A Quote by Ray Dalio
The main reason I write the daily observations is because I want to know where I'm wrong. So lots of times if somebody points something out it helps me, and I want to have a diversified bet of uncorrelated bets.
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There are just four kinds of bets. There are good bets, bad bets, bets that you win, and bets that you lose. Winning a bad bet can be the most dangerous outcome of all, because a success of that kind can encourage you to take more bad bets in the future, when the odds will be running against you. You can also lose a good bet no matter how sound the underlying proposition, but if you keep placing good bets, over time, the law of averages will be working for you.
I don't want somebody who writes like me [in my writing staff]. Because I can write like me. I know what I'm capable of and what my limitations are. If you're going to build an orchestra, you don't want all tubas - you want a violin and you want a cello and you want a drum set.
The one thing that I think separates Microsoft from a lot of other people is we make bold bets. We're persistent about them, but we make them. A lot of people won't make a bold bet. A bold bet doesn't assure you of winning, but if you make no bold bets you can't continue to succeed. Our industry doesn't allow you to rest on your laurels forever. I mean, you can milk any great idea. Any idea that turns out to be truly great can be harvested for tens of years. On the other hand, if you want to continue to be great, you've got to bet on new things, big, bold bets.
I think, as the writer, you're always going to mourn something [left out of a film]. But you also just want to know there's a good reason for it being left out. On the whole, you want to give something to somebody creative. The worst thing you can do is say, "Here, be creative, but do it like I want you to do it." I was always very mindful of that.
I've had a lot of fun, and when I talk to kids in journalism schools, I say, look, I know what the journalism teachers tell you that this is a great way to perform public service and all that, but I say the main reason, if you decide what you want to do is be a reporter, the main reason you want to do it is because it's just so much fun.
To let somebody get 30 points on you, and you feel good because you got 35 on them, that's not good for me, you know what I'm saying? If I get 35, I want him to get 12 or 14 because that means I've done something. I've done my job. I went out there and played hard and did what I had to do.
The thing that makes me want to write a piece of music is having something to talk about, you know? Something I want to get across. Because I'm a composer, music is my first language, and that's what I reach for when I want to convey something.
Gaga and Stefani are my nicknames. I guess when people meet me for the first time and call me Stefani, it bothers me. Because it's something that's reserved for only the people who are closest to me. It's not because I don't like my given name; it's that I became somebody else. I became somebody else for a reason, you know. This is part of what my message is - you can become whoever you want to be, to escape your past.
I always pull from something I know really well. Because I would never want to write about something that I hadn't experienced or that I hadn't witnessed happen to somebody else because it wouldn't be genuine.
But the reason we have this built-in desire for happiness is because we're created in God's image. He wired us to want to be happy. Unfortunately, we sometimes disassociate happiness from its true source, which is God Himself. Satan tempts us by offering us happiness, because he knows that's what we want. But he offers it in the wrong places, at the wrong times, and in the wrong things.
The other reason I didn't want to fictionalize it is because one of the main points of publishing a memoir in nonfiction was that I wanted to write about what had been a very lonely experience. The books that most saved my life as a kid were the ones that articulated lonely experiences that I had thought were mine alone.
I don't want to put out something I'm not psyched on just because I finished it. That's the stupidest reason to do something, really. I want it to be up to my standards. I don't want to put out something I wouldn't listen to.
I never want to write something until I know every scene in the movie. I don't want someone hiring me and then me not being able to write it. Which is always a fear. So I like to figure it out, know all the characters, and know almost every scene in the movie before I start writing.
I always freak out when people ask me about my favorite bands or my five favorite records, I just can never do that because it goes through different waves and sometimes you want to listen to something and at other times you want to listen to something else so I don't know.
When I drive, I check out everything I see, and just taking in all those observations helps me think. So I draw and write a lot as I drive, and I know that's dangerous, but I manage to do it off to the side, with my notes on the seat.
I don't just want to show how somebody might be wrong;I want to know why people believe the things they believe in the first place. I want to understand the mindset that would lead somebody toward the alt-right.
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