A priority is observed, not manufactured or assigned. Otherwise, it’s necessarily not a priority.

Merlin Mann

Better to light a single candle than to curse the darkness.

Framing

  • A loss is more devastating than the equivalent gain is gratifying.
  • People tend to avoid risk when a positive frame is presented but seek risks when a negative frame is presented.
  • A sure gain is favoured to a probabilistic gain.
  • A probabilistic loss is preferred to a definite loss.

Choice of language: connotations and denotations

  • I am righteously indignant; you are annoyed; he is making a fuss about nothing.
  • I am a creative writer; you have a journalistic flair; he is a prosperous hack.
  • I am an epicure; you are a gourmand; he has both feet in the trough.
  • I am sparkling; you are unusually talkative; he is drunk.
  • I am fastidious; you are fussy; he is an old woman.
  • I am beautiful; you have quite good features; she isn’t bad-looking, if you like that type.
  • I day dream; you are an escapist; he ought to see a psychiatrist.
  • I have about me something of the subtle, haunting, mysterious fragrance of the Orient; you rather overdo it, dear; she stinks.

Never argue with a fool, they will lower you to their level and then beat you with experience.

Woody Allen

Cool

One of the surest tests [of the superiority or inferiority of a poet] is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.

TS Elliot

Speech Disfluency

Various breaks, irregularities, or non-lexical vocables that occur within the flow of otherwise fluent speech, including:

  • false starts, i.e. words and sentences that are cut off mid-utterance, phrases that are restarted or repeated and repeated syllables, 
  • fillers i.e. grunts or non-lexical utterances such as “uh”, “erm” and “well”, and 
  • repaired utterances, i.e. instances of speakers correcting their own slips of the tongue or mispronunciations (before anyone else gets a chance to).