This is the best explanation so far of the subconscious mind - and the induction techniques are quick and work well. Very useful.
As the author says, he has done a lot of research, reading, and practicing of other people's methods and has distilled the best of what he's learned into one book.
The techniques here are useful for many interests, not just to program our subconscious, but this would be very handy for people interested in remote viewing or out of body experiences. Or, for people interested in improving their athletic performance, studying, work, confidence, memory . . . there are all kinds of applications for this.
I have bought other Audible books related to meditation, the brain, and consciousness, and while I do appreciate them and the other author's works, this one book would have saved me a lot of time since it just gets to the point and gets the job done.
The explanations make it so understandable and possible and real too.
Mark Rashid's book is a series of horse training stories. Or, is that human training stories? Because, after all, many of the experiences he shares are really about changing the way people interact with their horses.
We could all go through life learning from our mistakes, or we can save a lot of time and learn from other people's mistakes as well. When I listen to the stories told by horse or dog trainers, and watch them help people change their own behavior in order to improve their relationship with their animals, I often see myself in the people behing helped. Thus, I have been able to make my own animals' lives better by learning from such stories.
Mark Rashid's stories help me and my horses, and the thread running through his stories is one of calm and perceptiveness.
Just a simple mention of a horse's need to decompress in new surroundings helped me out this week after I moved the round pen and a normally calm unflappable horse was not paying attention. I realized we weren't going to "learn" anything while the horse was busy adjusting to the new sights, so left her in the round pen to calm down and adjust, and we could do training stuff the next time, or the next after that if that's what she needed.
This book is inspirational and can be life changing. I like the way some stories were about paying attention to the horse's feelings and input. Especially the one about the horse Buck, who should have been paid attention to when they were looking for the lost gelding.
Because this is a 2nd Edition book, there are interesting notes and commentary made by Mark Rashid at the end of various chapters, as it is evident he is also growing, evolving and changing. He makes relevant comments about the chapter we just heard from his perspective looking back over time.
The narrator was pretty good, although he pronounced the words "longe" and "dressage" in interesting ways. Maybe they are pronounced that way in various regions. Or maybe he isn't a horse person.
I highly recommend Mark Rashid's books to horse people - and horses probably would too if they could talk out loud.
Stein is an author, editor, and publisher. His advice is geared toward fiction, with some thoughts for nonfiction. I am a reader and reviewer of books, not a writer. I have strong likes and dislikes about books I’ve read. I’m reading some “how to write books” to see if I agree with the experts. I’m delighted to say that writers who follow Stein’s advice will very likely make me happy when reading their books. I am more liberal than Stein in two areas: the first three pages of a book and his fifth commandment. Scenes that end prematurely are a subject Stein did not discuss, but I believe he would agree with me.
ADJECTIVES, ADVERBS, & FLAB:
For a while now I have been confused when I hear people say “cut adverbs.” I’ve loved some colorful writing that adverbs produce. I made a list of wonderful sentences with adverbs written by J.K. Rowling, John Grisham, and Georgette Heyer. I recently read three Hemingway short stories and noticed a lot of adjectives and adverbs in two of them. That intrigued me because he is famous for concise writing. Stein is the first expert who explains this subject to my satisfaction. Although he recommends cutting most adjectives and adverbs, he gives examples showing when they are valuable. I like his view. Stein and I both like the following paragraph which is full of adjectives and adverbs. Although a novel filled with this should probably be labeled poetry rather than fiction. Still it shows the emotional and sensual ability of adjectives and adverbs. Stein calls it “a nearly perfect paragraph.” It was written by a student of his, Linda Katmarian.
“Weeds and the low hanging branches of unpruned trees swooshed and thumped against the car while gravel popped loudly under the car’s tires. As the car bumped along, a flock of startled blackbirds exploded out of the brush. For a moment they fluttered and swirled about like pieces of charred paper in the draft of a flame and then were gone. Elizabeth blinked. The mind could play such tricks.”
Stein says “She’s breaking rules. Adjectives and adverbs which normally should be cut are all over the place. They’re used to wonderful effect because she uses the particular sound of words ‘the low hanging branches swooshed and thumped against the car. Gravel popped. Startled blackbirds exploded out of the brush. They fluttered and swirled.’ We experience the road the car is on because the car ‘bumped’ along. What a wonderful image. ‘The birds fluttered and swirled about like pieces of charred paper in the draft of a flame.’ And it all comes together in the perception of the character ‘Elizabeth blinked. The mind could play such tricks.’ Many published writers would like to have written a paragraph that good. That nearly perfect paragraph was ...”
Another example. Stein does not like the sentence “What a lovely, colorful garden.” Lovely is too vague. Colorful is specific therefore better; but lovely and colorful don’t draw us in because we expect a garden to be lovely or colorful. There are several curiosity provoking adjectives you might use. If we hear that a garden is curious, strange, eerie, remarkable, or bizarre, we want to know why. An adjective that piques the reader’s curiosity helps move the story along.
Stein says when you have two adjectives together with one noun, you should almost always delete one of the adjectives. He also recommends eliminating the following words which he calls flab: had, very, quite, poor (unless talking of poverty), however, almost, entire, successive, respective, perhaps, always, and “there is.” Other words can be flab as well.
PARTICULARITY (attentiveness to detail):
I love the following comparison. “You have an envelope? He put one down in front of her.” This exchange is void of particularity. Here’s how the transaction was described by John LeCarre. “You have a suitable envelope? Of course you have. Envelopes were in the third drawer of his desk, left side. He selected a yellow one A4 size and guided it across the desk but she let it lie there.” Those particularities ordinary as they seem help make what she is going to put into the envelope important. The extra words are not wasted because they make the experience possible and credible. (My favorite part: “Of course you have.”)
FLASHBACKS AND SCENES THAT END PREMATURELY:
Stein discourages flashbacks. He says they break the reading experience. They pull the reader out of the story to tell what happened earlier. Yay! I agree! I don’t like them either.
I don’t recall Stein discussing “ending scenes prematurely,” but I think (or hope) he would agree with me that they also “break the reading experience.” For example, Mary walks into a room, hears a noise, and is hit. The next sentence is about another character in another place. Many authors do this to create artificial suspense. It makes me angry, and my anger takes me out of the story because I’m thinking about the author instead of the characters. You can have great suspense without doing this. Stein says “The Day of the Jackal” is famous for use of suspense. The scenes in that book have natural endings.
FIRST THREE PAGES OF A BOOK MAY NOT BE AS CRITICAL AS THEY USED TO BE:
Stein said a “book must grab the reader in the first three pages or they won’t buy the book.” This was based on studies watching customers in book stores. They looked at the jacket and then the first one to three pages. They either put it back or bought it. I think the internet changed things by providing customer reviews. I buy around 240 books a year. I never buy a book based on the first three pages. My decision to buy is based on customer reviews and/or book jacket summaries. I suppose the first three pages might still be important for customers in physical stores like Barnes & Noble and Walmart. But today we have books that become best sellers as ebooks and subsequently are published in paperback, for example Fifty Shades of Grey. Bloggers and reviewers spread the word, not bookstore visitors.
STEIN’S TEN COMMANDMENTS FOR WRITERS:
I’ve edited for brevity and to remove thou shalt’s.
1. Do not sprinkle characters into a preconceived plot. In the beginning was the character. (I like this, but I also think Stephen King has a good idea - something to try. He creates a “situation” first, then the characters, and last the plot.)
2. Imbue your heroes with faults and your villains with charm. For it is the faults of the hero that bring forth his life, just as the charm of the villain is the honey with which he lures the innocent.
3. Your characters should steal, kill, dishonor their parents, bear false witness, and covet their neighbor’s house, wife, man servant, maid servant, and ox. For readers crave such actions and yawn when your characters are meek, innocent, forgiving, and peaceable. (I love this.)
4. Avoid abstractions, for readers like lovers are attracted by particularity.
5. Do not mutter, whisper, blurt, bellow, or scream. Stein prefers using “he said.” (I’m not sure about this one. I like hearing these words. Maybe in moderation?)
6. Infect your reader with anxiety, stress, and tension, for those conditions that he deplores in life, he relishes in fiction.
7. Language shall be precise, clear, and bear the wings of angels for anything less is the province of businessmen and academics and not of writers. (I assume this includes cutting adjectives, adverbs, and flab - but keep the good ones.)
8. “Thou shalt have no rest on the sabbath, for thy characters shall live in thy mind and memory now and forever.” (I’m not sure how this is advice to writers.)
9. Dialogue: directness diminishes, obliqueness sings.
10. Do not vent your emotions onto the reader. Your duty is to evoke the reader’s emotions.
Do not write about wimps. People who seem like other people are boring. Ordinary people are boring.
Cut cliches. Say it new or say it straight.
If not clear who is speaking put “George said” before the statement. If it is clear, put “George said” after or eliminate “George said.”
Don’t use strange spellings to convey dialect or accents.
Book copyright: 1995.
Genre: nonfiction, how to write.