Adam Carolla Quotes

For magazines seeking to extend their reach into podcasting, half the battle is finding members of staff who don't sound like the kind of people you wouldn't care to be stuck in a lift with.

It was unpredictable, good storytelling that brought you back each week.

If you read the first page of one of my novels, I can guarantee that you will read the last one. This isn't just social commentary. This is also about writing good page-turners. I want people to keep reading.

I always think if it's a good story, the audience can't wait to run out of the theater and go tweet somebody with the gist of a story, in a nutshell, almost, because it was that interesting.

I think if you make a good movie, people walk away arguing.

My partner, Jeff Ullrich, and I always thought Earwolf was going to be big. There were a couple of studies before we launched saying podcasts were going to really grow. But I remember so many conversations at the beginning where people would say, 'How are you going to make money with this?'

I'm a big podcast guy, I have my own podcast called 'Wide Open.'

The first obligation of the writer is to be interesting. To be interesting; not to change the world.

A speech is entertaining only when serenely detached from all information.

How has podcasting changed things? A lot of people ask me if I feel I should be more famous.

I'm not saying I have to write a book that's ten times better than my counterparts, but I do think that I have to concentrate my efforts on writing something that will really engage people's humanity and will tie readers to my characters regardless of race. I have to prove that I can connect with a wider audience.

People are interested if you tell stories well and relevantly.

Sure there's a difference with puppet-craft - who cares? I don't care about the puppet-craft, I care about what works. Who cares about the puppet and craft? It's not about that. It's about compelling an audience, and touching an audience in some way.

He could charm an audience an hour on a stretch without ever getting rid of an idea.

The greatest communicators have unknowingly used a story pattern. They not only use anecdotes effectively, but their communication followed a persuasive story pattern of tension and release. That tension and release is created by contrasting [what is] with what could be as a structural device.

Merely stating a truth isn't enough. The truth has to be made vivid, interesting, dramatic. You have to use showmanship.

The audience requires not information but drama.

The desire to please is maligned, unfairly. There are many sides to it. First of all, pictures have to arouse interest before people will even look at them, and then they have to show something that holds that interst - and naturally they have to be presentable, just as a song has to be sung well, otherwise people run away. One mustn't underrate this quality, and I have always been delighted when my pieces have also appealed to the museum guards, the laymen.

Too often in the theatre people can't wait for intermission to get some chocolate or something. But with Come Back, Little Sheba I just hope people leave feeling like they've spent a really good two-hours in that house with us.

I don't know if there's a strategy really so much as, like I learned doing standup and had to learn fast, you always just try to give your favorite, strongest stuff as early as possible and you start with what you like the most.

You watch the interview afterwards, and they didn't really say much, but it's interesting, funny, and engaging. Whereas I sit there and look a little bit too serious, and as soon as that happens then you're uncomfortable and you don't want to watch.

A story does that: it will reach out and hook somebody and hold them for just a few moments while you unpack this story in their presence.

If a writer knows what he or she is doing, I'll go along for the ride. If he or she doesn't... well, I'm in my fifties now, and there are a lot of books out there. I don't have time to waste with the poorly written ones.

Occasionally, once a speaker is on his feet, it is difficult to get him to sit down. ... If and when he returns to earth, he notices half of the room is paging the other half and a few are playing with the melted candles.

When a good writer is having fun, the audience is almost always having fun too.