“The Work of Art” Quotes

I recently read “The Work of Art: How Something Comes From Nothing” by Adam Moss. Below are the quotes I found most interesting. (It’s an interview book, so the name of the person who said them appears underlined above the quote.) If you like the quotes, buy the book here.

“Art happens when instinct meets rigor.” (8)

“Regardless of genres, creative paths look similar.” (15)

“W. H. Auden wrote, “When a successful author, analyzes the reasons for his success, he generally underestimates the talent he was born with, and overestimates his skill in employing it.” James Baldwin thought otherwise: “Tal-ent is insignificant…. Beyond talent lie all the usual words: discipline, love, luck, but most of all, endurance.”” (15)

“Being an artist is much more like being a carpenter than like being God..” said the theater composer John Kander (he made this comment when he was ninety-six, so he’d had a long time to think about it). “What we do is a craft. I mean you can have a great inner talent and a lot of people do, but without craft it’s very hard for the talent to emerge.’” (15)

“Along the way, there is making and destroying, self-sabotage, doubt and despair, but the unifying fact of this book is that successful creators do not give up, even when the thwarting seems insurmountable. If this book has a plot, overcoming these thwarts was it. (How stubborn they all were! And, fundamentally, though they would rarely admit it, optimistic-deep down they believed the work would emerge, even if it would require a lot of torture to get there.)” (16)

Eric Fishl:
“Richard Artschwager was overworking a painting. He decided to watch TV and only go into his studio to paint during commercials.
That gave him about two minutes at a time to work. He said it took him most of the afternoon soaps but eventually he got past whatever it was that was holding him back.”

Tony Kushner
“I write in longhand. And then I type it. I always do that. So tha toy first draft is really my second draft. And if anybody looks at your ‘first’ draft, it’s not going to be as bad as your first. It gives you permission to be a terrible stupid idiot.” (42)

“Playwriting sometimes seems reducible to a loci equation – a series of hypotheticals: If I want to connect X character with Y character, what would happen?” (45)

Roz Chast
“So maybe if you feel that you’re not going to make people happy no matter how hard you tried, you might as well do what you want to do, because they’re not going to be happy anyway.” (52)

Michael Cunningham
“By then I had written enough to know that most of the time you get to a certain point in a book you want to give it up. And to write another book that won’t cause me the same trouble. And it does. You just end up stuck all over again.
So you might as well stay with the thing.” (60)

“You always have a better book in mind than you’re able to write. And one of the things you have to be able to do, if you’re going to write novels, is survive that discrepancy between the book you were able to write and the better book you imagined.” (61)

“It’s hard to separate talent from the almost spectrum-y degree of endless interest in something.” (61)

Sofia Coppola
“You’re born into a certain circumstance, and what you make out of it is who you are.” (76)

Thomas Bartlett
“I lean towards thinking it’s innate. We are blind to our own essence, you know? And one of the things I try to do as a producer is to get people to do what comes to them the most naturally, because people underestimate that thing about themselves.”

Twyla Tharp
“I asked if she allows for their suggestions. Tharp said, “If they’re clever, they don’t ask. They just do it and hope you won’t notice… but you do. And you say, ‘Well, that actually is a good idea!’ Because you have to keep them around….” (144)

“The avant-garde is basically, fuck you. It’s icy and isolated and very privileged in its attitude. Just because it’s inaccessible, is it better art? I don’t know about that.” (144)

“Often I go back and redo the beginning, because though you may think you know where you’re going, it’s probably going to end up differently. And I find that it’s valuable to let it evolve and then go back
and take off that fake beginning.” (145)

“AM: How important is the beginning?
TT: You have thirty seconds. Thirty seconds before people are either bored or they love you. You can win them later, but it’s going to be harder.” (145)

“AM: How do you think about editing your work?
TT: Editing means, how much objectivity do you have really? How much can you disassociate from your own bias? How much can you disassociate yourself from the wish fulfillment component that is involved in work of all sorts? You’ve got to become not you.” (145)

David Mandel
“If the story isn’t working, you can papier-mâché over it with as many jokes as you want. But at the end of the day, it won’t work.” (166)

“He finally realized that plotting the right developments int he right sequence with funny jokes in between wasn’t enough. Veep’s mojo lay in its pace and density… There was a lack of chaos. It was almost painfully logical… But what it took was almost taking the scenes and mushing them together because there wasn’t enough happening. And then suddenly it was Veep.” (167)

Ira Glass
“Really, you just have to work your way out of it. That’s the only way. You have to be rigorous, you have to be a soldier, you have to fight. It’s only by making a volume of work that you’ll be forced to confront what it is that you don’t know how to do, and learn to do it.” (267)

Dean Baquet and Tom Bodkin
“Editing is explicitly about distilling, but all art is a form of condensation.” (289)

Elizabeth Diller
“In any project, there are more ideas than there’s really space for. One idea is stronger without the other. The problem with a lot of people who do creative work is a tendency to oversaturate projects with too much.” (303)

Will Shortz
“Even the most unrestrained surrealist or experimental novelist is working within a grid of their own logic… I began to believe setting up that grid and solving problems within it was the primary act of creative process.” (332)

David Simon
“I looked at a couple of scripts. One thing I sensed was pacing. Every line has to justify itself. You don’t start at the beginning of scenes, you don’t end at the end, you come in late and leave early.” (370)

“You hear enough of these stories, you realize how often fortune plays into success.” (371)

“The most difficult question in TV writing is, Why are you doing the show? And if you can answer that question, you usually answer what the show should be. Whether you have a hit or not, if they wheel a fucking semitruck of money up to your driveway and say, ‘Please give us three more seasons of we don’t care what, just keep it coming, you have to be able to look at them and say, ‘I don’t have three seasons. I have other stories.’” (375)

George Saunders
“Generally I let myself do exactly wahat I felt like doing in the first draft. I don’t even worry about it. I just put it down. And then when I really start to destabilize is in revision.” (385)

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“Breaking Into TV Writing” Quotes

I recently read “Breaking into TV Writing: How to get your first job, build your network, and claw your way inside the writer’s room” by Anton Schettini. Below are the quotes I found most interesting. If you like them, buy the book here.

“In TV, the writers are the be-all and end-all. They decide what happens in every episode of every season, and they are even the final word on a set. A scene isn’t done shooting until the writer tells the director they are clear to move on. Unlike feature films, where the director takes over as soon as the studio buys the writer’s script, in TV the director is a hired gun.” (5)

“A great script isn’t anything if the right person isn’t reading it.” (12)

“In a comedy room, a successful staff writer is often one who is quick with a great joke that keeps the room from getting stuck. A good story pitch gets tossed and turned around in the room, and it’s hard for the showrunner to decipher who it came from or where it started. But a good joke gets credit immediately. And when you’re in this position, credit is important.” (38)

“When entering a new room, it’s best to gauge the next level writer up from you, see how much they’re pitching, and mimic their frequency. They can’t fault you if you’re a staff writer and you’re speaking as much as the story editor. But if you’re talking as much as a co-executive producer or the show runner, you should probably chill out for a few weeks until you get a feel for the room.” (66)

“If you don’t feel that strongly about the pitch, let it go. But if you do feel that this is important for the show, here’s how to approach it. The general rule is that you get two more cracks at it. The second time, you can reiterate your point, present it in a slightly different way, and explain why this is important. If it gets shot down again, then you’re playing with fire. But if it’s important to you and you really need to get your point across, you can give an
“I’m sorry, I’m going to pitch this one more time and then I’ll drop it, but it’s really important to me that..” This shows that you’re aware that you’re harping on the same point, and you feel it’s important enough to pitch again.” (66)

“There may be a time in a writers’ room when a particular plot point is giving everyone trouble. And maybe a fresh framework could shake things up. In that case, it’s perfectly okay to say “Is it all right if I pitch a general area?” or something to that effect. That way, the room is aware that you know you’re not providing a pitch, just an interesting idea that may help the room break through whatever’s holding them back.” However, that should only a be employed when it’s clear that the room is at an impasse.” (67)

“More than anything, it’s important to follow the flow of the room.” (67)

“When a room is really moving, dialogue, story ideas, and character moves flow easily. A good showrunner will follow the direction a story is going and will dictate where to go next. That’s why it’s so important to follow the showrunner’s lead and not go backwards. Rooms that are in the zone can be turned upside-down by somebody saying “Can we go back for a second?”” (67)

“When you know you’re using a piece of someone else’s idea for your pitch, use a “bouncing off of what [writer who was being ignored] was saying” to frame your pitch. This keeps that person in the game. Also, if you hear an idea being taken and repurposed as their own, feel free to call it out. It doesn’t have to be offensive. It can be as simple as “Right, that was a great pitch by (ignored writer].””(68)

“Your goal should always be to maintain and add to your network.” (89)

“The only people who get what they want are the people who ask for what they want. So, keep following up with people and keep them aware of what you’re looking for.” (89)

“With each new revision, a new color is given to the pages of the script, and those colors are nearly identical across all TV shows. In draft order, it goes like this:

  • White (this is the first draft of any script)
  • Blue
  • Pink
  • Yellow
  • Green
  • Goldenrod
  • Buff
  • Salmon
  • Cherry
  • Double White
  • Double Blue (and on and on)” (115)

“At the end of the day, you can’t expect success. You have to go in with the mentality of “How do I just keep writing?”” (140)

“I took freelance jobs in advertising, and I made time to write six nights a week—usually from 11:30 p.m. to 1:30 a.m., at a minimum. Every single night after my wife went to bed, I was writing.” -Howard Jordan Jr. (149)

“she gave me three sentences of notes: push all your stories up, your characters all sound the same (they speak in the same rhythmic pattern), and if you’re gonna do a spec, then don’t get so creative that the supporting characters are the stars of the show.” -Howard Jordan Jr. (149)

“What I say so often now is, write a story that only you can write in a way that only you can write it. I noticed that people had mastered that presentation of self. I’ve always sold brands; l’ve never had to sell me.” -Howard Jordan Jr. (150)

“volunteer to write on the board (because it might be the only time you get to speak).” -Howard Jordan Jr. (151)


“presentation matters, your room image matters.” -Howard Jordan Jr. (151)

“realize and accept that only 20 percent of the job is writing-if that.” -Howard Jordan Jr. (151)

“I knew coming in that if there’s a one-in-a-million chance that this can be done, I’m that one. That’s the conviction you have to have when you pursue these creative endeavors, because creativity by nature is subjective.” -Howard Jordan Jr. (152)

“Some of the arbiters of whether your great idea succeeds or not have no imagination. That doesn’t make you a bad writer. But it does mean you’re not getting hired. So, you have to figure out your way. You have to work so that you’re always getting better. Don’t keep writing the same version of the same script. Always work smarter.” -Howard Jordan Jr. (152)

“It’s not enough to just be a good writer. And it’s not enough to just be a good salesman. You have to have both, and you have to keep getting better at both.” (152)

“WHAT SHOWRUNNERS LOOK FOR IN A WRITER
The script has to grab me, and the story has to start real fast.
If it doesn’t start by page four or five, I toss it and move on to the next one. Start fast. If it’s a comedy, you better hit me over the head with a big joke real fast, and those act break moments have to pop. I don’t even care if act three is no good. If acts one and two are good, we can fix act three.” -Michael Jamin (173)

“These days, I think it’s easier to break in, but harder to sustain a career.” -Michael Jamin (176)

“All my friends who came up in drama have houses and families. All my friends who came up in comedy are single and unemployed.” (188)

“There is much more turnover in comedy, and it is much harder to get your writing to stand out because so much is dictated by how you perform in the room.” (188)

“TV shows hire writers and form a writers’ room long before their announcement ever happens in Deadline. So, being in the know helps you get to the front of the line.” (206)

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“A Very Punchable Face” Quotes

“Harvard is a quarter athletes and legacies, a quarter geniuses, and then the remaining half are fairly smart kids who suddenly realize they aren’t geniuses.” (53)

“I spent about eighty hours a week at the Lampoon, and took an approach I would later take at SNL: I wrote more than anyone else because I wanted to improve as fast as I could.” (67)

“Only a couple made it into the magazine, I was still learning from all the rejections, too. My thought process was always: Keep writing new stuff. Don’t worry about what gets accepted or re-jected. Just keep moving forward and keep improving.” (67)

“It was the first time I was willing to put 100 percent of my effort into one single pursuit without fear of failing, because I loved doing it so much that I couldn’t focus on anything else. (It’s a miracle I graduated.)” (67)

“No one in comedy (or any field, really) succeeds in a vacuum. And the faster you find friends who challenge you and sometimes make you jealous, the faster you’ll grow as a comedian (and regress as a human).” (69)

“Liz Cackowski, one of the senior writers, warned me: “Don’t let it get to your head. Last year, a new writer got two sketches on his first show and by the end of the year he was fired.” … I took Liz’s advice to heart and completely let go of any joy I derived from my first sketch. It’s a Puritanical pattern I would follow for the rest of my career at SNL: If I had a great week, I would enjoy it on Sunday, then forget about it by Monday. And if I had a bad week, I would fall asleep on a pizza on Sunday, then forget about it by Monday.” (115)

“What you realize years later is that so much of your career is driven by your peers. Lorne always says, “You never want to be the smartest person in the room,” because you always want to challenge yourself and try to get to the level of the people you admire.” (118)

“Being the head writer at SNL is like being an assistant zookeeper at a zoo where you used to be a monkey.” (135)

“The reality is: If there are great writers on staff (and a great cast), you’re gonna look like a great head writer. If the writers are only so-so, then you better find new writers fast or they re gonna find a new you.” (139)

“The only other thing you can do is lead by example. If you want the staff to write smart sketches, then you have to write smart sketches yourself (and occasionally some really dumb sketches to keep them honest).” (139)

“Basically, I was terrified of fucking it up. And that might be the single worst instinct to have when you’re trying to make something your own.” (195)

“Any promotion or opportunity you get in life comes with increased exposure and increased criticism. The more people want your job, the more shit you’re gonna get for not doing it well. And the more famous you get, the more people are gonna hate you.” (199)

“Sometimes it takes a long time to learn how to play like yourself.” -Miles Davis (207)

“If I’m gonna get fired, I might as well get fired doing what I believe in. And after that moment, I never tried a joke unless I wanted to try it. I never went along with a bit I thought was lame just to appease someone else. And I truly didn’t care about getting fired. I wanted to tell jokes and write sketches that I cared about and not really worry about anything that was out of my control.” (208)

“The thing I learned about Weekend Update, and about SNL in general, is that no one (including Lorne) actually knows what they want until they see it succeed.” (208)

“I’ve learned to eliminate any joke I wouldn’t be excited to say on the air, even if it seems like a “safe” joke that “will work.” (I now hate the phrase “That will work.” It’s such a mediocre goal to set for yourself.)” (209)

“I’ve also learned that if a joke makes us laugh in our office on Friday night, it’s probably worth trying even if the audience doesn’t like it. Because why not? Even if the joke bombs at dress rehearsal, at least I can turn to Che and say, “Remember when we thought that was funny?”” (209)

“My first year on Update, Jason Sudeikis told me, “Try at least one thing on Update every week that’s totally your voice. That only you would write.” Four years later, that advice finally made sense.” (209)

“What I didn’t understand, having never hosted an awards show before, is that you need to violently prioritize the one or two ideas you really care about or they will get pushed aside.” (269)

“Out of the roughly thirty writers and cast members, only two of them were married and only one had kids. It’s a job for young, single people, because when SNL is at its best, the cast and writers are essentially living at work. They might go home for a few hours, but they’re still thinking about the show.” (306)

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“The Charisma Myth” Quotes

I recently read, “The Charisma Myth: How Anyone Can Master the Art and Science of Personal Magnetism” by Olivia Fox Cabane. Below are the quotes I found most interesting. If you like them, buy the whole book here.

“Charisma is the result of specific nonverbal behaviors, not an inherent or magical personal quality.” (4)

“When we first meet someone, we instinctively assess whether that person is a potential friend or foe and whether they have the power to enact those intentions. Power and intentions are what we’re aiming to assess. ‘Could you move mountains for me? And would you care to do so?’” (5)

“When you meet a charismatic person, you get the impression that they have a lot of power and they like you a lot… A final dimension underlies both of these qualities: presence.” (5)

“The three crucial aspects of charisma: presence, power and warmth.” (6)

“Three quick tips to gain an instant charisma boost in conversation:

  • Lower the intonation of your voice at the end of your sentences.
  • Reduce how quickly and how often you nod.
  • Pause for two full seconds before you speak.” (10)

“People will tend to accept whatever you project.” (19)

“Someone who is powerful but not warm can be impressive, but isn’t necessarily perceived as charismatic and can come across as arrogant, cold, or standoffish. Someone who possesses warmth without power can be likable, but isn’t necessarily perceived as charismatic and can come across as overeager, subservient, or desperate to please.” (20)

“We can’t micromanage charismatic body language.” (21)

“Our body language expresses our mental state whether we like it or not. Our facial expressions, voice, posture, and all the other components of body language reflect our mental and emotional condition every second. Because we don’t control this flow consciously, whatever is in our head will show up in our body language.” (21)

“To be effective, charismatic behaviors must originate in your mind.” (22)

“Chinese philosopher Lao Tzu reportedly said: “To know others is knowledge. To know oneself is wisdom.” (24)

“Because your brain cannot distinguish imagination from reality, imaginary situations cause your brain to send your body the same commands as it would for a real situation.” (24)

“Whatever your mind believes, your body will manifest. Just by getting into a charismatic mental state, your body will manifest a charismatic body language.” (25)

“Charisma has three essential components: presence, power and warmth.” (26)

“Any physical discomfort that affects your visible, external state – your body language – even slightly may affect how charismatic you are perceived to be.” (29)

“Signs of fatigue can easily show up in people’s body language as lack of enthusiasm.” (30)

“Check in with your face from time to time; notice if it is tense.” (31)

“Responsibility transfer:

1. Sit comfortably or lie down, relax, and close your eyes.

2. Take two or three deep breaths. As you inhale, imagine drawing clean air toward the top of your head. As you exhale, let that air whoosh through you, washing away all worries and concerns.

3. Pick an entity-God, Fate, the Universe, whatever may best suit your beliefs-that you could imagine as benevolent.

4. Imagine lifting the weight of everything you’re concerned about this meeting, this interaction, this day-off your shoulders and placing it on the shoulders of whichever entity you’ve chosen. They’re in charge now.

5. Visually lift everything off your shoulders and feel the difference as you are now no longer responsible for the outcome of any of these things. Everything is taken care of.

You can sit back, relax, and enjoy whatever good you can find along the way.

The next time you feel yourself considering alternative outcomes to a situation, pay close attention. If your brain is going around in circles, obsessing about possible outcomes, try a responsibility transfer to alleviate some of the anxiety. Consider that there might be an all-powerful entity-the Universe, God, Fate-and entrust it with all the worries on your mind.” (34-35)

“Try a responsibility transfer to alleviate some of the anxiety.” (35)

“Few things impact people’s performance more than how they feel about themselves.” (38)

“To destigmatize, remind yourself that this internal discomfort, whatever it might be, is a normal part of the human experience and a by=product of one of our brain’s survival mechanisms.” (44)

“Depersonalize the experience. Rather than saying “I’m feeling ashamed,” try “There is shame being felt.” Imagine that you’re a scientist observing a phenomenon.” (50)

“Neutralizing Negativity

Use the techniques below anytime you’d like to lessen the effects of persistent negative thoughts. As you try each technique, pay attention to which ones work best for you and keep practicing them until they become instinctive. You may also discover some of your own that work just as well.

• Don’t assume your thoughts are accurate. Just because your mind comes up with something doesn’t necessarily mean it has any validity. Assume you’re missing a lot of elements, many of which could be positive.

• See your thoughts as graffiti on a wall or as little electrical impulses flickering around your brain.

• Assign a label to your negative experience: self-criticism, anger, anxiety, etc. Just naming what you are thinking and feeling can help you neutralize it.

• Depersonalize the experience. Rather than saying “I’m feeling ashamed,” try “There is shame being felt.” Imagine that you’re a scientist observing a phenomenon: “How interesting, there are self-critical thoughts arising.”

• Imagine seeing yourself from afar. Zoom out so far, you can see planet Earth hanging in space. Then zoom in to see your continent, then your country, your city, and finally the room you’re in. See your little self, electrical impulses whizzing across your brain. One little being having a particular experience at this particular moment.” (50)

“We’re learning here to neutralize unhelpful thoughts. We want to avoid falling into the trap of arguing with them or trying to suppress them. This would only make matters worse.” (51)

“Because trying to suppress a self-critical thought only makes it more central to your thinking, it’s a far better strategy to simply aim to neutralize it.” (51)

“When people are induced into a negative emotional state and then asked to suppress negative emotions, their internal negative experience often remains unchanged and they sustain elevated stress responses in their brain and cardiovascular system.” (52)

“But what if you happened to learn that this apparently reckless driver was actually a distraught mother whose baby was choking in the backseat, and she was desperately trying to pull over into the breakdown lane while reaching back to save her baby’s life? Would that immediately reduce your anger?” (52)

“Deciding to change your belief about what happened (technically called cognitive reappraisal) effectively decreases the brain’s stress levels.” (53)

“Researchers concluded that deciding to change beliefs was a far more effective and healthier solution than attempting to repress or ignore emotions.” (53)

“In most situations, we don’t know for certain what motivates a person’s actions, so we might as well choose the explanation that is most helpful to us and create a version of events that gets us into the specific mental state we need for charisma.” (53)

“I sat down at the desk, pulled out pen and paper and asked myself: What if this unfortunate, unpleasant experience is absolutely perfect just as it is – the insomnia, the nausea, the fact that this is happening the very night before a high-profile assignment? In what way can this turn out to be absolutely perfect for me?” (54)

“I continued to write all the possible upsides of this unfortunate experience. I made this new reality as detailed and sensory-rich as possible: describing what I said, what the audience looked like, when and how they nodded and laughed throughout my speech.” (54)

“Write in the present tense: “The speech is going well…” Or, even better, in the past tense: “The speech was a complete triumph…” (56)

“Resentment is like drinking poison and waiting for the other person to die.” (57)

“Putting It into Practice: Getting Satisfaction

• Think of one person in your life who has aggrieved you.

• Take a blank page and write that person a letter saying anything and everything you wish you had ever told them. Really get into this-you have nothing to lose. Make sure you write it out by hand.

• When you’ve gotten absolutely everything off your mind and onto paper, put the letter aside.

• Take a fresh sheet and write their response just the way you wish they would respond. You might have them taking responsibility for their actions, acknowledging and apologizing for everything they’ve ever done that hurt you. You don’t need to find any justification for their actions, just an acknowledgment and an apology. It’s your imagination, so you get to decide exactly what you’d like to hear.” (57)

“The answer, surprisingly, is to delve into those very sensations of discomfort. That’s right. Though it sounds counterintuitive, rather than trying to suppress, ignore, or power through them, your goal is to give your full attention to the very sensations you’d instinctively want to push away.” (61)

“The next time you do this exercise, aim to create images that are even more detailed. Guided imagery must be precise, vivid, and detailed to be effective.” (70)

“When clients ask me if they should use visualization before an important speech, I answer, “Only if you want it to go really well!”” (72)

After fifteen years of speaking professionally, I find that doing even thirty seconds of visualization makes a substantial difference to my performance. It greatly affects how charismatic I am on stage. In fact, every time I don’t run through a visualization just before stepping on stage, I regret it. Even when I know the speech so well I could say it backward, it’s worth using visualization to ensure that I get into the right charismatic mental state.” (72)

“Before key meetings, she’ll imagine “the smiles on their faces because they liked me and they are confident about the value I’m bringing them. I’ll imagine as much detail as I can, even seeing the wrinkles around their eyes as they’re smiling.” She visualizes the whole interaction, all the way through to the firm handshakes that close the meeting, sealing the deal.” (73)

“A twenty-second hug is enough to send oxytocin coursing through your veins, and that you can achieve the same effect just by imagining the hug. So the next time you’re feeling anxious, you might want to imagine being wrapped up in a great big hug from someone you care about.” (73)

“To boost your charisma, choose figures who represent complete self-confidence, or warmth and caring, or calm and serenity. Or you might even find some figures who embody all the elements at once. Visualize yourself going to these figures for a “pep talk” anytime you feel you need one. Thanks to the brain’s wonderful placebo response, this will produce effects even if it doesn’t feel real.” (74)

“One way to invoke a sense of gratitude is to focus on little things that are physically present.” (76)

“Another good gratitude-enhancing tool is to view your life through a third-person lens, writing a narrative about yourself cast in a positive light.” (76)

“​​When our only aim is to broadcast goodwill, it takes the pressure off.” (80) 

“Goodwill is the simple state of wishing others well.” (80)

“One simple but effective way to start is to try to find three things you like about the person you want to feel goodwill toward… even if these are as small as “their shoes are shined” or “they were on time.”” (80) 

“When you start searching for positive elements, your mental state changes accordingly and then sweeps through your body language.” (80)

“In any interaction, imagine the person you’re speaking to, and all those around you, as having invisible angel wings.” (81)

“Paul Gilbert describes the process of accessing compassion as follows: first comes empathy, the ability to understand what someone is feeling, to detect distress; second, sympathy, being emotionally moved by dis-tress; and third, compassion, which arises with the desire to care for the well-being of the distressed person.” (82)

“You can think your way into compassion even if you don’t naturally feel it.” (82)

“Putting It into Practice: Compassion

Goodwill and compassion give you warmth to balance your power, and can save you from appearing overconfident or, worse, arrogant.

They can also be a stealth tool, a silver bullet that turns around difficult conversations.

Take the three steps below to practice compassion for someone you know:

1. Imagine their past. What if you had been born in their circumstances, with their family and upbringing? What was it like growing up in their family situation with whatever they experienced as a child? It’s often said that everyone you meet has stories to tell, and that everyone has a few that would break your heart. Consider also that if you had experienced everything they have experienced, perhaps you would have turned out just like they have.

2. Imagine their present. Really try to put yourself in their shoes right now. Imagine what it feels like to be them today.

Put yourself in their place, be in their skin, see through their eyes. Imagine what they might be feeling right now-all the emotions they might be holding inside.

3. If you really need compassion dynamite, look at them and ask: What if this were their last day alive? You can even imagine their funeral. You’re at their funeral, and you’re asked to say a few words about them. You can also imagine what you’d say to them after they’d already died.” (83)

“Helen had plenty of self-confidence. So what was she lacking? Warmth. People were impressed by how much she knew, but they didn’t feel cared for. Helen couldn’t emanate warmth because she had a hard time feeling it-whether for others or for herself.“ (84)

“Self-confidence is our belief in our ability to do or to learn how to do something. Self-esteem is how much we approve of or value ourselves. I’s often a comparison-based evaluation (whether measured against other people or against our own internal standards for approval). Self-compassion is how much warmth we can have for ourselves, especially when we are going through a difficult experience.” (84)

“Self-compassion is feeling that what happened to you is unfortunate, whereas self-pity is feeling that what happened to you is unfair.” (85)

“defines self-compassion as a three-step process: First, realizing that we’re experiencing difficulties. Second, responding with kindness and understanding toward ourselves when we are suffering or feel inadequate, rather than being harshly self-critical. Third, realizing that whatever were going through is commonly experienced by all human beings, and remembering that everyone goes through difficult times.” (86)

“Displaying confident body language will actually make you feel more confident; these feelings will in turn affect your body language.” (91)

“For confidence, assertiveness, and to be able to emanate gravitas, imagine playing the role of a military general, take a wide stance, puff up your chest, broaden your shoulders, stand straight, and confidently put your arms behind your back. Feel the effect of this posture internally.

For a boost in both energy and warmth, stand up, stretch your hands as high up as possible, inhale as much as you can imagine your rib cage expanding, doubling in size make the biggest smile you can and look upward, hold for a second, and then relax everything.” (92)

“I decided that I was a movie star incognito.” (93)

“Just as professional athletes and performers do, plan a gradual warm-up to reach your peak charismatic performance. Before important events, avoid experiences that would impair your mental state and plan warmth- and confidence-boosting activities instead.” (97)

“As always, body language trumps all other signs of charisma. Even if all the other signals are present, a body language of insecurity will undermine any possibility of authority charisma.” (105)

“To project power and confidence in your body language, you’ll need to learn how to “take up space” with your posture, reduce nonverbal reassurances (such as excessive nodding), and avoid fidgeting.” (106)

“Clothing, essentially, is modern-day tribal wear.” (118)

“An easy way to start interactions in a way that both communicates warmth and sends the conversation down the right path is to offer a compliment about something the person is wearing.” (123) 

“Continue with an open-ended question, such as “What’s the story behind it?”” (123)

“If they start asking about you and you want to refocus the conversation on them, use the bounce back technique. Answer the question with a fact, add a personal note, and redirect the question to them, as follows:

Other Person: “So where are you moving to?”” (124)

“Remember, it’s all about keeping the spotlight on them for as long as possible.” (124)

“Instead of saying “I read a great article on that subject in the New York Times,” try “You might enjoy the recent New York Times article on the subject.” Or simply insert “You know…” before any sentence to make them instantly perk up and pay attention.” (124)

“We are about to cover three keys to communicating presence: attentive listening, refraining from interrupting, and deliberate pausing.” (129)

“One simple but extraordinarily effective habit that will make people feel truly listened to and understood: they pause before they answer.” (130)

“When someone has spoken, see if you can let your facial expression react first, showing that you’re absorbing what they’ve just said and giving their brilliant statement the consideration it deserves. Only then, after about two seconds, do you answer.” (131)

“First, think about how you would behave if you were indeed speaking to the most important person in the room.” (135)

“imagine that the person you’re speaking with is the main star in a movie you’re watching right now.” (135)

“I tell all my clients: Don’t try to impress people. Let them impress you, and they will love you for it.” (136)

“Studies have consistently shown that audience ratings of a lecture are more strongly influenced by delivery style than by content.” (139)

“Increasing voice fluctuation means making your voice vary in any of the following ways: pitch (high or low), volume (loud or quiet), tone (resonant or hollow), tempo (fast or slow), or rhythm (fluid or staccato).” (140)

“One classic exercise to hone your projection skills is to imagine that your words are arrows. As you speak, aim them at different groups of listeners.” (141)

“Tempo: A slow, measured tempo with frequent pauses conveys confidence.” (141)

“Putting It into Practice: Vocal Power

The guidelines below will help you broadcast power through your voice.

1. Speak slowly. Visualize the contrast between a nervous, squeaky teenager speaking at high speed and the slow, emphatic tone of a judge delivering a verdict.

2. Pause. People who broadcast confidence often pause while speaking. They will pause for a second or two between sentences or even in the middle of a sentence. This conveys the feeling that they’re so confident in their power, they trust that people won’t interrupt.

3. Drop intonation. You know how a voice rises at the end of a question? Just reread the last sentence and hear your voice go up at the end. Now imagine an assertion: a judge saying

“This case is closed.” Feel how the intonation of the word closed drops. Lowering the intonation of your voice at the end of a sentence broadcasts power. When you want to sound superconfident, you can even lower your intonation midsentence.

4. Check your breathing. Make sure you’re breathing deeply into your belly and inhale and exhale through your nose rather than your mouth. Breathing through your mouth can make you sound breathless and anxious.” (141)

“There’s only one thing you need to do in order to project more warmth in your voice: smile. Smiling affects how we speak to such an extent that listeners in one study could identify sixteen different kinds of ~ smiles based on sound alone.’ This is why it’s worth smiling even when on the phone.” (142)

“Often, just thinking about smiling is enough to give your voice more warmth.” (142)

“Imagine that you’re a preacher exhorting your congregation.” (142)

“​​If your body language is anticharismatic, it doesn’t matter how great your message is.” (144)

“As a leader, the emotions conveyed by your body language, even during brief, casual encounters, can have a ripple effect through your team or even your entire company.” (145)

“The first is excessive or rapid nodding. Nodding once for emphasis or to express agreement is fine and can be an effective communication method, but nodding three or four times in rapid succession is not.” (161)

“The second hindrance is excessive verbal reassurance: making a sound, such as “uh-huh,” or a half-sentence, such as “Oh, I agree.” Done once, and consciously, this is fine; multiple times per sentence is not.” (161)

“The third issue is restlessness or fidgeting (tapping your pencil or foot, or rearranging items on the table). Fidgeting decreases presence, thus charisma. Even when you have warmth, confidence, and are mentally present, if you are physically restless, you can’t be charismatic.” (161)

“Aim to bring your chin down a few degrees.” (162)

“Asking for someone’s opinion is a better strategy than asking for their advice, because giving advice feels like more effort, as they have to tailor a recommendation to your situation, whereas with an opinion, they can just spout whatever is on their mind.” (168)

“Imagine that just a few hours ago they saw a beloved parent die.” (171)

“Here’s one specific— and surprisingly effective-recommendation for phone charisma, courtesy of author Leil Lowndes: Do not answer the phone in a warm or friendly manner. Instead, answer crisply and professionally. Then, only after you hear who is calling, let warmth or even enthusiasm pour forth in your voice. This simple technique is an easy and effective way to make people feel special.” (185)

“Write out the e-mail as you normally would, but before you send it, simply cut and paste so that whatever pertains to the other person appears first and most prominently.” (185)

“I often recommend that they go through their marketing materials (you can do the same with your e-mails) using two different-colored highlighters, one for things relating to them and the other for sentences that speak to their potential clients. If the second color doesn’t predominate, they have a problem.”” (185)

“It’s hard to have a question-and-answer period as compelling and energetic as your main speech. Almost inevitably, the Q&A period lowers the energy.” (190)

“Personally, I avoid formal Q&A entirely. Instead, my introducer warns the audience that there will be no Q&A session at the end, so their one and only chance to ask questions is during the speech.” (190)

“• Red conveys energy, passion. Wear red to wake up an audience.

• Black shows you’re serious and that you won’t take no for an answer.

• White exudes honesty and innocence, which is why defendants often choose it in the courtroom.

• Blue emits trust. The darker the shade, the deeper the level of trust it elicits.

• Gray is a good neutral, the quintessential color of business.

• Orange and yellow are not recommended. Because they are the first to attract the human eye, they are also the first to tire it.” (191)

“Express high expectations. Sometimes, simply assigning to people the labels you want them to live up to is enough” (202)

“Express this expectation as if you have full confidence that they can live up to it.” (203)

“Giving people a sense of ownership for your success is a great way to prevent resentment and engender good feelings, such as pride and loyalty, instead.” (208)

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“When I Stop Talking, You’ll Know I’m Dead” Quotes

I recently re-read (without realizing it!) “When I Stop Talking, You’ll Know I’m Dead: Useful Stories From A Persuasive Man” by Jerry Weintraub with Rich Cohen. Below are the quotes I found most interesting. If you like them, buy the book here.

“A person is a kind of memory machine. You collect, and sort, and remember, then you tell.” (xi)

“It was the beginning of my life as a working man. I got the jacket, of course, wore it till I lost it, but, by then, the jobs I had taken to buy the jacket had become more important to me than the jacket itself had ever been. At some point, you forget the object, and the means becomes the end. You work for the joy of the work. My father must have known this would happen.” (16)

“Over time, the neighborhood took on a different aspect for me. I saw it with new eyes. It was no longer just streets and stores: It was needs and opportunities, money to be made. Once you see the world this way, things are never the same.” (19)

“This much I knew: As soon as you feel comfortable, that’s when it’s time to start over.” (27)

“These are people (artists and actors) who do not make a product, perform an essential service, or, as my father would say, have an inventory, so even the most successful of them are haunted by the following thought: “Who really needs what I’m making?”” (33)

“An artist who attempts to get into business – to do what I do, produce or deal or whatever – is an artist who has stopped being an artist.” (34)

“Do not get attached to the world as it is, because the world is changing, something new is coming, every ten years a big hand comes down and sweeps the dishes off the table.” (38)

“Grunt jobs are often the most instructive – they allow you to flow through an organization unnoticed.” (39)

“The job of an agent is, in part, anyway, to bullshit and schmooze: How better to find talent than by seeing who can talk his way into a career? From usher to mailroom to secretariat pool to my own office.” (42)

“I have a theory. If you act like you’re in charge, no one will stop you.” (59)

“I go up to this security guard with a piece of paper in my hand and ask him a bunch of questions – “How long is your present shift?” “Did you find your training adequate to the task?” say, “Thanks, you’re doing a great job,” pat him on the shoulder, then walk past him to the elevators.” (59)

“I asked Mr. Disney what he was drawing. It was not Micky hitting Goofy with a club. It was a design for the bathing suit Deborah Walley would wear in Bon Voyage. He did not have a costume designer do it. He did it himself. The man was intense, but in an admirable way. He believed he had to control his product, utterly, as the product was really just him in another way.” (62)

“Nothing is more important than a relationship. It trumps politics, party, club. People are what matter.” (68)

“I am still the same kid who ran away from the Bronx. Life is strange – you travel so far, do so much, but the people you look for at the end are often the same people you looked for at the beginning.” (70)

“The man who rides in style often rides away with the big contract.” (74)

“When the man says no, pretend you can’t hear him. Look confused, stammer, say, “Huh?” Persistence – it’s a cliche, but it happens to work. The person who makes it is the person who keeps on going after everyone else has quit. This is more important than intelligence, pedigree, even connections. Be dogged! Keep hitting that door until you bust it down! I have accomplished almost nothing on the first or second or even the third try – the breakthrough usually comes late, when everyone else has left the field.” (76)

“The Colonel once scolded me, saying, “To you guys from the coasts, the country is New York and LA. Everything in between is just the blur you fly over. But I’ll tell you, that blur is where the audiences lives and where you make your money.” (80)

“To understand this country, you must understand the paintings in the Whitney Museum in New York, or know how to pretend to, but you must also understand the flamingos in Colonel Tom’s garden.” (80)

“Elvis was older than me. He was also the biggest star in the world. Yet he called me sir. It’s how he was raised. He was uneducated and country, but really, in many ways, a true gentleman.” (82)

“Let the other guy save face with his people, but keep score.” (98)

“Once you’ve established yourself, you can, to some extent, let business find you. You become a beacon, a door into a better life. “Can you do for me what you did for Elvis?” In other words, people seek you out.” (99)

“This is another part of the job: being able to cross frontiers, move from culture to culture, making everyone believe you are a fully committed citizen of each.” (103)

“Dean worked as a blackjack dealer in the Beverly Hills Club in Cincinnati. Dean’s whole philosophy was that everybody on the other side of the table is a sucker. Whoever he was dealing to was by definition a sucker. And when he got on stage, everybody in the audience was a sucker, too. That’s why he sang the way he did, cocky and nonchalant – because he was singing to the suckers. He couldn’t believe people actually paid to hear him.” (106)

“What had started as a ploy to snap Frank out of his depression had turned into a major deal – handled wrong, it could turn into a major embarrassment. At such times, I become obsessed with details. That’s where God is, so that’s where I go, with my notebook and phone numbers and head full of ideas.” (111)

“Sinatra taught me about spontaneity that night – this, too, helped me as a film producer. Live, let it happen. There’s never a better take than the first: Sinatra knew that in his bones.” (114)

“I sat and listened. John Denver made a connection immediately. That’s how it was with him – his talent. With each song, you felt he had opened his chest and was showing you his beating heart.” (119)

“You can evolve and grow but you should never resent your thing. If you look at how few artists actually make it, you will recognize that those trademarks, though in some ways limiting, are a gift of providence.” (121)

“At times, I used my other clients to break John. Fame is a private party. You can dazzle your way in with talent, or you can be vouched for. How far this can be carried depends entirely on who is doing the vouching.” (121)

“The song, the tour, the public appearances – these were a means to an end, which was not merely to have a hit, but to turn John Denver into a star: not a star in prospect, but a star now and yesterday, someone who has already happened, so accomplished it’s no longer up for debate. It’s why I did not present John Denver as an exciting find, or as someone who had recently been playing to an empty house in Greenwich Village, but as talent that had already made it, an accomplished fact. I sold him in the past tense, as someone you’ve known about for years. I was telling the audience to relax and enjoy, as the judgment has already been made. You love him! In this way, we skipped several steps, jumping directly from the early days of struggle to the golden years.” (122)

“If a bunch of men are discussing you, meeting about you, and scheming to destroy you, it probably means you’re doing something right.” (135)

“Work with the best people. If you have the best writers, the best actors, and the best director and fail, okay, fine, there is even something noble in it; but if you fail with garbage, then you are left with nothing to hang your spirits on.” (167)

“Was I there for every recital, or play, or concert? No, I was working. It’s nearly impossible to succeed in the world and also succeed in the house, which means, at some level, even if you do not realize it, you make a choice.” (177)

“Everyone stood when George Burns came in. For the actors, reading with him was like taking batting practice with Babe Ruth. But he was an old man, so you could not help but wonder how he would handle his lines. When we started reading, though, it was obvious he knew not only his part, but every part in the script. If John Denver fumbled, George Burns would correct him. He was incredible.” (183)

“As I always say, “Better too late than too early.” Too late means you look slow but still make a bundle. Too early means you look like you’ve lost your mind, and you get people shouting, “Kill that idiot.” But it also means there is a chance for rediscovery.” (187)

“It’s a danger of success: You’re a kid, and want only to be heard; then you are heard, by everybody, all the time, but your thought is, either, “Well, yeah, great, but now what?” or “Yes, they hear me, but it’s not the real me, not the voice I have in my head, or the person I want to be.” (198)

“You have to be willing to walk away from the most comfortable perch, precisely because it is the most comfortable.” (204)

“It’s nearly impossible to sell a story that has no grand concept, reads intimate and small, and is moody in the way a song can be moody – you get it or don’t. It was like trying to sell jazz to a person who’s never heard of Coltrane.” (206)

“With Armand, the event was always less interesting than the show. He wanted to be in the action, to see and be seen. He made a study of human drama – it was his life’s work. He was fascinated by everyone, high and low. He wanted to find out everything. He had a special interest in charisma and power, in great men, the special few who worked their will on history. Hammer participated, but he also observed. In this, he exhibited a kind of active detachment. He was in the game but removed from the game, playing and watching himself play. He made a spectacle of himself but enjoyed watching that spectacle.” (226)

“People think that Hollywood and politics operate in different spheres – they don’t. The world is very small at the top, with a few thousand players running everything. For a producer, an actor, a banker, a politician – name your celebrity – crossing genres is less a matter of making connections with the leaders of other industries than of climbing high enough in your own to reach the place where all lines converge.” (229)

“From Kennedy I learned that the best politicians are not different from movie stars. They charm, communicate, command. The good ones never make you feel isolated or small, as if they have something you don’t. Quite the opposite. They include you in their world, enlarge you, make you recognize the best qualities in yourself.” (230)

“At one point, I realized that everyone in the room had been on the cover of Time magazine. Secretaries of state, presidents, vice presidents. But when Reagan came in, everything stopped, everyone stared, then they rushed to him like moths to a flame. Whatever moment he was in became his moment. Whatever room he entered became his room. Some people have that. It’s the intangible quality that sells tickets and pulls nations out of funks. It’s where politics becomes showbiz, and showbiz becomes transcendent. A movie or a piece of art can save your life in the same way your life can be saved by a policy or law. This is why politicians seek out movie stars, and why movie stars want to become politicians. They seek the same target, which is the soul of the people.” (231)

“The Rebbe comforted me about life and death. He made me see that my general, uneducated sense of the world – that there is a God, an order, a plan – was not superstition or error, but correct, built into me for a reason, as my heart or lungs are built into me. Without it, I could not live. Which is why you need more than material things. I mean, yes, the material can be nice. I like having what I have, but I know none of it is mine, that we are only renters on earth, that even our bodies belong to someone else. Which is why you hunger even when you’ve had your fill. Life will never satisfy if it is experienced only as the rise and fall of commerce. You need to see yourself as part of something larger that never dies.” (240)

“As I hired staff and began planning projects, I realized he had given me the title but not the job. A title without a job is the worst of all worlds: it means taking all the blame while getting none of the credit and having none of the fun.” (244)

“The rooms had floor-to-ceiling windows through which you could see hills and cars moving in the canyons. There was art on the walls, shag on the floors, Perrier in the refrigerators, no expense spared. People judge on first sight, so make those surfaces shine. If you want to be seen as a major, look like a major.” (245)

“You grow into the suit. As a philosophy this means operation gon confidence, in the belief that something will happen, that the trick will work, that the backup will arrive with the heavy guns. It’s how America has operated from the beginning.” (245)

“I loved making movies, which resulted in hits, which increased my love, which sparked a desire for control, which caused me to start my own studio, which – and here is the paradox – took me out of the movie business and put me in the company running business, occupied not with writers and artists, but with health-care plans, office rivalries, and infighting. I had, in a sense, promoted myself right out of the job I always wanted, which was telling stories, producing. I lost touch with the films, which were now being made for me instead of by me and thus were no longer Jerry Weintraub Productions.” (246)

“Steve Ross, CEO of Warner Communications said, “What are you worrying about? You are a talented guy. That talent did not go away. The company went away? So what! Companies always go away. They’re a dime a dozen. It’s talent that counts!” (248)

“I learned how to act – and I am not saying I’m a good actor, only that I’m comfortable in front of a camera – after I learned how to stop acting.” (249)

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