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Social media management is an emerging profession that is growing as companies increasingly adopt social media. The purpose of this paper is to analyze social media managers’ personal branding.

In-depth qualitative data is drawn from 20 semi-structured interviews with social media managers and supported by three years of orienting fieldwork in Toronto, Canada.

Social media managers are responsible for managing and executing organizations’ brands and presence on social media and digital platforms. As lead users of social media, social media managers provide critical insight into the emerging practices of personal branding on social media. “The future audience” is introduced to describe how individuals project a curated brand for all future unknown and unanticipated audiences, which emphasizes a professional identity. Due to workplace uncertainty, social media managers embody the mentality of being “always-on-the-job-market”, which is a driver for personal branding in their attempt to gain or maintain employment.

While personal branding is largely discussed by industry professionals, there is a need for empirical research on personal branding that examines how various employee groups experience personal branding. This research fills this gap by analyzing how people working in social media brand their identity and how their personal branding is used to market themselves to gain and maintain employment. The development of “the future audience” and “always-on-the-job-market” can be used to understand other professions and experiences of personal branding.

Purpose – Urban youths’ agency to represent their realities through media has been largely unexplored in the youth development literature. In this qualitative case study of an after-school youth media program in the Bay Area, expressions of youth agency and the role of audiences are explored during the process of producing videos for public consumption.

Methodology – As participant observer of 14 ethnically diverse youth participants aged between 15 and 18 years over 18 months, I documented (a) the kind of agencies participants engaged in and (b) the impact of live and imagined future audiences on youths’ creative processes. Analyses of field notes, semi-structured interviews, and media projects were conducted using thematic analysis to inductively generate emerging categories.

Findings – Themes included an agentive sense of self-efficacy, commitment, and responsibility, as well as perceived contributions to local audiences and an emerging collective identity. The youth demonstrated their increased sense of a social or civic duty to realistically represent youth of color to familiar and unfamiliar audiences.

Implications – This case study demonstrated how one youth media organization fostered agency through youth authorship, production, distribution, and local community dialogue. By documenting the impact of audiences from conception to public reception, this study provides valuable insight into the agentive process of publicly “performing” a commitment to complete a social change video project.

Contribution – This chapter underscores the value of performance within youth development programs and the critical component of audiences as one form of authentic assessment in order to foster individual and collective agency.

In 1966, Clive Bingley described a blurb: A good blurb has a beginning, a middle and an end, a light style and a definite point to make about the content or purpose of the book, as well as an expression of the publisher's own confidence in its merits. This definition specifies that a good blurb contains at least the elements of book praise and book subject matter. Based upon Bingley's definition wide‐ranging and indepth analysis were carried out both within the blurbs of one book and between several books. The sample of books selected for the study were drawn from the fields of sociology, education and psychology and were analysed by the four elements of an analytical framework. Element one of the framework concerned the presence or absence of praise or subject matter in a blurb. Element two dealt with the substantive categories of these two variables. Element three related to a set of other blurb descriptors. Element four consisted of an additional set of variables describing the books of the sample. Combination of simple marginal and cross‐tabulational analysis with appropriate parametric and non‐parametric statistical methods were applied for analysing each element and the relationship of all four elements. The most salient finding was that the Bingley definition proved to serve as a valuable heuristic tool for blurbology, i.e. the scientific study of the blurb. Operationally this meant that no blurbs were found that lacked information concerning praise and subject matter. Further, it was found that praise was a ubiquitous phenomenon. It appeared in over 95% of the blurbs and was consistently high both within and between books. On the other hand, the appearance of other blurb content and descriptor variables was less frequent and more diffuse. There was no evidence of any systematic relationship between book descriptor variables and blurb content. Suggestions for objective and independent research testing blurb selling power were submitted.

This study examined how audience characteristics and attitudes relate to their perceptions of sincerity and forgiveness of apologies by public figures posted on YouTube.

Four hundred twenty-seven adult participants recruited through Amazon's Mechanical Turk completed an online survey via Qualtrics. Participants were randomly assigned to view two of four public figure apologies posted on YouTube.

Results indicated that audience fandom and perceived reputation and attractiveness of the public figure were related to perceptions of sincerity and forgiveness; and perceptions of sincerity and forgiveness were related to intentions of future support.

“Sameness” between the public figure and audience did not garner a more favorable response to the apology, and this is not consistent with earlier studies. For race similarity, the results could have been a reflection of the low number of non-White participants. However, results could indicate that “sameness” is not as simplistic as demographic sameness, such as race, sex or age.

The authors’ findings elevate the importance of gathering and benchmarking pre-crisis attitudinal research to better equip and inform communication professionals for crisis response. In addition, the study suggests that a public figure's strong reputation and fanbase provide a type of inoculation, lessening reputational damage.

The finding that perceived attractiveness relates positively to perceptions of sincerity and forgiveness is consistent with psychological research indicating attractiveness has many positive social implications – even in mediated communication.

Evidence suggests social media apologies matter. Communication professionals need to approach apology opportunities with a keen awareness that relational outcomes and intentions of future support can shift based on social media audiences' attitudes related to the public figure.

Most alcohol education programs are designed by experts, with the target audience largely excluded from this process. Theoretically, application of co-creation which comprises co-design and co-production offers an opportunity to better orient programs to meet audience needs and wants and thereby enhance program outcomes. To date, research has centered on value co-creation, with content co-design receiving limited research attention. This study aims to understand how a target audience would design an intervention and continues by contrasting an audience-designed program with the earlier implemented expert-designed program.

Six co-design sessions were conducted with 58 Year 10 adolescents, aged between 14-16 years old, who had participated in Game On: Know Alcohol, a program developed by experts to address binge drinking. The data were content analyzed.

Analysis revealed that a co-designed program would differ substantially from the expert-driven Game On: Know Alcohol program recently trialed. The results indicate that adolescents prefer interactive activities that engage and challenge. Three alternative program solutions, catering to identified segments in the target audience, are suggested for future implementation and evaluation.

This sample is limited to adolescents from Catholic schools in one state of Australia, and future research is recommended to extend findings beyond this group. This study is limited to establishment of audience (adolescent) preferences, and future experimental field research is needed to develop, implement and evaluate a co-designed program.

This study details a co-design process highlighting differences between expert-designed and audience-designed programs. Future research investigating whether a co-designed program will deliver superior outcomes to an expert-designed program is recommended.

While audiences play a key role in the implementation and ultimate success of novel ideas, how audiences are reflected in negotiations about quality within the creative process remains undertheorized. We examine this question through a comparative ethnography of two settings where digital technology use magnifies the countless micro-decisions involved in producing a creative output and considerations of audience evaluation throughout the creative process – Nashville music production and systems biology cancer research. We find that actors encounter a fundamental tension between two competing standards of quality: the technically perfect, processed and ideal versus the empirically grounded, unprocessed and real. We show how actors navigate this tension vis-á-vis three different audiences – internal peers, extended community, and external reviewers – and how this manifests differently across audiences and the arts and sciences, depending on the audience’s expertise. Our study illuminates the tension between the “ideal versus real” in creative processes that is brought to the fore when creating with digital technology, extends extant research on audiences and organizing for creativity, and offers unique insights from our comparative ethnography across the arts and sciences.

The live streaming of theatrical performances to cinemas has become increasingly common in recent years. The practice offers potentially positive returns for audience reach, audience development, revenue streams and global cultural exchange (Cochrane and Bonner, 2014; Nesta, 2011; King, 2016). However, the conceptualisation of live performance transmissions remains under-explored. The purpose of this paper is to review critically selected literature on event experience and apply it to the growing practice of live-streaming theatre (LST). In doing so, the paper develops a new conceptual model that can be used to guide future research on audience expectations, motivations and experience of LST.

A comparative historic case study approach combines a structured review of relevant academic literature and industry sources. Theories of live cultural experience and authenticity are critically reviewed. The opportunities and threats of LST to performing arts companies are summarised. The approach considers cognitive, affective and behavioural factors in probing themes of audience awareness, perceptions, expectations and experience of LST. The paper uses these factors to develop an original conceptual model for LST.

The research finds that the practice of cinematic live transmission of performing arts challenges existing conceptual categories and marketing strategies. Fundamental events studies factors such as “attendance”, “authenticity” and “experience” are re-evaluated. The model suggests that despite improvements in digital technology traditional theatre and broadcasted theatre are two different experiences, not substitutes.

As a conceptual paper, the results are subject to being tested in the field. The findings reveal implications for the evolving future of hybrid and mixed event experiences. The potential for LST screenings to attract new audiences requires further study.

The implications of the research reflect the changing business models and supply side dynamics of theatre production and touring. The results suggest that live streaming is of limited effectiveness in addressing the capacity limits of Baumol and Bowen’s (1966) “cost disease” in live arts performance. LST allows major brands to penetrate regional markets thereby potentially squeezing out smaller touring companies and restricting innovation.

The findings reveal implications for the evolving future of hybrid and mixed event experiences.

The influence of digital technology on live arts experience is currently under-explored and under-theorised. This paper develops a new conceptual model that captures in greater detail than previously the various factors that may determine audience engagement with, and experience of, LST. The paper contributes to knowledge by expanding the discourse on the gaps between the competing aims of access and authenticity. The analysis expands the academic understanding of hybrid and virtual event experiences.

To describe the role one classroom writing community played in shaping students’ understandings of the analytical writing genre; and to discuss the impact the community had on students’ developing academic writing identities.

While research has demonstrated the impact of classroom writing communities on student writing practices and identities at the elementary level (Dyson, 1997) and for secondary students engaged in fiction writing (Halverson, 2005), less is known about the role classroom writing communities may play for secondary students who are learning to write in academic discourses. This chapter explores the practices of one such classroom community and discusses the ways the community facilitated students’ introduction to the discourse of analytical writing.

The teacher turned the classroom writing community into an authentic audience, and in so doing, he developed students’ understandings of the analytical writing genre and their growing identities as academic writers. First, he used the concept of immediate audience (i.e., writing to persuade real readers) as the primary rationale for students to follow the outlined expectations for analytical writing. Second, he used inquiry discussions around student work (i.e., interacting with other members of the writing community) to prepare students for a future audience of prospective independent school English classrooms.

By turning the classroom writing community into an authentic audience through inquiry discussions, teachers can develop students’ deep and flexible understandings of a potentially unfamiliar writing genre. Furthermore, by employing the classroom writing community as a support for moving students through moments of struggle, teachers implicate students’ expertise as academic writers, thereby facilitating their willingness to take on academic writing identities.

This paper reflects on the author’s experience of an education foundation’s developing a robust and nationally recognized futures studies practice over a period of 14 years. In so doing, this paper aims to inform other futures studies practitioners about the kinds of considerations that can be encountered, and which must be managed, in starting, developing and maintaining a futures studies practice.

Organized around KnowledgeWorks’ triennial forecasts on the future of learning, the paper takes a narrative approach to describe the organization’s and the author’s future studies journeys, examining ways in which organizational learning and dynamics, as well as audience reception, affected the relative success of the study.

The paper begins by describing KnowledgeWorks’ excitement when publishing its first forecast on the future of education as a client of the institute for the future put KnowledgeWorks on the national map. It goes on to examine the organization’s capacity development in learning how to engage education audiences in exploring the future of learning, situating the study in the field of futures studies and developing internal capacity and thought leadership in the field. The paper concludes by reflecting on key aspects of KnowledgeWorks’ organizational learning; the organization’s leadership, moment and culture; and the author’s professional development journey.

The paper will help other future studies practitioners, along with organizations interested in considering investing in futures studies, anticipate considerations that could help them strengthen their practice or set up their organizational investment for success.