@SenatorBurr , @SenBillCassidy @SenatorCollins @lisamurkowski @MittRomney @SenSasse @SenToomey @Mike_Pence

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I have spent a long time think of this an many months writing and rewriting it I have found it very difficult to put into words my feelings about what has
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happened to the Republican Party. I will say to the chagrin of my many liberal and democratic friends that I was once a Republican. I did not change the Republican Party left me, today I don’t even recognize the Republican Party for it is truly the Party of Trump.
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It has morphed into a party that hates anyone who is not a hardcore Trumper who will not blindly devote themselves to Trump, Republican ideals be dammed.

I say to you, If you want to save the Republican Party leave it, for they have left you,
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I will say without hesitation the rank and file of the Republican Party hates you, and no sir, it is not a small minority of the Party. Let their be no doubt this is the Party of Trump

Before Trump I thought I was pretty middle of the road, a middle right American
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I support a women’s right to choose, even though it would not be my choice

Myself I am not a religious person, I consider myself Spiritual, I do believe their must be some kind of creator, what it is, is beyond my comprehension. What you believe is your right and
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Something I see all the time in my research and writing and talk about frequently in my coaching practice is the need to marry fierce self-discipline with fierce self-compassion.

On sustainable success, peak performance, and career advice.

THREAD 👇👇

Self-discipline: Pursuing what one thinks is right despite temptations to abandon it; focus on task hand; showing up consistently, even when you don't want to.

Self-compassion: Being kind to yourself in the midst of struggle; creating space to hold softly what you are feeling.

Research shows clearly that both self-discipline and self-compassion are associated with sustainable peak performance.

Self-discipline is your fuel as you move forward on your respective path. Self-compassion is your guard-rail: it keeps you on course when you go astray.

Self-compassion is especially powerful when things are hard or when you experience failure.

Why? Simple.

If when you fail you are judgmental and beat yourself up all you are doing is wasting energy. If you are kind to yourself, you can simply get up, adjust, and go again.

Self-compassion makes you fearless.

If you cultivate strong self-compassion you can take risks and fail and go to hard places knowing you can hold it all and still be okay.

It doesn't make hard things less hard; it makes you more able to handle them. (See work: @DennisTirchPhD)

THREAD: How to choose what to write about.

When you're blocked by the lie of "writer's block."

1. First, where I get ideas from:

• I teach others and rewrite the transcriptions into blog posts.

• I capture real stories I tell over dinner. Vulnerable, authentic experiences.

• I find strong opinions (on Twitter) that I disagree with. My counter-argument becomes a post.

Of these ideas, the BEST is whichever I can't not write about.

Which idea, of all those swimming inside your brain, are you compelled to pursue the way Ahab was driven to hunt Moby Dick?
—Steven Pressfield

Here's the two-step framework for finding your "must write" ideas:

My first step is choosing an objective for my article, such as:

Thread: Common instances of passive voice in rules text that can be clearer with more direct voice.

But first: Why do we so often write rules in passive voice? Outlining the "laws" of our game feels like a very formal position with an of aloof authority. Avoid that voice.

"THE PLAYER"

Question any instance of "the player" in a sentence. If you are addressing one player, address them directly in the first sentence of the paragraph and use "you" thereafter.

"If you are the first player, you may X, Y, then Z. If you X, see next page."

"HAVE/HAD/HAS/'D/"

Examine any of these words or contractions. There is usually a more succinct way of phrasing that sentence in the present tense and direct address.

"The player who has just moved must..."
vs.
"After you move, you must..."

"WE"

If you want to put yourself at the table with the players, do so CONSISTENTLY. A random "we" in one paragraph really sticks out. You can even play with voice that way.

"We suggest using option A for your first game."
vs.
"Ahoy, cadet! Use option A for your first game!"

"YOU MAY BUILD, HARVEST, or REST."

Break up action options into a bulleted list rather than a long sentence. e.g.

"On your turn, do one of the following:
• Build: Pay X to place a card.
• Harvest: Destroy a card to gain X.
• Rest: Draw a card from the deck."

Flying is accidentally the best ever environment for DEEP work and reflection.

Writers like @rickygervais do their best work on airplanes.

Here's 6 reasons why.

THREAD...

What looks like a bug - can often be a feature.

“A change of perspective is worth 80 IQ points.”

The restrictions we face on airplanes is what makes the experience so liberating.

AIRPLANE FEATURE 1 - HIGH EXIT COSTS

You can't find any escapes.

If you try to escape, you face death.

Negative incentives are built into the system.

"Incentives are a super power." - Charlie Munger

AIRPLANE ADVANTAGE 2 - NO INPUTS

There's no newsfeeds to refresh. No emails to reply to.

It's like knowing your heroin dealer is in a coma.

Boredom is built into the system.

Your monkey mind can't access dopamine - so it starts creating its own.

It is a distraction-free environment:

1. No socialising - You don't know anyone. No small talk.

2. No sound inputs - The engine acts as white noise.

3. No visual inputs - The seating structure means you see barely anybody.

Gonna talk "pitching story" for a moment, because that's how I get most of my screenwriting work and it's hard to find practical information about the art of it online and in books. This is just my experience and approach, but in the age of zoom, some of this may be helpful...

My primary goal when I pitch is TO ENGAGE THE AUDIENCE EMOTIONALLY. Yes, I'm telling the story, but for me storytelling is a vehicle that delivers emotion to an audience. I structure my pitch around emotion.

I learned this from my TV boss, Greg Walker.

How do I do it?

Two things I make sure I have in my pitch.

1. An early moment, usually in the first 30-60 seconds of speaking that creates a VIVID, EMOTIONALLY PROVOCATIVE IMAGE in the mind of the listener. We're pitching movies and TV. Those are VISUAL MEDIUMS. I drop that image early.

Sometimes, even though I can't draw, I'll sketch it out just to make *sure* it works. It'll usually revolve around a plot point, but the main goal is to get the audience to stop listening and start SEEING what I'm saying.

Then it's like storytelling at a campfire.

Having that image EARLY in your pitch can let the audience know that THIS IS INDEED A MOVIE. Once they can see the movie, then they're a little more with you. It still may not be the movie they want, but it's a movie. That's a win. The second thing I do is --

The first principles of selling online:

1. Increase the number of people who see your product.

2. Increase the percentage of people who see your product that buy it.

3. Increase the percentage of people who buy your product that rave about it.

Writing increases all three.

Want to know the secret to getting past the blank page when you sit down to write?

Here's how I've mastered it. THREAD!

1. You need to write an ugly first draft.

This doesn’t have to be pretty, make sense, or go into detail yet — it just needs to be words on the page.

I’ve seen lots of people talk about the idea of “writing ugly” at a high level, but not many that spell out how to do it.

2. First things first: Create a framework.
Before you try to get too in-depth, create a loose framework. It should look something like:

· Intro
· Background
· Specific Points/Ideas/Tips
· Conclusion

This allows you to visualize what you'll build upon. It’s your road map.

3. Middle First

You’ll want to focus on the middle section of your outline first. Nail down the examples or points you want to walk through.

Include internal + external resources (and quotes!) for reference. Bullet points work well here.

4. Background

Once you have the middle section complete, look at it as a whole to determine what kind of background information you need to share so the reader has relevant context.

This could be a fictional scenario, a story, a quote — something that provides a backdrop.

I've been talking to @polygon's @TashaRobinson about my books for nearly two decades. She was one of the reviewers to dig into Down and Out in the Magic Kingdom, my debut novel, all the way back in 2003 when she was at @theonion's @TheAVClub.

https://t.co/t55DCpCNAl

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She's always had smart things to say about my books (and is never shy about criticizing them) so I was delighted to talk with her about my latest, ATTACK SURFACE, for an interview: "Cory Doctorow on his drive to inspire positive

As the title suggests, the interview digs into the relationship between our narratives about the future and the future itself when it arrives - the delights and perils of dystopianism, a philosophy that I find seductive even as I reject it.

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Many conversations and books disabused me of dystopianism, but the turning points came from a pair of woman historians. First: Rebecca Solnit's "A Paradise Built In Hell" - a gorgeous, brilliantly researched book about the true histories of

And second was @Ada_Palmer's legendary end-of-year event with her undergrad Renaissance history students at the University of Chicago:

Writing scales, talking doesn’t.

If you're not writing, you're not making use of the simplest forms of leverage.

Why is writing important within companies, and how to do it well?

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[THREAD]: Here are 10 (painful) lessons I've learned writing 3,000+ articles on the internet over the past 7 years.

On writing advice, growth hacks, going viral, and feeling fulfilled in the process 👇

1/ There is only 1 secret to online writing.

Volume wins.

There isn't a writing platform on the internet where this ISN'T the case. Social platforms. Major publications. Every growth period of my writing career happened during months/years of consistent volume.

Period.

2/ Growth hacks are overrated.

In my early 20s, I spent a LOT of time reading digital marketing blogs about how to get 50% more views here, or 20% more subscribers there.

A lot of it is mental masturbation.

You're far better off just consistently creating new content.

3/ Writing that engages/goes viral is emotional.

You don't have to "air your dirty laundry," but you do have to say something that makes the person on the other side of the screen pause, *feel you*, and engage.

This can be done through story, tone, before/after photos, etc.

4/ You don't go viral by getting lucky.

You go viral by publishing day after day, week after week, year after year.

My Quora dashboard is a great example. Out of 1,200+ Answers, less than 100 have gone viral.

That's not luck. That's rolling the dice 1,200+ times.

You doing the academic book thing? Dope! A thread.
1. Do your homework. Sometimes the most prestigious academic press that (more) established scholars fawn over ain't meant for your research. Peep their acquisition editors, their titles, etc. Is it a fit?

2. Don't cold-submit a manuscript. Reach out to an editor. Talk about your work. Tell them where you are in the project. If y'all vibe, they'll ask to see what you got. Have it ready. Which leads to my next suggestions:

3. Don't waste your time or the editor/press' time. Bring your A game. If you are revising your diss, you need to scrap it to its bare bones starring YOU. You the authority. All that citing needs to fall back to the footnotes LOL. How are you changing/adding to the convo?

4. If you are starting from scratch - I did with Chronicling Stankonia - take some to figure out your burning question and its potential answer and learn to elevator pitch it. What you talking about? Why is it relevant? What new ground you breaking or revisiting?

5. Aight so boom you get invited to submit a proposal for peer review. Aaaaye! Your proposal is the blueprint: What's your project about? Why should it be published? Who would you be next to on the shelf? What makes you shine? Why xyz press? What is your timeline?

LARPing Our Way To Armageddon

The intense and present danger of fantasy

a thread

One of the interesting things about the scifi / fantasy writing community is that it contains many people who have much higher tolerance for fantasy than the norm.

People who can be around fantasy a lot, without losing track of reality.

Counter intuitive perhaps. But people who deal with fantasy at a professional level become expert at recognising its stench.

That's a useful skill in 2021, when the world, and particularly America, is being sucked into a vortex of unreality.

Because human beings do not, as a rule, have good tools for distinguishing fantasy from reality.

This isn't a bug of humankind, it's very much a feature.

Humans are what we are because of our ability to engage in the shared fantasy we call society / culture / civilisation.

Homo Sapiens are the species that LARPs

Which has always brought with it some structural issues

That just got waaaaaaaaaaay more serious

Someone asked me recently about breaking into the video game industry as a writer / narrative designer. There's so, so much good advice out there that I only tend to hit this topic on rare occasion. But it's been a while, so let's go!

(Why my answer is worth anything: I've been doing this for about fifteen years and I've hired a lot of writers and editors. Why my answer isn't worth anything: My view of the industry is fairly narrow and I haven't tried to break in for a while, so I'm arguably out of date.)

First: Write, write well, and write video games. Published non-games material is great, but at this point there's no reason not to put together a Twine game or similar to add to your portfolio. Show you're interested in the medium.

If you're applying to a job that requires a writing test (most companies serious about narrative will require one), do what the test says. Follow instructions. Show you can deliver what your client is asking for. Do it well.

If you're submitting other samples, make them diverse in style / tone / character voice--show range. If you want to be artsy and experimental, you can INCLUDE that but it shouldn't be the focus. I want to know someone can tell a straightforward story adeptly. Basics first!

How to outline articles:

A blend of @david_perell's process and SEO:

1/ David starts with a quote, a vague idea, or a concept that generates curiosity.

2/ Then, he searches inside his note-taking system for extracts and reflections related to the prompt.

These ideas come from his daily knowledge consumption.

3/ He then assembles extracts to create a narrative around a thesis.

An incomplete thesis will make a reader bounce. While the opposite makes them crave more of your content.

4/ Some of us never built a database.

To fix this, type your prompt into Google and examine the search results:

-People also ask
-Google autocomplete
-Image recommendations
-Related searches at the bottom

These will help you structure your post while following SEO practices.

5/ After creating an outline based on his notes, David rewrites sentences, words, and paragraphs from memory.

He adds personal anecdotes, analyzes ideas, and creates his narrative—A process he defines as POP writing.

As we’re heading into the #PitchWars showcase and since the conversation seems abuzz...here’s a thread of questions I would recommend you ask not only potential agents during The Call, but references, and clients you reach out to personally:

1) What happens if we don’t sell this project? Are you willing to look at a pitch in the same genre?

I heard a panel recently where half the writers were dropped by their first agent after they pitched their second project. Be sure to ask around outside of the agent on this one.

2) Are you an editorial agent? Why or why not?

Meaning, will they revise the manuscript with you beforehand or just do small edits and send it off to editors. Both have their pros and cons, and one might matter to you more.

3) How many clients do you have and how do you juggle your workload with your clients?

In other words, how much time do they have to devote to you and your career. You can also ask, on average how long does it take to get a project on sub?

4) How would you describe yourself as an agent? What are some ways that others have described you as an agent?

This one I think is rarely in questions lists, but I think it’s a fun one to see how passionate an agent gets about their career.

In the last 60 days, I've helped 253 people build an online writing habit.

Here are 10 lessons they've taught me in behavior change, human psychology, and writing online.

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1. Start smaller

The foundation of Ship 30 for 30 is the Atomic Essay.

• One idea
• Under 200 words
• Fits in one iPhone screenshot

This eliminates any friction to publishing ideas online.

And without that friction, momentum is inevitable.

2. Constraints create freedom

"Write something every day" is hard.

There are too many choices to make.

"Publish a 200-word essay with a 30-minute time limit every day for 30 days."

This is easier.

Within these constraints, creativity thrives.

3. Results come from tight feedback loops

The foundation of Ship 30 for 30 comes from @jackbutcher:

Make noise, listen for signal.

Weekly blog posts sent into the void = no feedback.

Daily Atomic Essays on Twitter = immediate feedback.

Faster feedback = faster iterations.

4. Impostor syndrome is curable

But not with common advice of "believing" in yourself.

Early writers think everyone else has figured out.

Until they start writing.

Then, they realize everyone is figuring it out as they go.

Cure impostor syndrome with action, not belief.

I realized the other day I've been doing this writing thing for almost eleven years exactly.

I became a writer the day I attended my first writing class at a local night school approx. Feb 8th, 2010.

Out of curiosity, I've been looking at the numbers over my career. (1/)

Can I share those numbers? Yes.

Am I procrastinating on actual writing projects right now? Also yes. Don't tell my editors.

Let's do this! (2/)

Over eleven years I've had:

250 short story submissions*
33 original fiction publications
3 essays publications
200 rejections

*approx. number. My records pre-2013 are shaky. In 2013 I started using The Submission Grinder. I still use it. (3/)

I started writing short stories February 2010 and started submitting them in August 2010. I got my first acceptance in September to a micro-fiction magazine. Nonpaying* and now defunct.

*I didn't learn I should expect a contract for my stories until 2013. (4/)

I "sold" 8 stories to non paying magazines between September 2010 and July 2012. It made baby writer me very happy and also taught me how sloppy many of these mags were, though they meant well.

Eventually I took the advice "writers should get paid for their work!" to heart. (5/)