Quotes About Audience

I know how to write stories that are accessible to younger readers, and sophisticated enough for older ones. I'm not a big fan of the all ages label, but I keep a wider audience in mind.

From the stage I've seen people of all ages absolutely roaring at really good toilet humour.

I never tried to make a cartoon for a certain age bracket. I just tried to make entertaining pictures. That's why they still play and why they play so well in foreign countries.

I kind of just write what I like to write. I'm thankful that readers of different ages seem to connect to my stories. I don't consciously think about age demographics when I'm working on my comics.

You have to respect your audience. Without them, you're essentially standing alone, singing to yourself.

I'm basically talking to the audience, standing alone, describing the weather. It's very rudimentary, the dialogue, saying what the weather is like that day.

It's so amazing to hear a crowd of people singing one of your songs. It's the best feeling.

Christopher Reeve did such an amazing job that to give him some kind of accent or more bravado would have been wrong. Audiences wouldn't have responded to that either.

My public image is so low-key, but I get to travel the world and still have an audience and it's really amazing. I don't take that for granted.

But some words to men and women, boys and girls alike: The quality of the work must merit the readers' time and money. Do it for yourself, but make yourself a member of your own audience. There is no other way to evaluate your own progress.

When a band of flute players attempted a musical concert at a triumph in 167, the audience forced the musicians to change their performance into a boxing match.15 In the widening middle classes commercialism

What the American public wants in the theater is a tragedy with a happy ending.

It's the whole country that makes or breaks a thing like this. New York has very little to do with it. Now if it were a play, it would be different. New York does make or break a play; but it doesn't make or break a book; it doesn't make or break a magazine. The great mass of the readers are outside of New York and the rural districts are what we have got to go for. They don't read much in New York; they write and talk about what they've written. Don't you worry.

It's a very old tactic," said Meredith, "and particularly obvious with identical twins." "Though new to their audience, and Bram's," said George, "who as you point out are thirteen years old.

Screenplays are structure, and that's all they are. The quality of writing—which is crucial in almost every other form of literature—is not what makes a screenplay work. Structure isn't anything else but telling the story, starting as late as possible, starting each scene as late as possible. You don't want to begin with "Once upon a time," because the audience gets antsy.

Success, it seems to me, would be somewhat meaningless if the play were not a personal contribution. The author who creates only for audience consumption is only engaged in a financial enterprise.

A good author insists on being accepted on his own terms, and audiences must bicker awhile before they're willing to give in. One learns not to be resentful about this condition but to credit it to human nature.

Those who have free seats at a play hiss first.

Most writers who are beginners, if they are honest with themselves, will admit that they are praying for a readership as they begin to write. But it should be the quality of the craft, not the audience, that should be the greatest motivating factor.

To make our communications more effective, we need to shift our thinking from "What information do I need to convey?" to "What questions do I want my audience to ask?

If you want to help people understand quickly, define your new concept in terms of something your audience already knows.

developers understand what's being asked of them but resent being forced to change their beautiful code for the dummies in their audience.

contexts. To make our communications more effective, we need to shift our thinking from "What information do I need to convey?" to "What questions do I want my audience to ask?

Let's face it: Most PowerPoints aren't creating a lot of emotion.