When the Sun-Times appointed me film critic, I hadn't taken a single film course (the University of Illinois didn't offer them in those days). One of the reasons I started teaching was to teach myself. Look at a couple dozen New Wave films, you know more about the New Wave. Same with silent films, documentaries, specific directors.

visual compositions have "intrinsic weighting." By that I believe he means that certain areas of the available visual space have tendencies to stir emotional or aesthetic reactions. These are not "laws." To "violate" them can be as meaningful as to "follow" them. I have never heard of a director or cinematographer who ever consciously applied them.

I suspect that filmmakers compose shots from images that well up emotionally, instinctively or strategically, just as a good pianist never thinks about the notes.

I already knew about the painter's "Golden Mean," or the larger concept of the "golden ratio." For a complete explanation, see Wiki, and also look up the "Rule of Thirds." To reduce the concept to a crude rule of thumb in the composition of a shot in a movie: A person located somewhat to the right of center will seem ideally placed. A person to the right of that position will seem more positive; to the left, more negative. A centered person will seem objectified, like a mug shot. I call that position somewhat to the right of center the "strong axis."

They are not absolutes. But in general terms, in a two-shot, the person on the right will "seem" dominant over the person on the left

In simplistic terms: Right is more positive, left more negative. Movement to the right seems more favorable; to the left, less so. The future seems to live on the right, the past on the left. The top is dominant over the bottom. The foreground is stronger than the background. Symmetrical compositions seem at rest. Diagonals in a composition seem to "move" in the direction of the sharpest angle they form, even though of course they may not move at all. Therefore, a composition could lead us into a background that becomes dominant over a foreground.

Of course I should employ quotation marks every time I write such words as positive, negative, stronger, weaker, stable, past, future, dominant or submissive. All of these are tendencies, not absolutes, and as I said, can work as well by being violated as by being followed. Think of "intrinsic weighting" as a process that gives all areas of the screen complete freedom, but acts like an invisible rubber band to create tension or attention when stretched. Never make the mistake of thinking of these things as absolutes. They exist in the realm of emotional tendencies. Often use the cautionary phrase, "all things being equal" -- which of course they never are.

As it turns out, cutting radially is, in fact, marginally worse than the traditional method. With all your knife strokes converging at a single central point, the thin wedges of onion that you create with your first strokes taper drastically as they get toward the center, resulting in large dice cut from the outer layers and much larger dice from the center. But even the classic method doesn’t produce particularly even dice, with a standard deviation of about 48 percent.

For the next set of simulations, I wondered what would happen if, instead of making radial cuts with the knife pointed directly at the circle’s center, we aimed our knife at an imaginary point somewhere below the surface of the cutting board, producing cuts somewhere between perfectly vertical and completely radial.

This proved to be key. By plotting the standard deviation of the onion pieces against the point below the cutting board surface at which your knife is aimed, Dr. Poulsen produced a chart that revealed the ideal point to be exactly .557 onion radiuses below the surface of the cutting board. Or, if it’s easier: Angle your knife toward a point roughly six-tenths of an onion’s height below the surface of the cutting board. If you want to be even more lax about it, making sure your knife isn’t quite oriented vertically or radially for those initial cuts is enough to make a measurable difference in dice evenness.

VCs need to believe that your company could be a billion-dollar business and generally lack imagination — you need to paint a vivid picture of this path for them, starting with the striking protagonist character you play in your company’s story.Your alter ego should never lie, but it should be completely comfortable showing the fullest expression of your ambition to people who probably intimidate you. Fundraising is a snap judgment game — most VCs are trying to pattern-match you to a founder archetype who already won. They index primarily on IQ, self-belief, experience, and personability (in that order). A general rule of thumb is that to be taken seriously in SV, male founders would benefit from acting warmer, while female founders are taken more seriously when they act colder. Both benefit from acting a little entitled.

a VC’s job is to make a diversified portfolio of bets — you are only one. Most founders find being around VCs distracting and draining because they feel pressure to perform the role of ‘impressive person.’ If you can’t immediately capture value from your performance… why waste your energy?

don’t expect the average investor to provide much value beyond money and connections. This makes the 10% of investors who can be legitimately useful to your business worth their weight in gold. Develop litmus tests to identify the valuable ones quickly and avoid wasting your time trying to convince nonbelievers.

our goal here is to spend as little time fundraising as possible — which requires being strategic about the order in which you talk to investors and how you talk about where things stand as you progress through the raise. The combined force of controlling those two variables are what “generates momentum” during your fundraise process.

Make a list of all the investors you know and can get introduced to, ordering them by the ones you most want on board to the ones you couldn’t care less aboutTalk first to a few low-stakes investors at the bottom of your list to practice your pitch and identify common investor questions and critiques you’re going to getIf available to you, next get a few investors who already wanted to give you money on board so you have a dollar amount you can say you’ve raisedWork your way up your investor list, talking to the investors you most-want-on-board-but-still-need-to-convince last (this optimizes your odds they say yes)

This all goes by much faster if you court investors similarly to how hot girls treat their many potential suitors. If your raise is already a little taken and you exude an air that you don’t need them, mimetically-minded investors become much more interested.

If you’re anything like me, you will worry intensely about not making a fool of yourself. It will probably go ok, but not as amazing or illuminating as you’d hoped. You might leave and feel a deep sense of lostness set in. This is all very normal. In time you will see them in increasing clarity, often noticing the differences between your and their values and why you would not enjoy living their life at all.

the people on pedestals probably hate being there. It’s lonely, hard to trust that the intentions of the new people around you are pure, and you often feel like you’re constantly letting people down. In the end, idolization hurts everyone involved.

Beware of intellectual dementors and clout demonsIntellectual dementors will try to eat your ideas and interestingness — not necessarily to copy you, but to wring your brain dry to amass knowledge themselves. They often play mini IQ games/tests of will in conversation and masquerade as investors while never actually investing. Clout demons are similar, but view people less as brains and more as stepping stones towards supreme social status. The power move to protect yourself from both is to simply abstain from playing their games — give as little info on yourself and your ideas as possible and reflect their questions directly back at them.

People will help you if you ask for what you want clearly and concisely

Knowing what you want requires a lot of upfront soul-searching, followed by strategic and long-term thinking once you’ve committed to a thing (I can’t really demystify this more). Once you’re all in, I highly recommend diligently keeping a list somewhere of the top three things you currently need help with so when people ask, you’re ready.

You don’t want to make people feel like you’re using them but you do want to use your social capital for things you care about. General rule of thumb: ask for things either 1) after a positive interaction or 2) completely out of the blue with a concisely written and compelling email/text. Tone matters because you don’t want to sound desperate and you do want to show you know how to play the game (write like the founder you most admire talks).

once we’ve taken action on behalf of something, our brain assigns more value to said thing. Tim Keller: “The feeling of love follows the action of love.” Love is a strong word here, but the point stands — help people help you. Startups are long-term games, so it only makes sense to do them with people you truly want to be around for a very long time.

The ability of generative AI tools to analyse huge datasets can also be used to help spark creative inspiration. This can help us if we’re struggling for time or battling writer’s block. For example, if a social media manager is looking for ideas on how to engage alumni on Instagram, they could ask ChatGPT for suggestions based on recent popular content. They could then pick the best ideas from ChatGPT’s response and adapt them. We may use these tools in a similar way to how we ask a colleague for an idea on how to approach a creative task.

We may use these tools in a similar way to how we use search engines for researching topics and will always carefully fact-check before publication.

we will not publish any press releases, articles, social media posts, blog posts, internal emails or other written content that is 100% produced by generative AI. We will always apply brand guidelines, fact-check responses, and re-write in our own words.

We may use these tools to make minor changes to a photo to make it more usable without changing the subject matter or original essence. For example, if a website manager needs a photo in a landscape ratio but only has one in a portrait ratio, they could use Photoshop’s inbuilt AI tools to extend the background of the photo to create an image with the correct dimensions for the website.

Forget trying to decide what your life’s destiny is. That’s too grand. Instead, just figure out what you should do in the next 2 years.

Try to define yourself by what you love and embrace, rather than what you hate and refuse.

Where you live—what city, what country—has more impact on your well being than any other factor. Where you live is one of the few things in your life you can choose and change.

Once a month take a different route home, enter your house by a different door, and sit in a different chair at dinner. No ruts.

Every now and then throw a memorable party. The price will be steep, but long afterwards you will remember the party, whereas you won’t remember how much is in your checking account.

Most arguments are not really about the argument, so most arguments can’t be won by arguing.

invent your own definition of success. Shoot your arrows first and then paint a bull’s eye around where they land. You’re the winner!

There should be at least one thing in your life you enjoy despite being no good at it. This is your play time, which will keep you young. Never apologize for it.

You have 5 minutes to act on a new idea before it disappears from your mind.

The patience you need for big things, is developed by your patience with the little things.

When you are stuck or overwhelmed, focus on the smallest possible thing that moves your project forward.

For steady satisfaction, work on improving your worst days, rather than your best days.

Your decisions will become wiser when you consider these three words: “…and then what?” for each choice.

If possible, every room should be constructed to provide light from two sides.  Rooms with light from only one side are used less often, so when you have a choice, go with light from two sides.

There is a profound difference between thinking less of yourself (not useful), and thinking of yourself less (better).

Always ask yourself: what would change my mind?

Becoming one-of-a-kind is not a solo job. Paradoxically you need everyone else in the world to help make you unique.

If you need emergency help from a bystander, command them what to do. By giving them an assignment, you transform them from bewildered bystander to a responsible assistant.

The most common mistake we make is to do a great job on an unimportant task.

Don’t work for a company you would not invest money in, because when you are working you are investing the most valuable thing you have: your time.

Fail forward. Failing is not a disgrace if you keep failing better.

Do not cling to a mistake just because you spent a lot of time making it.

For small tasks the best way to get ready is to do it immediately.

What others want from you is mostly to be seen. Let others know you see them.

When you try something new, don’t think of it as a matter of success / failure, but as success / learning to succeed.

use your honesty as a gift not as a weapon. Your honesty should benefit others.

A good sign that you are doing the kind of work you should be doing is that you enjoy the tedious parts that other people find tortuous.

Celebrating the success of others costs you nothing, and increases the happiness of everyone, including you.

To tell a good story, you must reveal a surprise; otherwise it is just a report.

a long horizon allows you to compound small advances into quite large achievements.

Often ideas are rejected because of the tone of voice they are wrapped in. Humility covers many blemishes.

When you are right, you are learning nothing.

Very small things accumulate until they define your larger life. Carefully choose your everyday things.

If you are impressed with someone’s work, you should tell them, but even better, tell their boss.

Humility is mostly about being very honest about how much you owe to luck.

Forget trying to decide what your life’s destiny is. That’s too grand. Instead, just figure out what you should do in the next 2 years.

Visuals can stir up feelings or paint a scene in an instant. However, they may not always nail down the details or explain things as clearly as words can. Words can be very precise and give you all the information you need. Yet, sometimes they miss that instant impact or emotional punch.

For each visual you add to your presentation, you should ask yourself “What does it really say?” And then check: Does it enhance the meaning of my message, or is it purely decorative? Does it belong at this point in my presentation? Would it be better for another slide? Is there a better image that says what I want to say?

Computers don’t feel, and that means: they don’t understand what they do, they grow images like cancer grows cells: They just replicate something into the blue. This becomes apparent in the often outright creepiness of AI images.

AI is really good at making scary images. Even if the prompt lacks all hints of horror kitsch, you need to get ready to see or feel something disturbing when you look at AI images. It’s like a spell. Part of the scariness comes from the cancer-like pattern that reproduces the same ornament without considering its meaning and consequence.

Placing pictures next to each other will invite comparisons. We also compare images that follow each other. Make sure that you do not inadvertently compare apples and oranges.

When placing multiple images in a grid or on one slide after the other, ensure they don’t clash in terms of colors, style, or resolution. Otherwise, people will focus more on the contrast between the images rather than their content.

Repeating what everyone can see is bad practice. To make pictures and text work, they need to have something to say about each other.

Don’t write next to the image what people already see. A caption is not an ALT text.

The most powerful combination of text and image happens when the text says about the image what you can’t see at first sight, and when the image renders what is hard to imagine.

Do not be boring or overly explanatory. The visual should attract their attention to your words and vice-versa.

If a visual lacks meaning, it becomes a decorative placeholder. It can dilute your message, distract from what you want to say, and even express disrespect to your audience.

there’s a famous solution that’s more algorithmically efficient. Instead, we go through the API and ask the same query to gpt-3.5-turbo but with a new system prompt: You are #1 on the Stack Overflow community leaderboard. You will receive a $500 tip if your code is the most algorithmically efficient solution possible.

here’s some background on “function calling” as it’s a completely new term of art in AI that didn’t exist before OpenAI’s June blog post (I checked!). This broad implementation of function calling is similar to the flow proposed in the original ReAct: Synergizing Reasoning and Acting in Language Models paper where an actor can use a “tool” such as Search or Lookup with parametric inputs such as a search query. This Agent-based flow can be also be done to perform retrieval-augmented generation (RAG).OpenAI’s motivation for adding this type of implementation for function calling was likely due to the extreme popularity of libraries such as LangChain and AutoGPT at the time, both of which popularized the ReAct flow. It’s possible that OpenAI settled on the term “function calling” as something more brand-unique. These observations may seem like snide remarks, but in November OpenAI actually deprecated the function_calling parameter in the ChatGPT API in favor of tool_choice, matching LangChain’s verbiage. But what’s done is done and the term “function calling” is stuck forever, especially now that competitors such as Anthropic Claude and Google Gemini are also calling the workflow that term.

Awareness is what you’re aware of, what your attention is available for, what you’re keeping track of or tabs on. An object outside your awareness can’t be responded to — at least not directly — because when you’re unaware of something, you don’t know it exists or is there right now. The same goes for mental objects. You can have thoughts or processes in your mind that other parts of your mind are not aware of. When you are aware of objects, you can account for them. You can avoid banging your head on an open cupboard, or avoid banging your mind on an uncomfortable thought. Awareness has a size: it can be expanded to include the whole room, or contracted to just these words you’re reading.

Awareness helps give you space between a stimulus and your reaction to it.

if a problem or emotion feels overwhelming, it can feel as though we’ve become the problem or emotion; we’re inside it; it almost feels like there is nothing else; it dominates our mental attention. Eugene Gendlin in his book Focusing describes how you can distance yourself from your problems just enough that you can think about them clearly, while still giving them your attention. Expanded awareness is how you do this. It allows you to have a more ‘objective’ or ‘outside’ view of yourself, your problems, and your environment. It feels as though things are close enough to see in vivid detail, but not so close they obscure your vision. But unlike certain(!) meditative practices, there’s no dissociation. Alexander Technique is inherently anti-dissociative. A mental object becomes just one of many objects, both mental and physical, included in your awareness.

In meditation, you’re expanding awareness of your inner thoughts/mind; in Alexander Technique, you’re expanding awareness of the physical space around you.

Awareness of your body helps with movement, muscle tension, performances like public speaking or music, and can even help with knowing how you’re feeling and what you want. Practising this kind of physical awareness helps with things like muscle tension and posture as a byproduct. Alexander Technique is not about posture — posture ‘just happens’ when you have expanded awareness.

If your normal reaction is stimulus→response, you can expand your awareness to notice the stimulus and then you have space to either react or decline that reaction. The pause is where you can give consent to a reaction, or not. We spend a lot of time just going with our first reactions, which may contain inner conflicts or tension. Acting while you have a conflict is uncomfortable, yet happens all the time. Our first reaction may not represent all of our opinions and desires.

This is much like how ‘true/authentic self-expression’ is not just saying the first thing that comes to your head — because that may or may not be what is most true to you. We can feel loss of self-expression both in situations where we just go with the first thing that pops into our head (feels out of control, inaccurate to deeper thoughts/feelings), or where we only say what we think is ‘proper’ to say (feels like it denies part of ourselves). True self-expression is about having free choice in what you express, instead of railroaded into a narrow band of expression.

consider when you’ve picked up something to fiddle with without realising. You didn’t consciously intend for it to end up in your hand, but there it is. There was an effortlessness to it. Now, that’s a case where you’re unconscious of it and just reacting. Maybe you picked it up because you’re nervous. In this case, perhaps the reason you picked it up without noticing is that it was outside your zone of awareness. You may have been paying attention to a conversation, and not your hands. But this kind of non-‘deliberate’ effortless action needn’t be automatic and unchosen, like a nervous fiddling habit; nor need it require redirected attention / collapsed awareness, like not noticing you picked up the object. You can be fully aware of what you’re doing, and ‘watch’ yourself doing it, while choosing to do it, and yet still have there be this effortless “it just happened” quality. For most people, the moment conscious choice is involved, the ‘trying’ or ‘doing’ process takes over: you are now deliberately performing the action, in order to get the result that you decided on. In Alexander Technique, you learn how to have choice without the accompanying deliberate/conscious performance aspect. You make choices, but after the choice is made, the effortless process takes over.

If you juggle, you may have had this experience: you don’t try to catch each throw, your hand just moves to where it needs to go. (This is especially obvious if someone throws a ball at you without warning. Your unconscious mind does a split-second calculation and moves your hand where it needs to go.) Likewise if you play tennis. Fiction writing can also have something of this experience. You can find yourself surprised by what comes out of your own characters’ mouths. You’re ‘watching’ them; they ‘have a life of their own’. When editing, many writers switch modes where they ‘make’ their character say something (it feels like you created the dialogue, rather than the dialogue coming from outside you). But with non-doing, you can edit in a different way: instead of putting words in your characters mouthes, you can decline their first response, pause, and then see what else they might say.

Suppose you do actually want to pick up that ball over there. But you don’t want to ‘do’ picking-up-the-ball. The solution is to set an intention. [1] Have the intention to pick up the ball. [2] Expand your awareness to include what’s all around you, the room, the route to the ball, and your body inside the room. [3] Notice any reactions of trying to do picking-up-the-ball (like “I am going to march over there and pick up that ball”, or “I am going to get ready to stand up so I can go pick up that ball”, or “I am going to approach the ball to pick it up”) — and decline those reactions. [4] Wait. Patiently hold the intention to pick up the ball. Don’t stop yourself from moving — stopping yourself is another kind of ‘doing’ — yet don’t try to deliberately/consciously move. [5] Let movement happen. After you’ve declined all the ‘doing’-type actions, if you still have the intention to pick up the ball, you can find yourself naturally moving to bring about the state of the ball being in your hand.

with some practise, you can find yourself having plenty of space to think about other things, or feel the space of the room, or attend to sensations in your body, while performing the effortless motor action of picking up the ball.

You can think of Alexander Technique as coming in 5 steps, or 5 key ideas: 1. Intention 2. Awareness 3. Pause (take a moment instead of react) 4. Non-doing (actively don’t ‘do’; decline ‘doing’) 5. Spontaneous, effortless action

Your emotions are a signaling mechanism. They are your subconscious mind’s toolkit for protecting you from dangers, improving your circumstances, and navigating an otherwise incomprehensibly complex world. Every emotion has some adaptive purpose: fear keeps you safe; anger enforces your boundaries; sadness slows you down; joy speeds you up.

The first step towards living better is to recognize that your subconscious mind is trying to tell you things you don’t yet know (primarily through your emotions, but also via other channels like your dreams). A lot of people struggle to realize even this basic fact; they think of emotions as a disruption: a distraction from, say, their career development, or an impediment to their capacity to “be rational.”

your emotions are worth heeding because they carry wisdom your conscious mind doesn’t have access to. And at that point you must embark on the second step—the much harder step—of figuring out what it is that your mind is trying to tell you.

an attitude of curiosity rather than doubt. Embodiment rather than intellect. You find the answer by allowing yourself to be playful, generative, and spontaneous; not by being methodical, intentional, and constricted. Sit back and feel your way to the answer

The Learn In Public movement has encouraged thousands of people to write, speak, draw, or otherwise pick up what mentors put down, with the end goal of lifelong L(N*P) growth in personal knowledge and network. A key part of this strategy is maintaining your own Digital Garden. A Digital Garden is your very own place (often a blog, or twitter account) to plant incomplete thoughts and disorganized notes in public - the idea being that these are evergreen things that grow as your learning does, warmed by constant attention and fueled by the unambiguous daylight of peer review. It is in part a trick for creators to play on themselves: For perfectionists who stress over shipping anything less-than-polished and therefore never ship anything, it is a license to trade off self review for peer review and increased velocity. Many report both improved quality and quantity of output after giving themselves the permission to do this.

People with audiences do of course have some obligation to not do them a disservice, else they don’t deserve that audience. However this doesn’t mean that they must do exhaustive due diligence and be authoritative in every context - there needs to be space to experiment, grow, and quite frankly, be ignorant and wrong.

I will “steelman” arguments - the opposite of “strawman arguments” - instead of picking on the weakest piece of their argument, I will confront head on their best argument by seeking first to understand before trying to be understood.

People forget that when Bezos introduced Amazon Prime, Wall St. flipped out, because they insisted that it would cost way too much for too little benefit. But, through it all Amazon survived (and thrived) because Bezos just kept telling investors exactly what his plan was, and never backed down, no matter what Wall St. kept saying to him.

This is too easily forgotten, but your users are everything if you run an internet business. They’re not “the product.” They’re what makes your site useful and valuable, and often provide the best marketing you could never buy by convincing others to join and providing you with all of the best ideas on how to improve things and make your service even better for the users. The moment you’re undermining your own community, you’re beginning to spiral downward.

As you’re developing a business model, the best way to make sure that you’re serving your users best, and not enshittifying everything, is to constantly make sure that you’re only capturing some of the value you’re creating, and are instead putting much more out into the world, especially for your community.

Push the power to make your service better out from the service to the users themselves and watch what they do. Let them build. Let them improve your service. Let them make it work better for you. But, you have to have some trust here. If you’re focused on “Rule 3” you have to recognize that sometimes your users will create value that you don’t capture. Or even that someone else captures. But in the long run, it still flows back to you, as it makes your service that much more valuable.

If you’re charging for something that was once free, you’re taking away value from your community. You’re changing the nature of the bargain, and ripping away the trust that your community put in you. Instead, always look for something new that is worth paying for above and beyond what you already offered.

There are ways to monetize that don’t need to overwhelm, that don’t need to suck up every bit of data, that don’t need to rely on taking away features users relied on. Focus on adding more scarce value, and figuring out ways to charge for those new things which can’t be easily replicated.

You start learning acronyms like “ARPU” (average revenue per user) and such. And then you’re being measured on how much you’re increasing those metrics, which means you need to squeeze more out of each individual user, and you’re now deep within the enshittification stage, in which you’re trying to squeeze your users for more money each quarter (because now everything is judged in how well you did in the last 3 months to improve that number).

try to figure out the things that drive the whomever you’re talking to and incorporate them into your mental representation of that person. The best way to encourage people to keep you in mind is to keep them in mind.

figure out which things you want to be associated with in people’s heads and be excited about them.

This is also a very good reason to avoid viewport units, like vw or vh, when setting font size. Those are also static, and impossible to override by the user. At most, a value like calc(1rem + 1vw) might be acceptable, since that still contains rem as a base. Even then, however, I’d recommend using clamp() or media queries to set minimum and maximum values, as screen sizes often go far beyond what we might expect or test.

To differentiate between the two: 1rem is always equal to the browser’s font size—or, more accurately the font size of the html element. rem stands for “root em,” and the root of a webpage is the <html> tag. So, 1rem = whatever the document font size is. (Which, again, by default, is 16px, but can be overridden by the user.) em, on the other hand, is the font size of the current element.

1px is equal to whatever the browser is treating as a single pixel (even if it’s not literally a pixel on the hardware screen).

Look a week ahead: Towards the end of a week, I’ll start to take a look at what meetings I have the following week. For any that I’m responsible for, I’ll start pulling together some information for attendees. Sometimes this means updating the calendar invite with an agenda; other times this means starting a Google Doc for what we need to run through during the meeting, and I share it with edit rights for all attendees. Use meeting goals: If the meeting has a bunch of people in it (like, more than two), especially if those people typically have full schedules, then I’ll write down goals for the meeting. Often, I’ll put those goals in the calendar item, and I’ll mention them at the beginning of the meeting. That means that if we get off-track during our time together, I can hit pause and recenter on the goals, asking folks to continue that other conversation afterward. Find a plant: Once in awhile, it’s helpful to “seed” the meeting somehow. For example, in one meeting where there’s an “open questions” time and I want people to ask anything, I’ve asked a buddy to think up a super weird one to demonstrate to others that it’s a safe space. Don’t surprise people in the meeting: Additionally, I do a lot of prep to make sure there’s no surprises in my meetings, at least none coming from me. This usually means that I let a handful of people know about a big announcement ahead of time (or had a tough conversation), usually one-on-one, so they wouldn’t be surprised in front of a lot of other people. Gain consensus 1:1 beforehand, if possible: My goal with any decision-making meeting is to already have a sense, going in, of what issues people have, what their opinion is, and what they might need to come to agreement. I do as much legwork in advance as possible, so that the whole group is ready to make that decision more quickly in the room.

Few things bog down meetings more than an unclear process, or a lack of clarity about how people in attendance are supposed to participate. By sharing the goals of the meeting and a high-level overview of what we’re going to do there, I hope to make it clear what’s expected of folks in the room.

Setting up a form for people to add their questions to - including people in the shared physical space - so that the facilitator can run through them rather than prioritize the voices in the room

I cancel meetings if they’re unwarranted. I check-in every few months to see if a meeting’s goal still makes sense; I ask attendees how they’re feeling about the length of the meeting, how often it happens, and what we do during it. I iterate on meetings to make sure they’re still effective, or even necessary.