Audience Engagement Quotes

I once watched several criminals engage in an organized argument, while an audience of supporters cheered them on, but I was so disgusted that I had to turn off the political debate.

5 Ways To Build Your Brand on Social Media: 1 Post content that add value 2 Spread positivity 3 Create steady stream of info 4 Make an impact 5 Be yourself

To engage Jews excluded by the harsh and judgmental elite, Jesus insisted on preaching out in nature to mass audiences. To renew appreciation for a loving and compassionate Divine, Jesus sat alongside the poor and the outcast, most notably lepers.

If every minute of time elapsed on the screen equals in length of time every other minute, and obviously it does, and if time on the screen equals importance to the audience, that is, one minute of screen time gives equal weight to the emotional, dramatic, narrative, and every other aspect of experiencing a movie as every other minute, and it does, then we know something important we need to know about screenplays.

It is not surprising that young white males – most between thirty and forty – play major roles in the production of hip-pop. It’s easy to forget this because when most people critique rap and hip-pop harshly, they assume that young black men are the sole creators and producers of misogynist rap. In fact, nothing is unilaterally produced anymore. As we’ve discussed, once you have a corporate takeover of the street culture, it is no longer the property of the young, Black and Latino men and women who have created it. It is reinvented with the mass consumer audience in mind. The hard-core misogyny and the hard-core sexism isn’t a translation from street to big-time studio, it is a product of the big-time studio.

You are responsible for everything you TWEET and RETWEET.

New research into cognitive functioning—how the brain works—proves that bullet points are the least effective way to deliver important information. Neuroscientists are finding that what passes as a typical presentation is usually the worst way to engage your audience.

written works do not produce fast reactions as pictures and sculptures and music do. it takes no effort to see or hear. but to read - to grasp what the writer has done - requires commitment. engagement. as is the case with most art, the relationship between the maker and the audience is remote in time and space. the writer is nowhere to be seen when the reader takes up the book, or even dead. but most often, books go unread...thus the writer, knowing this as writers do, is even more alone...yet writers write. and knowing what they know makes their isolation almost a sacrament.

Engaging in a debate implies that the opposite side has legitimacy; debating with Richard Spencer implies that his ethnonationalism is a substantive position worth sharing with your audience. It’s a pernicious influence masked in “reasonableness.

If you want to engage your audience, if you really want to grab their attention, you have to know the world they live in, the music they listen to, the movies they watch,

But the answer isn't just to intimidate people into consuming more 'serious' news; it is to push so-called serious outlets into learning to present important information in ways that can properly engage audiences. It is too easy to claim that serious things must be, and can almost afford to be, a bit boring. The challenge is to transcend the current dichotomy between those outlets that offer thoughtful but impotent instruction on the one hand and those that provide sensationalism stripped of responsibility on the other.

Brands that help customers avoid some kind of negativity in life (and let their customers know what that negativity is) engage customers for the same reason good stories captivate an audience: they define what’s at stake.

I argue here and throughout this book that if we engage students in real writing tasks and we use technology in such a way that it complements their innate need to find purposes and audiences for their work, we can have them engaged in a digital writing process that focuses first on the writer, then on the writing, and lastly on the technology” (8).

Imagine you are passing by a roadside gambling stall. There is an operator surrounded by some audience members who are gambling their money and winning. You get interested and place your bet. You lose your money. Later you realize that the operator and the audience were all part of the same gang. Give it a thought: Maybe the things you like and things you dislike are part of the same conspiracy? They are just putting on a show to keep you engaged. You are the only real audience of this show.

wherever Haley’s voice rang out with “One, two, three o’clock, four o’clock RAHK…” the gritty drama on the screen was totally eclipsed by mayhem among the audience. Boys and girls alike went literally berserk, shrieking like banshees, tearing at the fabric of their seats, lurching out to dance in the aisles or engage in mass brawls that required dozens of police to contain them.

True heroism is a priori incompatible with audience or applause or even the bare notice of the common run of man. In fact,’ he said, ‘the less conventionally heroic or exciting or adverting or even interesting or engaging a labor appears to be, the greater its potential as an arena for actual heroism, and therefore as a denomination of joy unequaled by any you men can yet imagine.

We've already seen the attention merchant's basic modus operandi: draw attention with apparently free stuff and then resell it. but a consequence of that model is a total dependence on gaining and holding attention. This means that under competition, the race will naturally run to the bottom; attention will almost invariably gravitate to the more garish, lurid, outrageous alternative, whatever stimulus may more likely engage what cognitive scientists call our ''automatic'' attention as opposed to our ''controlled'' attention, the kind we direct with intent. The race to a bottomless bottom, appealing to what one might call the audience's baser instincts, poses a fundamental, continual dilemma for the attention merchant-just how far will he go to get his harvest? If the history of attention capture teaches us anything, it is that the limits are often theoretical, and when real, rarely self-imposed.

The most important thing to accept here is the complete impossibility of compromise or even meaningful communication with your attackers. SJWs do not engage in rational debate because they are not rational, and they do not engage in honest discourse because they do not believe in objective truth. They do not compromise because the pure spirit of enlightened progressive social justice dare not sully itself with the evil of the outdated Endarkenment. They are the emotion-driven rhetoric-speakers of whom Aristotle wrote: “Before some audiences not even the possession of the exactest knowledge will make it easy for what we say to produce conviction. For argument based on knowledge implies instruction, and there are people whom one cannot instruct.

Power Tip: Engagement with your audience through comments is huge for working the YouTube algorithm.

(on not being able to keep still): I have to move. I always want to engage the audience, and hopefully they are going to send some energy back

Most makers make things for a human audience. And to engage an audience you have to understand what they need.

In your emails, instead of just writing about your topics, tell a story that illustrates your points.

When students learn to wrestle with questions about purpose, audience, and genre, they develop a conceptual view of writing that has lifelong usefulness in any communicative context.

Success, it seems to me, would be somewhat meaningless if the play were not a personal contribution. The author who creates only for audience consumption is only engaged in a financial enterprise.

I asked the stage managers to bring up the houselights so I could see people. I needed to feel connected. Simply seeing people as people rather than “the audience” reminded me that the challenges that scare me—like being naked—scare everyone else. I think that’s why empathy can be conveyed without speaking a word—it just takes looking into someone’s eyes and seeing yourself reflected back in an engaged way.

Content marketing is the marketing and business process for creating and distributing content to attract, acquire, and engage a clearly defined and understood target audience—with the objective of driving profitable customer action.

It was only in South Africa that I got over this shyness, though I never completely overcame it. It was impossible for me to speak impromptu. I hesitated whenever I had to face strange audiences and avoided making a speech whenever I could. Even today I do not think I could or would even be inclined to keep a meeting of friends engaged in idle talk. I must say that, beyond occasionally exposing me to laughter, my constitutional shyness has been no disadvantage whatever. In fact I can see that, on the contrary, it has been all to my advantage. My hesitancy in speech, which was once an annoyance, is now a pleasure. Its greatest benefit has been that it has taught me the economy of words. I have naturally formed the habit of restraining my thoughts. And I can now give myself the certificate that a thoughtless word hardly ever escapes my tongue or pen. I do not recollect ever having had to regret anything in my speech or writing. I have thus been spared many a mishap and waste of time. Experience has taught me that silence is part of the spiritual discipline of a votary of truth. Proneness to exaggerate, to suppress or modify the truth, wittingly or unwittingly, is a natural weakness of man, and silence is necessary in order to surmount it. A man of few words will rarely be thoughtless in his speech; he will measure every word. We find so many people impatient to talk. There is no chairman of a meeting who is not pestered with notes for permission to speak. And whenever the permission is given the speaker generally exceeds the time-limit, asks for more time, and keeps on talking without permission. All this talking can hardly be said to be of any benefit to the world. It is so much waste of time. My shyness has been in reality my shield and buckler. It has allowed me to grow. It has helped me in my discernment of truth.

Every good story has the same shape. The beginning establishes a goal, the more tangible the better. In the middle we watch the fight toward that goal. The end is what happens when it’s been reached, or when reaching it’s finally failed. What I always say when I teach is: the longer the middle, the better the story. The middle is when we still don’t know the outcome. That’s when we care the most about what’s happening. The longer you can keep the audience engaged in the pursuit without actually resolving that pursuit—that’s real mastery.

As writers and teachers we most often don’t invent the truths, we experience them and share them, giving our audience the advantage of “discovering” these insights for themselves. There is some brilliance to regularly reinventing the wheel in order to better understand ourselves – not wheels.

She’s not married, is she?” He hadn’t seen her in seven months. A lot could happen. He’d heard she’d been engaged at one point. That wouldn’t suit. He really would likely have to screw her and possibly in a public setting. It didn’t bother him at all. He could fuck with an audience all day, but some husbands might object.

The Content Marketing Institute has derived a pithy one-sentence definition of this emerging field:5 “Content marketing is a marketing technique of creating and distributing relevant and valuable content to attract, acquire, and engage a clearly defined and understood target audience—with the objective of driving profitable customer action.

I believe that we need good tale-tellers now, as much as we did when the oral tradition was the only way that they were passed on; that the active transmission of stories plays a vital role in the development of the brain. The quality of the stories that surround us as we grow up is vitally important to our well-being, in the same way as the quality of food and our environment. The most beautiful aspect of this shared story-telling - and we have great examples of this in Tales from the Perilous Realm - is that the collaboration and engagement between teller and audience means that they are embarking on a journey together, which can lead to the most unexpected and wondrous of places.

What is art? It is not decoration. It is the re-living of experience. The artist says, 'I will make that event happen again, altering its shape, which was disfigured by its contacts with other events, so that its true significance is revealed'; and his audience says, 'We will let that event happen again by looking at this man's picture or house, listening to his music or reading his book.' It must not be copied, it must be remembered, it must be lived again, passed through those parts of the mind which are actively engaged in life, which bleed when they are wounded and give forth the bland emulsions of joy, while at the same time it is being examined by those parts of the mind which stand apart from life. At the end of this process the roots of experience are traced; the alchemy by which they make a flower of joy or pain is, so far as is possible to our brutishness, detected. What is understood is mastered. If art could investigate all experiences then man would understand the whole of life, and could control his destiny.

Anxiety might be debilitating, melancholy too heavy a burden, but what is wrong with anger - especially with justified anger? It happens often - at literary festivals, public engagements or university events, someone in the audience, usually someone young, wants to convince me why you should all be enraged, and how rage is the progressive oil that keeps the wheels of fairness turning, a banner which we should wave proudly in the air against political gridlocks as well as economic, social and racial inequalities. I respect the sincerity of this cri de coeur and wholeheartedly recognize its validity. But I equally doubt whether anger by itself is a guiding force and a good friend in the long run. It is not.

Some days, it feels unreasonable to expect that an academic text can work as a form of movement assessment or to support social and political change, including the redistribution of power. Perhaps nonfiction & the arts--literature, poetry & film--are potentially much better suited to the work of politically engaging audiences than the staid tools of the academy.

When politicians fail to address the issues that matter, when news companies cut back on investigative reporting, when media barrage the public with fearsome and unintelligible images of catastrophe, making their audiences feel helpless and hopeless, nonprofits can provide the evidence and testimony that drive public engagement and promote solutions to social problems.

Professional wrestling is simply the most modern interpretation of an ancient tradition of stylized verbal battles between enemies.  From the time that Homer recorded the Iliad, the emergence of what Scottish scholars call ‘flyting’—” “That would be a verbal battle preceding a physical one, but considered equally as important to the overall outcome,” Carwyn interjected.   “Exactly.  Throughout world myth, warriors have engaged in a verbal struggle that is as symbolically important as the battle itself.  You can see examples in early Anglo-Saxon literature—” “You’ve read Beowulf, haven’t you, English major?” Giovanni glanced at the priest, but continued in his most academic voice.  “Beowulf is only one example, of course.  The concept is also prevalent in various Nordic, Celtic, and Germanic epic traditions.  Even Japanese and Arabic literature are rife with examples.”  “Exactly.”  Carwyn nodded along.  “See, modern professional wrestling is following in a grand epic tradition.  Doesn’t matter if it’s staged, and it doesn’t matter who wins, really—” “Well, I don’t know about—” “What matters,” Carwyn shot his friend a look before he continued, “is that the warriors impress the audience as

When we say to be authentic, we mean you should make it clear that your stuff has the stamp of an actual person or actual people and that that person or those people have the qualities (a point of view, a personality, a sense of enthusiasm for the subject, and suitability to your audience) that make for a compelling approach to content as a solid foundation for the start of your relationship with your audience.

What is Strange and disconcerting about Jesus is the fact that he rarely makes demands. The style of teaching he engages in is not rote on memorization or indoctrination but Socratic, propositional and inductive. The listener is invited to explore and come to a conclusion. It is the desire of Christ for his audience to reach a conclusion and not be told what to think. Stories, sayings, reversals, parables and other forms of teaching used by Jesus are not good teaching tools for people who seek simplistic answers. Jesus teaches but requires more of a listener. We are invited to join the journey, wrestle with our assumptions, confront our spiritual bigotry and struggle with the humbling mystery and profound profundity of God. This is HARD faith, especially for the modern reader. We want the speaker to tell us what to think. We want our stories tidy, without complication, and we do not want questions designed to coerce us beyond easy answers. This is the LIFE and MINISTRY of Jesus. He was a walking mobile university, a theological gadfly, a spiritual teacher and Savior who cannot be contained by tradition, conformity or assimilation. Jesus is loose in the world quietly upending all assumptions, ideas and concepts we hold true.

What was that all about!’ (In this sense the world of the company mirrored the world itself, which sometimes managed to stage a rousing first act, and perhaps even provide a few engaging scenes of a second before devolving into a playwright’s nightmare, wherein the actors either butchered their lines or entirely forgot them, scenery collapsed, props misfired, and most of the audience left the theater during intermission.)

It should be apparent that the belief in objectivity in journalism, as in other professions, is not just a claim about what kind of knowledge is reliable. It is also a moral philosophy, a declaration of what kind of thinking one should engage in, in making moral decisions. It is, moreover, a political commitment, for it provides a guide to what groups one should acknowledge as relevant audiences for judging one's own thoughts and acts.

With the explosion of technology over the last 15+ years, we are in the process of a complete paradigm shift in regards to how we communicate in our marketing, public relations and advertising. Social Media has forever changed the way businesses and customers communicate and the beauty of it is that, through your channels, you can reach your audience directly and at lightning speed. Social Media has also changed the way customers make their buying decisions. Pinterest, Google+, Twitter, YouTube, and Facebook, have made it easy to find and connect with others who share similar interests, to read product reviews and to connect with potential clients. Within these networks there is an amazing and wide open space for your unique voice to be heard. As the web interacts with us in more personal ways and with greater portability, there is no time better than the present to engage with and rally your community.

The first problem I had with conducting was coming out on stage and turning my back on the audience. It was an utterly foreign sensation. I always felt as if my rear end were hanging out. That particular portion of my anatomy suddenly seemed enormous, living a life of its own, engaged in its own relationship with the public behind my back. For the first couple of years I conducted, I sat on a chair in front of the orchestra, to help quell that particular discomfort.

Denning says that the idea of telling stories initially violated his intuition. He had always believed in the value of being direct, and he worried that stories were too ambiguous, too peripheral, too anecdotal. He thought, “Why not spell out the message17 directly? Why go to the trouble and difficulty of trying to elicit the listener’s thinking indirectly, when it would be so much simpler if I come straight out in an abstract directive? Why not hit the listeners between the eyes?” The problem is that when you hit listeners between the eyes they respond by fighting back. The way you deliver a message to them is a cue to how they should react. If you make an argument, you’re implicitly asking them to evaluate your argument—judge it, debate it, criticize it—and then argue back, at least in their minds. But with a story, Denning argues, you engage the audience—you are involving people with the idea, asking them to participate with you.

If you are conducting a one-hour meeting at your company, you have effectively stolen one hour from every person in the room. If there are twenty people in the room, your presentation is now the equivalent of a twenty-hour investment. It is therefore your responsibility to ensure that you do not waste the hour by reading from PowerPoint slides, providing information that could have been delivered via email, lecturing, pontificating, pandering, or otherwise boring your audience. You must entertain, engage, and inform. Every single time.

The underlying principle: Always try to do the most with the least—with the emphasis on try. You may not always succeed, but attempt to produce the greatest effect in the viewer’s mind by the least number of things on screen. Why? Because you want to do only what is necessary to engage the imagination of the audience—suggestion is always more effective than exposition. Past a certain point, the more effort you put into wealth of detail, the more you encourage the audience to become spectators rather than participants. The same principle applies to all the various crafts of filmmaking: acting, art direction, photography, music, costume, etc.

Focus on What You Want to Say, Not on What You Think the Audience Is Thinking Many people pay too much attention to how others perceive them, and this puts too much power in the hands of the listener and not enough in the head of the speaker. There is not enough bandwidth in your brain for you to concentrate simultaneously on your point, your delivery, and what you think your listener might be thinking based on his or her facial expressions. Guessing the engagement level of your audience will create excess anxiety that speeds up your pace. In reality, you can never know what’s going on in someone else’s head. Facial expressions aren’t a referendum on your performance.

When I was growing up it was still acceptable—not to me but in social terms—to say that one was not interested in science and did not see the point in bothering with it. This is no longer the case. Let me be clear. I am not promoting the idea that all young people should grow up to be scientists. I do not see that as an ideal situation, as the world needs people with a wide variety of skills. But I am advocating that all young people should be familiar with and confident around scientific subjects, whatever they choose to do. They need to be scientifically literate, and inspired to engage with developments in science and technology in order to learn more. A world where only a tiny super-elite are capable of understanding advanced science and technology and its applications would be, to my mind, a dangerous and limited one. I seriously doubt whether long-range beneficial projects such as cleaning up the oceans or curing diseases in the developing world would be given priority. Worse, we could find that technology is used against us and that we might have no power to stop it. I don’t believe in boundaries, either for what we can do in our personal lives or for what life and intelligence can accomplish in our universe. We stand at a threshold of important discoveries in all areas of science. Without doubt, our world will change enormously in the next fifty years. We will find out what happened at the Big Bang. We will come to understand how life began on Earth. We may even discover whether life exists elsewhere in the universe. While the chances of communicating with an intelligent extra-terrestrial species may be slim, the importance of such a discovery means we must not give up trying. We will continue to explore our cosmic habitat, sending robots and humans into space. We cannot continue to look inwards at ourselves on a small and increasingly polluted and overcrowded planet. Through scientific endeavour and technological innovation, we must look outwards to the wider universe, while also striving to fix the problems on Earth. And I am optimistic that we will ultimately create viable habitats for the human race on other planets. We will transcend the Earth and learn to exist in space. This is not the end of the story, but just the beginning of what I hope will be billions of years of life flourishing in the cosmos. And one final point—we never really know where the next great scientific discovery will come from, nor who will make it. Opening up the thrill and wonder of scientific discovery, creating innovative and accessible ways to reach out to the widest young audience possible, greatly increases the chances of finding and inspiring the new Einstein. Wherever she might be. So remember to look up at the stars and not down at your feet. Try to make sense of what you see and wonder about what makes the universe exist. Be curious. And however difficult life may seem, there is always something you can do and succeed at. It matters that you don’t just give up. Unleash your imagination. Shape the future.

Goffman observes the difference between doing something and expressing the doing of something, between feeling something and conveying a feeling. ‘The representation of an activity will vary in some degree from the activity itself and therefore inevitably misrepresent it’, Goffman writes. (Take the experience of enjoying a sunset versus the experience of communicating to an audience that you’re enjoying a sunset, for example.) The internet is engineered for this sort of misrepresentation; it’s designed to encourage us to create certain impressions rather than allowing these impressions to arise ‘as an incidental by-product of [our] activity.’ This is why, with the internet, it’s so easy to stop trying to be decent, or reasonable, or politically engaged--and start trying merely to seem so

The firm did this at the local level, creating right-wing pages with vague names like Smith County Patriots or I Love My Country. Because of the way Facebook’s recommendation algorithm worked, these pages would pop up in the feeds of people who had already liked similar content. When users joined CA’s fake groups, it would post videos and articles that would further provoke and inflame them. Conversations would rage on the group page, with people commiserating about how terrible or unfair something was. CA broke down social barriers, cultivating relationships across groups. And all the while it was testing and refining messages, to achieve maximum engagement. Now CA had users who (1) self-identified as part of an extreme group, (2) were a captive audience, and (3) could be manipulated with data.

How does this work in email marketing? One simple example is to start asking subscribers to begin interacting with you in a small way right from when you start communicating with them. Ask them to reply to a message, like or share a blog post, complete a survey. Taking these small steps to interact early on makes it much more likely they’ll be willing to take bigger steps later – like joining you on a webinar, arranging a call with you or buying a product. You can also offer a low cost product early on in your interactions with a subscriber. It’s less of a commitment than a high end product or hiring your services. But by purchasing from you they begin to see themselves as a buyer and they’re more likely to buy again in future. Especially if their buying and post-purchase experience is very positive.

Narrative nonfiction is an act of conception and construction; it is formation of a personal legend from the mist of memory using mental hydraulics plied with the tools of logic, structure, design, and imagination. An engaged mind possesses a documentary sensibility that fabricates a memoirist identity, which alliance mollifies their bleak interior critic. A conscientious mind hews a residue of meaning from the verisimilitude of a person’s metafictional baggage. A basic impulse of all free people is to speak to an appreciative audience. Writing the story of our life constitutes asserting the universal human right to declare and define who we are. When we write our story, we become a stakeholder of our place in the world, we affirm the right to shape our future, and avow the verity to heal our torn souls.

Narrative and analytical information does not coexist. It cannot; that’s simply impossible. The human brain is unable to be coldly analytical and warmly engaged in a narrative at the same time. This is the secret power of the intrigue frame. When your target drills down into technical material, you break that frame by telling a brief but relevant story that involves you. This is not a story that you make up on the spot; this is a personal story that you have prepared in advance and that you take to every meeting you have. Since all croc brains are pretty similar, you will not need more than one story because the intrigue it will contain will have the same impact on every audience. You need to be at the center of the story, which immediately redirects attention back to you. People will pause, look up, and listen because you are sharing something personal.

My dear readers, I find myself perplexed by the phantoms that now inhabit our veins and perpetually whisper in our ears. These specters are always watching, their formless eyes casting judgement upon our every thought and action. They stalk us behind screens and within circuits, gathering each tidbit we release into the ether to build their ever-growing profiles of our souls. Through these ghastly portals, our lives have become performance. Each waking moment an opportunity to curate our images and broadcast our cleverness. Nuance has fled in favor of hashtag and like, while meaning has been diced into 280 characters or less. Substance is sacrificed at the altar of shareability, as we optimize each motive and emotion to become more digestible digital content. Authenticity now lives only in offline obscurity, while our online avatars march on endlessly, seeking validation through numbers rather than depth. What secrets remain unshared on these platforms of glass? What mysteries stay concealed behind profiles and pose? Have we traded intimacy for influence, and true understanding for audience engagement? I fear these shadow networks breed narcissism and foster loneliness, masked as connection. That the sum of a life’s joys and sorrows can now be reduced to a reel of carefully selected snippets says little of the richness that once was. So follow the phantoms that stalk you if you will, but do not forget that which still breathes beneath the screens. There you will find humanity, flawed but whole, beautiful in its imperfection and trajectory undefined by likes or loves. The lanterns may flicker and fade, but the darkness that remains has always held truth. Look deeper than the glow, and know that which can never be shared or measured, only felt. In mystery, Your friend, Edgar Allan Poe (Poe talking about social media)

Charisma in this world is often just looking good and speaking well. Others merely project onto you what they want to believe to be true. Most people have superficial attachments and shallow thoughts, so the glib man can persuade many. One does not have to be a supreme salesman. No need to be a wizard with words. People clamor for a confident speaker that sounds the part. That your actions can deliver on words cements their allegiance. But even if you don’t become a leader yourself, you may find a key supporting role as a great communicator. Even before you speak, work on being a better listener and observer of cues in others. All messages must be tailored to the audience. In a group, there may be one listener who, if engaged, can turn the whole room towards your speech. Speak calmly, clearly and keep eye contact. Your voice is the voice of a leader confident in his capabilities and beliefs. Changes in tone should have a reason.

...the polarizing political movements of twenty-first-century Europe demand much less of their followers. They do not espouse a full-blown ideology, and thus they don't require violence or terror police. They want their clercs to defend them, but they do not force them to proclaim that black is white, that war is peace, and that state farms have achieved 1,000 percent of their planned production. Most of them don't deploy propaganda that conflicts with everyday reality. And yet all of them depend, if not on a Big Lie, then on what the historian Timothy Snyder once told me should be called the Medium-Size Lie. To put it differently, all of them encourage their followers to engage, at least part of the time, with an alternative reality. Sometimes that alternative reality has developed organically; more often, it's been carefully formulated, with the help of modern marketing techniques, audience segmentation, and social-media campaigns.

The father is appalled by the news of the engagement: horrified, angry, jealous, unable to conceal his wounded sense of having been displaced. He acts comically badly towards the fiancé; when his daughter and the new man kiss, he rolls his eyes, while the mother whimpers in admiration. The father identifies as a jilted lover, while the mother identifies with a romantic girlhood. The audience is presumably meant to do the same, in line with their gender. Later in the film, Martin bitterly acknowledges that 'my day has passed', likening himself to 'an old shoe, discontinued.' But is the father's horror at his daughter's sexuality exactly that? Or is it a displaced horror at his own sexuality, his own desire? The commonness o sexual abuse of teens, and the ubiquity of the teen trope in pornography, would suggest that most men at least know what it's like to desire a teenage girl. Is the father's horror at his daughter's sexuality perhaps a disavowed horror at his own susceptibility to it?

DR. KING: Fiery, demagogic oratory in the black ghettoes, urging Negroes to arm themselves and prepare to engage in violence can achieve nothing but negative results. Those who are fired up in the audiences go home and face the same unchanged conditions; what is left but for them to become bitter, disillusioned and cynical. The extremist leaders who offer a call to arms are invariably unwilling to lead what they themselves know would certainly end in bloody, chaotic total failure. The struggle of the Negro in America, to be successful, must be waged with positive efforts that are kept strictly within the framework of our democratic society. This means reaching and moving the large groups of people necessary—of both races—to activate sufficiently the conscience of a nation. It is this effort that the S.C.L.C. attempts to achieve through the program which we call creative non-violent direct-action. PLAYBOY: Dr. King, would you care to comment upon the articulate former Black Muslim, Malcolm X?

War and battle' are the opening words of the Gorgias, and the declaration of war against the corrupt society is its content. Gorgias, the famous teacher of rhetoric, is in Athens as the guest of Callicles, an enlightened politician. It is a day of audience. Gorgias receives visitors and is ready to answer all questions addressed to him. Socrates, with his pupil Chaerephon, calls at Callicles’ house in order to see the great man. The ultimate motif of the battle is not statedexplicitly but indicated, as so frequently with Plato, through the form of the dialogue. Gorgias is somewhat exhausted by the stream of visitors and the hours of conversation, and he lets his follower Polus open the discussion; Socrates leaves the opening game to Chaerephon. The battle is engaged in as a struggle for the soul of the younger generation. Who will form the future leaders of the polity: the rhetor who teaches the tricks of political success, or the philosopher who creates the substance in soul and society? The substance of man is at stake, not a philosophical problem in the modern sense. Socrates suggests to Chaerephon the first question: Ask him “Who he is” (447d).

People, especially those in charge, rarely invite you into their offices and give freely of their time. Instead, you have to do something unique, compelling, even funny or a bit daring, to earn it. Even if you happen to be an exceptionally well-rounded person who possesses all of the scrappy qualities discussed so far, it’s still important to be prepared, dig deep, do the prep work, and think on your feet. Harry Gordon Selfridge, who founded the London-based department store Selfridges, knew the value of doing his homework. Selfridge, an American from Chicago, traveled to London in 1906 with the hope of building his “dream store.” He did just that in 1909, and more than a century later, his stores continue to serve customers in London, Manchester, and Birmingham. Selfridges’ success and staying power is rooted in the scrappy efforts of Harry Selfridge himself, a creative marketer who exhibited “a revolutionary understanding of publicity and the theatre of retail,” as he is described on the Selfridges’ Web site. His department store was known for creating events to attract special clientele, engaging shoppers in a way other retailers had never done before, catering to the holidays, adapting to cultural trends, and changing with the times and political movements such as the suffragists. Selfridge was noted to have said, “People will sit up and take notice of you if you will sit up and take notice of what makes them sit up and take notice.” How do you get people to take notice? How do you stand out in a positive way in order to make things happen? The curiosity and imagination Selfridge employed to successfully build his retail stores can be just as valuable for you to embrace in your circumstances. Perhaps you have landed a meeting, interview, or a quick coffee date with a key decision maker at a company that has sparked your interest. To maximize the impression you’re going to make, you have to know your audience. That means you must respectfully learn what you can about the person, their industry, or the culture of their organization. In fact, it pays to become familiar not only with the person’s current position but also their background, philosophies, triumphs, failures, and major breakthroughs. With that information in hand, you are less likely to waste the precious time you have and more likely to engage in genuine and meaningful conversation.

When was the last time you made something that someone wasn’t paying you for, and looking over your shoulder to make sure you got it right?” When I ask creatives this question, the answer that comes back all too often is, “I can’t remember.” It’s so easy for creativity to become a means to a very practical end—earning a paycheck and pleasing your client or manager. But that type of work only uses a small spectrum of your abilities. To truly excel, you must also continue to create for the most important audience of all: yourself. In her book The Artist’s Way, Julia Cameron discusses a now well-known practice that she calls “morning pages.” She suggests writing three pages of free-flowing thought first thing in the morning as a way to explore latent ideas, break through the voice of the censor in your head, and get your creative juices flowing. While there is nothing immediately practical or efficient about the exercise, Cameron argues that it’s been the key to unlocking brilliant insights for the many people who have adopted it as a ritual. I’ve seen similar benefits of this kind of “Unnecessary Creation” in the lives of creative professionals across the board. From gardening to painting with watercolors to chipping away at the next great American novel on your weekends, something about engaging in the creative act on our own terms seems to unleash latent passions and insights. I believe Unnecessary Creation is essential for anyone who works with his or her mind.

Postscript, 2005 From the Publisher ON APRIL 7, 2004, the Mid-Hudson Highland Post carried an article about an appearance that John Gatto made at Highland High School. Headlined “Rendered Speechless,” the report was subtitled “Advocate for education reform brings controversy to Highland.” The article relates the events of March 25 evening of that year when the second half of John Gatto’s presentation was canceled by the School Superintendent, “following complaints from the Highland Teachers Association that the presentation was too controversial.” On the surface, the cancellation was in response to a video presentation that showed some violence. But retired student counselor Paul Jankiewicz begged to differ, pointing out that none of the dozens of students he talked to afterwards were inspired to violence. In his opinion, few people opposing Gatto had seen the video presentation. Rather, “They were taking the lead from the teacher’s union who were upset at the whole tone of the presentation.” He continued, “Mr. Gatto basically told them that they were not serving kids well and that students needed to be told the truth, be given real-life learning experiences, and be responsible for their own education. [Gatto] questioned the validity and relevance of standardized tests, the prison atmosphere of school, and the lack of relevant experience given students.” He added that Gatto also had an important message for parents: “That you have to take control of your children’s education.” Highland High School senior Chris Hart commended the school board for bringing Gatto to speak, and wished that more students had heard his message. Senior Katie Hanley liked the lecture for its “new perspective,” adding that ”it was important because it started a new exchange and got students to think for themselves.” High School junior Qing Guo found Gatto “inspiring.” Highland teacher Aliza Driller-Colangelo was also inspired by Gatto, and commended the “risk-takers,” saying that, following the talk, her class had an exciting exchange about ideas. Concluded Jankiewicz, the students “were eager to discuss the issues raised. Unfortunately, our school did not allow that dialogue to happen, except for a few teachers who had the courage to engage the students.” What was not reported in the newspaper is the fact that the school authorities called the police to intervene and ‘restore the peace’ which, ironically enough, was never in the slightest jeopardy as the student audience was well-behaved and attentive throughout. A scheduled evening meeting at the school between Gatto and the Parents Association was peremptorily forbidden by school district authorities in a final assault on the principles of free speech and free assembly… There could be no better way of demonstrating the lasting importance of John Taylor Gatto’s work, and of this small book, than this sorry tale. It is a measure of the power of Gatto’s ideas, their urgency, and their continuing relevance that school authorities are still trying to shut them out 12 years after their initial publication, afraid even to debate them. — May the crusade continue! Chris Plant Gabriola Island, B.C. February, 2005

Bookish folk aren’t what they used to be. Introverted, reserved, studious. There was a time when bookish folk would steer clear of trendy bars, dinner occasions and gatherings. Any social or public encounters would be avoided at all costs because these activities were very un-bookish. Bookish people preferred to stay in, or to sit alone in a quiet pub, reading a good book, or getting some writing done. Writers, in fact, perhaps epitomised these bookish traits most strongly. At least, they used to. These days, bookish people, such as writers, are commonly found on stage, headlining festivals, or being interviewed on TV. Author events and performances have proliferated, becoming established parts of a writer’s role. It’s not that authors have suddenly become more extroverted – it’s more a case that their job description has changed. Of course, not all writers are bookish. Not in the traditional sense of the word anyway. Some are well suited for public life, particularly those from certain academic backgrounds where public speaking is encouraged and confidence in social situations is shaped and formed. These writers may even be termed ‘gregarious’, and are thus happy being offered up for speaking engagements, stage discussions and signings. Good for them. But the others – the timid, shy and mousy authors – they’re being thrust into the limelight too. That’s my lot. The social wipeouts. Unprepared and ill-equipped to face our reader audience. What’s most concerning is that no one is offering us any guidance or tips. We’re expected to hit the ground running, confident and ready, loaded with banter, quips and answers. It’s a disaster waiting to happen.

DR. KING: Fiery, demagogic oratory in the black ghettoes, urging Negroes to arm themselves and prepare to engage in violence can achieve nothing but negative results. Those who are fired up in the audiences go home and face the same unchanged conditions; what is left but for them to become bitter, disillusioned and cynical. The extremist leaders who offer a call to arms are invariably unwilling to lead what they themselves know would certainly end in bloody, chaotic total failure. The struggle of the Negro in America, to be successful, must be waged with positive efforts that are kept strictly within the framework of our democratic society. This means reaching and moving the large groups of people necessary—of both races—to activate sufficiently the conscience of a nation. It is this effort that the S.C.L.C. attempts to achieve through the program which we call creative non-violent direct-action. PLAYBOY: Dr. King, would you care to comment upon the articulate former Black Muslim, Malcolm X? DR. KING: I have met Malcolm X, but circumstances didn’t enable me to talk with him for more than a minute. I totally disagree with many of his political and philosophical views, as I understand them. He is very articulate, as you say. I don’t want to seem to sound as if I feel so self-righteous, or absolutist, that I think I have the only truth, the only way. Maybe he does have some of the answer. But I know that I have so often felt that I wished that he would talk less of violence, because I don’t think that violence can solve our problem. And in his litany of expressing the despair of the Negro, without offering a positive, creative approach, I think that he falls into a rut sometimes.

forgot about my huge goal. I focused on what I could control: what I did every day. After a little experimentation and a lot of thought, I settled on a process. Because the Internet never sleeps, here’s what I did every day: Write a new post. Without fail. No excuses. Build relationships. I contacted three people who tweeted my posts that day, choosing the three who seemed most influential, the most noteworthy, the most “something” (even if that “something” was just “thoughtful comment”). Then I sent an e-mail—not a tweet—and said thanks. My goal was to make a genuine connection. Build my network. I contacted one person who might be a great source for a future post. I aimed high: CEOs, founders, entrepreneur-celebrities . . . people with instant credibility and engaged followings. Many didn’t respond. But some did. And some have become friends and appear in this book. Add three more items to my “list of great headlines.” Headlines make or break posts: A great post with a terrible headline will not get read. So I worked hard to learn what worked for other people—and to adapt their techniques for my own use. Evaluate recent results. I looked at page views. I looked at shares and likes and tweets. I tried to figure out what readers responded to, what readers cared about. Writing for a big audience has little to do with pleasing yourself and everything to do with pleasing an audience, and the only way to know what worked was to know the audience. Ignore my editor. I liked my editor. But I didn’t want her input because she knew only what worked for columnists who were read by a maximum of 300,000 people each month. My goal was to triple that, which meant I needed to do things differently. We occasionally disagreed, and early on I lost some of those battles. Once my numbers started to climb, I won a lot more often, until eventually I was able to do my own thing. Sounds simple, right? In a way it was, because I followed a self-reinforcing process:

When you have an honest heart, you do not get engaged nor get involved with any smear campaigns nor black propaganda! When you have an honest heart, you do not malign nor take advantage of generous people who helped and trusted you! When you have an honest heart, you do not shit on people whom you used and abused for three years! Do not fall into a political naïvety and become a victim or a doormat nor have your generosity and honest heart be used and abused by unscrupulous political movers, abusive, aggressive political harridans who scam gullible generous hearts by asking donations, funds, services, foods, urgent favours, and after using you and abusing your generosity, trust, and kindness; whereby these unscrupulous and deceptive political movers, abusive, aggressive political harridans intentionally and maliciously create forged screenshots of evidence convincing their audience or political groups that you are a mentally ill person, a brain-damaged person as they even brand you as "Sisang Baliw," or crazy Sisa, a threat, a risk, a danger, they maliciously and destructively red-tag your friends as communists, and they resort to calumny, libel and slander against you, to shame you, defame you, discredit you, blame you, hurt you, make you suffer for having known the truth of their deceptive global Operandi, and for something you didn’t do through their mob lynching, calumny, polemics mongering, forgery, and cyberbullying efforts. Their character assassination through libel and slander aims to ruin your integrity, persona, trustworthiness, and credibility with their destructive fabricated calumny, lies, identity theft, forged screenshots of polemics mongering, and framing up. Amidst all their forgery, fraud, libel and slander they committed: you have a right to defy and stop their habitual abuse without breaking the law and fight for your rights against any forms of aggression, public lynching, bullies, threats, blackmail, and their repetitive maltreatment or abuse, identity theft, forgery, deceptions fraud, scams, cyber libel, libel, and slander. When you defend human rights, you fight against corruption and injustice, help end impunity: be sure that you are not part of any misinformation, disinformation, smear campaigns and black propaganda. Do not serve, finance, or cater directly or indirectly for those dirty politicians. Those who are engaged in abusively dishonest ways do not serve to justify their end. Deceiving and scamming other people shall always be your lifetime self-inflicted karmic loss. Be a law-abiding citizen. Be respectful. Be honest. Be factual. Be truthful. You can be an effective human rights defender when you have clean and pure intentions, lawful and morally upright, and have an honest heart." ~ Angelica Hopes, an excerpt from Calunniatopia Book 1, Stronzata Trilogy Genre: inspirational, political, literary novel © 2021 Ana Angelica Abaya van Doorn

Your task in preaching is not to get through your message. Your task is to get through to your audience.

Gratuitous Gratitude Gratitude has a place, but don’t spend the first full minute of your remarks thanking a long laundry list of people. If you must convey thanks—for instance to your superiors—do it quickly and then view what comes after your thanks as your true headliner. The Buried Lead Nearly all presentations could be drastically improved with one quick and simple edit: lopping off the first two paragraphs. Try it. You’ll be amazed at how engaging an abrupt start can be. Why slowly build to making your point when providing an unexpected jolt to your audience works so much better?

Fiction that fails to engage an audience with the emotional intricacies of viable characters will, for many in that audience, simply alienate them with its profound irrelevance at the human level.

Over the course of seventy years, Isobel had learned how indiscriminately unkind Life could be. She also knew that cataloguing and reviewing examples of such cruelty was, in itself, a masochistic exercise. One that she'd habitually and rigorously trained herself to refrain from engaging in. Better to focus on those events that demonstrated the grace and beauty with which Life could perform, without rival, when bestowing on her captive audience a distinctively intermittent yet consistently welcomed generosity of spirit.

When we fail to speak properly, many in our audience will question our education and our knowledgeableness.

Whiteboarding keeps your prospects’ attention because drawing engages them and forces you to offer data in chunks in a process of “progressive disclosure,” which is easier for people to absorb. Your audience becomes involved in your creation of your story. The basic sales steps – “listen, diagnose, ask questions, consult, adapt” – stay the same, but whiteboarding takes them to a new level. Whiteboard sellers have to know their buyers’ business and the trends in their markets.

A good magician’s performance tells a story. Each act should build on the next, becoming ever more engaging to fill the audience with wonder. It’s a bud that unfurls into a flower, meant to woo the audience.

The trick for business professionals, and for educators, is to present bodies of information so compelling that the audience does this (encoding) on their own, spontaneously engaging in deep and elaborate encoding.

Audience engagement is critical to the survival of your brand; if you don't engage them you endanger your brand. It's social interaction.

By supporting like-minded people, and by connecting people and seeking out supporters, we were able to become a leader online and grow our audience. I also tested ideas like a “critter twitter” and tried different ways to engage our followers.

Video can provide a welcome change of pace in a presentation. For longer presentations, it’s especially important to change up what you are doing. There is evidence that people’s attention really drops after about ten minutes. Unless you change some aspect of your presentation delivery from time to time, you are going to lose some of your audience. You cannot simply keep talking and dishing out new information. You must do something that is relevant to your topic—something that re-engages your audience or illustrates and supports your point in a different way. You can tell a story, give examples, explain a graph, show an illustration or photo, ask a question, and so on. And, of course, using video that relates to your point is also a great way to change pace and engage the viewer’s brain, bringing them deeper into your presentation.

Good art requires the examination of faith issues from a variety of perspectives and voices. Yet for many audience members, the only way a film can be “Christian” is if there is a major altar-call type scene with a dramatic conversion. If the movie isn’t an overt endorsement not only of faith itself but Judeo-Christian morality and/or Protestant culture, then it’s not “Christian.

And I could trace them directly back to email subscribers.

This self-exposure instead feels one-directional, and for those who engage in it an audience appears to be more desirable than intimate connection.

Back in the early days of his career as a frontier lawyer, Lincoln was engaged in an important trial. It was a really hot day. His opponent was arguing his case, and as he paced around he was starting to sweat, so the man removed his jacket and vest. The lawyer’s shirt buttoned in the back, not in the front, as was customary. Lincoln was quick to notice the discrepancy, and said to the jury – “Gentlemen of the jury, having justice on my side, I don’t think you will at all be influenced by the gentleman’s pretended knowledge of law, when you see he does not even know which side of his shirt should be in front.” Lincoln’s story drew a laugh from the jury and the audience, and won him the case.

When D. L. Moody’s Church in Chicago lay in ashes, he went over to England, in 1872, not to preach, but to listen to others preach while his new church was being built. One Sunday morning he was prevailed upon to preach in a London pulpit. But somehow the spiritual atmosphere was lacking. He confessed afterwards that he never had such a hard time preaching in his life. Everything was perfectly dead, and, as he vainly tried to preach, he said to himself, “What a fool I was to consent to preach! I came here to listen, and here I am preaching.” Then the awful thought came to him that he had to preach again at night, and only the fact that he had given the promise to do so kept him faithful to the engagement. But when Mr. Moody entered the pulpit at night, and faced the crowded congregation, he was conscious of a new atmosphere. “The powers of an unseen world seemed to have fallen upon the audience.” As he drew towards the close of his sermon he became emboldened to give out an invitation, and as he concluded he said, “If there is a man or woman here who will tonight accept Jesus Christ, please stand up.” At once about 500 people rose to their feet. Thinking that there must be some mistake, he asked the people to be seated, and then, in order that there might be no possible misunderstanding, he repeated the invitation, couching it in even more definite and difficult terms. Again the same number rose. Still thinking that something must be wrong, Mr. Moody, for the second time, asked the standing men an women to be seated, and then he invited all who really meant to accept Christ to pass into the vestry. Fully 500 people did as requested, and that was the beginning of a revival in that church and neighbourhood, which brought Mr. Moody back from Dublin, a few days later, that he might assist the wonderful work of God.

Political protest is a form of expression, done specifically so as to be seen by an audience—such as the general public or politicians in power—with the hope of convincing that audience to share the protesters’ viewpoint and maybe act on their behalf. Direct action is also political, but avoids the “middleperson”; it is instead an action done to directly pursue a concrete goal, such as acquiring food with which to feed oneself. Holding a sign that criticizes Jim Crow laws is political protest; refusing to get off the bus or move to the back when ordered to is direct action—as, Robin D.G. Kelley points out in Race Rebels, hundreds of individuals in the South were doing before Rosa Parks, and the National Association for the Advancement of Colored People successfully turned the act into an organized, political tactic. Tea Partiers and conservatives who wave “Don’t Tread on Me” flags are engaging in political protest; those who buy their own land and arm themselves to protect it are engaging in direct action

synthesize, and make sense of new information, modeling what it means to engage in inquiry, to present findings to audiences beyond the school, and to become involved in efforts to improve the lives of people in their home communities. By working in this way, educators tend to act more as colearners and facilitators than subject matter specialists.

We become so accustomed to this state of affairs that we come to think of acting as synonymous with ‘performing’ – that is, putting on a show for the benefit of those watching. This is reinforced by some linguistic confusion around the word ‘acting’. To the general public it means pretending or lying. Professional actors, of course, know that acting is actually about telling the truth. After all, what do we mean by ‘bad acting’ other than that we don’t believe what we’re seeing? And yet, most of us probably implicitly consider engaging directly with an audience as inherent in acting. Meisner’s greatest contribution to acting was probably a philosophical one. By defining it as ‘living truthfully in imaginary circumstances’, he took performance out of the equation.

•from hard power to soft power. Hard power (control of information and resources and the agenda) no longer stands. Soft power means influencing behavior through inviting everyone into the process, engaging the widest audience possible and leading by influence rather than by control. •from "gathering-based" metrics to "scattering-based" metrics. Gathering-based metrics focus on what you control (how many members, how many attended and how many events). Scattering-based metrics reports on the difference the people are making in their communities: not how many people attended our service, but how many hours of service did our people give away to their communities.

For most of us professionals, class is self-assessment, like I said. Namely, what hurts? And, how do I feel? Do I feel okay? Do I need to worry about that twinge or will it go away once I'm warmed up? There's also a kind of zone. Some days you feel great right away. From the first couple of pliés you feel centered, you feel in control. It's going to be a good class, a good day. All is right in the world. And IN, IN, IN. Other days the zone eludes you. Nothing feels good. You look in the mirror and it does its funhouse thing and you feel sour and heavy. And there are days when it is possible to be fully engage in what you are doing and be completely, mind-numbingly, tooth-achingly bored. But you still have to do it. And IN, IN, IN. As a professional, class is a safe place presumably. No audience. If you look like hell, it's okay because who cares, it's just class. Theoretically. In practice, a terrible class can have you feeling almost as wretched as a terrible performance. If a ballerina falls in a forest and there's no one around to see her, does she make a noise? Yes, she does. It is the sound of the ballerina saying, "Oh fuck me.

The number one thing that makes a story irresistible - that has audience members sitting on the edge of their seats, totally captivated by your every word - is conflict. What do I mean by conflict? Conflict refers to a fight. It’s a fight between opposing forces. A fight between life and death. A fight between hate and forgiveness. A fight between freedom and oppression. As long as there are two strong, opposing forces that make the outcome of the story uncertain, a story will be gripping. It keeps us engaged. It keeps us curious. It makes us ask the question, “What will happen next?

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how to keep the audience engaged and entertained throughout the story. No matter how well you have prepared for it, you can still encounter problems. You

The night of the theatrical, Jane and Mr. Nobley secreted themselves behind the house for the final brush-up. The mood of late had let a bit of Bohemia into Regency England, the usual strict social observances bending, the rehearsals allowing the couples to slip away alone and enjoy the exhilarating intimacy of the unobserved. Mr. Nobley sat on the gravel path, leaning back on his elbow in a reluctant recline. “Oh, to die here, alone and unloved…” “That was pretty good,” Jane said. “You genuinely sounded in pain as you said it, but I think you could add a groan or two.” Mr. Nobley groaned, though perhaps not as part of the theatrical. “Perfect!” said Jane. Mr. Nobley rested his head on his knee and laughed. “I cannot believe I let you railroad me into this. I have always avoided doing a theatrical.” “Oh, you don’t seem that sorry. I mean, you certainly are sorry, just not regretful…” “Just do your part, please, Miss Erstwhile.” “Oh, yes, of course, forgive me. I can’t imagine why I’m taking so long, it’s just that there’s something so appealing about you there on the ground, at my feet--” He tackled her. He actually leaped up, grabbed her around the waist, and pulled her to the ground. She screeched as she thudded down on top of him. His hands stiffened. “Whoops,” he said. “You did not just do that.” He looked around for witnesses. “You are right, I did not just do that. But if I had, I was driven to it; no jury in the world would convict me. We had better keep rehearsing, someone might come by.” “I would, but you’re still holding me.” His hands were on her waist. They were gorgeous, thick-fingered, large. She liked them there. “So they are,” he said. Then he looked at her. He breathed in. His forehead tensed as if he were trying to think of words for his thoughts, as if he were engaged in some gorgeous inner battle that was provoked by how perfectly beautiful she was. (That last part was purely Jane’s romantic speculation and can’t be taken as literal.) Nevertheless, they were on the ground, touching, frozen, staring at each other, and even the trees were holding their breath. “I--” Jane started to say, but Mr. Nobley shook his head. He apologized and helped her to her feet, then plopped back onto the ground, as his character was still in the throes of death. “Shall we resume?” “Right, okay,” she said, shaking gravel from her skirt, “we were near the end…Oh, Antonio!” She knelt carefully beside him to keep her skirt from wrinkling and patted his chest. “You are gravely wounded. And groaning so impressively! Let me hold you and you can die in my arms, because traditionally, death and unrequited love are a romantic pairing.” “Those aren’t the lines,” he said through his teeth, as though an actual audience might overhear their practice. “They’re better than. It’s hardly Shakespeare.” “Right. So, your love revives my soul, my wounds heal…etcetera, etcetera, and I stand up and we exclaim our love dramatically. I cherish you more than farms love rain, than night loves the moon, and so on…” He pulled her upright and they stood facing each other, her hands in his. Again with the held breaths, the locked gazes. Twice in a row. It was almost too much! And Jane wanted to stay in that moment with him so much, her belly ached with the desire. “Your hands are cold,” he said, looking at her fingers. She waited. They had never practiced this part and the flimsy play gave no directions, such as, Kiss the girl, you fool. She leaned in a tiny bit. He warmed her hands. “So…” she said. “I suppose we know our scene, more or less,” he said. Was he going to kiss her? No, it seemed nobody ever kissed in Regency England. So what was happening? And what did it mean to fall in love in Austenland anyway? Jane stepped back, the weird anxiety of his nearness suddenly making her heart beat so hard it hurt.

The speeches she is making with almost weekly regularity are a further satisfying feature of her royal life. Some she writes herself, others by a small coterie of advisers, including her private secretary Patrick Jephson, now a firm ally in the royal camp as she personally appointed him last November. It is a flexible informal group who discuss with the Princess the points she wants to make, research the statistics and then construct the speech. The contrast between her real interests and the role assigned for her by her palace “minders” was amply demonstrated in March this year where on the same day she was guest of honour at the Ideal Home Exhibition and in the evening made a passionate and revelatory speech about AIDS. There was an interesting symbolism to these engagements, separated only by a matter of hours but by a generation in personal philosophy. Her exhibition visit was organized by the palace bureaucracy. They arranged everything from photo opportunities to guests lists while the subsequent media coverage concentrated on an off-the-cuff remark the Princess made about how she couldn’t comment on her plans for National Bed Week because this was “a family show”. It was light, bright and trite, the usual offering which is served up by the palace to the media day in day out. The Princess performed her role impeccably, chatting to the various organizers and smiling for the cameras. However her performance was just that, a role which the palace, the media and public have come to expect. A glimpse of the real Diana was on show later that evening when in the company of Professor Michael Adler and Margaret Jay, both AIDS experts, she spoke to an audience of media executives at a dinner held at Claridges. Her speech clearly came from the heart and her own experience. Afterwards she answered several rather long-winded questions from the floor, the first occasion in her royal life where she had subjected herself to this particular ordeal. This episode passed without a murmur in the media even though it represented a significant milestone in her life. It illustrates the considerable difficulties she faces in shifting perceptions of her job as a Princess, both inside and outside the palace walls.

when an audience’s emotions are engaged, that audience is more vulnerable to suggestion

The refurbished Cromwell must be speaking to something in contemporary culture and the job of the adapters is to figure out what that something might be. They must do so knowing that whatever it is, it is not primarily about religion. The religious background is important in both versions: More’s relentless pursuit of heretics, Cromwell’s sympathy for, and manipulation of, Protestant reformers, the willingness of those reformers to support Anne because she is on their side, Henry’s genuine conviction that God is punishing his sin. But it matters as historical setting, not as contemporary passion. There is no religious shortcut to engagement with these dramas, no assumption that Catholics will hiss Cromwell and cheer More and that Protestants will do the opposite. Some other connection must be forged. What makes Mantel’s Cromwell appealing to readers, audiences, and TV viewers is that he is rather like most of them. He is a middle-class man trying to get by in an oligarchic world. Thirty years ago, Mantel’s Cromwell would have been of limited interest. His virtues—hard work, self-discipline, domestic respectability, a talent for office politics, the steady accumulation of money, a valuing of stability above all else—would have been dismissed as mere bourgeois orthodoxies. If they were not so boring they would have been contemptible. They were, in a damning word, safe. But they’re not safe anymore. They don’t assure security. As the world becomes more oligarchic, middle-class virtues become more precarious. This is the drama of Mantel’s Cromwell—he is the perfect bourgeois in a world where being perfectly bourgeois doesn’t buy you freedom from the knowledge that everything you have can be whipped away from you at any moment. The terror that grips us is rooted not in Cromwell’s weakness but in his extraordinary strength. He is a perfect paragon of meritocracy for our age. He is a survivor of an abusive childhood,

Careful, minx, or I shall think you dragged me to this silly place just to irritate me.” A muscle in his jaw ticked. She plied her fan, feigning innocence. “Would I do that?” He laughed as he led her to the dance floor. “I imagine you would. In fact, I am quite certain that you despise this place as much as I already do.” “I…” She raised the fan to hide her expression. Could he be aware of her plan to annoy him out of the engagement? “Please, Miss Winthrop, do not exert yourself by indulging in further falsehoods.” he whispered through clenched teeth. “The truth is written all over your face. Now tell me, why are you trying to vex me?” The vampire loomed over her like the fierce blood drinker he was. The young ladies and gentlemen around them had abandoned even the slightest pretense of dancing and were now watching the discussion with avid interest. Claire Belmont gripped Lord Makepeace’s sleeve and dragged him closer. The audience seemed to salivate over the possibility of scandal. Angelica resisted the urge to glare at Claire. “People are staring at us.” “Let them,” Burnrath said curtly. “This is not the first time we’ve garnered attention, and from the pattern of our discourse, it will not be the last.” “Fine,” she muttered and confessed the truth. “I had thought if I irritated you enough, you would not wish to marry me.” “Angel…” His voice grew tender and his grip tightened on her waist as they waltzed. “Nothing will make me change my mind. I have told you time and again that you have no reason to fear me. What will it take to make you believe me?” As she swayed in his arms, his handsome face and gentleness nearly shattered her resolve. “I do not know. I am so confused.” Could I tell him I am afraid of losing my freedom? No, such an action would be ludicrous! “Everything will be all right. I promise,” he whispered and her heart ached in longing to believe him. The

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The purpose of music as an art form, is to engage the audience.

Set foot in his classroom, and you’ll see that he hasn’t quite given up on these dreams. True to his compulsive nature and eclectic taste, he punctuates his courses with entertaining routines to keep his students engaged, playing four songs at the start of each class and tossing candy bars to the first students who shout out the correct answers to music trivia. This is how a poster of a rapper ended up on his wall. “If you want to engage your audience, if you really want to grab their attention, you have to know the world they live in, the music they listen to, the movies they watch,” he explains. “To most of these kids, accounting is like a root canal. But when they hear me quote Usher or Cee Lo Green, they say to themselves, ‘Whoa, did that fat old white-haired guy just say what I thought he said?’ And then you’ve got ’em.

Great content is something you provide to your audience that captures their attention and encourages them to engage and share.

Tell your audience how your stuff helps people by telling them about those people, not by talking just about your stuff.