Cal Newport

It's implicitly felt in the reader's mind of like a pleasing sensation of things are clicking together and their mind gets it and you can make progress.

If they don't quite fit,

They won't be able to articulate what's making them uncomfortable, but the book will.

That doesn't quite match with that and just gives you a sensation.

So like the key to my books, part of the sensation my books create is all the pieces are gears that mesh.

And it's supposed to be, you're like, all of this is, then your brain is like, this makes sense.

It can grok the whole thing.

And so anyways, that's what I'm working on.

That's what works, right?

That's what works.

It's like it has to, people's minds are uncomfortable.

I've been doing this for 20 years now.

People's minds are uncomfortable.

when the pieces don't fit.

And I think too many pragmatic nonfiction writers come into it like, I just have a bunch of good ideas, and they're thinking about how they present each idea, and they want to zig here and zap, and yeah, and capitalism this and that, and da-da-da, and they want to have these moments of...

These sort of rhetorical moments where you're like, boom, oh, yeah, I'm on board with that.

Or, oh, that's funny.

Or, yeah, yeah, yeah, I'm fired up or whatever.

What they miss is if the pieces, the big level pieces don't click together beautifully, the whole thing is going to make the reader uncomfortable.

Like, oh, these ideas and this kind of fit, but doesn't this push back on that?