Increased interest in your book over a 48 hour period may be a sign that you've broken through to a larger
audience than your genre warrants.
Far from being horror - comedy, What We Do in the Shadows extends to a further
audience than genre fans and could possibly become This is Spinal Tap for horror fans.
Not exact matches
I enjoyed it quite a bit more
than Minority Report and Children of Men, and while I doubt it will usher in a new age of sci - fi movies (the
audience reaction at my showing was fairly tepid), at the very least it's a minor milestone for the
genre.
Then, as told partly in flashback as Arthur (Harrelson) is being interviewed by a court - appointed psychiatrist (the underrated Sandra Oh), the safe distance that gives the
audience derails the pace and the film becomes more serious
than it ought to, no matter the subject matter and this results in it becoming every «realistic» work that looks down on the idea of either a superhero or the
genre.
Haunted Temple Studios, as Skulls developer 17 - Bit was calling itself at the time, had brought with it to Boston in 2011 a strategy game with gameplay that was accessible and enjoyable enough to potentially appeal to a larger
audience than most of its
genre brethren.
Even if Helgeland is sticking to the facts rather
than the mythology, he needs to satisfy the gangster
genre audience.
The real laugh is that the film's ostensible moral is to act your age while virtually every joke is stolen from a
genre intended for stars and
audiences ten - plus years younger
than anyone involved, meaning all the sexual insecurity and juvenilia is infected with considerably more
than the usual touch of the pathetic.
Yet Friedkin is less interested in the tenets of the
genre than in the idea of pushing the
audience to its limits.
When mainland directors started to tackle the
genre, though, it was more in the direction of sumptuous historical fantasies designed for international
audiences (such as Zhang Yimou's Ying xiong [Hero, 2002]-RRB-
than in the redefinition of the essence of wuxia.
The only
audience for this is the crowd that can't get enough killer monster movies and they would be probably do better with a cable subscription
than renting or buying the many entries in the
genre.
Everything about it promises negligibility, and the promise is kept: a less -
than - super star (Coburn), a female lead whose potential has scarcely ever been fully realized (Lee Grant), some character actors who stopped getting — or making — good parts some time ago (Andrews, Hendry), a forgettable British sub-leading man who muffed his one big chance (Jayston — Nicholas of Nicholas and Alexandra), an anonymously pneumatic foreign blonde (Christiane Kruger), an English hack with conspicuously unimaginative pretensions to distinction (Hughes), and above all the tiresomely formulaic
genre in which doublecrosses are so taken - for - granted by the
audience that no degree of geometric complication can do more
than increase the boredom.
What The Bourne Identity lacks is freshness within its
genre, content to be a good example of how to make an old school spy yarn
than in an updating for today's
audience.
To a possibly greater extent
than Drive, it's a
genre pastiche that delays its thrills for as long as possible, preferring instead to linger on the dreamy spectacle of Jesse dancing against the L.A. skyline for an
audience - surrogate shutterbug (Karl Glusman, our off - brand Rami Malek).
It may not have sounded like much on the surface (another reason why it probably didn't do very well with
audiences or most critics) but legendary director Hill (the man behind such classics as «The Warriors,» «48 HRS» and «Streets of Fire») brought both his impeccable technical gifts and a genuine sense of personal style to the proceedings that elevated the material to something that came far closer to what one might refer to as «art»
than one might rightly expect from a
genre picture these days.
The cast too seems put together with an eye towards pleasing a larger
audience than most
genre fair.
More
than half, 52 percent, of the film's
audience this weekend were female — a significant number for a
genre that has been dominated by men, CNN notes.
However, for anyone that has watched Kingsman, they will know that rather
than letting the
audience dip their toe into the spy
genre early on in the year, Kingsman sets the bar stupidly high for the rest of the
genre to hit.
Genre fiction books (fantasy, science fiction, erotica / romance, steampunk, paranormal) will need to be sold for less — less
than 13 dollars — for the most part, as well as young adult books (younger
audience, smaller wallets).
Plus, I LOVE your tidbit on branding: your
genre and your name is your brand, so build your target
audience rather
than your brand.
Obviously, my target
audience is substantially smaller
than a
genre author's, therefore, I am grateful for my small successes.
Animal, Vegetable, Miracle is to food as Bill Bryson's books are to travel - accessible and likely to appeal to a far wider
audience than most of their
genre.
Her
audience is likely going to be a lot more forgiving
than the readership of other
genres.
But, it's far easier to market a book that's been written to fill a need, and know who your
audience is, and what they want — and to do that you need to do market research (read what's bestselling in your
genre) and make your book a lot like, and hopefully better
than, those others.
That is clearly the model you're using, but when you get some time, you might want to try a tour that focuses on some of the nonfiction nuggets in your book, zeroing in on specific topic
audiences rather
than blogs that are built around a
genre.
Some of my fellow board members have fewer
than 10 books in print, whose firms target
audiences that will zero in on any title published in their
genre, be it sport - specific weight training (Rob Price of Price World Publishing) or caring for a loved one with Alzheimer's (Brenda Avadian of The Caregiver's Voice blog).
2) Certain
genres / types of games appeal more to the male
audience than other
genres?
But while the game got good reviews, the
genre was perhaps better suited for bigger screens and for a bigger
audience than the still low market - share Windows Phone platform.
This description does appear strange, but to gamers like myself who are unfamiliar with this
genre, its varied and enjoyable gameplay lends itself to a wider
audience, rather
than being «just» a dungeon crawler.
The variety of
genres represented by these titles will help Nintendo reach broader
audiences than we would be able to otherwise.
Some
genres need larger
audiences than others to function properly.
The explosion of smartphone titles such as Flick Kick Football and New Star Soccer have made football games more accessible
than ever, opening the
genre to
audiences likely to balk at the convoluted menus and realistic gameplay of Fifa.
Dungeon Siege III has many of the primary strengths of the dungeon crawler
genre, but is also more streamlined
than others, as always this will be divisive: some are sure to bemoan the attempts at getting the
genre noticed by a wider
audience, whilst others will enjoy the accessibility, strong storytelling and increased focus on the action that Obsidian has brought to the table.
Presenting more
than 80 performances each year including popular music, contemporary dance, alternative cabaret, documentaries, and avant - garde theater, MASS MoCA offers a robust roster of performing arts programming, introducing
audiences to the full spectrum of artists, embracing diversity in
genre and experience.