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If you are planning to speak about something in front of an audience, you must know a lot about the topic - on average, 3 times as much as you're going to speak about it.
You need to have a real point (a problem you are trying to solve) and various narratives at hand that you can refer to in order to explain your point.
Your speech should be a process of truthful exploration, almost like a journey you are taking your audience along.
Don't aim for an overprepared speech and leave space for play and exploration: have a point (a theme), a body of knowledge, and actively explore that theme in front of your audience.
You may have to speak with notes when you are a beginner. Notes are a sort of safety net: If you use them, the probability to fail is minimal.
But you'll never do anything spectacular if you always rely on them. Spectacular means being willing to take risks.
SIMILAR ARTICLES & IDEAS:
Peterson suggests human hierarchies aren’t socially created, but are effects of human evolution. His evidence for this is the fact that lobsters also have hierarchies.
Human and lobsters
Serotonin is linked to aggression and is found in the brains of most animals, humans and lobsters include, as expected of creatures with a common ancestor. But serotonin has a completely different effect in arthropods and vertebrates.
In vertebrates lowered levels of serotonin has been shown to lead to increased aggression, the opposite happens on humans.
"You could help direct the world, on its careening trajectory, a bit more toward heaven and a bit more away from H..."
"When the internal critic puts you down using comparisons, here’s how it operates: First, it selects a single, arbitrary domain of comparison. Then it acts as if that domain is the only one relevant. Then it contrasts you unfavorably with someone truly stellar, within that domain. It can take that final step even further, using the unbridgeable gap between you and its target of comparison as evidence for the fundamental injustice of life. That way your motivation to do anything at all can be most effectively undermined."
"The first step, perhaps, is to take stock. Who are you? When you buy a house and prepare to live in it, you hire an inspector to list all its faults–as it is, in reality, now, not as you wish it could be. You’ll even pay him for the bad news. You need to know. You need to discover the home’s hidden flaws. You need to know whether they are cosmetic imperfections or structural inadequacies. You need to know because you can’t fix something if you don’t know it’s broken–and you’re broken. You need an inspector. The internal critic–it could play that role, if you could get it on track; if you and it could cooperate."