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.

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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.

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.

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.

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 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.

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

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

(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

To say a work of fiction is unrelatable is to say, “I am not the implied audience, so I refuse to engage with the choices the author has made.

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

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.

A story is like a coat. When we tell a story, we put a coat on our audience. Our goal is to make that coat as difficult to remove as possible. I want that coat to be impossible to take off.

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.

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.

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.

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.

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

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.

The more variety you bring to your communication, the more engaged your audience will be, and the more they will enjoy the journey as you take them where they need to go with your message. Audiences don’t want to just sit by passively as you talk. They want to be a part of the experience

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 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.

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.

We are engaged in a world war of stories—a war between incompatible versions of reality—and we need to learn how to fight it. A tyrant has arisen in Russia and brutality engulfs Ukraine, whose people, led by a satirist turned hero, offer heroic resistance, and are already creating a legend of freedom. The tyrant creates false narratives to justify his assault—the Ukrainians are Nazis, and Russia is menaced by Western conspiracies. He seeks to brainwash his own citizens with such lying stories. Meanwhile, America is sliding back towards the Middle Ages, as white supremacy exerts itself not only over Black bodies, but over women’s bodies too. False narratives rooted in antiquated religiosity and bigoted ideas from hundreds of years ago are used to justify this, and find willing audiences and believers. In India, religious sectarianism and political authoritarianism go hand in hand, and violence grows as democracy dies. Once again, false narratives of Indian history are in play, narratives that privilege the majority and oppress minorities; and these narratives, let it be said, are popular, just as the Russian tyrant’s lies are believed. This, now, is the ugly dailiness of the world. How should we respond? It has been said, I have said it myself, that the powerful may own the present, but writers own the future, for it is through our work, or the best of it at least, the work which endures into that future, that the present misdeeds of the powerful will be judged. But how can we think of the future when the present screams for our attention, and what, if we turn away from posterity and pay attention to this dreadful moment, can we usefully or effectively do? A poem will not stop a bullet. A novel cannot defuse a bomb. Not all our satirists are heroes. But we are not helpless. Even after Orpheus was torn to pieces, his severed head, floating down the river Hebrus, went on singing, reminding us that the song is stronger than death. We can sing the truth and name the liars, we can join in solidarity with our fellows on the front lines and magnify their voices by adding our own to them. Above all, we must understand that stories are at the heart of what’s happening, and the dishonest narratives of oppressors have proved attractive to many. So we must work to overturn the false narratives of tyrants, populists, and fools by telling better stories than they do, stories within which people want to live. The battleground is not only on the battlefield. The stories we live in are contested territories too. Perhaps we can seek to emulate Joyce’s Dedalus, who sought to forge, in the smithy of his soul, the uncreated conscience of his race. We can emulate Orpheus and sing on in the face of horror, and not stop singing until the tide turns, and a better day begins.

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

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.

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.

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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).

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The Reagan formula featured a president with little comprehension of, indeed little interest in, most of the major issues of the day but with an actor’s skill in assuming a symbolic role, that of quasi-monarch. That same formula also aimed at replacing the idea of an engaged and informed citizenry with that of an audience which, fearful of nuclear war and Soviet aggression, welcomed a leader who could be trusted to protect and reassure them of their virtue by retelling familiar myths about national greatness, piety, and generosity. It was demagoguery adapted to the cinematic age: he played the leader while “we the people” relapsed into a predemotic state.

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.

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.

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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.

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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)

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...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.

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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?

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Western knowledge producers or those using Western voices in their knowledge production should ask themselves a few questions: Where do Palestinians fit in this work? Do they have any agency, or are they a tool to drive the point across? Are my filmmaking practices extractive? How can I practice responsible authorship? Have I instilled in my project enough cues to incentivize my audience to consume it critically, or am I patting myself on the back? Am I doing the challenging chore of speaking to my bigoted, acrimonious community, accosting my Zionist aunt at the dinner table, or am I preaching—pandering, really—to the choir? Did I really have to go and “see for myself,” or did I ignore a century of Palestinian literature? Am I cognizant of how that refusal to engage local and grassroots knowledge production continues to undermine its value on the world stage, undermining also the value and authority of Palestinian narration? Do I have a class analysis in my work? Do I acknowledge that I get awards for saying similar things to what the student movement has been criminalized, suspended, and censured for saying? Do I name my institutional backing? What are the material and monetary conditions of those whose voices I amplify? Am I only referencing dead guys? What does my works cited page look like?

Artistic license, also known poetic license, narrative license, and licentiate poetical, is a colloquial term (employed occasionally as a euphemism), which denotes a license to distort the facts, alter the conventions of grammar or language, or reword pre-existing text by an artist in the name of art. Liberal usage of an artistic license to restructure basic facts can result because of conscious or unconscious acts. Artistic embellishment or misrepresentation of the facts and distortion or alteration of the compositional text frequently is the by-product of both intentional and unintentional additions and omissions. An artistic license, employed at an artist’s discretion to fill in details or gloss over factual and historical gaps, raises some ethical issues. Many stories retold verbatim would bore an audience or require inordinate time and resources to reenact, describe, and view. A dramatic license eliminates mundane details and tedious facts, spruces up the picturesque background, and glamorizes the characters’ temperament and action scenes. Is it wrong to be inventive with the facts? What degree of embroidery of a series of events and the characters’ mannerisms and attributes is acceptable? How can anyone paste together a set of facts into an interesting or compelling narrative that has literary value without engaging in some creative organization to enhance the theatrical retelling and to create juxtaposition of ideas and values?

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

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5 Best Platforms to Buy Instagram Accounts Today (PVA & Phone Verified) If You want to more information just contact now 24 Hours Reply/ Contact : – ⇅ Telegram: @accsells1 ⇅ WhatsApp: ‪‪+1 (814) 403–6336‬‬ ⇅ E-mail: infoaccsells0@gmail.com We are entering into the new era of Technology and a vast digital world, where everything occurs in a fraction of time. Buying an Instagram account is no longer seen as an unnecessary and poor method to gain high-quality followers at once, but is a must that could turn a small business into a large-scale business by fast-track growth. You may be wondering what it could be like? You'll get it how. As there are millions of Instagram accounts on this platform, the competition is breathtaking due to ever-changing algorithms. Why not find a smarter way to reach success overnight? But while the idea sounds tempting, it's not as simple as clicking "buy now." So, this is the biggest reason that you are here. This is an effective marketing solution by turning your investment on its head, not wiping it out. Purchasing an Instagram account that already has an engaged audience is a hump start, but knowing how to buy an Instagram account safely is crucial. 7 Pre-requisites to Safely Buying an Instagram Account Without any knowledge and awareness, you might get distracted or lost in the buying process. Therefore, you need to add extra layers of security by following the fixed rules that are split into 7 categories to make it clear that it is highly possible to buy Instagram accounts safely. Choose a Niche That Matches Your Goals If you aim to buy an Instagram account, the best thing you can do is choose a niche that aligns with your business mission and goals. The most crucial reason for this point is that the audience is fond of this Instagram account's content, style, and marketing methods. So, knowing this could send marketers or influencers into avoiding losing them by mass unfollows and zero engagement. For instance, buying an aged Instagram account that focuses on fashion and then generating content about health improvement tips can ruin your reputation immediately. Instead, sticking with the page strategy that revolves around the niche helps you to grow steadily. Check the Account's History and Past Usernames Before purchasing an Instagram page, first you should pause and evaluate its history, including past usernames and content themes. The most crucial reason is that frequent username changes put your Instagram account at risk of violating privacy because it indicates this account has been flipped multiple times. Choosing a particular username reveals your Instagram account activity, and the content shows the history. Falling into the trap of these accounts without any checks or knowing about the background can wipe out your investment. Sebuda can check the account history to verify consistency and relevancy. A stable, niche-focused history suggests a healthier, more authentic account. Verify Follower Authenticity A high follower count doesn't always mean real followers. It is really important to identify fake inactive followers. Before buying Instagram accounts, to ensure whether or not an Instagram account is fake or not, you can check if they have profile pictures, strange usernames. Another critical sign is that the amount of engagement resonates with the followers' count. If you desire to save time when verifying followers' authenticity, you can use tools like Instagram Audit or Fake Follower Checkers to better analyze engagement rates and followers quality. Keep in mind that buying an Instagram account isn't about follower count; it is about having active, real followers who interact with content. Authentic engagement is what drives reach, conversions, and long-term growth. Always Get the OG (Original) Email and Credentials

Buy Verified USA Facebook Accounts From GlobalPVAShop In the world of digital marketing, social media, and online business, having a strong presence on Facebook is no longer optional—it’s a necessity. Whether you’re running ads, managing groups, launching eCommerce campaigns, or growing a brand, Facebook remains one of the most powerful platforms in the world. But to truly unlock its potential, especially in markets like the United States, you need access to reliable and verified USA Facebook accounts. That’s where GlobalPVAShop comes in. Known for offering premium, verified social media accounts, GlobalPVAShop makes it simple and secure to buy verified USA Facebook accounts that are ready for immediate use. But why would you want to buy one instead of creating your own? What are the benefits, and why is GlobalPVAShop the right place to get started? Let’s explore everything you need to know. What Is a Verified USA Facebook Account? A verified USA Facebook account is a Facebook profile that has been: Created with a U.S.-based IP address Registered with a valid U.S. phone number and email Fully verified by Facebook (identity, email, and often phone confirmed) Set up with realistic profile details, including profile pictures, activity, and friends These accounts are often aged or “seasoned,” meaning they’ve been around for a while, making them appear more authentic and trustworthy to both users and Facebook’s algorithm. Why Buy Verified USA Facebook Accounts? There are several reasons why businesses, marketers, and even individual entrepreneurs might choose to buy verified USA Facebook accounts instead of going through the hassle of creating and warming up accounts themselves: 1. Run Facebook Ads Without Limits Running ads on new Facebook accounts is risky. Many get restricted or disabled before a single campaign can run. Verified USA accounts, especially aged ones, are much less likely to trigger Facebook's security filters. They allow you to launch and scale ad campaigns quickly and more reliably. 2. Access U.S.-Specific Features Facebook offers different features and ad targeting options based on the region. With a verified USA account, you get access to tools and opportunities specific to the U.S. market—including better reach, more trusted ad placements, and detailed targeting options. 3. Manage Multiple Accounts If you’re running multiple businesses, ad campaigns, or social pages, it’s risky to rely on just one account. Buying additional verified accounts gives you the flexibility to diversify and protect your assets in case one account gets flagged or banned. 4. Increase Trust and Engagement A USA-based Facebook account often receives better engagement from U.S. audiences. It also looks more legitimate when managing pages or joining groups, which can lead to more interactions, sales, and brand credibility. 5. Avoid the Hassle of Verification Verifying a Facebook account yourself requires linking a real phone number, uploading ID documents, and enduring Facebook’s unpredictable review process. Buying a pre-verified account skips this stress entirely. Why Choose GlobalPVAShop? There’s no shortage of vendors offering Facebook accounts online. But GlobalPVAShop sets itself apart in a number of ways: ✅ High-Quality, Verified Accounts Each Facebook account from GlobalPVAShop is created using a U.S.-based IP and verified using real, clean information. These aren't bots or fake profiles—they're carefully crafted to resemble authentic users. Fast, Secure Delivery GlobalPVAShop delivers account credentials quickly, usually within hours. You’ll receive secure access details including the email, password, recovery options, and any additional info you need. Fair, Transparent Pricing You won’t find inflated prices or hidden fees here. Whether you're buying a single account or bulk packages, the pricing is competitive, and you get what you pay for: quality.

A Step-by-Step Guide to Buying Instagram Accounts With over 2 billion monthly active users, Instagram remains a powerhouse for marketing, making account purchasing an increasingly popular strategy. If You want to more information just contact now 24 Hours Reply/ Contact : – ⇅ Telegram: @accsells1 ⇅ WhatsApp: ‪‪+1 (814) 403–6336‬‬ ⇅ E-mail: infoaccsells0@gmail.com However, the process isn't as simple as handing over money and logging in. There are risks, challenges, and best practices to consider. In this article, we'll explore why people buy Instagram account, potential pitfalls, safe purchasing methods, and how NodeMaven can help you manage your acquired account effectively. Why People Buy Instagram Account Let's be honest - growing an Instagram account from scratch isn't easy. It takes serious time, patience, and strategy. That's why more people than ever, from marketers to solo creators, are choosing to buy aged Instagram accounts instead. Here's why this strategy is gaining popularity: Instant audience access: Building a following from scratch can take months, if not years. Buying an account with an established audience provides immediate reach. Boosted credibility: Accounts with higher follower counts appear more reputable, making it easier to attract partnerships and followers organically. Monetization opportunities: Established accounts can generate revenue through sponsored posts, affiliate marketing, and product promotions. Time efficiency: Skip the slow process of organic growth and focus on content and engagement. Niche penetration: Buying niche-specific accounts allows brands to directly tap into targeted audiences. Risks and Challenges of Buying Instagram Accounts Of course, it's not all upside. Buying an Instagram account comes with serious risks, and you need to know what you're walking into before making a deal. 1. Account Recovery by Original Owner One major risk is the original owner reclaiming the account after the sale. Instagram accounts are tied to emails and phone numbers - if the seller keeps these, they can reset the password later. Mitigation Tips: Change the associated email and phone number immediately. Use a trusted escrow service to verify full ownership transfer. 2. Engagement Rate Discrepancies Not all followers are valuable. Many sellers inflate their accounts using bots or inactive followers, creating a fake engagement rate. What to Check: Analyze engagement rate: likes and comments per follower. Use third-party tools to verify audience authenticity. Check demographics for alignment with your goals, especially when you buy aged Instagram accounts. 3. Violation of Instagram's Terms of Service Instagram's guidelines prohibit buying and selling accounts, which puts buyers at risk of account suspension or banning. If Instagram detects suspicious activity, it could shut down the purchased account. To avoid detection: How to Safely Buy an Instagram Account While risks exist, there are ways to make the buying process safer and more reliable. Steps for a Secure Purchase: Research the seller: Check reviews, past sales, and community feedback. Verify account metrics: Use tools like SocialBlade or HypeAuditor to validate follower authenticity and engagement. Request screenshots: Make sure the seller provides account insights showing organic growth and demographic data. Use an escrow service: Platforms like EpicNPC and FameSwap offer secure transactions that protect both buyer and seller. Secure ownership transfer: Change all credentials, including linked emails, phone numbers, and two-factor authentication settings. Best Platforms to Buy Instagram Account Where you buy your account matters just as much as what you buy. Here are your safest options: 1. AccSells Platforms like Accsells, sellsusa, and Social Tradia specialize in buying and selling social media accounts. These marketplaces often offer: Verified sellers with customer

10 Factors to Consider When Buy Twitter Accounts Established Twitter accounts have been active on the platform for years, building credibility, engagement, and a solid follower base. Their established presence makes them highly valuable for businesses looking to increase visibility and reach. By leveraging these accounts, brands can access an already-engaged audience, amplify their message, and build trust more quickly than starting from scratch. Whether you're promoting a new product, running a campaign, or engaging with a niche community, these seasoned profiles provide a strategic advantage in connecting with your target audience. ⭕ If You want to more information just contact now ⭕ 24 Hours Reply/ Contact : – ⭕ ⇅ Telegram: @accsells1 ⭕ ⇅ WhatsApp: ‪‪+1 (814) 403–6336‬‬ ⭕ ⇅ E-mail: infoaccsells0@gmail.com Can you buy a verified Twitter account? A blue checkmark on a Twitter account signifies authenticity and trust. This verified badge confirms the user's identity and highlights that their account holds public interest. Typically, this status is reserved for public figures, celebrities, brands, or journalists. The checkmark doesn't just verify identity; it also elevates credibility. For audiences, a verified account is more reliable and easier to trust. Whether you're following a news update from a journalist or a statement from a brand, the blue checkmark assures you that the information comes directly from the source it claims to represent. For prominent individuals, brands, and media outlets, verification serves as an essential tool to build and maintain a trusted online presence. It helps prevent impersonation, ensuring their audience engages with genuine content. On a platform crowded with countless voices, the blue checkmark provides a clear signal of authenticity, making it a valuable symbol in the digital world. How to Get Verified on Twitter (X): A Guide to Becoming an X Premium Subscriber Buy Verified Twitter accounts are designed to confirm authenticity, signaling that the account genuinely represents the individual or organization it claims to be. If you're looking to get the coveted blue check, here's everything you need to know about meeting Twitter's verification requirements. First, ensure your profile is complete. This includes having a bio, a profile photo, a linked website, and a verified phone number and email address. Personal accounts must also display a date of birth. Additionally, your account must have public tweets turned on - private accounts are not eligible for verification. Once you've met these prerequisites, you'll be ready to apply. Twitter's verification request process is streamlined through its official form, accessible through your account settings. Simply provide the necessary details and, if applicable, submit supporting documents that demonstrate your relevance, notability, or public interest. It's worth noting that Twitter evaluates applications on a case-by-case basis, so meeting the requirements doesn't necessarily guarantee approval. Factors like follower count, media coverage, and public interest can influence the decision. If your application is denied, don't worry - you can reapply after 30 days. Becoming a verified account offers more than just a blue checkmark. It enhances your credibility, reinforces your brand identity, and builds trust with your audience. Whether you're an individual or an organization, following these steps carefully can bring you closer to verification. Becoming an X Premium Subscriber Unlock exclusive perks and elevate your experience by upgrading to X Premium! Once your account is verified, you'll gain access to features designed to enhance your Twitter presence and simplify your workflow. With X Premium, enjoy advanced analytics that provide valuable insights into your audience, enabling smarter content strategies. Get ad credits to expand your reach and visibility effortlessly. Take advantage o