A Quote by Paul Conrad

I have no idea what readership is of written editorials, but it doesn't come anywhere close to the readership of editorial cartoons. — © Paul Conrad
I have no idea what readership is of written editorials, but it doesn't come anywhere close to the readership of editorial cartoons.
We, in the New York Times, have not yet figured out how to grow our international readership. We started a website in China, which the Chinese government has blocked, but it has a pretty healthy readership. The Guardian, for instance, has gotten tremendous growth through its website in the US. We have to figure out how to go after readership in different parts of the world.
People say, "Well, you went on television, it enlarged your readership." It did not at all, not at all. I might as well tell you, I lost some readership, because the profound audience felt somehow bothered by my too easy manner.
I don't think poetry has a readership anywhere, really, that's that big.
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.
Animated editorial cartoons are completely different from static editorial cartoons.
I think it's a very bad idea for someone to start writing for a readership.
I have no precise idea of who makes up my readership. I'm surprised when I discover people have read my poems at all.
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.
In contrast to the written account-which, depending on its complexity of thought, reference, and vocabulary, is pitched at a larger or smaller readership-a photograph has only one language and is destined potentially for all.
Readers would email me and say, 'Please write a novel about so-and-so,' but it has to come from yourself and not so much from your readership.
For so long I didn't have any kind of readership at all - I'd get published, but not read - the idea of writing for an audience is so anathema to me, it's never bothered me.
Chicago is my biggest base for U.S. readership. If I ask my readers where should I come, Chicago always has the most votes.
I think The New Yorker's cartoons aren't very political because the people who do the cartoons aren't awfully political people, and they aren't paid to be political. I think editorial cartoonists are. That's what they do. They probably have a great natural interest in politics, and then they are paid to do it, so they sort of have to hunt out these ideas. I admire editorial cartoons, but I'm also sort of happy that I don't do them because I'd hate to have to label things and I'd especially hate, more than anything, to label something Dennis Hastert or Mark Foley.
The idea of harnessing the intelligence of the readership has been lost in the quest for Facebook likes. For many, readers have become synonymous with hateful commenters. It's time for a renewed push to realize some of the original dreams of the web.
There's a really generous readership with YA.
The concept of the Web is of universal readership.
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