Reader/Speaker Adaption

The preface of a novel/novella/any written text indicates the tone of a text. It allows the reader to know which parts to focus on the hardest, what lessons can be learned from the text, and truly, whether or not the text is right for him or her. A speaker, let's say he's a comedian for example, doesn't get a preface, but rather has a reputation that precedes him. This acts as the preface because the comedian is more than likely going to give a similar performance. If the speaker is unknown, a reputation must be established. Back on the subject of The Writer's Audience is Always A Fiction, Ong gives examples of what types of readers can read certain texts, with the example of Mark Twain on how his readers are supposed to think of life a certain way while reading him (12). Back to the lesser known comedian, the audience must be kept in mind while creating the joke list. He must imagine a real audience laughing at his jokes, because often things sound different outloud than they do inside a person's mind. Once the joke list is set and he makes his debut, his reputation is based off of how the first audience reacted. But time changes people. What was once funny this year probably won't be next year.

So why isn't writing the same way? Readers are expected to adapt to the reading style of those before them, but a listening audience isn't held to the same standards. I'll use my personal example of Shakespeare; before college, I couldn't even begin to figure out what Shakespeare was saying in his plays or sonnets. I had to be to taught read him, which I promise was no easy task. Now that I understand his puns and diction, life is much, much easier when it comes time to read one of his plays. But when movie spinoffs of Shakespeare's plays come out, they are the basic plot line of a specific play with a modern take. This is done so the audience will be able to get what's actually going on. The speaker must adapt to the audience, while the writer expects his audience to remain the same.