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Social Media Ringmaster


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A presentation given at the NEOS mini conference in June 2013 on the management of the library's message across various social media platforms.

Published in: Social Media, Technology, Business
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Social Media Ringmaster

  1. 1. Program weÊve n to the philosophy •  An introductio r social therford Library fo developed at Ru media management. nd Ideas. ples a Tips, Tricks, Exam •  t about a nd food-for-though ofou •  Some more pr social media work. Not in the Show to use these l not teach you how •  We wil media. e social of us are using som •  By now most e you know braries, We assum media in our li the basics.
  2. 2. Context of Alberta ia at the University •  Social med ganically. raries developed or Lib ties eated distinct identi cr •  The result has ies. between unit librar witter one system-wide T •  We have has their but each unit uses account ell. own accounts as w erford s will be from Ruth •  Example and Facebook, Twitter LibraryÊs e system t accounts — and th Pinteres nt. wide Twitter accou
  3. 3. Broader Con text •  What is the curr ent state of libraries an the relation d social me ship betwe •  Ho w a dia? en re libraries using socia meaningfu l media mo lly now tha re •  What n 5 or 7 ye are libraria nsÊ feelings ars ago? social medi and impuls a? es about
  4. 4. Polkinghor ne & Hoffm an 2006-2 008 •  2 Stud ies using a critical dis framework course ana . lysis •  Used 2 data source s: publishe conversatio d articles a ns among l nd ibrarians o listserv. n the ILI-L •  Identif email ied several main them how librar es and tren ians were ds about using socia l media.
  5. 5. Polkinghor ne & Hoffm an 2006-2 008 Marketing One of the main trend s the study libraries an revealed w d library s as that taff primar as a marke ily saw soc ting tool: to ial media get users t collection a o using the nd program library s.
  6. 6. Polkinghor ne & Hoffm an 2006-2 C ontrol 008 The study also found that social inherent ne media teste ed for thin d library w gs to be org orkersÊ anized, ord erly and in Our enthus control. iasm was c urbed beca potential w use using s ould requir ocial media e we give u conversatio to p some con n. trol over th its full e As a result : early soci al media us superficial e by librar . ies was qu ite
  7. 7. . cial media so table with social media for more com re now using e s. ave becom ary users a y day live ibraries h many, libr ver •  L y, into our e n Many, ma has been integrated •  nd arly, It they are a o regul world wh munities. e to show th ives and com SM l ow using are n eir usersÊ Libraries ey contribute to th l s in socia uch th ser how m ng their u agi g and eng in encounter re ibraries a L media. y edia Toda Social M
  8. 8. tity Social Media Iden Clarify your r to look like to you t What do you wan ic? rmative? Academ followers? Info un? al? Laid-back? F Profession Approachable? e? How do you decid owers? What are Who are your foll hat o they share? W d they like? What do they „like‰ ? ! Hint: Follow them
  9. 9. y eflect your identit r Choose content to sily authenticity is ea Be genuine, in et. ven on the intern detected, e . tone of your texts Be mindful of the gÊ or like youÊre Âtellin Does it seem sharing? nent h post is a perma NOTE: eac Ê. ur library isÂlike at yo impression of wh
  10. 10. A cy ilosophy and Poli Social Media Ph cy document that oli 1.  DO have a p r our library will o frames what y . o in social media will not d what philosophy about 2.  DO have a h, ying to accomplis your are tr t entity is and wha what your id are appropriate. types of posts No.2 ÊT let No.1 stifle 3.  DON
  11. 11. SOCIAL MEDIA PLATFORMS Decide what medium is right for you. What is the best way to express your social media persona? Facebook, Pinterest, Tumblr, Instagram are more visual mediums Twitter is more of a text-based medium
  12. 12. Use Mediums to their fullest Potential. Mediums like Facebook, Pinterest are visual and require images or links to capture peopleÊs attention. Use relevant hash tags to spread your tweets out to a wider audience  trends, tracking and dictionary
  13. 13. Use Mediums to their fullest Potential. Mediums like Facebook, Pinterest are visual and require images or links to capture peopleÊs attention. Use relevant hash tags to spread your tweets out to a wider audience Images bring out Facebook posts
  14. 14. Use Mediums to their fullest Potential. Mediums like Facebook, Pinterest are visual and require images or links to capture peopleÊs attention. Use relevant hash tags to spread your tweets out to a wider audience Proper hash tags spread your message to a wider audience.
  15. 15. Tailor Your Message to the Medium Tools exist to link social media accounts •  This is handy in terms of saving time. •  Not always compatible across mediums — ex. hash tags in Facebook
  16. 16. Resize image to appear properly in the Facebook Feed
  17. 17. Source:  h*p:// facebook-­‐photo-­‐size-­‐cheat-­‐sheet/   Facebook size cheat sheets are available all over the web — just Google „Facebook Image Size Cheat Sheet‰
  18. 18. Resizing enables users to see your message without extra effort.
  19. 19. If using Pinterest for virtual book displays, ensure your book covers are engaging: Pinterest DOES judge a book by its cover.
  20. 20. Let the mediums play off each other: Tweet and share Pinterest Boards via Facebook and Twitter Use link shorteners that allow you to measure how many clicks these posts receive.
  21. 21. In the early days of the Rutherford Facebook page our posts did not get a lot of engagement.
  22. 22. During a campus outage we attempted to take a humorous twist to the situation and discovered that memes and humour got our users to be more engaging.
  23. 23. Viral Marketing Research Adam J. Mills "Virality in the Social Media: the SPIN framework‰ Analyzes viral marketing campaigns to dissect what makes them viral. (Old Spice: ‰The Man Your Man Could Smell Like") Suggests 4 factors to virality: Spreadability, Propagativity, Integration and "Nexus".
  24. 24. Leonardo Bruni, Chiara Francalancia, Paolo Giacomazzi "The Role of Multimedia Content in Determining the Virality of Social Media Information‰ •  Analyzed 2 million tweets from July 2011 about particular cities from a tourism perspective and clustered tweets with multimedia content and with out it to see if there were trends in how frequently and how quickly either were retweeted. •  Findings supported the hypotheses that multimedia plays an important role in determining the volume and speed of retweeting.
  25. 25. Jonah Berger and Katherine L. Milkman "What Makes Online Content Viral?‰ •  Took a look at virality in social media from a psychological perspective: "emotional valence and social transmission": Does the emotion aroused by a story or digital artifact influence whether it is "shared". •  Analyzed 7000 articles from the New York Times, clustered them by their topic matter and then investigated their virality.
  26. 26. Jonah Berger and Katherine L. Milkman "What Makes Online Content Viral?‰ •  Conducted additional studies with participants who were asked to read articles about the same news stories, but written in a different tone (to arouse different emotions). They then asked participants whether they would share the story. •  Findings showed that positive content is more viral. Also content that evokes anger is more viral than content that evokes sadness. •  Amusement scored high in terms of virality.
  27. 27. Applying what we learned from our own interactions and what we read in the research we continued to produce memes and humourous posts — to find that students engaged with us more.
  28. 28. Community relevant humour and social causes seem to be what our users enjoyed and wanted to share.
  29. 29. Making Memes The Tools:, Frabz, or just Google „meme generator‰ Do some research first. Search „memes‰ on Google. There are thousands! 1.  Memes need to be genuinely funny. Irony, satire, exaggeration and even sarcasm is required. Don't be afraid to make fun of yourself!
  30. 30. 2 . Know your audience. Let your users and community be central in the humour, find inspiration from your users.
  31. 31. 3. Be in good taste and good grammar There is a fine line between what is funny and offensive. Be careful and ask others whether they find it funny. Keep the spelling and grammar clean, unless it is central to the humor of your meme or be prepared to be corrected!
  32. 32. 4. Memes wonÊt work in every medium. Not everything that works on Facebook will work on Twitter and vice versa.
  33. 33. 5. Participate - share appropriate content made by others you follow. This makes them likely to share your content.
  34. 34. Negative Feedback It happens! . •  Acknowledge it ering •  Diffuse it by off a venue for further e. discussion —off stag Awe the crowd with answers and workarounds!
  35. 35. Some examples of negative feedback and how we handled it.
  36. 36. And there typically are more positive comments as well
  37. 37. Social media is always changing so make sure to keep up to date. Follow the main feeds for Twitter, Facebook etc. and be prepared for what is coming down the pipe. Read about what otherÊs are doing — keep the show fresh and vibrant!
  38. 38. for is a difficult job Social Media nage. one person to ma just osting content prior to p Discussing is helpful. ular edia requires reg s a Social M ed and everyone ne supervision vacation!
  39. 39. Social media management can seem like a lot of work but remember there are rewards! It is about getting to know your users in a place they are comfortable, and breathing life into the LibraryÊs image. ENJOY THE APPLAUSE!
  40. 40. arge of Ringmaster IS in ch The l every w but cannot contro the sho detail. trol: gmaster CANÊT con The Rin ent or Every single comm •  engagement. ts or he tone of commen •  T engagements. posts tronÊs independent •  Pa make (which they would is on hether the library w . social media or not)
  41. 41. ntrol: ingmaster canÊt co The R nt or Every sing comme •  engagement. nts or The tone of comme •  engagements. nt posts PatronÊs independe •  ke ich they would ma (wh y is on whether the librar social media or not) arge of Ringmaster IS in ch The l every w but cannot contro the sho detail. ol: ingmaster can contr The R le. ona, identity and sty •  Pers rvice. •  The level of se tent. The focus of the con •  s are w negative situation •  Ho handled. ment social media engage •  Ho w is measured.
  42. 42. Credits The Rutherford Social Media Team: Sarah Polkinghorne Jorden Smith Nicole LaPointe
  43. 43. Photo credits Photos  Obtained  Under  CreaCve  Commons  License  from  Flickr   Applauding  Hand:  Irene2727   Applause:   Fire  Eater:  Scriblenz   Tent  Upward  View:  PJVanf   Lego  Juggler:  Helico   Lego  Clowns:  WiredforLego   Roaring  Lion:  Tambako  the  Jaguar   Sleeping  Lion:  KaC  Koae   Upside  Down  Trapeze:  Paco  CT   Dangling  Trapeze:  hbp_pix   Ringmaster:  Ant  Smith   Bearded  Lady  Poster:  A  Jimenez  via  “LaCn  American  Ilustraćion”   Memes  obtained  and  created  at  and   h*p://   All  other  illustraCons  created  by  Hanne  Pearce  
  44. 44. Bibliography Berger,  Jonah,  and  Katherine  L  Milkman.  "What  Makes  Online  Content   Viral??."  Journal  Of  MarkeCng  Research  (JMR)  49,  no.  2  (April  2012):   192-­‐205.  Business  Source  Complete,  University  of  Alberta  Libraries   (accessed  April  10,  2013)     Bruni,  Leonardo,  Chiara  Francalanci,  and  Paolo  Giacomazzi.  "The  Role  of   MulCmedia  Content  in  Determining  the  Virality  of  Social  Media   InformaCon."  InformaCon  (2078-­‐2489)  3,  no.  3  (September  2012):  278.   University  of  Alberta  Libraries.    (accessed  April  10,  2013).     Mills,  Adam  J.  "Virality  in  social  media:  the  SPIN  Framework."  Journal  Of   Public  Affairs  (14723891)  12,  no.  2  (May  2012):  162-­‐169.  Business   Source  Complete,  University  of  Alberta  Libraries  (accessed  April  3,  2013)  
  45. 45. Bibliography Hoffman,  C.,  &  Polkinghorne,  S.  (2010,  June).  Discourse,  idenCty,  pracCce:   Analyzing  instrucCon  librarians’  conversaCons  about  informaCon  literacy  and  the   social  Web.  Canadian  AssociaCon  for  InformaCon  Science,  Montreal,  QC.  Extended   abstract:  h*p://www.cais-­‐       Polkinghorne,  S.,  &  Hoffman,  C.  (2009,  April).  InformaCon  literacy  and  librarianship   in  the  age  of  the  social  Web:  A  criCcal  discourse  analysis  of  ILI-­‐L  posCngs.  LOEX   Annual  Conference,  Albuquerque,  NM.     Polkinghorne,  S.,  &  Hoffman,  C.  (2009).  “Crown  jewel”  or  “pure  evil”?  Wikipedia   through  an  informaCon  literacy  lens.  Feliciter  55(3),  101-­‐103.   Hoffman,  C.,  &  Polkinghorne,  S.  (2008).  Sparking  Flickrs  of  insight.  In  P.  Godwin  &  J.   Parker  (Eds.),  Informa.on  literacy  meets  Web  2.0.  London:  Facet  Publishing.     Hoffman,  C.,  &  Polkinghorne,  S.  (2007,  May).  Launching  ‘InfoLit  2.0’?  Considering   Web  2.0’s  potenCal  to  support  criCcal  thinking  and  higher-­‐level  learning  in   informaCon  literacy  pracCce.  Workshop  on  InstrucCon  in  Library  Use,  York   University,  Toronto,  ON.