ‘Robin Keating’ to define what he wanted: the scripted character, shaded with an additional 15 percent of Williams’s own off-the-cuff dialogue. After seeing the dailies, Robin Williams felt he had gone over the top. He said, "It was like clown makeup on a Kabuki dancer. It didn’t fit.” Weir did cut Williams loose for what he calls Keating’s “creative radiation bombardment” lectures. For the first time Keating faces the seven young poets in the classroom, Weir asked Williams to read a bit of Shakespeare aloud and wing it from there. “I had two cameras going, obviously, and I just said, ‘Boys, this is not a scripted scene. Treat Robin as your teacher and react accordingly, and don’t forget that it’s 1959.’” Although Weir admitted that at times Williams’s impromptu performances caused shooting delays of precious minutes—as in the dining hall—he let him fly. “When he’s inspired, it would be a terrible thing to interrupt him, And he did keep everybody in a very good frame of mind.” Robin Williams found it tough to verbalize Peter Weir's special charisma. “I rank him up there with the best of people I’ve worked with". He praised Weir’s intuition and “incredible sensitivity about how far to push someone.” All in all, he found Weir an inspiration. “He was, in essence, Keating, for all of us." ("Poetry Man: Dead Poets Society", Nancy Griffin, Premiere Magazine, 1989)

DepressedBergman

24,146 views • 1 month ago

Steven Pinker is Harvard's most famous psychology professor, the author of nine books, and one of Time Magazine's 100 most influential people. Some highlights from our interview: 1. The curse of knowledge is the biggest threat to clear writing. 2. The easiest way to fight this curse of knowledge is to show drafts of your writing to people outside your field. 3. It can be harder to write about a topic you’re an expert in because it’s so easy to forget what it's like to not know something, which makes you overestimate what the reader knows. 4. Shakespeare said: "Brevity is the soul of wit." The point is that saying something in fewer words will almost always make it better because it requires less cognitive load for the reader to understand. 5. Ok, let's try again: Saying something in fewer words will almost always make it better. 6. Ok, one more time: Remove needless words. 7. One reason why writing is harder than speaking is there's no real-time feedback. You have to imagine the audience's reaction. 7. The best thing you can say about how LLMs write is that the sentence structure is sound. But the downside is how generic and banal the outputs are. 8. 18th and 19th century writing is more vivid because the abstractions that modern writers use hadn't been invented yet. Calling somebody "pathologically aggressive" isn’t nearly as vivid as saying: "They grabbed me by the throat." 9. Generalizations without examples are useless, and examples without generalizations are pointless. You need to marry them both. Generalizations show the big picture. Examples make them concrete. 10. The more vivid a piece of writing, the more people can form a mental image of what you’re saying. Avoid abstractions: frameworks, paradigms, concepts. All those things. Get concrete, so people can see what you’re actually talking about. For example, don’t talk about a “stimulus that awakened your senses” when you can say: “I got excited because I saw a cute bunny rabbit.” 11. Academic writing should be clear. I mean… if the taxpayers are funding most of the research, shouldn’t they be able to understand it?!? I've shared the full conversation with Steven Pinker below. If you'd rather watch on YouTube or listen on Apple or Spotify, check out the reply tweets.

Steven Pinker is Harvard's most famous psychology professor, the author of nine books, and one of Time Magazine's 100 most influential people. Some highlights from our interview: 1. The curse of knowledge is the biggest threat to clear writing. 2. The easiest way to fight this curse of knowledge is to show drafts of your writing to people outside your field. 3. It can be harder to write about a topic you’re an expert in because it’s so easy to forget what it's like to not know something, which makes you overestimate what the reader knows. 4. Shakespeare said: "Brevity is the soul of wit." The point is that saying something in fewer words will almost always make it better because it requires less cognitive load for the reader to understand. 5. Ok, let's try again: Saying something in fewer words will almost always make it better. 6. Ok, one more time: Remove needless words. 7. One reason why writing is harder than speaking is there's no real-time feedback. You have to imagine the audience's reaction. 7. The best thing you can say about how LLMs write is that the sentence structure is sound. But the downside is how generic and banal the outputs are. 8. 18th and 19th century writing is more vivid because the abstractions that modern writers use hadn't been invented yet. Calling somebody "pathologically aggressive" isn’t nearly as vivid as saying: "They grabbed me by the throat." 9. Generalizations without examples are useless, and examples without generalizations are pointless. You need to marry them both. Generalizations show the big picture. Examples make them concrete. 10. The more vivid a piece of writing, the more people can form a mental image of what you’re saying. Avoid abstractions: frameworks, paradigms, concepts. All those things. Get concrete, so people can see what you’re actually talking about. For example, don’t talk about a “stimulus that awakened your senses” when you can say: “I got excited because I saw a cute bunny rabbit.” 11. Academic writing should be clear. I mean… if the taxpayers are funding most of the research, shouldn’t they be able to understand it?!? I've shared the full conversation with Steven Pinker below. If you'd rather watch on YouTube or listen on Apple or Spotify, check out the reply tweets.

David Perell

107,348 views • 1 year ago