Audience Quotes

One more time? For the audience?" he says. His voice isn't angry. It's hollow, which is worse. Already the boy with the bread is slipping away from me. I take his hand, holding on tightly, preparing for the cameras, and dreading the moment when I will finally have to let go.

Do you take pride in your hurt? Does it make you seem large and tragic? ...Well, think about it. Maybe you're playing a part on a great stage with only yourself as audience.

God is a comedian playing to an audience that is too afraid to laugh.

The person who writes for fools is always sure of a large audience.

Hysteria is impossible without an audience. Panicking by yourself is the same as laughing alone in an empty room. You feel really silly.

When you do something noble and beautiful and nobody noticed, do not be sad. For the sun every morning is a beautiful spectacle and yet most of the audience still sleeps.

The play was a great success, but audience was a dismal failure.

That's what you do when the curtain is falling--you give the line that the audience wants to hear.

Once a president gets to the White House, the only audience that is left that really matters is history.

People pontificate, "Suicide is selfishness." Career churchmen like Pater go a step further and call in a cowardly assault on the living. Oafs argue this specious line for varying reason: to evade fingers of blame, to impress one's audience with one's mental fiber, to vent anger, or just because one lacks the necessary suffering to sympathize. Cowardice is nothing to do with it - suicide takes considerable courage. Japanese have the right idea. No, what's selfish is to demand another to endure an intolerable existence, just to spare families, friends, and enemies a bit of soul-searching.

Do you remember all of your audiences?" Marco asks. "Not all of them," Celia says. "But I remember the people who look at me the way you do." "What way might that be?" "As though they cannot decide if they are afraid of me or they want to kiss me." " I am not afraid of you," Marco says.

Write while the heat is in you. The writer who postpones the recording of his thoughts uses an iron which has cooled to burn a hole with. He cannot inflame the minds of his audience.

What did Isabelle want?" Jace asked. Alec hesitated. "Isabelle says the Queen of the Seelie Court has requested an audience with us." "Sure," said Magnus. "And Madonna wants me as a backup dancer on her next world tour.

I would like to get rid of the homophobes, sexists, and racists in our audience. I know they're out there and it really bothers me.

Find something useful to do with your morning,' she thought to him as she neared her chambers. 'Do something heroic in front of an audience. Knock a child into a river while no one's looking and then rescue him.

Words have a magical power. They can bring either the greatest happiness or deepest despair; they can transfer knowledge from teacher to student; words enable the orator to sway his audience and dictate its decisions. Words are capable of arousing the strongest emotions and prompting all men's actions.

LAW 25 Re-Create Yourself Do not accept the roles that society foists on you. Re-create yourself by forging a new identity, one that commands attention and never bores the audience. Be the master of your own image rather than letting others define if for you. Incorporate dramatic devices into your public gestures and actions – your power will be enhanced and your character will seem larger than life.

I hope to write someday and that’s even more terrifying than performing. You don’t just entertain the audience, you give them little bits of your soul.

Of course I talk to myself. I like a good speaker, and I appreciate an intelligent audience.

When I told the people of Northern Ireland that I was an atheist, a woman in the audience stood up and said, 'Yes, but is it the God of the Catholics or the God of the Protestants in whom you don't believe?

Never try to convey your idea to the audience - it is a thankless and senseless task. Show them life, and they’ll find within themselves the means to assess and appreciate it.

I am a collection of oddities, a circus of neurons and electrons: my heart is the ringmaster, my soul is the trapeze artist, and the world is my audience. It sounds strange because it is, and it is, because I am strange.

All I can think about is how fucked up it would be for your life to end here, now. I mean I know that your life if fucked up no matter what now, forever. And I'm not dumb enough to think that I can undo that, that anyone can. But I can't wrap my mind around the notion of you not getting old, having kids, going to Juilliard, getting to play that cello in front of a huge audience, so that they can get the chills the way I do every time I see you pick up your bow, every time I see you smile at me.

Why don't I just pretend I'm on camera, Plutarch?" I say. "Yes! Perfect. One is always much braver with an audience," he says. "Look at the courage Peeta just displayed!" It's all I can do not to slap him.

Some people are born to make great art and others are born to appreciate it. Don't you think? It is a kind of talent in itself, to be an audience, whether you are the spectator in the gallery or you are listening to the voice of the world's greatest soprano. Not everyone can be the artist. There have to be those who witness the art, who love and appreciate what they have been privileged to see.

It's easy to run to others. It's so hard to stand on one's own record. You can fake virtue for an audience. You can't fake it in your own eyes. Your ego is your strictest judge. They run from it. They spend their lives running. It's easier to donate a few thousand to charity and think oneself noble than to base self-respect on personal standards of personal achievement. It's simple to seek substitutes for competence--such easy substitutes: love, charm, kindness, charity. But there is no substitute for competence.

Always make the audience suffer as much as possible.

A phenomenon that a number of people have noted while in deep depression is the sense of being accompanied by a second self — a wraithlike observer who, not sharing the dementia of his double, is able to watch with dispassionate curiosity as his companion struggles against the oncoming disaster, or decides to embrace it. There is a theatrical quality about all this, and during the next several days, as I went about stolidly preparing for extinction, I couldn't shake off a sense of melodrama — a melodrama in which I, the victim-to-be of self-murder, was both the solitary actor and lone member of the audience.

The story itself, the true story, is the one that the audience members create in their minds, guided and shaped by my text, but then transformed, elucidated, expanded, edited, and clarified by their own experience, their own desires, their own hopes and fears.

On nights like this when the air is so clear, you end up saying things you ordinarily wouldn’t. Without even noticing what you’re doing, you open up your heart and just start talking to the person next to you—you talk as if you have no audience but the glittering stars, far overhead.

Ayn Rand's 'philosophy' is nearly perfect in its immorality, which makes the size of her audience all the more ominous and symptomatic as we enter a curious new phase in our society.... To justify and extol human greed and egotism is to my mind not only immoral, but evil.

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.

Yes Kinney?" said Cinder. "The captain and his crew are requesting an audience." "Ha!" Thorne's voice carried from the corridor. "I told you I could get him to call me the captain." Cinder rolled her eyes. "Let them in.

I only share when I have no unmet needs that I'm trying to fill. I firmly believe that being vulnerable with a larger audience is only a good idea if the healing is tied to the sharing, not to the expectations I might have for the response I get.

The only difference between lying and acting was whether your audience was in on it, but it was all a performance just the same.

Haec ego non multis (scribo), sed tibi: satis enim magnum alter alteri theatrum sumus. I am writing this not to many, but to you: certainly we are a great enough audience for each other.

As a philosopher, if I were speaking to a purely philosophic audience I should say that I ought to describe myself as an Agnostic, because I do not think that there is a conclusive argument by which one can prove that there is not a God. On the other hand, if I am to convey the right impression to the ordinary man in the street I think that I ought to say that I am an Atheist, because, when I say that I cannot prove that there is not a God, I ought to add equally that I cannot prove that there are not the Homeric gods.

But when you're in front of an audience and you make them laugh at a new idea, you're guiding the whole being for the moment. No one is ever more him/herself than when they really laugh. Their defenses are down. It's very Zen-like, that moment. They are completely open, completely themselves when that message hits the brain and the laugh begins. That's when new ideas can be implanted. If a new idea slips in at that moment, it has a chance to grow.

When a population becomes distracted by trivia, when cultural life is redefined as a perpetual round of entertainments, when serious public conversation becomes a form of baby-talk, when, in short, a people become an audience, and their public business a vaudeville act, then a nation finds itself at risk; culture-death is a clear possibility.

The dream is to keep surprising yourself, never mind the audience

His mouth captured hers, trying to show her with his kiss what he was still learning to express in words. He loved her. He worshipped her. He'd walk across fire for her. He— —still had the audience of her three brothers. Slowly breaking the kiss, he turned his face to the side. Anthony, Benedict, and Colin were still standing in the foyer. Anthony was studying the ceiling, Benedict was pretending to inspect his fingernails, and Colin was staring quite shamelessly.

Always mystify, torture, mislead, and surprise the audience as much as possible.

I didn't realize then that so much of being adult is reconciling ourselves with the awkwardness and strangeness of our own feelings. Youth is the time of life lived for some imaginary audience.

The truth is, everyone likes to look down on someone. If your favorites are all avant-garde writers who throw in Sanskrit and German, you can look down on everyone. If your favorites are all Oprah Book Club books, you can at least look down on mystery readers. Mystery readers have sci-fi readers. Sci-fi can look down on fantasy. And yes, fantasy readers have their own snobbishness. I’ll bet this, though: in a hundred years, people will be writing a lot more dissertations on Harry Potter than on John Updike. Look, Charles Dickens wrote popular fiction. Shakespeare wrote popular fiction—until he wrote his sonnets, desperate to show the literati of his day that he was real artist. Edgar Allan Poe tied himself in knots because no one realized he was a genius. The core of the problem is how we want to define “literature”. The Latin root simply means “letters”. Those letters are either delivered—they connect with an audience—or they don’t. For some, that audience is a few thousand college professors and some critics. For others, its twenty million women desperate for romance in their lives. Those connections happen because the books successfully communicate something real about the human experience. Sure, there are trashy books that do really well, but that’s because there are trashy facets of humanity. What people value in their books—and thus what they count as literature—really tells you more about them than it does about the book.

An unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences.

We are the ones who take this thing called music and line it up with this thing called time. We are the ticking, we are the pulsing, we are underneath every part of this moment. And by making the moment our own, we are rendering it timeless. There is no audience. There are no instruments. There are only bodies and thoughts and murmurs and looks. It's the concert rush to end all concert rushes, because this is what matters. When the heart races, this is what it's racing towards.

Isabelle says the Queen of the Seelie Court has requested an audience with is" Sure" said Magnus. "And Madonna wants me as a backup dancer on her next world tour

What did Isabelle want?" Jace asked. Alec hesitated. "Isabelle says the Queen of the Seelie Court has requested an audience with us." "Sure," said Magnus. "And Madonna wants me as a backup dancer on her next world tour." Alec looked puzzled. "Who's Madonna?" "Who's the Queen of the Seelie Court?" said Clary. "She is the Queen of Faerie," said Magnus. "Well, the local one, anyway." Jace put his head in his hands. "Tell Isabelle no." "But she thinks it's a good idea," Alec protested. "Then tell her no twice.

A lone walker is both present and detached, more than an audience but less than a participant. Walking assuages or legitimizes this alienation.

I want to take my time with you - to learn … every inch of you. And this apartment has very, very thin walls. I don’t want to have an audience” he added as he leaned down again, brushing his mouth over the cut at the base of her throat, “when I make you moan, Aelin.

Isabelle says the Queen of the Seelie Court has requested an audience with us." "Sure," said Magnus. "And Madonna wants me as a backup dancer on her next world tour." Alec looked puzzled. "Who's Madonna?" "Who's the Queen of the Seelie Court?" said Clary. "She is the Queen of Faerie," said Magnus. "Well, the local one, anyway." Jace put his head in his hands. "Tell Isabelle no." "But she thinks it's a good idea," Alec protested. "Then tell her no twice." Alec frowned. "What's that supposed to mean?" "Oh, just that some of Isabelle's ideas are world-beaters and some are total disasters. Remember that idea she had about using abandoned subway tunnels to get around under the city? Talk about giant rats—" "Let's not," said Simon. "I'd rather not talk about rats at all, in fact.

The bow is so old, its horsehair is glue Sent to the factory, just like me and like you So how come they stayed your execution? The audience roars its standing ovation “Dust,

EA: Is it the smoke that smells like vanilla? Audience: Yeah. EA: Yeah, they do that to mask the chemicals that are actually killing you.

There was a magic about the sea. People were drawn to it. People wanted to love by it, swim in it, play in it, look at it. It was a living thing that as as unpredictable as a great stage actor: it could be calm and welcoming, opening its arms to embrace it's audience one moment, but then could explode with its stormy tempers, flinging people around, wanting them out, attacking coastlines, breaking down islands. It had a playful side too, as it enjoyed the crowd, tossed the children about, knocked lilos over, tipped over windsurfers, occasionally gave sailors helping hands; all done with a secret little chuckle

Emotion is always multiplied in the art of a person who doesn't really show much emotion. It once expanded deep within his hidden soul, and following the downplay his audience is blown away.

There is no better audience for someone in love than someone in love.

The artist must forget the audience, forget the critics, forget the technique, forget everything but love for the music. Then, the music speaks through the performance, and the performer and the listener will walk together with the soul of the composer, and with God.

In an ever-changing, incomprehensible world the masses had reached the point where they would, at the same time, believe everything and nothing, think that everything was possible and that nothing was true. ... Mass propaganda discovered that its audience was ready at all times to believe the worst, no matter how absurd, and did not particularly object to being deceived because it held every statement to be a lie anyhow. The totalitarian mass leaders based their propaganda on the correct psychological assumption that, under such conditions, one could make people believe the most fantastic statements one day, and trust that if the next day they were given irrefutable proof of their falsehood, they would take refuge in cynicism; instead of deserting the leaders who had lied to them, they would protest that they had known all along that the statement was a lie and would admire the leaders for their superior tactical cleverness.

I always am in a role, lovely – for you, for them – even for myself. Yeah... Even when I’m alone, I am still in a role – and I myself am the most exacting audience I have ever had.

Bravado may stir the crowd, but courage needs no audience.

When you’re singing you can hear the echo of people in the audience singing every single word with you, and that was that big dream that I had for myself. It’s happening.

For ages, the bull has been harassed and playfully teased to death in the frame of institutionalized games, in the name of "tauromachic art" and under the auspices of a benevolent, "peaceful" tourist audience. ("Transcendental meditation")

A lot of the people who read a bestselling novel, for example, do not read much other fiction. By contrast, the audience for an obscure novel is largely composed of people who read a lot. That means the least popular books are judged by people who have the highest standards, while the most popular are judged by people who literally do not know any better. An American who read just one book this year was disproportionately likely to have read ‘The Lost Symbol’, by Dan Brown. He almost certainly liked it.

The audience keeps singing, keeps making my case, and I just keep strumming until I get close enough to see her eyes. And then I start singing the chorus. Right to her. And she smiles at me, and it’s like we’re the only two people out here, the only ones who know what’s happening. Which is that this song we’re all singing together is being rewritten. It’s no longer an angry plea shouted to the void. Right here, on this stage, in front of eighty thousand people, it’s becoming something else. This is our new vow.

The truth is that the heroism of your childhood entertainments was not true valor. It was theatre. The grand gesture, the moment of choice, the mortal danger, the external foe, the climactic battle whose outcome resolves all--all designed to appear heroic, to excite and gratify and audience. Gentlemen, welcome to the world of reality--there is no audience. No one to applaud, to admire. No one to see you. Do you understand? Here is the truth--actual heroism receives no ovation, entertains no one. No one queues up to see it. No one is interested.

A motion picture, or music, or television, they have to maintain a certain decorum in order to be broadcast to a vast audience. Other forms of mass media cost too much to produce a risk reaching only a limited audience. Only one person. But a book. . . . A book is cheap to print and bind. A book is as private and consensual as sex. A book takes time and effort to consume - something that gives a reader every chance to walk away. Actually, so few people make the effort to read that it's difficult to call books a "mass medium." No one really gives a damn about books. No one has bothered to ban a book in decades.

I am very flattered. I have also become a verb as in "I have cumberbatched the UK audience" apparently. Who knows, by the end of the year I might become a swear word too! It's crazy and fun and very flattering.

But why can't the language for creativity be the language of regeneration? You killed that poem, we say. You're a killer. You came into that novel guns blazing. I am hammering this paragraph, I am banging them out, we say. I owned that workshop. I shut it down. I crushed them. We smashed the competition. I'm wrestling with the muse. The state, where people live, is a battleground state. The audience a target audience. "Good for you, man" a man once said to me at a party, "you're making a killing with poetry. You're knockin' em dead.

Write as if you were dying. At the same time, assume you write for an audience consisting solely of terminal patients. That is, after all, the case. What would you begin writing if you knew you would die soon? What could you say to a dying person that would not enrage by its triviality?

people had been working for so many years to make the world a safe, organized place. nobody realized how boring it would become. with the whole world property-lined and speed-limited and zoned and taxed and regulated, with everyone tested and registered and addressed and recorded. nobody had left much room for adventure, except maybe the kind you could buy. on a roller coaster. at a movie. still, it would always be that kind of faux excitement. you know the dinosaurs aren't going to eat the kids. the test audiences have outvoted any chance of even a major faux disaster. and because there's no possibility of real disaster, real risk, we're left with no chance for real salvation. real elation. real excitement. Joy. Discovery. Invention. the laws that keep us safe, these same laws condemn us to boredom. without access to true chaos, we'll never have true peace.

no matter who you are, no matter what you do, no matter who your audience is: 30 percent will love it, 30 percent will hate it, and 30 percent won’t care. Stick with the people who love you and don’t spend a single second on the rest. Life will be better that way.

Once upon a time fairy tales were told to audiences of young and old alike. It is only in the last century that such tales were deemed fit only for small children, stripped of much of their original complexity, sensuality, and power to frighten and delight.

Father, I anticipate the good things You have prepared for me today. Bring complete order to my day as I seek You first and make Your will my priority. I rejoice in the new day You have given me. I praise You for making it fruitful and productive. Thank You for teaching me ways to increase my effectiveness— to work smarter. I work according to Your agenda and perform for an audience of one—the Lord Jesus Christ. In Jesus’s name, amen.

Art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudointellectual masturbation . . . whereas creative art is more like intercourse, in which the artist must seduce -- render emotional -- his audience, each time.

Vogon poetry is of course, the third worst in the universe. The second worst is that of the Azgoths of Kria. During a recitation by their poet master Grunthos the Flatulent of his poem "Ode to a Small Lump of Green Putty I Found in My Armpit One Midsummer Morning" four of his audience died of internal haemorrhaging and the president of the Mid-Galactic Arts Nobbling Council survived by gnawing one of his own legs off. Grunthos was reported to have been "disappointed" by the poem's reception, and was about to embark on a reading of his 12-book epic entitled "My Favourite Bathtime Gurgles" when his own major intestine, in a desperate attempt to save humanity, leapt straight up through his neck and throttled his brain. The very worst poetry of all perished along with its creator, Paul Neil Milne Johnstone of Redbridge, in the destruction of the planet Earth. Vogon poetry is mild by comparison.

Knowledge that is acquired is not like this. Those who have it worry if audiences like it or not. It's a bait for popularity. Disputational knowing wants customers. It has no soul... The only real customer is God. Chew quietly your sweet sugarcane God-Love, and stay playfully childish.

If you are on social media, and you are not learning, not laughing, not being inspired or not networking, then you are using it wrong.

[Said during a debate when his opponent asserted that atheism and belief in evolution lead to Nazism:] Atheism by itself is, of course, not a moral position or a political one of any kind; it simply is the refusal to believe in a supernatural dimension. For you to say of Nazism that it was the implementation of the work of Charles Darwin is a filthy slander, undeserving of you and an insult to this audience. Darwin’s thought was not taught in Germany; Darwinism was so derided in Germany along with every other form of unbelief that all the great modern atheists, Darwin, Einstein and Freud were alike despised by the National Socialist regime. Now, just to take the most notorious of the 20th century totalitarianisms – the most finished example, the most perfected one, the most ruthless and refined one: that of National Socialism, the one that fortunately allowed the escape of all these great atheists, thinkers and many others, to the United States, a country of separation of church and state, that gave them welcome – if it’s an atheistic regime, then how come that in the first chapter of Mein Kampf, that Hitler says that he’s doing God’s work and executing God’s will in destroying the Jewish people? How come the fuhrer oath that every officer of the Party and the Army had to take, making Hitler into a minor god, begins, “I swear in the name of almighty God, my loyalty to the Fuhrer?” How come that on the belt buckle of every Nazi soldier it says Gott mit uns, God on our side? How come that the first treaty made by the Nationalist Socialist dictatorship, the very first is with the Vatican? It’s exchanging political control of Germany for Catholic control of German education. How come that the church has celebrated the birthday of the Fuhrer every year, on that day until democracy put an end to this filthy, quasi-religious, superstitious, barbarous, reactionary system? Again, this is not a difference of emphasis between us. To suggest that there’s something fascistic about me and about my beliefs is something I won't hear said and you shouldn't believe.

The great difficulty is to get modern audiences to realize that you are preaching Christianity solely and simply because you happen to think it true; they always suppose you are preaching it because you like it or think it good for society or something of that sort. Now a clearly maintained distinction between what the Faith actually says and what you would like it to have said or what you understand or what you personally find helpful or think probable, forces your audience to realize that you are tied to your data just as the scientist is tied by the results of the experiments; that you are not just saying what you like. This immediately helps them realize that what is being discussed is a question about objective fact — not gas about ideals and points of view.

Hatsuharu Sohma: [after tripping Kyo] If I hadn't had tripped you, you wouldn't have stopped now would you. [addressing the audience] Hatsuharu Sohma: By the way what I just did was very dangerous. And if it had been anyone but Kyo they probably would have been hurt pretty badly, so don't try it at home. Kyo Sohma: Don't try it here and who are you even talking to?

And he absolutely had to find her at once to tell her that he adored her, but the large audience before him separated him from the door, and the notes reaching him through a succession of hands said that she was not available; that she was inaugurating a fire; that she had married an american businessman; that she had become a character in a novel; that she was dead.

There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean. We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!" In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.

Dear Child, Sometimes on your travel through hell, you meet people that think they are in heaven because of their cleverness and ability to get away with things. Travel past them because they don't understand who they have become and never will. These type of people feel justified in revenge and will never learn mercy or forgiveness because they live by comparison. They are the people that don't care about anyone, other than who is making them feel confident. They don’t understand that their deity is not rejoicing with them because of their actions, rather he is trying to free them from their insecurities, by softening their heart. They rather put out your light than find their own. They don't have the ability to see beyond the false sense of happiness they get from destroying others. You know what happiness is and it isn’t this. Don’t see their success as their deliverance. It is a mask of vindication which has no audience, other than their own kind. They have joined countless others that call themselves “survivors”. They believe that they are entitled to win because life didn’t go as planned for them. You are not like them. You were not meant to stay in hell and follow their belief system. You were bound for greatness. You were born to help them by leading. Rise up and be the light home. You were given the gift to see the truth. They will have an army of people that are like them and you are going to feel alone. However, your family in heaven stands beside you now. They are your strength and as countless as the stars. It is time to let go! Love, Your Guardian Angel

Caesar Flickerman asks if the president has a date in mind. "Oh, before we set a date, we better clear it with Katniss's mother," says the president. The audience gives a big laugh and the president puts his arm around me. "Maybe if the whole country puts its mind to it, we can get you married before you're thirty." "You'll probably have to pass a new law," I say with a giggle. "If that's what it takes," says the president with conspiratorial good humor. Oh, the fun we two have together.

I find,' he says, his voice still muffled, 'that I am constantly wondering where he is. Where he has gone. It is like a wheel ceaselessly turning at the back of my mind. Whatever I am doing, wherever I am, I am thinking: Where is he, where is he? He can't have just vanished. He must be somewhere. All I have to do is find him. I look for him everywhere, in every street, in every crowd, in every audience. That's what I am doing, when I look out at them all: I try to find him, or a version of him.

We're all—especially those of us who are educated and have read a lot and have watched TV critically—in a very self-conscious and sort of worldly and sophisticated time, but also a time when we seem terribly afraid of other people's reactions to us and very desperate to control how people interpret us. Everyone is extremely conscious of manipulating how they come off in the media; they want to structure what they say so that the reader or audience will interpret it in the way that is most favorable to them. What's interesting to me is that this isn't all that new. This was the project of the Sophists in Athens, and this is what Socrates and Plato thought was so completely evil. The Sophists had this idea: Forget this idea of what's true or not—what you want to do is rhetoric; you want to be able to persuade the audience and have the audience think you're smart and cool. And Socrates and Plato, basically their whole idea is, "Bullshit. There is such a thing as truth, and it's not all just how to say what you say so that you get a good job or get laid, or whatever it is people think they want.

Try not to pay attention to those who will try to make life miserable for you. There will be a lot of those--in the official capacity as well as the self-appointed. Suffer them if you can’t escape them, but once you have steered clear of them, give them the shortest shrift possible. Above all, try to avoid telling stories about the unjust treatment you received at their hands; avoid it no matter how receptive your audience may be. Tales of this sort extend the existence of your antagonists....

Civil disobedience, as I put it to the audience, was not the problem, despite the warnings of some that it threatened social stability, that it led to anarchy. The greatest danger, I argued, was civil obedience, the submission of individual conscience to governmental authority. Such obedience led to the horrors we saw in totalitarian states, and in liberal states it led to the public's acceptance of war whenever the so-called democratic government decided on it... In such a world, the rule of law maintains things as they are. Therefore, to begin the process of change, to stop a war, to establish justice, it may be necessary to break the law, to commit acts of civil disobedience, as Southern black did, as antiwar protesters did.

Because never in my entire childhood did I feel like a child. I felt like a person all along--the same person that I am today. I never felt that I spoke childishly. I never felt that my emotions and desires were somehow less real than adult emotions and desires. And in writing _Ender's Game_, I forced the audience to experience the lives of these children from that perspective--the perspective in which their feelings and decisions are just as real and important as any adult's. ... _Ender's Game_ asserts the personhood of children, and those who are used to thinking of children in another way ... are going to find _Ender's Game_ a very unpleasant place to live.

We must take arms each and every day, perhaps knowing that the battle cannot be entirely won, but fight we must, if only a gentle bout. The smallest effort to win means, at the end of each day, a sort of victory. Remember that pianist who said that if he did not pratice every day he would know, if he did not practice for two days, the critics would know, after three days, his audiences would know. A variation of this is true for writers. Not that your style, whatever that is, would melt out of shape in those few days. But what would happen is that the world would catch up with and try to sicken you. If you did not write every day, the poisons would accumulate and you would begin to die, or act crazy, or both.

She's Awakening,' Aiden said, voice tight. 'But the blood...' I heard Marcus move closer. 'Why is she bleeding?' I eased onto my side. 'I'm being tattooed by a giant, mother fu-' Another strangled scream cut of my words as a different type of pain settled in, moving under my skin. It was like lighting racing through my veins, frying every nerve ending. 'This is... wow,' Deacon said, and I pried my eyes open. There was a whole audience by the door. 'Get them out of here!' I screamed, jackknifing on the floor. 'Gods, this sucks!' 'Whoa,' I heard Deacon murmur. 'This is like watching a chick give birth or something.' 'Oh my gods, I'm going to kill him.' I could feel the beads of blood breaking out under my jeans. 'I'm going to punch him-' 'Everyone leave,' Aiden ground out. 'This isn't a godsdamn show.' 'And I think he's like the father,' Luke said. Aiden rose to his feet. 'Get. Out.

The novelist with Christian concerns will find in modern life distortions which are repugnant to him, and his problem will be to make these appear as distortions to an audience which is used to seeing them as natural; and he may well be forced to take ever more violent means to get his vision across to this hostile audience. When you can assume that your audience holds the same beliefs you do, you can relax a little and use more normal ways of talking to it; when you have to assume that it does not, then you have to make your vision apparent by shock -- to the hard of hearing you shout, and for the almost blind you draw large and startling figures.

Once upon a time,” I began. “There was a little boy born in a little town. He was perfect, or so his mother thought. But one thing was different about him. He had a gold screw in his belly button. Just the head of it peeping out. “Now his mother was simply glad he had all his fingers and toes to count with. But as the boy grew up he realized not everyone had screws in their belly buttons, let alone gold ones. He asked his mother what it was for, but she didn’t know. Next he asked his father, but his father didn’t know. He asked his grandparents, but they didn’t know either. “That settled it for a while, but it kept nagging him. Finally, when he was old enough, he packed a bag and set out, hoping he could find someone who knew the truth of it. “He went from place to place, asking everyone who claimed to know something about anything. He asked midwives and physickers, but they couldn’t make heads or tails of it. The boy asked arcanists, tinkers, and old hermits living in the woods, but no one had ever seen anything like it. “He went to ask the Cealdim merchants, thinking if anyone would know about gold, it would be them. But the Cealdim merchants didn’t know. He went to the arcanists at the University, thinking if anyone would know about screws and their workings, they would. But the arcanists didn’t know. The boy followed the road over the Stormwal to ask the witch women of the Tahl, but none of them could give him an answer. “Eventually he went to the King of Vint, the richest king in the world. But the king didn’t know. He went to the Emperor of Atur, but even with all his power, the emperor didn’t know. He went to each of the small kingdoms, one by one, but no one could tell him anything. “Finally the boy went to the High King of Modeg, the wisest of all the kings in the world. The high king looked closely at the head of the golden screw peeping from the boy’s belly button. Then the high king made a gesture, and his seneschal brought out a pillow of golden silk. On that pillow was a golden box. The high king took a golden key from around his neck, opened the box, and inside was a golden screwdriver. “The high king took the screwdriver and motioned the boy to come closer. Trembling with excitement, the boy did. Then the high king took the golden screwdriver and put it in the boy’s belly button.” I paused to take a long drink of water. I could feel my small audience leaning toward me. “Then the high king carefully turned the golden screw. Once: Nothing. Twice: Nothing. Then he turned it the third time, and the boy’s ass fell off.” There was a moment of stunned silence. “What?” Hespe asked incredulously. “His ass fell off.

When the faithful are asked whether God really exists, they often begin by talking about the enigmatic mysteries of the universe and the limits of human understanding. ‘Science cannot explain the Big Bang,’ they exclaim, ‘so that must be God’s doing.’ Yet like a magician fooling an audience by imperceptibly replacing one card with another, the faithful quickly replace the cosmic mystery with the worldly lawgiver. After giving the name of ‘God’ to the unknown secrets of the cosmos, they then use this to somehow condemn bikinis and divorces. ‘We do not understand the Big Bang – therefore you must cover your hair in public and vote against gay marriage.’ Not only is there no logical connection between the two, but they are in fact contradictory. The deeper the mysteries of the universe, the less likely it is that whatever is responsible for them gives a damn about female dress codes or human sexual behaviour.

This is for you." i pressed the stone in Kerwyn's hand. Kerwyn turned it over in his hands, unimpressed. "imatator's gold? It's worthless." "No, it's real gold. I am real Kerwyn." ... He pulled a creased and worn paper from his pocket and unfolded it. His hands shook increasingly as he read it. Then he turned to the audience and said, "This note was given to me by King Eckbert ... to read it only if someone ever came forward claiming to be the prince. This is what it says." He read aloud, "'Many may one day claim to be the lost prince of Carthya. ... You will know the Prince Jaron by one sign alone. He will give you the humblest of rocks and tell you it's gold.'" ... "Lords and ladies of Carthya, I present to you the son of King Eckbert and Queen Erin. He is the lost royal of Carthya, who lives and stands before you. Hail, Prince Jaron.

There has never been a just [war], never an honorable one--on the part of the instigator of the war. I can see a million years ahead, and this rule will never change in so many as half a dozen instances. The loud little handful--as usual--will shout for the war. The pulpit will--warily and cautiously--object--at first; the great, big, dull bulk of the nation will rub its sleepy eyes and try to make out why there should be a war, and will say, earnestly and indignantly, 'It is unjust and dishonorable, and there is no necessity for it.' Then the handful will shout louder. A few fair men on the other side will argue and reason against the war with speech and pen, and at first will have a hearing and be applauded; but it will not last long; those others will outshout them, and presently the anti-war audiences will thin out and lose popularity. Before long you will see this curious thing: the speakers stoned from the platform, and free speech strangled by hordes of furious men who in their secret hearts are still at one with those stoned speakers--as earlier--but do not dare say so. And now the whole nation--pulpit and all--will take up the war-cry, and shout itself hoarse, and mob any honest man who ventures to open his mouth; and presently such mouths will cease to open. Next the statesmen will invent cheap lies, putting the blame upon the nation that is attacked, and every man will be glad of those conscience-soothing falsities, and will diligently study them, and refuse to examine any refutations of them; and thus he will by and by convince himself the war is just, and will thank God for the better sleep he enjoys after this process of grotesque self-deception.

I draw a line down the middle of a chalkboard, sketching a male symbol on one side and a female symbol on the other. Then I ask just the men: What steps do you guys take, on a daily basis, to prevent yourselves from being sexually assaulted? At first there is a kind of awkward silence as the men try to figure out if they've been asked a trick question. The silence gives way to a smattering of nervous laughter. Occasionally, a young a guy will raise his hand and say, 'I stay out of prison.' This is typically followed by another moment of laughter, before someone finally raises his hand and soberly states, 'Nothing. I don't think about it.' Then I ask women the same question. What steps do you take on a daily basis to prevent yourselves from being sexually assaulted? Women throughout the audience immediately start raising their hands. As the men sit in stunned silence, the women recount safety precautions they take as part of their daily routine. Here are some of their answers: Hold my keys as a potential weapon. Look in the back seat of the car before getting in. Carry a cell phone. Don't go jogging at night. Lock all the windows when I sleep, even on hot summer nights. Be careful not to drink too much. Don't put my drink down and come back to it; make sure I see it being poured. Own a big dog. Carry Mace or pepper spray. Have an unlisted phone number. Have a man's voice on my answering machine. Park in well-lit areas. Don't use parking garages. Don't get on elevators with only one man, or with a group of men. Vary my route home from work. Watch what I wear. Don't use highway rest areas. Use a home alarm system. Don't wear headphones when jogging. Avoid forests or wooded areas, even in the daytime. Don't take a first-floor apartment. Go out in groups. Own a firearm. Meet men on first dates in public places. Make sure to have a car or cab fare. Don't make eye contact with men on the street. Make assertive eye contact with men on the street.

Utopianism also finds a receptive audience among the society's disenchanted, disaffected, dissatisfied, and maladjusted who are unwilling or unable to assume responsibility for their own real or perceived conditions but instead blame their surroundings, 'the system,' and others. They are lured by the false hopes and promises of utopian transformation and the criticisms of the existing society, to which their connection is tentative or nonexistent. Improving the malcontent's lot becomes linked to the utopian cause. Moreover, disparaging and diminishing the successful and accomplished becomes an essential tactic. No one should be better than anyone else, regardless of the merits or values of his contributions. By exploiting human frailties, frustrations, jealousies, and inequities, a sense of meaning and self-worth is created in the malcontent's otherwise unhappy and directionless life. Simply put, equality in misery -- that is, equality of result or conformity -- is advanced as a just, fair, and virtuous undertaking. Liberty, therefore, is inherently immoral, except where it avails equality.

Dandelion, staring into the dying embers, sat much longer, alone, quietly strumming his lute. It began with a few bars, from which an elegant, soothing melody emerged. The lyric suited the melody, and came into being simultaneously with it, the words bending into the music, becoming set in it like insects in translucent, golden lumps of amber. The ballad told of a certain witcher and a certain poet. About how the witcher and the poet met on the seashore, among the crying of seagulls, and how they fell in love at first sight. About how beautiful and powerful was their love. About how nothing - not even death - was able to destroy that love and part them. Dandelion knew that few would believe the story told by the ballad, but he was not concerned. He knew ballads were not written to be believed, but to move their audience. Several years later, Dandelion could have changed the contents of the ballad and written about what had really occurred. He did not. For the true story would not have move anyone. Who would have wanted to hear that the Witcher and Little Eye parted and never, ever, saw each other again? About how four years later Little Eye died of the smallpox during an epidemic raging in Vizima? About how he, Dandelion, had carried her out in his arms between corpses being cremated on funeral pyres and buried her far from the city, in the forest, alone and peaceful, and, as she had asked, buried two things with her: her lute and her sky blue pearl. The pearl from which she was never parted. No, Dandelion stuck with his first version. And he never sang it. Never. To no one. Right before the dawn, while it was still dark, a hungry, vicious werewolf crept up to their camp, but saw that it was Dandelion, so he listened for a moment and then went on his way.

When the web started, I used to get really grumpy with people because they put my poems up. They put my stories up. They put my stuff up on the web. I had this belief, which was completely erroneous, that if people put your stuff up on the web and you didn’t tell them to take it down, you would lose your copyright, which actually, is simply not true. And I also got very grumpy because I felt like they were pirating my stuff, that it was bad. And then I started to notice that two things seemed much more significant. One of which was… places where I was being pirated, particularly Russia where people were translating my stuff into Russian and spreading around into the world, I was selling more and more books. People were discovering me through being pirated. Then they were going out and buying the real books, and when a new book would come out in Russia, it would sell more and more copies. I thought this was fascinating, and I tried a few experiments. Some of them are quite hard, you know, persuading my publisher for example to take one of my books and put it out for free. We took “American Gods,” a book that was still selling and selling very well, and for a month they put it up completely free on their website. You could read it and you could download it. What happened was sales of my books, through independent bookstores, because that’s all we were measuring it through, went up the following month three hundred percent. I started to realize that actually, you’re not losing books. You’re not losing sales by having stuff out there. When I give a big talk now on these kinds of subjects and people say, “Well, what about the sales that I’m losing through having stuff copied, through having stuff floating out there?” I started asking audiences to just raise their hands for one question. Which is, I’d say, “Okay, do you have a favorite author?” They’d say, “Yes.” and I’d say, “Good. What I want is for everybody who discovered their favorite author by being lent a book, put up your hands.” And then, “Anybody who discovered your favorite author by walking into a bookstore and buying a book raise your hands.” And it’s probably about five, ten percent of the people who actually discovered an author who’s their favorite author, who is the person who they buy everything of. They buy the hardbacks and they treasure the fact that they got this author. Very few of them bought the book. They were lent it. They were given it. They did not pay for it, and that’s how they found their favorite author. And I thought, “You know, that’s really all this is. It’s people lending books. And you can’t look on that as a loss of sale. It’s not a lost sale, nobody who would have bought your book is not buying it because they can find it for free.” What you’re actually doing is advertising. You’re reaching more people, you’re raising awareness. Understanding that gave me a whole new idea of the shape of copyright and of what the web was doing. Because the biggest thing the web is doing is allowing people to hear things. Allowing people to read things. Allowing people to see things that they would never have otherwise seen. And I think, basically, that’s an incredibly good thing.