Nobody Wants to Read Your Sh*t by Steven Pressfield

Nobody Wants to Read Your Sht

Table of Contents

Reading Time: 4 minutes



Nobody Wants to Read Your Sh*t by Steven Pressfield

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Nobody Wants to Read Your Sh*t by Steven Pressfield

Deepak Shukla’s Notes On Nobody Wants to Read Your Sh*t by Steven Pressfield

Hey guys,

I finished reading this book on the 10th of January 2021.

Here’s a synopsis of the book I grabbed from Amazon:

“Skillfully read by DJ, MTV News reporter, and radio host Sway Calloway, whose effortless style and distinct voice perfectly capture John’s message, and featuring a customized introduction from the author himself, this audiobook is the go-to source for all those wanting to learn the importance of staying hungry in order to succeed. Interspersed throughout its chapters, listeners are treated to “Power Facts” and “Shark Points” told directly by Daymond John, giving the famed entrepreneur and branding expert a chance to impart some of his invaluable wisdom.”

And here are my actual notes I took whilst I was listening to this on Audible:

  • Never write a sex scene where that all that’s happening is the sex
  • Make action advance the story
  • Hero in war of art is reader. I’m Obi wan Kenobi. Trust the force Luke
  • Narrative device extremely important in self-help
  • Concept in war of art – forget time management, motivational pep talks and tips about how to aim high in your career and succeed
  • Hook>build>payoff
  • Of all the people you will know in a lifetime- you are the only one you will leave nor lose
  • If you really want to hear about it. The first thing you want to know is where I was born and what my lousy childhood was like and why my parents were occupied with before they had me and all that David Copperfield kind of crap
  • Concept – theme – narrative device
  • Nature cannot be tricked or cheated – she will give up to you the object of your struggles only after you have paid her price
  • The wrong way to write a motivational book –
  1. introduce the thesis
  2. Cite examples supporting the thesis
  3. Recap and sum up what you presented so far
  • Cut everything that isn’t ‘on theme’
  • Needs to have a grand theme
  • E.g father’s sacrifice of his own dream so his children can have them
  • Tell a family story – need to find a grand theme that many can identify with
  • Don’t be afraid to make your heroes suffer
  • Almost always followed by epihphanl moment (aha moment – breakthrough insight)
  • End of act 2 as well
  • Minute 72-78 the all is lost moment will be there in a movie
  • Write for a star in fiction
  • Star wants to be unforgettable
  • Must be an internal and external arc
  • Protagonist embodies the theme
  • Big theme = big star
  • Character must undergo a radical change – a transformation – a huge change. Must have an arc
  • Write a role for stars (make them bigger than the movie)
  1. His or her issues drive the story
  2. Every character in the story revolves around him or her
  3. His desire/issue/objective is to him monumental. Stakes for him are life and death
  4. His passion is for his desire/issue/objective is unquenchable
  5. He’ll pursue it to the gates of hell
  6. His actions or needs and nobody else’s dictates the way the story turns
  7. Story ends when his issues are solved and no sooner
  • The hero cannot go passive in culminating crisis – don’t let someone else rescue him or her
  • Greater the contrast between text and subtext the greater the emotion
  • Jeopardy. Get characters involved in jeopardy as soon as you can
  • High stakes mean high emotion – always make it life or death
  • Write everything the same way – PhD proposal, pitch deck, proposal to landlord about rent, brand story – stories work
  • Questions to ask before you write any book

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  1. What’s the genre
  2. What’s the theme
  3. Whose the hero
  4. What’s the climax
  5. What are the stakes
  6. What is the jeopardy
  • Start at the end
  • Every character must represent something greater than himself
  • Keep the villain up front throughout the second act
  • The 2nd act belongs to the enemy/monster
  • Embedded within the inciting incident is also the climax
  • The inciting incident within act 1
  • Every genre is a version of the heroes journey
  • According to Jung – heroes journey is a component of the collective unconscious
  • 3 Act structure + hero’s journey = story
  • The hero’s journey
  1. Hero starts in ordinary world
  2. Hero receives call to adventure
  3. Hero rejects call
  4. Mentor gives hero courage to accept call
  5. Hero crosses threshold enters special world
  6. Hero encounters enemies and allies
  7. Hero undergoes ordeal that will serve as initiation
  8. Hero confronts villain acquires treasure
  9. The road back – hero escapes special world trying to ‘get home’
  10. Villains pursue hero
  11. Hero must fight/escape again
  12. Hero returns home with treasure
  13. Hero reintegrates into ordinary world but as a changed person due to the ordeal of his journey and experiences on his journey
  • Understand genre conventions
  1. Hero must get beat up
  2. If there is cop and criminal they must clash by stories end
  3. If there are loves they must move apart the move together by story’s end
  4. The heroes journey
  • The David lean rule – every work can be divided into between 8 and 12 major sequences
  • Art is artifice – nothing is spontaneous
  • Cta = payoff /climax / act 3
  • Breaking Bad theme set in the pilot. When asking what is chemistry about. It is the study of transformation.
  • Define the problem and your halfway to the solution
  • Clients disease
  • The Illiad – the wrath of Achilles
  • Flash forward concept in literature
  • High concept movie
  • Die hard plot is a concept
  • Debiers – diamonds are forever
  • If you’re not whitening you’re yellowing
  • Avis cars – we’re number two so we try harder
  • Product has to have meaning
  • Think in concepts
  • Don’t think in ads think in campaigns