Thank You Viewers Quotes

Americans love cooking shows. Come to think of it, how many of us are eating when we watch a cooking show? As we watch the chef perform his or her magic, the humble ham sandwich we're gnawing on briefly transubstantiates into whatever the chef's preparing. There's always a small communion between viewer and chef, only you don't get to eat what they're making. It's like watching a Catholic mass on TV.

It used to puzzle me: Why do companies advertise during such depressing programming? Do they really want viewers to associate their products with the horror stories that fill the nightly news? And who is going to be in the mood for a department store sale after hearing about a brutal murder or the threat of a terrorist attack? It turns out I might be, and you might be, too, thanks to a psychological phenomenon called terror management.

ONCE YOU’VE HOOKED readers, your next task is to put your early chapters to work introducing your characters, settings, and stakes. The first 20-25% of the book comprises your setup. At first glance, this can seem like a tremendous chunk of story to devote to introductions. But if you expect readers to stick with you throughout the story, you first have to give them a reason to care. This important stretch is where you accomplish just that. Mere curiosity can only carry readers so far. Once you’ve hooked that sense of curiosity, you then have to deepen the pull by creating an emotional connection between them and your characters. These “introductions” include far more than just the actual moment of introducing the characters and settings or explaining the stakes. In themselves, the presentations of the characters probably won’t take more than a few scenes. After the introduction is when your task of deepening the characters and establishing the stakes really begins. The first quarter of the book is the place to compile all the necessary components of your story. Anton Chekhov’s famous advice that “if in the first act you have hung a pistol on the wall, then in the following one it should be fired” is just as important in reverse: if you’re going to have a character fire a gun later in the book, that gun should be introduced in the First Act. The story you create in the following acts can only be assembled from the parts you’ve shown readers in this First Act. That’s your first duty in this section. Your second duty is to allow readers the opportunity to learn about your characters. Who are these people? What is the essence of their personalities? What are their core beliefs (even more particularly, what are the beliefs that will be challenged or strengthened throughout the book)? If you can introduce a character in a “characteristic moment,” as we talked about earlier, you’ll be able to immediately show readers who this person is. From there, the plot builds as you deepen the stakes and set up the conflict that will eventually explode in the Inciting and Key Events. Authors sometimes feel pressured to dive right into the action of their stories, at the expense of important character development. Because none of us wants to write a boring story, we can overreact by piling on the explosions, fight sequences, and high-speed car chases to the point we’re unable to spend important time developing our characters. Character development is especially important in this first part of the story, since readers need to understand and sympathize with the characters before they’re hit with the major plot revelations at the quarter mark, halfway mark, and three-quarters mark. Summer blockbusters are often guilty of neglecting character development, but one enduring exception worth considering is Stephen Spielberg’s Jurassic Park. No one would claim the film is a leisurely character study, but it rises far above the monster movie genre through its expert use of pacing and its loving attention to character, especially in its First Act. It may surprise some viewers to realize the action in this movie doesn’t heat up until a quarter of the way into the film—and even then we have no scream-worthy moments, no adrenaline, and no extended action scenes until halfway through the Second Act. Spielberg used the First Act to build suspense and encourage viewer loyalty to the characters. By the time the main characters arrive at the park, we care about them, and our fear for their safety is beginning to manifest thanks to a magnificent use of foreshadowing. We understand that what is at stake for these characters is their very lives. Spielberg knew if he could hook viewers with his characters, he could take his time building his story to an artful Climax.

Dateline is a major prime-time news show in America, reaching millions of viewers on the NBC network. So it should have been very good news when the show’s producers informed us that they wanted to do a segment on Steve, and they wanted to film it in Queensland. “We want to experience him firsthand in the bush,” the producer told me cheerfully ove the phone. Do you really, mate? I wanted to say. I had been with Steve in the bush. It was the most fantastic experience, but I wasn’t sure he understood how remote the bush really was. I simply responded with all the right words about how excited we were to have Dateline come film. The producers wanted two totally different environments in which to film. We chose the deserts of Queensland with the most venomous snake on earth, and the Cape York mangroves--crocodile territory. Great! responded Dateline. Perfect! Only…the host was a woman, who had to look presentable, so she needed a generator for her blow-dryer. And a Winnebago, because it wasn’t really fair to ask her to throw a swag on the ground among the scorpions and spiders. This film shoot would mean a bit of additional expense. We weren’t just grabbing Sui and the Ute and setting out. But the exposure we would get on Dateline would be good for wildlife conservation, our zoo, and tourism. I telephoned a representative of the Queensland Tourism and Travel Commission in Los Angeles. “I wonder if you could help us out,” I asked. “This Dateline segment will showcase Queensland to people in America.” Could Queensland Tourism possibly subsidize the cost of a generator and a Winnebago? Silence at the end of the line. “What you are showing off of Queensland,” a voice carefully explained, “is not how we want tourists to see our fair country.” The most venomous snake on earth? Giant crocodiles? No, thanks. “But people are fascinated by dangerous animals,” I began to argue. I was wasting my time. There was no convincing him. We scraped up the money ourselves, and off we went with the Dateline crew into the bush.

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Some' paintings are considered heretical," she said irritably. "Ah, but that isn't the fault of the painting. It's the prejudice of the viewer. For instance, isn't the fault of your 'dress' that when you turn it looks like a pond rippling beneath a full moon at midnight. Or that you resemble a naiad rising from the depths in it. It is the opinion of this particular viewer." Her head went back in shock. And instead of casting her eyes down bashfully again, or fluttering her lashes in coy confusion or responding with a mumbled thank-you... she locked her eyes with his. Her eyes were so soft. Like the hearts of pansies. But they were also surprisingly intensely searching, and he thought he could feel them probing his soul. Sorting through impressions. Hot color swept her cheekbones as she absorbed the impact of this observation. She was attempting to decode it. So she wasn't immune to the compliment. She simply didn't trust it. In truth, he hadn't fully expected to say it himself. Where on earth had it come from? This was what unnerved him. And to think he'd once thought her face ordinary.

We often spend thirty to sixty seconds in a video simply thanking or acknowledging specific viewers or answering questions from our community.

He must have thought to himself that it would be possible to abandon the usual profile view of women in Florence, without immediately giving rise to moral doubts. The side view said too little about a person; it was inhibiting, because it prevented dialogue. In order to be on an equal footing with the viewer, if not actually superior to him, the painted figure must be able to return his gaze. God had given people eyes so that they could understand the world, so they should be used, not hidden. “Oh eye, you stand supreme above all the other creations of God!” exclaimed Leonardo. “It is the window of the human body, through which it sees its way and enjoys the beauty of the world; it is thanks to the eye that the soul is content with its human prison.” 17