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Creativity is a critical skill across disciplines and contexts, and it is an important trait for humans to survive and thrive, personally and collectively. The fast-paced culture of business innovation has sought to promote and reward creativity as a coveted thinking skill. Creativity in and of itself, however, is a value-neutral construct, because novel and effective ideas may also have negative consequences. This darker aspect of creativity has come to the forefront in many recent cases, particularly in contexts involving digital and networking technologies, where the rapid pace of technological change does not encourage the kind of deliberative thinking necessary for nuanced and ethical business decisions. The authors consider why education is essential for expanding the ethical capacity of creative agency in business, describing the need to bring creativity and ethics together in educational opportunities and cultural values. The authors explore the idea of ‘wise creativity’ and the need to infuse more human-centred learning from the arts and humanities into business fields. Further, the authors suggest better practices for creative business education, such as: infusing real-world ethics learning into business education and professional development; infusing the liberal arts curriculum in business; offering opportunities for arts-based approaches in business learning; and instilling genuine mindfulness training in business education environments. The authors’ focus is on a shift away from a culture that values creativity purely as an instrumental approach for greater profitability, and towards one that values wise and humanizing creativity for good business practices that consider societal and individual wellbeing.

This study explores how digital storytelling (DST) approaches can be used for social media campaigns to create more engaging digital content. The ability to better engage with networked publics offers benefits to entities of different scale and scope, since in doing so they establish stronger relationships with their consumers and publics.

A digital discourse analysis combined with a five-layer coded film analysis is applied to a DST video, viewed on Facebook.

Four overarching and overlapping approaches are identified. These are emotional appeal based on clear human ideals, equality and simplicity of characters, simplicity and universal representations.

Similar studies are required across varying targeted digital stories of different length and subject matter to distinguish effectiveness.

Despite advanced technological capacity for audience segmentation, social media campaigns often include unengaging content. DST offers universal characteristics that can be used by entities to engage with their consumers and publics.

DST has been used to create learning and pedagogical environments and more participative democracies. Yet its use to strategically engage with networked publics is empirically lacking. The findings of the study can facilitate more effective digital content strategies for entities of all purposes to pursue.

Few studies have sought to deconstruct effective short form DST for strategic purposes. This study applies a methodological approach best suited for analysing digital content. The findings provide insights into how strategists and social media managers can create more engaging digital content.