A Quote by Jim Rohn
Real persuasion comes from putting more of you into everything you say. Words have an effect. Words loaded with emotion have a powerful effect.
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According to the Law of Cause and Effect, every effect must have a cause. In other words, everything that happens has a catalyst; everything that came into being has something that caused it. Things don't just happen by themselves.
If you want to be good at anything, you have to work hard at it. It doesn't just fall from the sky. I work every day at trying to improve my writing, and I really enjoy it. Nothing fascinates me more than putting words together, and seeing how a collection of words can produce quite a profound effect.
The words 'alone,' 'lonely,' and 'loneliness' are three of the most powerful words in the English language. Those words say that we are human; they are like the words hunger and thirst. But they are not words about the body, they are words about the soul.
I have this theory that the more important and intimate the emotion, the fewer words are required to express it. For instance in dating: 'Will you go out with me?' Six words. 'I really care for you.' Five words. 'You matter to me' Four words. 'I love you.' Three words. 'Marry me.' Two words. Well, what's left? What's the one most important and intimate word you can ever say to somebody?
'Goodbye...'
In the performance of an illocutionary act in the literal utterance of a sentence, the speaker intends to produce a certain effect by means of getting the hearer to recognize his intention to produce that effect; and furthermore, if he is using the words literally, he intends this recognition to be achieved in virtue of the fact that the rules for using the expressions he utters associate the expression with the production of that effect.
Sticks and stones may break my bones, but words can never hurt me." The adage is true as long as you don't really believe the words. But if your whole upbringing, and everything you have ever been told by parents, teachers and priests, has led you to believe, really believe, utterly and completely, that sinners burn in hell (or some other obnoxious article of doctrine such as that a woman is the property of her husband), it is entirely plausible that words could have a more long-lasting and damaging effect than deeds.
Gentle words, quiet words, are after all the most powerful words. They are more convincing, more compelling, more prevailing.
Words, isolated in the velvet of radio, took on a jeweled particularity. Television has quite the opposite effect: words are drowned in the visual soup in which they are obliged to be served.
The imagination loses vitality as it ceases to adhere to what is real. When it adheres to the unreal and intensifies what is unreal, while its first effect may be extraordinary, that effect is the maximum effect that it will ever have.
The old idea that words possess magical powers is false; but its falsity is the distortion of a very important truth. Words do have a magical effect - but not in the way that magicians supposed, and not on the objects they were trying to influence. Words are magical in the way they affect the minds of those who use them.
Music moves me - duh - and that is like having a window opening on a heightened reality, but the effect is fleeting: When the music ends, the magic, the uplifting, vanishes and the window slams shut. Words, on the other hand, by the nature of how they work, emotions evoked by dint of carefully laid out thoughts, have a more lingering effect.
Writing is not like acting, where you can pull these little stunts that create a particular effect. Words are all it is about, and the way you use words has to be individual and particular to you.
What I'm really involved in when I'm writing is something that no one ever mentions when they see any play. Writing is like trying to make gunpowder out of chemicals. You have these words and sentences and the strange meanings and associations that are attached to the words and sentences, and you're somehow cooking these things all up so that they suddenly explode and have a powerful effect. That's what absorbs me from day to day in writing a play.
The real is behind and beyond words, incommunicable, directly experienced, explosive in its effect on the mind. It is easily had when nothing else is wanted.
I have a mess in my head sometimes, and there's something very satisfying about putting it into words. Certainly it's not something that you're in charge of, necessarily, but writing about it, putting it into your words, can be a very powerful experience.
First, in the history of words there is much that indicates the history of men, and in comparing the speech of to-day with that ofyears ago, we have a useful illustration of the effect of external influences on the very words of a race.
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