Andy Stanley Quotes

A workshop is a way of renting an audience, and making sure you're communicating what you think you're communicating. It's so easy as a young writer to think you're been very clear when in fact you haven't.

The most important thing to remember is you must know your audience.

When I was speaking about communicating, I meant that the listener - we have to reach the listener; otherwise, of course, you're writing the piece, as I say, only for the satisfaction of seeing it on the paper for yourself, and then it ends right there.

My theme song is always: 'Pay attention to your viewer. Follow them.'

The issue is: how do you engage the audience? And one of the things I talk to our communicators about is: The outline is great; the stories are great. But how do you engage them? How do you make it feel like we are on a journey, not you are just up there giving me information.

I can think of nothing that an audience won't understand. The only problem is to interest them; once they are interested, they understand anything in the world.

I would rather speak to 500 men that would give me their attention that to 100,000 that would not.

There is a point you can definitely lose the audience and sometimes you don't know where it is.

When you read comic material and people aren't laughing how do you know they're listening.

My parents had this incredibly vital relationship with an audience, like muscle with blood. This was the main competition I had for my parents' attention: an audience.

I can tell how I'm doing, and I can tell if the crowd is particularly dead.

You can't force something like that. But we have encouraged our audience, because we avoid the confrontation of regular rock concerts: us up here, you down there. Instead, we're looking for interaction.

Never talk to a client about architecture. Talk to him about his children. That is simply good politics. he will not understand what you have to say about architecture most of the time.

I don't know if I ever really considered making a connection with the audience.

I believe that given the audience attention level, we could do an even more compelling 90 minutes.

I loved the idea of touching base with an audience.

There's a direct relationship between how difficult it is to send a message and how strongly it is received.

If you want to communicate with the American public, the literature tells you you've got to be talking at about a sixth-grade, seventh-grade level.

Long speeches work if they’re filled with substance.

It's essential that you make eye contact with your audience. You've got to know what's happening out there.

You don't want to bash viewers over the head with a blunt message or lecture them - they'd soon get bored with that.

I generally enjoy talking with the audience - they give you so much. They've usually had a cocktail or two and they are wild, so it creates a fun environment.

I'm obsessed with audiences and obsessed with the journey that an audience goes on.

Whether they cheer or whether they boo really doesn't bother me as long as they're paying attention.

In the first 20 seconds of talking, your light is green: your listener is liking you as long as your statement is relevant to the conversation and, hopefully, in service of the other person. But unless you are an extremely gifted raconteur, people who talk for more than roughly half a minute at a time are boring and often perceived as too chatty.