Quotes About Engagement

There are plenty of examples of really well-executed shows you could look at and say, 'Well, clearly this show will have an audience; why wouldn't it?' And for whatever reason, it just doesn't catch on. So you never know going in.

While there are plenty of reasons that we lost in 2016, there's at least one that we can definitely fix for next time: We can make sure that no one is left behind in where we go, in who we talk to, in what we say, and in what we do.

I think there's plenty of folks out there, whether they agree with me or not, they appreciate the fact that you're listening to them. And I think that's how you win.

All we think about is how to keep the audience engaged, and normally we're big on plot because that's the easy way to do it.

I am a firm believer that a good plot makes for a fun enough read, but it's not what binds us. If we don't care about the characters, we won't care - not in a lasting way - about what's happening to them.

I think plot is very overrated. Plot is obviously necessary, but what I really care about is emotionally affecting the audience. Having a thought myself and then an emotional experience myself, somehow transferring that to the audience.

I don't believe that the world is that crazy that they have nothing to better to do with their time than send me emails and tell me these outlandish stories. So I've started to plot the communities that have come to me on a map.

As long as I like the script, speak the language and feel interested in the plot, I can play any role.

People like the Bosch books because they like Harry Bosch, not because the plots are fantastic.

We're always talking and plotting and discussing what we can do to give our fans the best possible experience and leave everyone going home with having an amazing time and a memory that will last a lifetime.

Part of the experience of being entertained is sitting back and plugging into someone else's vision.

Reading is so private, and it is often a reader's habit to finish a book, close the covers, and plunge into the next one without a backward glance.

I see theater as a simple formula. Audience plus players plus story makes the play.

If we can continue to tell stories where fans don't know what will happen next, I think that will be a plus in this 'Divas Revolution.'

The majority of my following is not plus size, it's very diverse.

As a DP who mostly does features, I'm normally in a director's pocket, 24/7.

I look for ways to try to build the sport, ways to put more fans in the seats and more money in our pockets.

The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.

I want the poem to be an experience - for both the listener and for myself.

When you break a poem down in order to perform it, you have to engage closely with many aspects of what it's about, how it works, how it's constructed and so on. If you write a poem alongside it, to complement it, you start to feel poetry's method, poetry's way of looking at things.

You pass a poem to the audience through the words as embodied literally by the rest of your human form. And the people listening and watching come back at you in an equally embodied way.

I want to just go to places where writers don't usually go, where people like me don't usually show up, and say, 'Here are some poems. Do they speak to you? What do you hear in them?'

I tend to like poems that engage me - that is to say, which do not bore me.

Linda loves an argument, and I like to engage, too, but she knows that I'm a poet, so I will engage forever. We are in the Chinese astrology of dogs, and we are forever snapping at each other.