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.

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.

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.

(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

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.

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

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.

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.

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.

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 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.

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.

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

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.

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.

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).

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.

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?

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.

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

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.

With global advances in technology, our society is becoming more engrossed in personal gadgets than in the world around them. We hold our phones more than we hold real conversations, and each other. We’re so busy looking down at screens and engaging in digital interactions that we forget about the environment around us. It seems people would rather experience an event through a camera than use their eyes to enjoy what’s in front of them. Concert audiences are lit up by the shimmering of phone screens. This isn’t to say that we shouldn’t capture mementos of these precious times. But living through a screen prevents us from being present in the moment. As we continue to distract ourselves from the present moment, we become more anxious, fearful and stressed. Worries overwhelm us in our everyday lives because we’re now conditioned to live elsewhere, rather than right here. What’s more, we ignore the people around us and our personal relationships pay the price. This is often why we feel distressed, disconnected and lost. Our vibration is lowered because we feel like we’re in some imagined situation that doesn’t match up with our lived reality. We relive moments of the past, fear the future and create obstacles in our minds. We devote creative energy to destructive ideas – and this invites turmoil into our lives. Now is the only time you have. Once your past is gone, it doesn’t exist, no matter how many times you recreate it mentally. The future hasn’t even arrived; but again, you keep taking yourself there mentally. Tomorrow comes disguised as today and some of us don’t even notice. Nothing is more valuable than the present moment because you can never get it back.

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

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.

List Segmentation to Increase Response You can also use list segmentation to increase your response in a number of ways. For example: Emailing subscribers based in a specific geographic area when you’re running a live event. Making a special offer to subscribers who visited a sales or checkout page but didn’t complete the transaction. Emailing offers of related products to subscribers based on previous purchases, or on age, sex or other demographics. Emailing a one-to-one session offer to subscribers who’ve recently started browsing your site more or opening and clicking more emails.

We can also increase the perceived long term value by the way we describe our emails. Nowadays many businesses mention a newsletter on their website, but the phrase ‘newsletter’ doesn’t have any implied value in it. In fact the word ‘news’ is probably something you don’t want to hear from a potential supplier. Who cares whether Mary in accounts has had a birthday? What you would like to get is useful, valuable information. So instead of calling it an email newsletter, I call mine ‘client winning tips via email’. Or you could call it a ‘divorce survival bulletin’. Or ‘the cash flow accelerator emails’ or ‘tax cutting tips’. Each of these names implies some kind of value or outcome your potential subscribers will get from your emails. To come up with a good name, go back to your customer insight map for your ideal clients and look at the big problems, challenges, goals and aspirations your clients have. If you can name your emails to relate to those big goals and problems then they’re likely to see they’ll get value by subscribing to them.

One current trend is to offer “free registration” to get access to resources rather than “subscribing” to emails. This is taking advantage of the fact that most web users are used to registering for services they find valuable. The more your opt-in process looks like something they’ve done a dozen times before, like signing up for Facebook or Twitter or for a free account with an online app or webmail service, then the more natural it will seem to do so with you too. Using this type of registration approach you’d put your lead magnet and other free resources into a private membership site that subscribers get access to by signing up. This feeling of exclusive access and similarity with other online services may well result in increased sign up rates. Right now it’s too early to tell, but a number of big online marketers like Copyblogger are going down this route.

The first speed bump is often a good topic for a lead magnet because many potential clients get stuck at that first hurdle. By helping them get quick results with that initial problem, you’ll give them the confidence to work with you on bigger issues.

Once you’ve got your topic for a lead magnet you then have to make sure that people can see that the topic is going to be valuable to them. It needs to be clear from the name and the description of the lead magnet that they’ll get immediate value.

Directing visitors from pay-per-click advertising to your home page is one of the most basic errors and wastes of money in online marketing.

Pulling out something surprising about the topic or disagreeing with conventional wisdom. E.g. Why improving your selling skills will lose you sales. Adding some form of quantification or ranking. E.g. The top 3 reasons you’re losing sales. In this case curiosity is aroused because subscribers want to find out what you think are the top 3 reasons and whether they agree with what they’d have picked. Harnessing an emotion. E.g. 7 ways big corporates try to stop you succeeding. In this case tapping in to potential anger and suspicion about large corporates. Linking the topic to something unexpected. E.g. What Jeremy Clarkson taught me about marketing. The curiosity is in wanting to know what a TV celebrity could know about a topic they’re not usually associated with. Hooking in to news and current affairs. E.g. How to achieve Olympic performance in your organisation. Health warning: these can often go stale fast, especially if lots of people make the same analogies. If you’re linking to the news, try to make it a less common story. Name drop a known expert in your field. E.g. David Ogilvy’s best performing adverts. People are curious to see behind the scenes of what a well-known industry expert thinks and does. Admit your mistakes. E.g. My WORST sales meeting ever. A mixture of wanting to know what to avoid themselves and a little schadenfreude at hearing what you did wrong means these emails often get a very high open rate.

The How To Model How to How to even if How to in less than The Surprising Link Model What I learned about from ’s guide to The List Model ways to surprising facts about The top reasons you’re The Secrets Model secret ways to What your doesn’t want you to know about The Questions Model What would happen if you ? Has ever happened to you? Do you know the top reason why ? The Unusual Sentence Model “” (e.g. “You’re fired, Mr Peesker”) (e.g. Dripping blood, sponges and something that may be holding you back)

Many surveys have been done on email frequency with respondents regularly saying that one of the main reasons they unsubscribe from emails is that they get sent too many. The data, however, tells a different story. When Zarrella looked at unsubscribe rates and click rates for different frequencies of emails he found that: Unsubscribe rates were higher for less frequently emailed lists than frequently mailed ones (rates falling from 0.7% for lists emailed once a month to 0.15% for lists mailed daily) Click rates decreased very little as email frequency increased, going down from around 6% per email for lists mailed once or twice per month to 5% per email for those emailed daily. And since the rate is per email, the daily emails generated over 20 times as many clicks overall. Zarrella’s conclusion was that “sending more email is not the marketing taboo many of us had thought it to be. As long as you’re following the guidelines set forth in the rest of this chapter and sending targeted, personalized and value-packed emails, sending more of them is better”.

Summary The key to getting subscribers to open and read your email lies in five main factors: Making sure your emails get through spam and greymail filters by keeping them on topic and high value. Quickly establishing a reputation for sending valuable, entertaining emails that your subscribers want to read so that opening your emails becomes a habit. Using subject lines which promise benefits and invoke curiosity and following that up in the first few lines of the email. Making sure your emails look easy to read across all devices. Sending your emails when your subscribers are likely to have less in their inbox.

By contrast, if they are engaging with your emails and acting on them, then when you ask them to take a bigger action they’re much more ready to take that step because they’ve already taken smaller steps and they’ve had good results from taking those smaller steps.

Ackbar knew the fry would come up with the wrong answer. As the young so often did, they were arguing about tactics but failing to consider personalities. Hux’s principal concern wasn’t winning an engagement, but demonstrating the First Order capabilities and might for a galactic audience.

Social media optimization matters. Without a strong SEO, it will be difficult to engage an audience and bring attention to your brand.

The cellphone barometer is my method of judging audience engagement with a movie in a cinema. The number and frequency of phones lighting up the dark auditorium (or lack of them) tells you if the film is working or not.

It is a fact of human nature that we derive pleasure from watching others engage in pleasurable acts. This explains the popularity of two enterprises: pornography and cafés. Americans excel at the former, but Europeans do a better job at the latter. The food and the coffee are almost beside the point. I once heard of a café in Tel Aviv that dispensed with food and drink all together; it served customers empty plates and cups yet charged real money. Cafés are theaters where the customer is both audience and performer.

Catholic activists have always insisted that the laws they seek to enact or preserve—such as laws protecting innocent human life, or those defining marriage as a lifetime union between a man and a woman—reflect moral norms that can be explained without reference to any specific religious beliefs, norms that are inscribed on the human heart. So Catholics engaged in public debate, acting from the best of motives, have sought to couch their arguments in purely secular terms. Ironically, Catholics might have had more success in the world of politics if, instead of trying to make moral norms more palatable to a secular audience, we had devoted our attention to turning secularists into Catholics—putting our primary emphasis on religious conversions and letting political matters take care of themselves. We thought we were following a subtle strategy, hoping to change minds without first changing hearts. But that approach has failed. Pure evangelization would have been more effective, even from a purely political perspective.

Tino Sehgal, nominated for the Turner Prize, sets up unsettling human interactions for people: children spouting fluent art speak, gallery attendants who engage you in philosophical debate, performers provoking the audience to talk about them. Tino is so dedicated to this dematerialized version of art that he won’t even allow any photographs or recordings of his work.

In other words, walking someone through your gate should not feel as though you have now become a “marketer” instead of a creator. It is about extending the experience of your creative work to at least one person in a meaningful way.

real expertise is knowing your subject matter so well that you know what information is relevant to communicate in what contexts and to what audience. Real expertise is recognizing when some things won’t matter to people outside your little circle of specialists. Real expertise means being able to make people care about something because you present it in an engaging and relevant way!

A story can get a customer engaged more that any brochure, listing just features and benefits. A story can literally make someone feel the value of working with you. Stories do what data does not.

With Cosmos, Sagan sought to counter the fear and distrust of applied science, and to inspire the kind of basic science wonder that Hubble’s lectures and the moon landing once had. The series was enormously successful. For the first time since Hubble, a huge audience was engaged in exploring the grand questions about life, nature, the structure of the universe, and what it might all mean.

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

Mypocketchurch - Avail a smarter way to stay connected to your church. church Mobile Apps equips organizations of all sizes to present their content and engage their audience. This allows the religious organization to communicate directly and providing them with the best mobile solutions.

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

These four devotees prayed to the Lord that although they might go to hell because they had cursed devotees, they might not forget the service of the Lord. The transcendental loving service of the Lord is performed in three ways – with the body, with the mind and with words. Here the sages pray that their words may always be engaged in glorifying the Supreme Lord. One may speak very nicely with ornamental language or one may be expert at controlled grammatical presentation, but if one’s words are not engaged in the service of the Lord, they have no flavor and no actual use. The example is given here of tulasī leaves. The tulasī leaf is very useful even from the medicinal or antiseptic point of view. It is considered sacred and is offered to the lotus feet of the Lord. The tulasī leaf has numerous good qualities, but if it were not offered to the lotus feet of the Lord, tulasī could not be of much value or importance. Similarly, one may speak very nicely from the rhetorical or grammatical point of view, which may be very much appreciated by a materialistic audience, but if one’s words are not offered to the service of the Lord, they are useless. The holes of the ears are very small and can be filled with any insignificant sound, so how can they receive as great a vibration as the glorification of the Lord? The answer is that the holes of the ears are like the sky. As the sky can never be filled up, the quality of the ear is such that one may go on pouring in vibrations of various kinds, yet it is capable of receiving more and more vibrations. A devotee is not afraid of going to hell if he has the opportunity to hear the glories of the Lord constantly. This is the advantage of chanting Hare Kṛṣṇa, Hare Kṛṣṇa, Kṛṣṇa Kṛṣṇa, Hare Hare/ Hare Rāma, Hare Rāma, Rāma Rāma, Hare Hare. One may be put in any condition, but God gives him the prerogative to chant Hare Kṛṣṇa. In any condition of life, if one goes on chanting he will never be unhappy.

It was this hierarchy—so central to Western cosmology for so long that, even today, a ten-year-old could intuitively get much of it right—that was challenged by the most famous compendium of all: Denis Diderot and Jean le Rond d’Alembert’s eighteen-thousand-page Encyclopédie. Published between 1751 and 1772, the Encyclopédie was sponsored by neither the Catholic Church nor the French monarchy and was covertly hostile to both. It was intended to secularize as well as to popularize knowledge, and it demonstrated those Enlightenment commitments most radically through its organizational scheme. Rather than being structured, as it were, God-down, with the whole world flowing forth from a divine creator, it was structured human-out, with the world divided according to the different ways in which the mind engages with it: “memory,” “reason,” and “imagination,” or what we might today call history, science and philosophy, and the arts. Like alphabetical order, which effectively democratizes topics by abolishing distinctions based on power and precedent in favor of subjecting them all to the same rule, this new structure had the effect of humbling even the most exalted subjects. In producing the Encyclopédie, Diderot did not look up to the heavens but out toward the future; his goal, he wrote, was “that our descendants, by becoming more learned, may become more virtuous and happier.” It is to Diderot’s Encyclopédie that we owe every modern one, from the Britannica and the World Book to Encarta and Wikipedia. But we also owe to it many other kinds of projects designed to, in his words, “assemble all the knowledge scattered on the surface of the earth.” It introduced not only new ways to do so but new reasons—chief among them, the diffusion of information prized by an élite class into the culture at large. The Encyclopédie was both the cause and the effect of a profoundly Enlightenment conviction: that, for books about everything, the best possible audience was the Everyman.

My friend Scott Friedman (ScottFriedman.net) is a motivational humorist who specializes in employee engagement, celebration, and customer service. He teaches organizations that when their organizations are happy, they enjoy increased productivity, higher performance, better engagement, and elevated levels of health and well-being among their people. In his book, Happily Ever Laughter, Scott shares, “Personal stories are excellent (and entertaining) catalysts both for communicating big ideas and for presenting your most original humor. Better yet, stories let you provide more substance in less time. Jokes, on the other hand, have less reach substance-wise. Why? Because a joke is meant to entertain. A story, on the other hand, has inherent meaning. Stories allow the audience to get to know you, your imperfections, your flaws, and your foolishness. You can be vulnerable right there with audience watching. You can entertain, enlighten and teach all in the same effort.