A Quote by Kara Swisher
While some debate its helpfulness at generating monetizable traffic, when Digg points to a story, huge audience spikes quickly follow.
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Since news breaks on digg very quickly, we face the same issues as newspapers which print a retraction for a story that was misreported. The difference with digg is that equal play can be given to both sides of a story, whereas with a newspaper, a retraction or correction is usually buried.
We have a huge tech following that do nothing but Digg tech stories, and then there's another pool of users that remove the tech section from their view of Digg, because you can go on and customize your own experience and remove sections you don't like.
If you drag your shoe a bit those plastic spikes or rubber spikes can be almost as bad as metal spikes.
Everything is happening faster on the Internet, so advertisers have to be able to respond quickly. If there is a pop-culture topic, a celebrity, event, some amazing viral video, a news story - how do advertisers get close to that so they can take advantage of traffic jumps?
I do follow the NFL. It took me a while to get back into it, but I do follow it religiously now. Huge Packers and Steelers fan.
When you're a storyteller, part of the process of storytelling is the kind of communion you form with the audience to whom you're telling your story. If some segment of the audience doesn't like that story, it doesn't feel good.
I do not often follow my characters off on tangents or change my story on a whim. I have an outline which I follow quite sternly...for a good long while. Then it turns out in some way to be insurmountably wrong and I am forced to re-think every component. Usually at this point I throw hundreds of pages away.
While we meant to invite debate about some ways the word was used this year, that nuance was lost, and we regret that its inclusion has become a distraction from the important debate over equality and justice.
As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.
A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice, some paint it with their own delight. A story must have some points of contact with the reader to make him feel at home in it. Only then can he accept wonders.
The way Americans most understand the history of Latinos in this country, a lot of it is being told now through the lens of what's happening with the immigration debate. While that's an important debate that has security and moral implications, in my view, there's also a huge history of Latinos in the United States that's never been told.
Some of the writers definitely got inspired by some of the story lines, but we are evolving in the 'Daredevil' story. So when it comes to 'Elektra', they didn't follow one of her specific story lines, you know. They really tried to capture what comes through the comics, but there's not one specific storyline.
If you are identified with certain opinions and an ability to express them, and if you can build yourself an audience, a partisan fan base - measured through social media - then you are an official opinionator, monetizable through books, television contracts and the speaking circuit.
Every player has the option to have metal spikes or other spikes or whatever they feel most comfortable in.
It is only the story...that saves our progeny from blundering like blind beggars into the spikes of the cactus fence.The story is our escort;without it,we are blind.Does the blind man own his escort?No,neither do we the story;rather,it is the story that owns us.
Sometimes I have lapses of attention, and I can lose some points very quickly.
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