Note on Professional Experience
"I see here that you've had experience working with children."
"Oh, yes," I say. "I love kids."
"Excellent. Have you had experience beyond working with children?"
"Well," I say. "My professional work has all been with children, yes."
"Nothing in the financial world, though? No banking or stock work?"
"Not officially," I say. "But really, isn't working with bankers just like working with children?"
"Is that supposed to be some sort of joke?"
"Absolutely," I say. "I think a good sense of humor is important in any work place."
"Right. Well. We'll call you."
"Thanks," I say.
You've conveyed a sense of character and thought with very little. Without action or description, though, it comes across as static. A couple of lines about setting and movement would place the scene better, I think.
Note on Out!
Get out! Out! Out! Out! You are not welcome here, and I won’t put up with you one more minute. I don’t know you, I don’t like you, I don’t care for you, I want you OUT! I don’t remember ever inviting you, and even if I had, you have more than overstayed your welcome. Out! Out! Out! I like it quiet here. I don’t need your constant nagging, your judgments, your recriminations, your doubts, your mockery. They destroy me and I've had it. Get out of my head! OUT!
No problem. I think your original opening would have worked better. I struggled to understand whether you meant it that way or as an interpersonal problem. The devil is in the details.
I believe these 100-word exercises are good for improving on that deficiency you mention and we all struggle with. This being the efficient use of words. I know I sometimes (ha!) overwrite, drawing my words out. I blame it on my academic training and my own lack of practice to combat it.
For example, here you use a lot of repetition. While this adds to the tone, there isn't space for it.
Note on Out!
Get out! Out! Out! Out! You are not welcome here, and I won’t put up with you one more minute. I don’t know you, I don’t like you, I don’t care for you, I want you OUT! I don’t remember ever inviting you, and even if I had, you have more than overstayed your welcome. Out! Out! Out! I like it quiet here. I don’t need your constant nagging, your judgments, your recriminations, your doubts, your mockery. They destroy me and I've had it. Get out of my head! OUT!
You have captured the emotion of the speaker. The piece speaks with feeling. However, there is nothing of the persona. It is all good to show more than you tell, but in such few words, I would say that establishing identity is paramount. There is no context. A common point of advice is to grab the reader with the first line. You have taken an approach of inciting, the promise of action. Perhaps you should establish identity. The reader must form a connection with the character. I have had these same feelings, and yet I do not feel empathy for this person.
Note on Today by kaaaaaaatie
I wake up to the sound of crying. Everyday, I hear the poor, watch their astonished eyes: they were having bread today. Their rumbling tummies were used to the hunger. Used to going days without food.
But they couldn't wait. The aroma had them under a spell, and they fought for crumbs. Scratching, clawing, hitting each other. Long bonds broken for a morsel of bread.
And yet, somewhere out there a person views their lunch disgustedly and throws it away. A perfectly good meal, PB&J.
Untouched, the poor snatch it from the trash. Bonds break, all for bread.
This should strike a chord with the reader, though it is a tad maudlin for my taste.
A minor nitpick: "Every day," here, should be two words. Also, try to use fragments more sparingly.
I love my PB&J, but I'm poor as dirt.