Readership Quotes
The best sayings about Readership that you can share on Instagram, Pinterest, Facebook and other social networks!
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Meet some people who care about poetry the way you do. You'll have that readership. Keep going until you know you're doing work that's worthy. And then see what happens. That's my advice.
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I've always assumed from the beginning that I had relatively few contemporaries among my readership. Not that I was consciously writing for a younger audience but that what I was doing interested a younger audience, or at least threatened them less.
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I think it's the next thing, getting out of the comfort-zone readership, that at some point you have to try and break out of that and see if you can go in new directions. I wanted to do something that felt a lot bigger than a book that's going to sit on a toilet.
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Bringing Mid-World to a new readership felt like a big responsibility, but I'm so glad that readers have enjoyed the story. That is a reward in itself.
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This is a wonderful book, unique and engaging. Diaconis and Graham manage to convey the awe and marvels of mathematics, and of magic tricks, especially those that depend fundamentally on mathematical ideas. They range over many delicious topics, giving us an enchanting personal view of the history and practice of magic, of mathematics, and of the fascinating connection between the two cultures. Magical Mathematics will have an utterly devoted readership.
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The combination of an out-of-control tabloid press and a readership that thrills to the destruction of the England head coach is something no other country can offer. Scolari was driven out; Steve McClaren's personal life made the front pages. Neither of them even held the job. Then there was the fake-sheikhing of Sven-Göran Eriksson. That a newspaper should so brilliantly and deliberately destabilise the national head coach in a World Cup year is something no other sporting nation would consider.
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I'm sometimes sort of in touch with the readership, and they seem to have perceptive questions, for the most part.
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The fuzzy boundary lines between different readership ages have always puzzled me, so these days I just write what comes, and assume I can fix the mess later with an editor's help.
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It used to be, if you wanted to have a strong, influential voice in the feminist movement, you really needed to be part of this New York/D.C. elite group of feminists, or part of a mainstream feminist organization. And now it's kind of an amazing thing that you can just start a blog and put your voice out there and build your readership.
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In '93 to '94, every browser had its own flavor of HTML. So it was very difficult to know what you could put in a Web page and reliably have most of your readership see it.
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It wasn't until I started to do 'Poison River' that the readership started falling. 'Poison River' started out very slowly and simply, but then it got really dense and complicated. I don't know, I think the readers just got fed up or burned out. They started dropping off.
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There are different reasons why people write: for themselves, or for other writers, or to get prizes, or keeping an audience in mind. In my case, it felt really nice that a certain type of readership read the book and liked it, even though my readership is not as wide as certain popular books.
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No other serial publications carry a number on them that is of any weight to their readership. The number is there to serve a function, but it has no intrinsic value in and of itself. It's comfort food and nostalgia at best. On this, we follow what you and your fellow readers do more than what you say. We hear complaints about renumbering every time we do it, but every time we do it it results in higher sales, which is the whole ballgame - so if it were your time and your effort, what would you do?
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When you recite you're giving a performance, in the way that an actor or a singer performs, and some poets are not interested in doing that, maybe because they're writing for a readership as opposed to an audience, or because they see poetry as a very private art.
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The diversity revolution [in the news media] was supposed to increase readership and enhance credibility. Just the opposite has resulted. How long will it take the business to figure this out?
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I think continuity is the devil. I think it's constricting and restrictive, I think it's alienating and off-putting, and it inflicts an artifact of linear time as we experience it on something that exists outside of linear time as well as keeps new readership away by keeping comics a matter of trivia and history rather than actual stories.
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I always have strong feelings when I'm writing a book. Sometimes when I'm writing a book, I even cry when I'm writing. Once I read a quotation that I thought was very true for me, which is: "No tears in the writer, no tears in the reader."
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The technological landscape of the present day has enfranchised its own electorates - the inhabitants of the marketing zones in the consumer society, television audiences and news magazine readerships, who vote with money at the cash counter rather than with ballot paper at the polling boot. These huge and passive electorates are wide open to any opportunist using the psychological weaponry of fear and anxiety, elements that are carefully blanched out of the world of domestic products and consumer software.
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I don't have a readership, I have a thinkership. I guess this is why what I do is called "conceptual writing." The idea is much more important than the product.
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A lot of people who want to see the short story have a renaissance of readership - they tend to think of short stories, and sometimes poems too, as being well-suited to the way we now live, with all of these broken-up bits of time. I hope they're right, but my sense is that our fiction reading has become, if anything, more cherished as a kind of escape from fragmentation.
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If you write a screenplay that gets circulated, you have a bigger readership than any literary novelist. And it's an educated audience as well.
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Some people think literature is high culture and that it should only have a small readership. I don't think so... I have to compete with popular culture, including TV, magazines, movies and video games.
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It's a cinch that if you read it in an occult periodical or paperback, everyone's doing it. That should be your cue to avoid such stuff, lest you be relegated to the same readership level.
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I think it's a very bad idea for someone to start writing for a readership.
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I realized early in my career that precisely what one reader doesn't like is what another reader loves. Collectively, any writer's audience presents a mishmash of expectations that can never all be met. What one-tenth of my readership may not be crazy about the other nine-tenths savors. The moment you start altering a book or a painting or any type of art as if it's a public collaborative, you crucify its soul. I'd rather irritate a few people and delight a lot than touch no one." ~ Karen Marie Moning
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The fact people think that when you sell a lot of books you are not a serious writer is a great insult to the readership. I get a little angry when people try to say such a thing.
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If it were not for the fact that editors have become so timorous in these politically correct times, I would probably have a greater readership than I have.
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The thing that makes stories memorable is the experiences they impart onto the readership and the emotions that they make those readers feel. The audience will forgive an incredible amount if you deliver them a powerful emotional experience - and, conversely, if your story is emotionally false, no amount of pyrotechnics will save it.
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Tad Homer-Dixon is a rare kind of public intellectual, who combines real expertise with a commitment to communicate to the widest possible readership. In The Ingenuity Gap he wants us all to wake-up to the fearful possibility that our blithe trust in science and technology may be misplaced. Human ingenuity may not be capable of coping with two emerging crises of this century and the next: population growth and environmental despoliation. Read Homer Dixon's wake-up call and you will see the future very differently.
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When Emily Dickinson's poems were published in the 1890s, they were a best-seller; the first book of her poems went through eleven editions of a print run of about 400. So the first print run out of Boston for a first book of poems was 400 for a country that had fifty million people in it. Now a first print run for a first book is maybe 2,000? So that's a five-time increase in the expectation of readership. Probably the audience is almost exactly the same size as it was in 1900, if you just took that one example.
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Top Authors
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David Chase Writer
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