I’m torn on how to approach the idea of luck. I’m the first to admit that I am one of the luckiest people on the planet. To be born into a prosperous American family in 1960 with smart parents is to start life on third base. The odds against my very existence are astronomical.
Ironies of Luck https://t.co/5BPWGbAxFi— Morgan Housel (@morganhousel) March 14, 2018
"Luck is the flip side of risk. They are mirrored cousins, driven by the same thing: You are one person in a 7 billion player game, and the accidental impact of other people\u2019s actions can be more consequential than your own."
So, yes, circumstances were nearly ideal for me to succeed as a stock market investor and author, but I needed to actively decide to take advantage of them.
You are changeable, ever waxing, ever waning;
First oppresses and then soothes as fact takes it;
Poverty and power
It melts the like ice.
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The paper is a good example of lots of elements of good experimental design. They validate their metric by showing lots of variants give consistent results. They tune hyperparamters separately for each condition, check that optimum isn't at the endpoints, and measure sensitivity.
They have separate experiments where the hold fixed # iterations and # epochs, which (as they explain) measure very different things. They avoid confounds, such as batch norm's artificial dependence between batch size and regularization strength.
When the experiments are done carefully enough, the results are remarkably consistent between different datasets and architectures. Qualitatively, MNIST behaves just like ImageNet.
Importantly, they don't find any evidence for a "sharp/flat optima" effect whereby better optimization leads to worse final results. They have a good discussion of experimental artifacts/confounds in past papers where such effects were reported.
Why would you want a literary agent?
* you want to be traditionally published
* you want someone experienced to help guide your career
* you want to learn how to edit like a pro
* you want to sell foreign and movie rights
* you want answers to your newbie questions 2/
Why you might *NOT* want a literary agent:
* you want to self publish
* you're not willing to compromise on your edits
* you don't think their expertise is worth 15% of your advance
I... can't think this way. Literary agents have been crucial to my career. 3/
So, how do you get a literary agent?
1. Have a finished, revised, edited, polished manuscript.
2. Write a query letter for your book
3. Send your query to agents who rep your genre and are open to submissions
4. Repeat steps 1-4 until you're offered representation. 4/
So, let's go through those four steps. First of all, you must have a finished, revised, edited, polished book, and it must be sellable. That is, you can't sell a 600k picture book or a 40k adult Fantasy, etc. You must read extensively in the genre you're writing. 5/
people say \u201ckids don\u2019t read anymore because they\u2019re addicted to their phones,\u201d but the kids are on their phones writing novels, sharing Jane Austen memes, passionately arguing about literature. reading has never been cooler.— the library haunter \U0001f989\U0001f47b\U0001f383 (@SketchesbyBoze) November 18, 2018
In fact most of my university time has been filled with this kind of rhetoric, mostly from professors, from laptop bans to full-on tirades about “back in my day”.
Which is especially fascinating given that almost all of my profs are boomers and according to the stats...
“Baby boomers spend 27 hours per week online, which is two hours more per week than those who are between 16 and
I like digital spaces. In some ways they feel more real, we don’t talk about how’s the weather and how’s your sister and all those annoying scripted conversation topics.
If I want to sit here and type a feminist rant I can; and I’m not going to get hauled off by the cops for disturbing the peace.
I can have deep, meaningful conversations and connections with people without navigating the sensory overload of public spaces.
Every now and then an idea sticks with me like that corner of tortilla chip that just won't go down your throat. It happened with SPARROWHAWK, which began as 40k of a YA story, died, and was reborn as a comic, thanks to @christopher_j_r and @boomstudios. And now... 2/
It's happening with THE WILLOWS, a short story that you'll see in @UncannyMagazine next year. This Southern Gothic horror story began as an attempt to sell my next Romance to @AbZurdity after the Blud books in 2014 or so. And she didn't buy it. Guess why? 3/
Turns out, it wasn't a Romance! It was Southern Gothic Horror. Even the bones of it screamed strangeness, not sexiness. I loved the taste of the world, but I hadn't found the right story yet. Tried to write it 2 more times and failed. Until I finally understood what it was. 4/
So I took the 50 pages I'd written and cut half of them, twisting the story around from a gothy Romance inspired by the band the Civil Wars and turned it into a spooky descent into madness. And it looked back at me from the abyss as if to say, DUH. Sometimes... 5/