"More negatives write than call. It's a cheap shot for me to go on the air with the critical letters or E-mail I get because the reaction of the listeners is always an instantaneous expression of sympathy for me and contempt for the poor critic"
About this Quote
Complaint is easy; confrontation costs. John Hall’s line turns that imbalance into a small media ethics lesson, and it lands because he admits his own incentive to exploit it. “More negatives write than call” isn’t just an observation about audience behavior; it’s a diagnosis of how negativity travels. Writing lets the dissatisfied curate their anger, avoid real-time pushback, and feel consequential. Calling, by contrast, is vulnerable: you can be questioned, laughed off, or simply run out of time.
Then Hall pivots to the more interesting confession: the “cheap shot” of reading critical mail on-air. He’s naming a rigged arena. Once a broadcaster frames a critic as a faceless complainer, the audience’s “instantaneous expression of sympathy” becomes predictable and profitable. It’s the talk-radio version of dunking on a comment section: the host gets to play beleaguered public servant, the listeners get a communal enemy, and the critic becomes “poor” by virtue of being unheard and unrepresented.
The subtext is an awareness of power asymmetry. The critic has one letter; Hall has a microphone, timing, tone, and an audience primed to take his side. By calling it “cheap,” he signals a standard he wants to be judged by, even as he acknowledges the temptation to harvest outrage for engagement.
Contextually, it reads like an era of call-in shows and early email feedback, anticipating today’s creator economy problem: monetizing backlash is easy, resisting it is the actual discipline.
Then Hall pivots to the more interesting confession: the “cheap shot” of reading critical mail on-air. He’s naming a rigged arena. Once a broadcaster frames a critic as a faceless complainer, the audience’s “instantaneous expression of sympathy” becomes predictable and profitable. It’s the talk-radio version of dunking on a comment section: the host gets to play beleaguered public servant, the listeners get a communal enemy, and the critic becomes “poor” by virtue of being unheard and unrepresented.
The subtext is an awareness of power asymmetry. The critic has one letter; Hall has a microphone, timing, tone, and an audience primed to take his side. By calling it “cheap,” he signals a standard he wants to be judged by, even as he acknowledges the temptation to harvest outrage for engagement.
Contextually, it reads like an era of call-in shows and early email feedback, anticipating today’s creator economy problem: monetizing backlash is easy, resisting it is the actual discipline.
Quote Details
| Topic | Writing |
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