Top 141 Readership Quotes & Sayings - Page 2

The reason I was successful in launching my first book with bloggers is this: I assumed that I should spend as much time on a blogger with a million-person readership as I would pitching an editor of a publication with a million person subscription-base.

When Peter Jackson made the 'Lord of the Rings' movies, I remember there was a concern that people who didn't read Tolkien wouldn't go see the first one. But the films were so good in their own right that the audience grew beyond the readership of the book.

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.

In the 1950s we use to feel that television was taking away our comic readership; with today's exciting, powerfully visual movies I have to wonder about their effect on the kids' loyalty to the comic book medium all over again.

I was incredibly lucky that my first book found a large and loyal readership. It changed my life - from being a very withdrawn adult to living in Paris as a full-time writer. It has also given me enormous confidence.

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?

Inevitably, most readers come to John Cheever's 'Journals' via his fiction. Whatever value they might have in their own right, their viability as a publishing proposition was conditional on the interest of the large readership of his novels and stories.

I wouldn't encourage new writers to start off publishing through electronic media... it still isn't wide enough for the readership they would need to get a good start

Europeans still read rather than watching TV or listening to their clergyman tell them how to vote. The European magazines are far superior to American magazines in content and readership, but TV is taking a bite out of circulation now even in Europe.

The experience that a publication creates for its audience is the very essence of that publication's brand - and without deep engagement, that publication's brand will be weak. A good publication is a convener and an arbiter - it expresses a core narrative that becomes a badge of sorts for its readership.

It was not until Web comics that I saw stories about women and stories by women and things that were aimed specifically at female readership. It was just kind of this free-for-all that was achieving something amazing with creativity. That was where I got my start.

Going to so many book events keeps me connected with my readership while constantly reminding me that all the long hours at the drawing desk are worthwhile.

The hardest thing in the world for a writer is to amass a readership. So many good books come out, and so many good books disappear.

I try to write stories that will attract younger readers and make them feel part of a wider readership. I do not feel able to write books that are about, or even for, teenagers; and I am inclined to be suspicious of books which 'target' them.

Few writers in history have ever been 'politically correct' (a notion that rapidly changes in any case), and there's no reason to imagine that gay writers will ever suit their readers, especially since that readership is splintered into ghettos within ghettos.

It's about being right and trying to get the facts and get the story right, and inform, you know, the readership or the viewership. And there are some reporters that do that.

While I'm critical to the Bush presidency, it's been enormously beneficial for Salon because we're seen as kind of an aggressive watchdog on the Bush White House. Particularly since Florida, our readership hit a whole new level, and we held onto those readers.

It's not my intention to be understood. I will continue writing for a readership that is fundamentally local. Because if you want to produce universal writing, you run the risk of losing your local knowledge. Your views are so universalist that the street aspect disappears.

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.

It's so much easier to write for a person in your life than to write for some imagined readership, so you write something that's more intimate and true.

While editors and newspaper owners currently fret over shrinking readership and lost profits, they do the one thing that insures cutting their own throats; they keep reducing space for the one feature that attracts new young readers in the first place; the comic strips.

More people have more access to more readers for less money than ever before in history. It means a lot of dross; but it means a lot of very talented people can find and nurture a readership in ways that were not possible twenty years ago. From a creative perspective, that is all that writing is about.

I owe thanks to a thoughtful, sophisticated readership hungry for challenging subject matter, for honest portrayals of parenthood, and for fiction whose meaning is neither obvious nor morally pat.

I'm a cult writer now. I have a cult readership.

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.

I think it's important to recognise that 'The Da Vinci Code' opened up a vast new audience for a general readership interested in historical detective stories and research into history.

It used to be if you wanted to do a newspaper comic, you had to appeal to a pretty big chunk of the newspaper's readership for them to want to keep you around. 'Dilbert' would be office humor, but even that is pretty widely experienced.

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.

Having that kind of endorsement and having Paul Graham's readership coming to your site and contributing to it and building the foundation of the community was just a really invaluable way to start Reddit.

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.

People assume that because I'm a girl and my blog is hot pink that my readership is 90% women, but it's not. It's probably only about 65%. When I do tours, it's pretty much the same thing: it's about one-third guys.

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.

It's different in Scotland. People who come to readings are more interested in literature as such, but the readership in general is really quite diverse. It's a cliche, but it's said that people who read my books don't read any other books, and you do get that element.

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.

The readership of Victorian novels, when they were published, was much less diverse. People were probably white, and had enough money to be literate. Very often, there are phrases in Italian, German and French that are left untranslated.

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.

If you take a print magazine with a million person circulation, and a blog with a devout readership of 1 million, for the purpose of selling anything that can be sold online, the blog is infinitely more powerful, because it's only a click away.

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.

The readership for 'Sag Harbor' was different from people who'd read me before - it was linear and realistic, not as strange as 'The Intuitionist.' Did they carry over to 'Zone One,' a story about zombies in New York? Some, some not. I'm used to people not caring about my other books.

Peggy Noonan is not as good a columnist as my colleague Kathleen Parker, in my opinion, but they share something related to their Pulitzers. Kathleen won in in 2010. They won it for a similar reason. They broke from their crowd, and sprinted away. They delivered the politically unexpected take, at some peril to their readership.

MAD FREE is simply described as "Liberating Conversations with Revolutionary Women about Beauty, Image and Power". It began as a Salon series in NY loft in Brooklyn as a salve to my broken heart after Honey Magazine folded. It was not because of the readership or because the market wasn't there; the company that held it collapsed, which I was the last editor in chief of.

I certainly want people to read what I've written. Yet, and here's that question of economic position, because I have a secure job, I don't need a wide readership to survive. I'm a participant in the indirect economy, what sociological critic Pierre Bourdieu would call the "economic world reversed." I get "paid" by writing whatever I choose. That's a pretty good position to be in, but I don't pretend for a moment that it is not a privileged one.

As someone who writes and teaches YA fiction, I spend a lot of time trying to define its character and readership, and I don't think I'm alone - genres are all about boundary drawing, and the YA genre is, in a lot of ways, about carving out boundaries around adolescence, a space for teenagers to do teenage things.

Never change the URL of your blog. I've done it once, and I lost much of my readership. It took several months to build up the same reader patterns and trust.

I am glad to have found a readership, but one can’t write only what is likely to sell. A writer is not a shopkeeper. A writer creates an imaginary world that he transmits to others.

A readership crisis is really a leadership crisis.

I got married, other people went off. We had sort of another public-we were our entire readership for many years, and we were very excited by each other.

Donald Trump can take his message directly to the people via rallies and addresses carried over social media. I'd call them updated versions of Roosevelt's fireside chats, but a portion of my younger readership doesn't even know what a radio is thanks to a Democrat-run education system.

Creative life should be more than preaching to the converted, more than going for a core audience of 100,000 people. It should be taking risks, challenging the readership and having enough faith in one's own talent and craft to take readers on that ride.

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.

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.

It's all about the integrity of their characters. They [Marvel] care so much about the loyalty and integrity of each and every character and all of their stories. They trust and love their readership. They're the ones who have invested in these stories.

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.

I had a blog for many years. Once you develop your readership on your blog, and you can put something out there or direct traffic or get attention - it's like a super power.

I'd like to emphasize that when a reader finishes a great novel, he will immediately begin looking for another. If someone loves your book, it increases the chance that he or she will look at mine. So there is no competition between writers. Another writer's success helps build a larger readership for all of us.

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.

I wouldn't encourage new writers to start off publishing through electronic media... it still isn't wide enough for the readership they would need to get a good start.

You have to find a way of shutting the future out and focusing on the writing. One of the problems I'll have with writing my second book is getting back into a situation where I think about the words on the page rather than the publishing industry, or success, or any kind of readership I may now have. I'll have to do what writers do, which is focus on the story and nothing else.

Mythopoeia has taken off in the Indian diaspora because there has been a change in readership from a mature audience to a younger one. This lot has a desperate yearning to reconnect. They want to consume mythology but in a well-packaged and easily digestible way.

Starting the blog was a way for me to generate this nonfiction first-person voice naturally, gradually, without feeling performance anxiety. It felt a bit like keeping journals when I was younger, but connecting to an instant readership without having to wait for publication made it also immediately satisfying.