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My colleagues and I noted the gender of the speaker and audience (listener), whether the speaker or the audience laughed, and what was said immediately before laughter occurred.
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My relationship with music and an audience — listeners or readers — disappeared.
O'Connor tellingly preferred to call his audience "listeners" rather than "readers", and believed passionately that the story should ring "with the tone of a man's voice, speaking".
While taking questions from the audience, one listener challenged him on the topic of the church's acceptance of gay members, given the event's location in West Hollywood.
As a case in point, Paul Slovic, a prominent scholar in the field of "risk communication," found that the narrative of a single person's story is more likely to inspire an audience (viewer, listener, reader) to donate money or take other action than a narrative that relies on numbers alone to show impact.
Consider the mood of the audience (or listener).
Successfully throwing your voice relies on your ability to momentarily convince your audience or listener to look elsewhere for the sound of the voice.
A podcast can be a very intimate experience with your audience, your listeners.
They see a substantial part of their audience as listeners for whom classical music is terra incognita.
He often talks to the audience, telling listeners what to expect or to explain why he chose a given work.
Wheeling around, he marked a brisk tempo for the audience, giving listeners a sense of what it feels like to work under his glare.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com