Effortless Mastery: Liberating the Master Musician Within

by Kenny Werner

Playing music should be as simple and natural as drawing a breath, yet most musicians are hindered by self-consciousness, apprehension, self-doubt, and stress. Before we can truly express our inner self, we must first learn to be at peace and overcome the distractions that can make performance difficult. Kenny's remarkable work deals directly with these hindrances, and presents ways to let our natural creative powers flow freely with minimal stress and effort. Includes inspiring recordings of meditations designed to initiate positive thought. This book has become a favorite of many musicians who credit it with changing their lives! Many are so impressed that they buy copies for their musician friends as gifts. Easy, effortless reading paperback.

Book with online audio access (ISBN 156224003X)

Effortless Mastery is a book that the world really needs. It was not written by a philosopher or an academic. Kenny Werner, is one of my favorite pianists I've ever had the pleasure of working with, and in my opinion one of the best pianists living on the planet. Kenny teaches that 'The joy of practicing is concentration. The joy of playing is liberation.' Effortless Mastery teaches the seeker how to achieve both at the highest levels. It also shows how to practice effectively, promoting real growth and how to play and perform free from fear and self-judgment. I highly recommend this book. ---Quincy Jones

Genres: Music, Nonfiction, Self Help, Psychology, Philosophy, Jazz, Personal Development

192 pages, Paperback

First published January 1, 1996

About the author

Kenny Werner is an American jazz pianist, composer, and author.

Reviews

[David Lafferty · Rating 5 out of 5]

As a jazz pianist, this book was a paradigm changer. Kenny Werner goes beyond chops, theory, and fashion, and focuses on what music ultimately comes down to, spiritual communion. Miles and Monk get it. Neither of them were known for chops, but both forced you to stop and listen. This book explores (among other things) the necessity of great music making to be easy. Yes, easy! If it's difficult for you, you can't let go and create. This doesn't preclude practice, it just looks at 'practice' differently.

There is so much in this book that has changed my whole approach to performing and playing, but it's not limited to musicians. We can all benefit from Werner's insight in all of our endeavors.

There are no wrong notes!

[Adina · Rating 5 out of 5]

A must for Musicians, but also for writers , artists , dancers ... Actually, for anyone that has a passion in life.
It's helped me more than anything , get out of the way of myself. That's an important lesson for anyone , not just musicians, to learn. Practice seems less overwhelming.
It's brought back the joy I had forgotten I had for music in all the midst of self-abuse as many of us do.

[Peter · Rating 5 out of 5]

Still great after reading it again. I understand more of what he is saying these days and am going to apply the concepts to my life. This should be mandatory reading for jazz musicians.

[Frank Davis · Rating 3 out of 5]

This book and its method will work exceptionally well for the right kind of person, but I think it fails by failing to notice that it won't work for everyone. While there are some key ideas here that will help any person at any level the book itself is focused on meditations and spiritual awareness.

It does the spiritual aspect pretty well, referencing ideas from several different religions and philosophies in a way that doesn't seem to lean on any one in particular. As a complete non theist who will happily enjoy a metaphysical metaphor I appreciated the broad approach.

It's really just the way in which it presents the meditative practice that lessened my enjoyment of the overall message.

I have noticed a common theme in some of my recent studies of music theory and that is simply that our mindset plays an underrated role in how we learn. It's a concept that can be applied to our musical practice as well as it can to pretty much any other aspect of our lives.

So the point of the meditations provided herein is not at all lost on me, where I lose the thread (and I think it would be the same for many others) is that this method goes about correcting those limiting thoughts by implementing a ritual of meditation-induced, self-brainwashing. The writer himself acknowledges this point in very similar words when he says something like, "it doesn't matter that it isn't true because of you repeat it enough you'll brainwash your mind into believing it is true and then it will be true."

I'll give the simplest example. One thing we are asked to say and repeat to ourselves goes like, "Every note that I play is the most beautiful sound in the world that I have ever heard." I'm all for replacing negativity with positivity, especially internally, but I can't make myself believe a lie... or that's not even quite true, I could of I tried but I wouldn't want to. That wouldn't be me.

So, I think if this book had laid out the ideas without giving specific meditations for readers to practice then it might have become more accessible to a wider audience. I did plow through the mediation chapters but I would not recommend that to every reader. In fact, while I can think of several friends that I will definitely recommend this book to, there is a much larger group of people who I will probably recommend to skip the meditation chapters entirely - and then some folks I might just end up summarising it for.

I love the spirit in which this book was written and the idea of letting go of those thoughts which have at various times prevented the progress of my musical journey resonates deeply in my metaphorical soul.

What I recommend, dear reader or perhaps fellow musician, is that if you find yourself thinking things like "I'll never be as good as that" or "I've been trying this for a long time and I just can't do it" then this book is worth your time - just go into it knowing that the author has used his own techniques to present a philosophy which you might wish to apply in some other way that suits you better.

[Tim Franklin · Rating 3 out of 5]

Too religious / new-agey for me, but that doesn't mean it won't be helpful. I wish there was a book that took these concepts and discussed the science and psychology behind them instead of using wishy-washy spiritualism.

The lessons come down to this: surrender to the music and your training, relax while you're playing, cultivate a positive self image about yourself and your abilities. If references to a divine power bother you, substitute "subconscious" for "god". The positive affirmations are annoyingly effective. I tell myself "I'm great. I am a master." all the time and it works. I even do it if I'm out of gas during a run and it allows me to run further.

[Dahn · Rating 5 out of 5]

Lifechanging.


But alright, I should elaborate. It's now been a month or two since I read this book. I wanted to wait at least that amount of time to really make sure the feeling that filled me during reading would stay and would transform into what the book offers. I will probably add updates later.

First, some warnings and possible negatives. The writing style is very simple and quite unrefined whereas the messages sometimes might feel clouded in newagey mumbo-jumbo. This book is not to be read by anyone who is skeptic about its messages and wants to see whether they will be convinced. They won't be. Such person will see the book as a category:popular-self-help "every note is beautiful and - by the way - everyone is a master" hogwash and quite likely entirely miss the point(s). Such opinion would be understandable, but wrong.

(I will skip describing what the book does, others do that, and instead go through my thoughts on properly accessing the material.)

Meditation helps. The more familiar and experienced in meditation you are, the more you'll be able to truly understand the message. A great help is that the books itself comes with four audio "exercises" -meditations. But as every idea that relies on deep and careful observing of one's thought patterns, this requires a regular practice.

That's not to say you cannot simply read this book and get a lot from it. I know I did. The jam I had just after finishing it was like no other before. Not the best in terms of my playing, but a surprisingly joyful one. But I don't think this book is to be read and discarded, but rather to be re-read and studied and meditated about for months/years.

This, for me, means roughly the following:
1. Do the exercises described in the book daily, as the first thing in the morning
2. From time to time revisit the audio meditations
3. Re-read parts of the book, ideally a tiny piece a day
4. Reguarly practice good thought patterns - there are lots described in the book, e.g. going to a concert and being able to selflessly enjoy the music without the need of comparing
5. Gradually transform the way you approach playing, music, and, well, everything.
The purpose of the book is then not to inspire you to practice better, or to be happier, but, arguably, to completely rewire your brain. The author even says that - you need some brainwashing, as in your brain needs some washing. Might sound scary, but when the process leads to an eternal bliss, who'd protest. I gotta go now, leaving for my soma holiday.

By the way, if you think repeating "I am great. I am a master" is an attempt to affirm your own superiority, you're probably missing the point.

[Bill Gathen · Rating 3 out of 5]

An interesting approach focusing on releasing tension and preconceptions, but so much of it is focused around accepting your playing as masterful and "the most beautiful sound I've ever heard" that it could be mis-interpreted by players who haven't properly prepared as saying "all your mistakes are just as beautiful as the notes you intended to play", ergo there's no need to practice because everything's the same.

At the same time, his advice on practicing is very good, focusing on "chipping away at your weak spots" instead of endless running through the parts of the material you find easy (which is all too easy to do). Awareness, focusing on correcting errors during practice time and releasing tension in all parts of your body that aren't required to make the notes are all great advice.

I think for someone who has done the work and has a real command of their material (which he emphasizes is compulsory) but simply isn't comfortable during public performance, this book will be a revelation. For me, it was a bit premature.

[Merve Kasırga · Rating 5 out of 5]

Müzikle ilgili ilk okumam oldu bu kitap. Yazarın düşündüğüm, yaşadığım şeylerin altını kalın kalın çizmesi, ısrarla yol göstermesi okumayı güzel bir pratiğe de dönüştürdü. Yazar, özel olarak müzik hakkında (özellikle piyano) ama genel olarak her konuya uygulayabileceğimiz beceriler sunuyor.
Müzik eğitiminde karşımıza çıkan engelleri (en önemlisi ego duvarını) nasıl atlayalım? sorusuna farklı yollarla cevaplar arıyor. Piyano başında oturup uygulayabileceğimiz meditasyonlar öğretiyor. Zaten yaptığım ama okuduktan sonra daha hissederek yaptığım pratikler oldu. Bu yüzden körün aradığı bir göz hesabı baya sevdim kitabı.
İçerikten çok bahsetmek istemiyorum ama ben yer yer kendimden geçerek yer yer sıkılarak (ısrarla tekrarlanan şeyler yüzünden) okudum.
(Not: Kitabı okurken daha güzel şeyler düşünüyordum ama yazarken olmadı, sevdiğimiz şeyleri güzel anlatamayız zaten değil mi? Neyse bir dahakine yazarak not tutayım.)

[kelly · Rating 1 out of 5]

Supposedly there is some music mastery wisdom in here, but the writing was so awful I couldn't make it past 10 pages.
UPDATE: I just read all the goodreads quotes and they're all so excellent and inspiring. I guess I just can't be bothered to wade through all the drivel to get to those gems, but thankfully I don't have to since they're all laid out right here.

[Josh · Rating 4 out of 5]

Definitely worthwhile to check this book out if you struggle with any of the common musician challenges like performance anxiety, anxiety at the thought of practicing, feeling low self-esteem when listening to expert musicians, etc. It remains to be seen whether I'll actually notice a positive impact from practicing the author's methodology, but even just his analysis of all the reasons that musicians tend to get stressed out is really insightful.

The core of his "effortless mastery" method is only found in the last chunk of the book.
The first chunk of the book is an autobiographical description of Kenny Werner's experiences as a musician, which gives the reader a taste of what's to come. Parts of it will likely be relatable as you see the types of challenges he faced on his path to musical development.
The next chunk of the book is quite enlightening. While it's not strictly necessary to read, it offers a lot of insight. The author addresses all kinds of different complexes and fears that musicians tend to struggle with, which tend to be the source of tension and difficulty in practicing, playing, composing, teaching, and listening to music. The goal of the book is to address all of these struggles by way of his meditations and practice methodology.

With all of the context out of the way, he provides his actual 4-step method. It's kind of a combination of flow/meditation mixed with advice that I've heard before, like "in order to play fast you need to first be able to play it well at a very slow tempo, and then speeding things up is straightforward". But the way it's integrated together is interesting. Overall, the idea is that the best playing comes from entering a meditative state of detachment where you let yourself be as relaxed as possible and allow the music to come through somewhat unconsciously. Many musicians have talked about this state, a kind of trance where they feel that the music is playing through them, rather than them intentionally playing something.

The way I see it, there are two main elements of his method:
1) To learn to enter this meditative or flow state and stay there, whether it's while you're practicing or performing, without tensing up due to any fears or complexes that musicians tend to experience.
2) That to be able to perform in this relaxed flow state, you need to be humble and slowly but surely practice the basics, to truly master the fundamentals until they feel effortless, rather than to strain yourself by learning or playing things you're not ready for. Because mastery comes from learning the material so well that you can execute it unconsciously and with relative ease.

The book claims to apply to any kind of skill you're trying to learn, but the author tends to make lots of references to jazz (or classical on occasion) and may not make as much sense if you're not knowledgeable about it. That said, the core concepts likely do apply to most other disciplines. It's also too bad that he doesn't give an example of how to apply step 1 for string instruments, I ended up having to kind of make up my own approach based on his explanations for piano, saxophone, and voice.

Time will tell if his 4-step effortless mastery method actually works out for me, maybe I'll come back to this in a few months or years to update this. But regardless of that, Kenny Werner's reminders to chill out and try to be as relaxed as possible, and his thorough analysis of various anxieties that trip up musicians are useful to keep in the back of my mind, as a reminder when I'm feeling stuck or worried about something. After all, it's just music. There are plenty of more important things to get stressed about, why not make the experience of learning and playing music as fun as possible?

[Emily · Rating 4 out of 5]

I enjoy playing the piano, but get serious anxiety if I have to perform for anyone (even my teacher). I am a mess before and during my recitals twice a year. Its horrible and ridiculous. I read this book hoping it could help me bring the joy and calm I feel while practicing on my own, to my performances. The beginning was kind of slow for me, but I was really impressed with the practical ideas this tiny book was packed with. I have read books on mindfulness, meditation, fear, ego...and this book incorporated all these topics into helping the musician. I appreciated that he didn't just talk theory and philosophy, or even just changing the way you think...but he gave concrete things to do while practicing and performing that were completely new to me. My book is well-marked and I know I will be returning to it often...until I one day become an effortless master. :)

[Douglas H. Reynolds · Rating 5 out of 5]

What I’d been searching for... but didn’t realize I was searching

Immediately captivated, “Kenny is describing me”. After the first chapter I found I couldn’t pick up my guitar. I wanted this change and wanted to understand how to really practice. Two weeks later I worked through the fear of it and meditated, guitar hanging from my shoulders, imagining looking at myself from a detached self, focusing on being light. I just began to play and it happened. No plan, no controlling thoughts, just play. Like a kid without a care, I played in this state for some time. When my mind decided to take over, I set my guitar down. Today I start again, every day (moment) is a new start.

[Tahoura · Rating 4 out of 5]

بامزه‌ست که ببینی مشکلت تو ساز زدن، نه‌تنها فقط مشکل تو نیست که جهانیه :)
نویسنده راهکارهایی عملی‌ داره برای ناامید نشدن و کنارنذاشتن ساز و حتی حرفه‌ای شدن.

[Petteri Hietamäki · Rating 5 out of 5]

The most important book for me.

Thanks Kenny!

[Lauren · Rating 5 out of 5]

A great resource for people whose self-worth is tied to performance level, and/or encounter anxiety related to their musical career.

[Ozkan]

Kitabın içerisinde meditasyon ile odaklanarak 4 adimda (bu adimlar detayli olarak anlatiliyor) müzikte ustalaşmak anlatılıyor. Meditasyona yakin zaman icerisinde baslamis olmasaydim kitaptan pek verim alamazdim (surekli meditasyon yapmiyorum). Spiritüel yanı olmayan bir insan olarak başlarda pek sevemedim kitabi. Yalnizca ileri seviye muzisyenlere hitap ettigini dusundum ilk bolumleri okurken. Ama okudukca anlatilan yontenlmlerin benim gibi muzige yeni baslayanlarin da faydalanabilecegi yontemler oldugunu anladim. Bitirdikden sonra ayni seyi dusunuyorum: muzikle yillardir ugrasan insanlar daha cok verim alir bu kitaptan. Kitapta anlatilan muzikte zahmetsiz bir sekilde ustalasmak hayatin baska alanlarina da uygulanabilir diye dusunuyorum. Ama tabi anlatilan yontemleri o alana gore degistirip uygun alistirmalari yapmaniz gerekir. Anlatilan yontemleri uygulamaya calisacagim ama simdilik hissettigim şu: yillar sonra kitabi tekrar okuyup bu adimlari uygulayip uygulamamayi dusunecegim.
Muzikte uzun yillar ugrasip da gelisim hizinizda azalma ya da durma oldugunu dusunuyorsaniz bir goz atabilirsiniz.

[Zuzana_Jelinkova · Rating 5 out of 5]

Jasne, je to celkom ezo, ale to inak asi nejde. Boha preskakujem a nechávam sa inšpirovať podstatou myšlienok.
Život hudobníka je často horská dráha, cíti sa podľa toho jak dobre či zle zahral, ale to je peklo, lpenie na výsledku je vždy cesta do nešťastia.
"Každý tón, který hraji, je tím nejkrásnějším zvukem, jaký jsem kdy slyšel." Toto si teraz vravím vždy ked idem hrať.
Odteraz cvičím úplne inak, nejde o to prejsť čo najrýchlejšie najväčšie množstvo skladieb, ale lajdácky, neporiadne, s hromadou slabých miest, ktoré pak človeka akurát stresujú. Radšej sa učiť len jednu skladbu hoci aj rok, tón po tóne ale tak, že každý z nich znie prekrásne a tiež akoby ich "ruky hrali samy".
Túto knižku som dostala a som veľmi vďačná lebo mi poskytla oveľa hlbší a vyrovnanější prístup k hudbe a k životu s ňou.

[Julian Mitton · Rating 5 out of 5]

It ticked me off cause I know he’s right lol. Playing lots of material poorly is obviously not better than playing a smaller amount of material perfectly.

This approach may not be for everyone, but I’ve found it to be extremely helpful for myself in my practice. And listening to the meditation chapters rather than just trying to read them was a game changer. Your day will come if you wait for it.

Alright anyway time to go practice goodbye.

[Amy Gingrich · Rating 5 out of 5]

This book is a must read/listen for any artist - regardless of instrument. It hits on the challenges that are universal to all, including practice, fear, and discipline. I recommend the audio version because the author has some great meditations that are easy to access/listen to in the audio version.

[Chris · Rating 4 out of 5]

Eastern mindful approach to practice and performance (of any craft really). More philosophical than a practical guide, but if applied will reap great benefits.

Encourages slowing down and feeling before playing. Don't let thinking (fear, expectations etc) get in the way.

"Just before I play, I like to feel that no one has ever played the piano before...that every note I play is the most beautiful sound I’ve ever heard".

Really absorb your practice. Don't rush through all the material to get through it, or you'll only scratch the surface and wont really absorb anything. "So little time!" This can lead to a common feeling of overwhelm, and stall practice all together. Instead, focus on the next step, master it before moving on. You are where you are, and it takes the time that it takes. Useful advice for any endeavour.


Some good mindfulness/meditation practices in the book to apply to the instrument. He encourages the reader to try get into that same meditative zone before playing. Open, egoless state, flow; whatever you want to call it. This is the goal. A state of 'allowing', getting out of the way and let the music play itself.

A bunch of flowery spiritual language if you're into that. He has a cool way of approaching music as more of a spiritual practice; a path of mastery.

"As you play, there must be no intellectual interference. It’s good for practicing scales, reading books and studying. But it is not good for creating. Intellect has to surrender to instinct when it’s time to play."

Exercise: Play like "There are no wrong notes" and "That is the most beautiful sound I’ve ever heard."


End Goal:
"Mastery is playing whatever you’re capable of playing ... every time ...WITHOUT THINKING ..."

"To be perceived as a master, one must stay within the boundaries of what comes naturally and easily...There is always a schism between what the ego wants to play and what wants to come out. Although the master player may have great technical ability, you will not sense his attempt to show it; the technique manifests unconsciously"

If one combines masterful technique with the "channeling” of inspiration directly from within, the result can be awesome....After all is mastered, the inner being may manifest"

"For something to be mastered on your instrument, it must feel as simple as playing one note."


Practice To Perfection

Frame new stuff as "Unfamiliar, Not Difficult"

"Every time I practice written music, I move slowly enough to play it correctly, while almost in a state of meditation. In that way, I am teaching my fingers to perform by themselves while I soar!"

*Mastery of Sound - Get a deep feel for the notes (Mathieu Harmonic Experience is a great practical book on this. Getting a tangible feel through singing different intervals and the moods they create in different modal contexts)

The way artists express notes...
"They may be simple, but they resonate in a profound way. This depth of tone or phrase has to do with the artist’s "inner mastery" of the sounds he’s playing. It reflects the character of the player as an evolved being, and the depth with which he unites himself to his notes. He contemplates the different sounds, and forms personal relationships with intervals, chords, rhythms, and so on....focusing on a small amount of material, getting inside it, investigating all its
variations, running it through different keys"

Mastering the Body - Relaxed effort.
"You must have the faith that once you start moving, it’s going to happen"

"Remember: barreling through material works for only a very few. The rest are clearly overwhelmed by that pace and fail to develop a relationship to the music, supporting the belief that they are not meant to play well, that they’re not very talented. But by practicing small amounts, chewing fully and digesting everything from the lesson, extracting from it all the vitamins possible, one becomes mighty!"

[J. d'Merricksson · Rating 4 out of 5]

***I received this book as a gift***

Werner’s Effortless Mastery was just the book I needed. I am a baby violinist, having taken it up at the advanced age of 38. I had inherited a violin, and decided this was the perfect thing to help keep my neural pathways healthy. Learning new skills is always good for that. The practise has been beneficial in many ways. For the first time in decades, I could consciously release the tension in my wrists. It was great for teaching that skill!

Unfortunately, I ran into several mental blocks that really discouraged me. That is when my brother-in-law surprised me with a copy of Effortless Mastery. I was more than a little sceptical when I first started reading, especially since Werner's biggest focus was piano. However, the stories he told spoke to me on a deeper level. I decided what the hell and started using the practises he offered. What do you know? They worked just as well for a baby violinist as for an accomplished pianist.

It was very hard for me to let go of the notion I had to do things perfectly, even though this was a brand new skill to me. Werner's tools and techniques helped me find true joy in my learning. I can laugh at my mistakes, and be as enthused as a little kid at my successes, when they come. I let go of needing to do things perfectly, and let my body dictate the appropriate adjustments to suit the medical conditions I live with. I'm playing for me, only me, and to have fun. Werner's Effortless Mastery helped me to accept and embrace these things. Practise had become something I dreaded. Now it is something I look forward to, and enjoy. As I have found more joy in my playing, and acceptance of myself, I've become more comfortable not caring if others hear me. I had been painfully shy, and wouldn't practise unless I was alone. This also made it difficult to work with my teacher. I would get so flustered at having to play where another could hear me that I was terrible, even at things I could do quite well alone.

Werner's work is quite readable, full of shared experiences relating how he himself evolved along the path he is now guiding others along. Many of the meditations and exercises are tools I am familiar with from my spiritual path, but here Werner has adapted them perfectly to a musician’s needs. These adaptations never would have occurred to me, and I am very thankful this book was gifted to me!

My only qualms were an overuse of exclamations and italics to get points across, and that at times it devolved into socio-philosophical ramblings which made some winnowing necessary in order to get the most valuable nuggets. It was quite clear, though, that the author was quite joyful at writing this book, and sharing his methods, and that made all the difference. I would highly recommend Werner's Effortless Mastery to anyone who needs a new way to look at their music practise and find greater depths of enjoyment with it.

[Isaac · Rating 5 out of 5]

So far this has been much better than I thought it would be after popping in the meditation CD that comes with it. I have gone through many torturous, self-hating hours of music practice thinking that it would somehow be beneficial to me because I was "suffering to be an artist". Werner is very good at picking out negative habits of mind when it comes to music practice, and his aim is to make us understand why any period of time spent playing music should be joyous. This doesn't at all mean that we have to play "joyous" sounding music, but just that we should cultivate an approach to music that involves a good level of self-respect and adventurousness rather than inadequacy and rigid discipline.

[Bill Branley · Rating 4 out of 5]

I read this book twice and watched several of his DVDs about learning to play music in an effortless way. I also met Kenny in Seattle when he played at Jazz Alley in 2014 and I distinctly felt (and so did several people I spoke to) that his playing was coming from another place. I play jazz piano and have had many professional teachers swear that when they perform they stop thinking and play from instinct. It is very hard to learn to do, but I have made some progress by learning a piece so thoroughly that I can play it without thinking about it. And from there I can feel very original improvisations beginning to emerge. Kenny's techniques really help the process along. I bought his DVD, in which he works with students on camera and coaches them through the process.

[Nick Brown · Rating 3 out of 5]

The approach he’s writing about is inherently difficult to articulate… a fact that was apparent throughout the book.

That being said, I buy into what he’s trying to say.

[Emily · Rating 5 out of 5]

I’ll definitely return to this book and meditations multiple times over the course of my life. It’s pretty out there and the concepts can be challenging at first but I got a lot out of it and look forward to building on what I learnt.

[Lynn Derks · Rating 5 out of 5]

This book changed my life. My piano practice time is now much more productive. Thank you, Kenny Werner!

[Clint Looney · Rating 3 out of 5]

A mindset book, not a technique book.

If you're having trouble with motivation, this book is for you. It gets pretty new-agey, so heads up if that's not your thing.

[Burak Erkul · Rating 3 out of 5]

Yeni müzisyenler için son derece faydalı bir kitap. Ancak tecrübeli ve aktif müzisyenler için çok az yeni bilgi içermekte kanımca. Yine de güzel tavsiyeler almadım değil.

[Zach Moats · Rating 5 out of 5]

I probably think about this book every day. As a musician, it changed everything for me. But I apply the lessons I learned from it in nearly every aspect of my life.

[Beth :) · Rating 3 out of 5]

I just like… wasn’t a huge fan of his tone. I think this book would work better as a conversation than a book. There is definitely some good material to be found in it though