Monday, July 10, 2017


1) The πŸ’— is utterly useless on Twitter.
2) It's seen by
only one person.
3) A πŸ’— does not appear in your timeline so nobody else sees it.
4) Then it goes straight to your “likes” file where ADVERTISERS use it to decide what they’ll sell you.

To respond to someone’s personal Tweet or promo with a πŸ’— is really quite rude.
It’s like a condescending smirk.
A pat on the head.
A missed opportunity.
A failure to communicate.

The point of Twitter is to get your Tweets to as many people as possible. The point of Twitter is the RT. An RT takes exactly the same amount of time as a πŸ’—, it appears in your timeline and reaches all your followers & their followers & so on. Potentially hundreds, thousands, even millions of people could see an RT. People who may want to
follow you, make contact or a purchase, or simply be amused or enriched by the Tweet.

So, if you want remark on a personal Tweet or a promo, use the RT. The πŸ’— has practically killed Twitter as an interactive medium. Using the RT can revive it.

And by the way, when someone RTs your Tweet, return the favor by RTing one of their promos or personal Tweets instead of a thank you. This keeps your timeline lively and not cluttered with "thanks".

If you don’t RT what you like to your followers, Twitter will never be anything more than an advertising platform for big brands and famous people.                 

Twitter, RT don’t LIKE, Take Back Twitter

Sunday, June 11, 2017


Many accomplished contemporary writers can suck us into their worlds through the first page, efficiently introduce their characters already in full gallop then wow us with their style, vocabulary, observations and deep thoughts. But they rarely leave us time to look around the space they’ve created, to examine what and with whom we’re dealing before the story hustles us along. So much is thrown at us so fast that we feel a bit bludgeoned, somewhat overwhelmed by action, sometimes smothered in solipsism and often overtaken by claustrophobia. 

ANTHONY DOERR doesn’t do that. The Pulitzer-prize winning author is one of those rare people who seems to have maintained a child-like curiosity and wonder despite his education and adulthood and he creates wide, spacious worlds full of light and air and his characters, seen from afar at first, are slowly brought into focus, as is the story. He uses short sentences and simple but unexpected words. He believes the right details in the right places will convince his readers of what he’s trying to convey. And does he ever use details. Not lists of them Γ  la Joyce Carol Oates or screeds of empty adjectives but pulsating nouns and verbs that create images writhing with color and textures like a Goghian painting. Cypresses seethe, roots prowl, helicopters ratchet, fountains roar and stars burn. A myriad details are tossed on to the page like confetti that outlines in negative space what he wants us to know. We assemble the details into the mosaic he's indicated. We read like Seurat paints, our senses aquiver with dots of sights, sounds, smells, textures and flavors as the story moves us along at the speed of an eyeball. 

Doerr is one of the few writers who can shock you into stopping and going back to re-read a passage to make sure you read it correctly.

In FOUR SEASONS IN ROME he writes about Romans’ acceptance of death:  “I agree to live now, live as sweetly as I can, to fill my clothes with wind and my eyes with lights...” 

And he does lovely slow endings too, gliding us down to a soft landing as if he doesn’t want to stop writing, just as we don’t want to stop reading. It’s the reluctant parting of lovers.

These quotes are mostly from FOUR SEASONS IN ROME which I started reading immediately after finishing ALL THE LIGHT WE CANNOT SEE because I didn’t want to leave his worlds or words.

Books, writers, authors,