Nuanced Communication Quotes

Those who talk on the razor-edge of double-meanings pluck the rarest blooms from the precipice on either side.

I mean there are so many different colors of life, of feeling, of articulation... so when I meet someone who's an 8-color type... I'm like, 'Hey girl, magenta!' and she's like, 'Oh, you mean purple!' and she goes off on her purple thing, and I'm like, 'No - I want magenta!'

There is also a particular frustration that I have with language. It's so clumsy. There's often two words that are close in meaning, yet what I'm trying to say is in between them, or it might be a little more layered and nuanced. Having this conversation with you is exciting, because I can feel you resonate, even though we're on the phone. That's really beautiful to me.

Poetry is a kind of distilled insinuation. It's a way of expanding and talking around an idea or a question. Sometimes, more actually gets said through such a technique than a full frontal assault.

Semicolons . . . signal, rather than shout, a relationship. . . . A semicolon is a compliment from the writer to the reader. It says: "I don't have to draw you a picture; a hint will do."

Many young people today do not concern themselves with style. They think that what one says should be said simply and that is all. For me, style - which does not exclude simplicity, quite the opposite - is above all a way of saying three or four things in one. There is the simple sentence, with its immediate meaning, and then at the same time, below this immediate meaning, other meanings are organized. If one is not capable of giving language this plurality of meaning, then it is not worth the trouble to write.

Siobhan also says that if you close your mouth and breathe out loudly through your nose it can mean that you are relaxed, or that you are bored, or that you are angry and it all depends on how much air comes out of your nose and how fast and what shape your mouth is when you do it and how you are sitting and what you just said before and hundreds of other things which are too complicated to work out in a few seconds.

As a writer I've learned certain lessons. One of them is to be careful about how you put a view, and to bear in mind how easily and readily you'll be misinterpreted.

I make my music to express everything I feel is necessary to communicate at a given time. Through music, I can express myself with statements that are more nuanced and more contradictory than factual details.

When people realize that in the long run you may be turning off the audiences more, even though they will look temporarily--in the end they turn away, we really need to develop other metaphors and not talk about two sides, but talk about all sides.

Human communication above and beyond the words that we say is so nuanced. It makes it difficult to not only analyze the vocabulary you use but the intention behind it. That's something even humans have difficulty doing, let alone a robot.

Some people say I'm too blunt and I'm too direct, too straightforward. I think we could use some of that in Washington, D.C.

Part of flirting is that you tend to give each other a little extra slack to be obscure - to say things that are suggestive and nuanced, rather than clear and comprehensible, things you wouldn't put up with in an essay or something written by a stranger - and that can be so exciting.

The reason people need advice on using social media is that they're a much more complex and nuanced way to communicate than a conversation or email.

nothing she did or said was quite what she meant but still her life could be called a monument shaped in a slant of available light and set to the movement of possible music

When you are trying to express things with metaphors and much more subtlety, that's when you are doing yourself a disservice by making a video.

Conversation! Supple sentences, with first and second meanings and overtones beyond, outrageous challenges with cleverly planned slip-points, rebuttals of elegant brevity; deceptions and guiles, patient explanations of the obvious, fleeting allusions to the unthinkable. As a preliminary, the conversationalist must gauge the mood, the intelligence and the verbal facility of the company. To this end, a few words of pedantic exposition often prove invaluable.

I try to avoid saying 'fantastic' too often and 'obviously' is a dangerous word for all broadcasters.

I prefer more to kind of show people different things than tell them 'oh, here's what you should believe' and, over time, you can build up a rapport with your audience.

Sometimes I wish I was poetic and subtle. I write very bold and blunt and tell it like it is.