You write to suit some sense in yourself and trust that that will resonate with a certain wider readership.
I have no precise idea of who makes up my readership. I'm surprised when I discover people have read my poems at all.
Newspaper readership is still growing in India.
It's all about the integrity of their characters. They [Marvel] care so much about the loyalty and integrity of each and every character and all of their stories. They trust and love their readership. They're the ones who have invested in these stories.
Europeans still read rather than watching TV or listening to their clergyman tell them how to vote. The European magazines are far superior to American magazines in content and readership, but TV is taking a bite out of circulation now even in Europe.
MAD FREE is simply described as "Liberating Conversations with Revolutionary Women about Beauty, Image and Power". It began as a Salon series in NY loft in Brooklyn as a salve to my broken heart after Honey Magazine folded. It was not because of the readership or because the market wasn't there; the company that held it collapsed, which I was the last editor in chief of.
Bringing Mid-World to a new readership felt like a big responsibility, but I'm so glad that readers have enjoyed the story. That is a reward in itself.
Increasingly we're seeing these ultra-partisan sites getting larger and larger readerships because people are self-selecting themselves into communities.
My suspicion is that once you have literacy in place, the readership has not changed very much.
When Emily Dickinson's poems were published in the 1890s, they were a best-seller; the first book of her poems went through eleven editions of a print run of about 400. So the first print run out of Boston for a first book of poems was 400 for a country that had fifty million people in it. Now a first print run for a first book is maybe 2,000? So that's a five-time increase in the expectation of readership. Probably the audience is almost exactly the same size as it was in 1900, if you just took that one example.
There's very little solid research on readership, yet people make pronouncements about it all the time.
If there is some blood on the pages then you have some readership.
Obviously Feministing is kind of a women's space in a certain way, even though we have a lot of male readership and people who don't identify as women.
It used to be, if you wanted to have a strong, influential voice in the feminist movement, you really needed to be part of this New York/D.C. elite group of feminists, or part of a mainstream feminist organization. And now it's kind of an amazing thing that you can just start a blog and put your voice out there and build your readership.
If you write a screenplay that gets circulated, you have a bigger readership than any literary novelist. And it's an educated audience as well.
I've always assumed from the beginning that I had relatively few contemporaries among my readership. Not that I was consciously writing for a younger audience but that what I was doing interested a younger audience, or at least threatened them less.
A lot of people who want to see the short story have a renaissance of readership - they tend to think of short stories, and sometimes poems too, as being well-suited to the way we now live, with all of these broken-up bits of time. I hope they're right, but my sense is that our fiction reading has become, if anything, more cherished as a kind of escape from fragmentation.
Starting the blog was a way for me to generate this nonfiction first-person voice naturally, gradually, without feeling performance anxiety. It felt a bit like keeping journals when I was younger, but connecting to an instant readership without having to wait for publication made it also immediately satisfying.
I wanted to think about ways to get an American readership concerned with what is happening in Mexico, but also to reframe it as a problem Americans share.
There are different reasons why people write: for themselves, or for other writers, or to get prizes, or keeping an audience in mind. In my case, it felt really nice that a certain type of readership read the book and liked it, even though my readership is not as wide as certain popular books.
My readership seems to be the sensitive people, for the most part. Then there are the occasional fans who are like, "Ah, video games!"
I think it's important to recognise that 'The Da Vinci Code' opened up a vast new audience for a general readership interested in historical detective stories and research into history.
People assume that because I'm a girl and my blog is hot pink that my readership is 90% women, but it's not. It's probably only about 65%. When I do tours, it's pretty much the same thing: it's about one-third guys.
It's not my intention to be understood. I will continue writing for a readership that is fundamentally local. Because if you want to produce universal writing, you run the risk of losing your local knowledge. Your views are so universalist that the street aspect disappears.
When you recite you're giving a performance, in the way that an actor or a singer performs, and some poets are not interested in doing that, maybe because they're writing for a readership as opposed to an audience, or because they see poetry as a very private art.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: