Current — AMT Lab @ CMU

analytics

Redefining Participation: Notes from the Newspaper Industry

ReadingNewspaper_PA1933_LOC.jpg

The Audit Bureau of Circulation (ABC) reported its latest figures on the American newspaper industry last week, noting that in the six-month period ending on 9/30/2012, circulation figures across the industry largely held steady. Sunday circulation increased by 0.6%, while daily circulation fell slightly, 0.2%. For an industry that has experienced a drastic nosedive over the last several years (some would point to the last two decades), these figures, especially when combined with those of the preceding six months, should come as a breath of fresh air. Leading the charge—if we’re feeling optimistic—is the sharp, ongoing rise of digital circulation, which now comprises 15.3% of the total mix (up from 9.8% the year before). That print editions continue to decline comes as no surprise, but what is striking is the degree to which digital gains are boosting overall circulation figures, in some instances resulting in tremendous increases for individual publications. A prime example is The New York Times. With a total average daily circulation of over 1.6 million, The New York Times expanded its reach by 40% since 9/30/2011—all of it digital. The nation’s leading newspaper, The Wall Street Journal, which began counting paid online subscribers in its circulation figures in 2003, experienced similar, if more modest, growth (9.4%), as did the Los Angeles Times (11.9%). So too in Newark (48.1%), Tampa Bay (30.4%), Honolulu (26.3%), Cleveland (20.5%)…the list goes on.

So what happened? Did Americans begin to read online newspapers en masse over the last two years? Likely not. Rather, ABC made significant changes in its reporting mechanisms to enable newspapers to more fully capture its “cross-media” audience instead of only its print circulation. The changes, which went into effect in late 2010, include metrics to audit and report digital newspaper editions that are accessed by readers on websites, tablets, and smartphones.  It’s taken the industry time to figure out both how to deliver its products to audiences in desired digital formats and how to track these multiple modes of participation. But with 24 months of that data now collected, “year-over-year” comparisons can begin to be made that produce a decidedly more nuanced portrait of the industry.

Whether or not that picture is more or less bleak than before is open to debate, certainly. For the arts, it might be an encouraging note as the industry wrestles with how to measure and evaluate online modes of participation. The most recent NEA Survey of Public Participation in the Arts (2008) inquired broadly about the subject; one question assessed online access of any performing arts (theater, music, or dance) and another the same for visual arts. As the authors of Beyond Attendance: A Multi-Modal Understanding of Arts Participation (2011) advocate, additional research is needed to gain a more detailed understanding of online participation; measurement systems likewise have to adapt. If the newspaper industry’s experience is any guide, when they do, the arts will be far better positioned to assess, and ideally to serve, its audiences.

Image Credit: Steelworkers reading the newspaper, Aliquippa, Pennsylvania, July 1938; Library of Congress, Prints & Photographs Division, FSA/OWI Collection, LC-USF33-002822-M2

Why in the Arts World Don't You Have a Pinterest?

Haven’t you heard? Pinterest: Now Officially Better Than Yahoo and Bing* *Sort of.

The story dropped earlier this month: Pinterest referred more people to websites in August than Yahoo and Bing. What that means is that more people visited Website X by clicking on content (generated from Website X) that is on Pinterest, than people did by searching for Website X on Yahoo or Bing. Which is huge – the little-social-media-that-could topped industry giants, if only by a few decimal points.

The report came from Shareaholic, a social media tool for sharing websites, on just about every social media platform. They have tools for sharing pages from your browser, to putting buttons on your site to allow your visitors to share your content. The Shareaholic Analytics tool tracks who’s sharing your work, and how visitors are reaching you – which is where this report comes from. Shareaholic Analytics also points out that traffic from Pinterest has doubled in the past four months and “is now the fourth largest traffic source in the world”. Can that possibly be true?

Maybe. Search Engine Optimization is a tricky beast and there are a few drawbacks to the report. Shareaholic can only measure the websites currently using its tools – which is a network of 200,000 publishers, who reach 300 million people each month. While that sounds like a suitable sample size, it does depend on the makeup and content of each website, their level of SEO sophistication, etc, etc.

Of course, why am I telling you this? The arts community, while generally not on the bleeding edge, hasn’t been idle on the Pinterest front. The always-cool SFMOMA has boards upon boards of art. The Pittsburgh Irish and Classical Theatre boards give us a glimpse behind the scenes of their shows and soirees.  Heck, the Milwaukee Symphony Orchestra pins everything from fanmail and music jokes to gorgeous music halls and their musicians. The fact is, Pinterest’s layout and content lends itself to arts organizations. (But for real people, you can pin videos – and I have yet to see a performances board!) Shareaholic says that Pinterest is one of the best ways to send people to your website. Why don’t you have one yet?

It could be time, it could be money, it's probably a mixture of both. Maybe, like skeptics of this report, you need more time to make an assessment. There are larger implications here: that “sharing” is greater than “searching,” visuals more important than text, and that your friends know what you should look at better than some algorithm. This was still just one report, using one social sharing service, for one month, however, and only time will tell if these trends continue – but maybe you and your organization should take a closer look at Pinterest. We have tools to help you set one up.

Where We Are and Where We've Been - Annual Report

It has been almost a full year since I joined Technology in the Arts, thanks to the Master of Arts Management program at Carnegie Mellon University. As we enter another school year and prepare for a new group of research associates, we’ve got a look back at the past year. Research Associate Terry Boyd prepared this Annual Report with our highlights, summaries, and where we have room to improve.

If you're a fan of metrics, be sure to check out the report. Here are some of my favorites:

Highlights

  • Staff size! We added 5 authors last year!
  • Page views jumped by 63%
  • Visitor total increased by 78%
Social Media
  • Even though our Facebook page is only 2 years old, Facebook is our largest traffic source
  • Over 7,000 clicks from Facebook posts led to our blog posts last year.
  • Our Twitter account saw an increase of followers by 28%

There's plenty of room for improvement (always!) and we hope readers will join us in the next year! We also have a friendly, non-flash version of the report here.

A Data Visualization of Art & Money

Looking for a well-worth-it distraction? Check out Art & Money, an animated art auction infographic by Jean Abbiateci. It visualizes metrics for the top 270 most expensive artworks sold in auction between 2008 and 2011.

 

Methodology: the radius of the bubbles is calculated on the amount of sales. Theses prices do not include the buyer's commission.

Data visualized includes the size of the artwork, the artist's nationality, date created, selling price, etc. The data is then sorted in different categories so viewers can explore the relationship between male and female buyers, a comparison between top-selling work of dead artists and living artists, a look at how the top auction houses compare, etc.

 

Any surprises? Share with us!

 

iPhone vs. Android: What your Smartphone-of-Choice Says About You.

Based on over 80 million responses, Hunch blog has complied a rather…intriguing…analysis, and snazzy infographic, of smartphone users- highlighting the trends and differences between iPhone and Android users. What do you think? If you use a smartphone, do you relate to a smartphone-specific trend? How accurate/inaccurate are the findings?

Meta Data: What is it and How should it be used

The way that meta tags and meta data has been used by search engines has changed dramatically over the last dozen years.  Meta data, for those who are uninitiated roughly means data about data. Meta tags, in theory, are one of several tools that search engines and other clients use to return results in searches.  How much time should you spend on writing meta tags and meta data?  For the purposes of organization Meta will be divided into three categories:  Keywords, Tags, and Other Meta. Several articles about the demise of Meta Keywords have been written in the last couple of years. Google announced a while back that they no longer use meta tag keywords.  Bing and Yahoo do, however, use keywords as one of several hundred published criteria.  Key words are, by most expert assessments, the least valuable of meta data.  While they may assist in some search engine optimization, the best way to get your webpages in search engines is to use wording in the body of the email that contains they keywords that you would normally use in meta.  How much time should you spend on keywords?  Not much.  If you are low on time or energy this is the first thing that you should drop.

Tags are also meta data that is used in web searches.  They help to categorize your content much in the same way that keywords used to. Google has a great page for usage of these items that tell browsers and search engines what to do with the data that it sees on your web site.  You can leave instructions to not index information, not provide alternative descriptions, and not to cache your website.  You can also set up links for translation to other languages.

Title and description is essential meta data.  If you are using a WYSIWYG editor such as Word Press or Joomla the Title and Description are automatically embedded into your HTML as you fill out the handy fields that are provided to you.  The description of any page returned through search is displayed as a snippet in the results.  This text is sometimes truncated depending upon the search engine and settings on your computer and the length of the description.

For more information about Meta go to the W3 website.  In fact even if you aren't interested in Meta Data you should probably go to the W3 website and familiarize yourself with the content.  Anyone who has a website should be aware of W3 and the tools and information available.

How much are you worth to Facebook?

Now that Facebook is going public (reluctantly, due to a Federal Trade Commission rule) and is releasing financial statements we actually know how much money Facebook is making off of us:  about $1.21 a quarter according to Techcrunch.  This amounts to around $4.84 a year per user average.  This figure is of course only part of Facebook's income portfolio as it makes money off of advertising, investments, and licensing.  At times like these it is important to remember that Facebook is not ours, it is run for the profit of the shareholders.  The dozen or so iterations of Facebook that have been implemented over the last eight years have all had modifications that were put in place to maximize data mining and advertising sales. A worthwhile re-read at a time like this was done by a former blogger for this site.  Here are links to Amelia Northrup's social media analytic series:

http://www.technologyinthearts.org/2011/05/the-art-of-social-media-analytics-part-1/

http://www.technologyinthearts.org/2011/06/the-art-of-social-media-part-2/

http://www.technologyinthearts.org/2011/06/the-art-of-social-media-analytics-part-3/

 

Some Additional Thoughts on Kickstarter and Arts Funding

Last Friday we had the pleasure of welcoming Stephanie Pereira, Art Program Director for Kickstarter, a site that we have profiled, examined and analyzed a number of times here on the blog, to Carnegie Mellon for a speaker series event for our Master of Arts Management program. Her presentation and Q&A session talked about how projects are started, the rules for the site, and a look at some of the more interesting projects the site has seen as of late. As a policy student, I am always fascinated by numbers and what trends are driving the dynamic changes we are seeing in the arts community. Before I go back to my usual beat of looking at how the worlds of art, technology and policy intersect, I wanted to pause this week and examine some of the statistics that were presented at Friday’s event, and what they say about the nature of giving in the art world.

As anyone who is familiar with Kickstarter can tell you, their growth in recent years has been nothing short of astounding. I recently looked at how their estimated funding level for 2012 is set to eclipse the entire annual funding for the National Endowment for the Arts (NEA), a federally funded arts program. That kind of grassroots energy, passion and dollar commitment is a testament to a real market for substantive funding for art projects at the national level.

Why has it taken this long for large scale arts funding to reach the national stage? Technology would certainly be one answer, as the world of social media has opened up other industries to new funding mechanisms and audience participation. And while there are other excellent crowdfunding resources on the web, Kickstarter remains the most visible, offering artists the best potential opportunity to ultimately create their projects.

Anytime you have a site like Kickstarter that changes the way the arts are funded here in the U.S., a look behind the curtain at some of the statistics is a welcome way of analyzing what exactly is responsible for its success.

One important stat to point out about Kickstarter: while the recent projects that eclipsed the $1 million mark receive most of the attention, the vast majority of successful projects fall in the $1,000-$5,000 range. The rewards offered for these projects pale in comparison to those of the more ambitious projects, but having such a low threshold naturally entices more people to commit dollars in the hope that a project they admire and want to see is successful.

Another important stat to point out: the average pledge amount is not, as I would have expected, in the $10-20 range. According to Kickstarter, it is actually $71, which shows people who are pledging money to these projects are donating more than a couple cups of coffee: these are real dollars being committed here, and it is of little surprise that with the thousands of projects being featured on the main page of the site over any given week, that so much money is being pledged to the wide variety of projects on display.

Perhaps the most interesting statistic, however, is what Kickstarter refers to as the “tipping point” for project success: once a project reaches pledges totaling 30 percent of its funding goal, it has about a 90 percent chance of reaching its target. This puts a lot of pressure on artists and project leaders to get their main support system at the outset (i.e., their friends and family) to commit funds in an effort to pass that threshold. While not a guarantee, it is fascinating to see how often projects reach their end goals when they pass a common threshold.

Finally, it may surprise you to learn that the three categories that receive the most pledges do not include paintings, or public art pieces, or video games: the top three categories consist of film, music, and design (with film being the winner by a large margin; dozens of films are now being released each year that were funded through Kickstarter, with many of them debuting at SXSW a few weeks ago).

These are just a few of the hundreds of statistics that Kickstarter has provided over the years. Their blog is a great resource for a look at the trends and figures that help explain the quantitative success behind the site, and is definitely worth bookmarking.

We love writing about Kickstarter here at Tech in the Arts, and as the site continues to grow in future years and brings to life thousands of art projects, we can’t wait to see what kind of ideas and projects come our way.

The Art of Social Media Analytics, Part 3

Summer is the “off-season” for many of us in the arts world. Why not take this time to refresh your social media strategy? This is part 3 of our 3-part series on social media analytics tools. Check out Part 1 and Part 2.

blue_dataThe last part of our series concerns making management decisions based on data. Once you have the data, what do you do with it? As we come up with more sophisticated methods to track social media sentiment and reach, it becomes possible to track more accurately how people are responding to social media. This is especially important because social media can be a valuable part of your market research. It is like a 24-hour focus group, answering many of the questions you may have about your audience as well as the questions you didn’t think to ask.

As mentioned in Part 2, there are a variety of questions that you may have about your audience and a variety of tools that track different measures of success. Some tools are narrowly focused on one measure, while others give you a conglomeration of these measures. Some examples of the measurements of success include:

  • Sentiment: Are social media users referring to my organization positively, negatively, or neutrally?
  • Conversions: How many and which fans are buying online (or offline)?
  • Spikes in activity or “buzz”: How are social media users responding online to campaigns?
  • Impact: How many people is the message reaching and how much influence does the organization have? How many people are sharing posts?

When thinking about measurement tools and management decisions, the first question is often, when is it worth it to pay for analytic tools? As technology evolves to be able to track more specific and more valuable information, more paid analytics tools have come on to the market.  There are two basic instances where it’s worth it:

1) when you have a large customer base

2) when you need enterprise-level social media analytics

Firstly, if you have a large customer base or a large social media base (no hard and fast rule, but larger than 100,000) and you are literally having trouble monitoring comments on your brand, you need a tool that takes more of a summary view. Secondly, most paid tools are enterprise-level tools--tools that more than one person can manage or assign tasks to others and have other special features. If you feel you need this type of functionality, then paying for an analytics may be worth it.

Besides those two factors, a company should also consider the elusive “Holy Grail of Social Media,” return on investment, or ROI. Many organizations have found a “chicken and the egg” scenario of needing time and resources to show results (often, revenue), but needing results to convince upper management to spare the time and resources to devote to social media. This situation can be difficult; you might try proposing a pilot program or experiment with a cheap or free tool before proposing a larger investment.

One institution that has made a practice of using data to make decisions in social media (as well as investing in technology—check out their web and new media strategy) is the Smithsonian, under the guidance of tech guru Nancy Proctor. As one employee put it “why would you change anything without metrics and feedback?”

Once a company has the analytics tools in place it’s easy to observe your numbers of fans, interactions, and gauge the quality of those interactions. What’s more difficult is translating your observations into actionable decisions.

A simple example is that of David Horgan’s, eMarketing Specialist for Smithsonian Folkways Recordings. David had experimented with linking ads to their Facebook page and their homepage. “We found that the ads that direct people to our Facebook page (rather than to our homepage) were about 3x more effective on a cost per click basis.” Management Decision: Direct more ads to the Facebook page than the homepage.

Another example is the blogathon on the Smithsonian Collections Blog that Rachael Cristine Woody worked on for American Archives Month. According to Rachel:

Until that time we had almost solely focused on collections content.  In October we shifted to also cover our profession and offer a more behind-the-scenes look at what we do/deal with, every day.  These posts became the most popular posts we’ve published so far, numbering in the thousands for direct hits, and to this day still receive at least 100 hits a week.  It was at that time that I think the blog truly found its most invested and engaged audience, and it helped to call attention to us that we should be covering more on our profession.  Management Decision: In addition to giving the collections exposure, engage and influence the professional community by providing transparency, advice, and support.

The National Museum of American History combined traditional survey techniques with data from analytics tools (Google Analytics and WebTrends data, click metrics from HootSuite, etc.), comparing the results of four closely-related surveys on each of four major communication channels (their blog, email newsletter, Facebook page, and Twitter feed). Although more complex, the results allowed Dana Allen-Greil to make decisions regarding how the Smithsonian communicated with patrons:

At the National Museum of American History, we’ve long had a hunch that our Twitter feed should focus on conversational and educational content, rather than marketing in-person events. If our followers aren’t local, do they really want to hear about events they can’t come too? Click metrics from HootSuite plus data from a survey of our Twitter followers gave us solid footing to make the case against Twitter as a platform for driving foot traffic to the museum.  Less than 25% of responders reported planning a visit to the museum after seeing a message from us—this is compared with over 55% of email subscribers who said they did.  Even more to the point, less than 10% of Twitter followers reported attending an event compared with over 30% of our email readers.  We discovered a similar trend with our Facebook fans and have altered our content strategy accordingly. Management Decision: Use Email (not Twitter) to Promote Synchronous, Location-Specific Events.

More info on Dana's Twitter content strategy can be found here.

So there you have it. As much as social media can seem nebulous, there are specific things to measure, to think about and analyze, and then to make decisions that you can feel confident about. When you develop your social media strategy for your next season, mix things up a bit with some new questions about your audience, new tools, and a new perspective on the art of social media analytics.

Special Thanks to the following people for their contributions to this series: Michael Edson, Brian Hinrichs, Maggie Johnson, Katryn Geane, Kristin Garbarino, Devon Smith, Lindsay O’Leary, and Crystal Wallis.

The Art of Social Media Analytics, Part 2

Summer is the “off-season” for many of us in the arts world. Why not take this time to refresh your social media strategy?

This is part 2 of Tech in the Art’s 3-part series on social media analytics tools. Check out Part 1.

This part of our series is based on a simple question: As of today, what are your options for social media tracking? Let's take a look at some popular analytics tools and how to evaluate them given your organization’s more specific goals.

The Next Level

So let’s say you help determine social media strategy for your organization. If you’re like many organizations, you have Google Analytics, you look at your Weekly Facebook Update, you respond to comments on Facebook and/or Twitter. Your workload is, for the most part, tenable, and your social media presence is flourishing.

First of all, great job!

How can you take it to the next level without spending an inordinate amount of time or money? Get serious about analyzing your efforts and seeing what’s working. Using an analytics tool, you can begin tracking your efforts formally over time, just as you probably have a formalized system of tracking ticket revenue through sales reports. Some analytics tools offer a sort of moment-in-time snapshot. Others track over time as well.

So, as you endeavor to improve your tracking, which tools are for you? Here are a few questions to ask yourself:

1. Exactly how much time per week or month am I able/willing to devote to researching our followers/fans and the analysis of our data?

2. What am I interested in knowing about my social media presence? Examples include:

a) Who are my fans? (donors, members, subscribers, employees, artists, etc)

b) How much of an impact am I having? (Am I reaching key influencers? How far are my posts being shared?)

c) How much of a return I am seeing on my investment of time or money?

4. How much money (if any) am I or my department willing to spend and what do we expect for that money? (See Question 2)

5. On a related note, how much buy-in will you get from senior management/the board? Will data provided by these analytics aid your case in advocating for future social media campaigns?

6. Who will be maintaining a regular schedule of analyzing the data? Yourself? An intern? Someone else?

There are hundreds of tools out on the market, and more emerging everyday. Since there is no way for this list to be comprehensive, here is a list of our favorites at Technology in the Arts. If you know of other useful tools for tracking social media, please comment on this post.

Disclaimer: For the sake of limiting the project in some way, we have included only 3rd party social media sites—that is, mainstream social media sites that are set up for external relations with the general public, like Facebook, YouTube, Twitter and the like. We will not cover basic brand management tools or web analytics tools like Google Alerts, except that in terms of tracking conversions from social media.

Free tools

bit.ly used in conjunction with Google URL Builder/Google Analytics

If you’re already using Google Analytics for your web analytics, one of the smartest things that you can do is track click-thrus from social media to your website. Here at Technology in the Arts, we do this through Google URL Builder and bit.ly. Earlier this year, Tara gave us an in-depth look at Google URL Builder. Basically Google URL Builder equips you with the ability to tag any URL you link to in your social media posts. You specify the campaign, medium (Twitter, Facebook, feed, etc) and a few other details about the link and, voila!, you can track click-thrus from your social media platforms.

Using Bit.ly gives you the added bonus of shortening the links and creating QR codes as well as tracking of any link, even those you’re not tracking through Google, with registration (free).

googleanalytics

Think up

This program stores all your posts, tweets, replies, retweets, friends, followers and links on social networks like Twitter and Facebook in a database that you can easily search, allowing you to analyze and export the data.

What’s unique about this is that it puts the data directly in your hands rather than giving you the results of the analysis. This means you can slice and dice any way you like, beyond any restrictions the program might impose upon you.

Flowtown

“If social and email had a baby, it would be called Flowtown.”

- Dylan Boyd, Vice President, eROI

When I first started researching social media analytics, I held a focus group with social media experts, one of which was Devon Smith of the 24 Usable Hours blog. She suggested Flowtown, which she reviewed in detail last fall.

The concept is that it helps you manage your email list in the context of social media. Flowtown is currently renovating the tool; however, you can sign up to be notified when they are accepting new users.

Flowtown-Import-Contacts2

Social Mention

Social Mention analyzes interaction from across the social media universe--Not only Facebook and Twitter, but other social media sites like Digg, StumbleUpon, YouTube. It gives you a snapshot of how your social media presences are faring. One of my favorite features is the focus on sentiment. A common feature for paid tools, you get information on how your brand is perceived—in a positive, negative or neutral way—for free.

Klout.com

Klout is one of the most comprehensive systems for social media analysis. The tools help you track your presence over time, measuring things like influencers, reach, the probability for the message to be amplified (shared), and more, all of which contribute to an all-around Klout score. Another useful feature is the ability to compare yourself with other organizations.

TweetEffect.com

Tweeteffect is helpful in finding out which tweets are most “effective”, specifically by finding out which tweets cause you to lose and gain followers.

tweeteffect

TweetPsych.com

Tweetpsych is a tool which tells you simply who you are to the people who follow you. The platform describes itself as creating a psychological profile of the twitter account, which is done by comparing how often you tweet about a particular topic in comparison to the “average” Twitter user. For example, techinthearts tweets about work, media, and learning more than the average Twitter user, and about the past, anxiety, and self-referencing tweet less than the average user.

tweetpsychFacebook Analytics

The only consistently good free option for tracking Facebook is the Facebook analytics tools.  The tools are a lot better than they used to be, especially with the recent upgrades that let you see how many impressions each of the items you post on the wall receive from your fans. However, Facebook tools don’t have the same capabilities as the Twitter tools to give an accurate picture of who is being reached.

Paid tools

Radian6 ($500/mo)

Radian6's philosophy is pretty simple: Listen, Measure, and Engage. And by "listen," doesn’t just track Facebook and Twitter—they monitor across blogs, forums, news, and more. You can track topics by keywords, basically listening to the conversation about why your customers come to you in the first place rather than just monitoring your own brand name. So, monitoring internet chat about string quartets and classical music if you are a Chamber Music Society.

Radian6 offers tons of ways to measure all the data you've "listened" to. It allows you to slice and dice data of social media on par with Google analytics and more, such as identifying key influencers and tracking the lifecycle of buzz around your campaign or brand. Another thing they measure is Share of Conversation: how often is your brand (say, MoMA) mentioned in the conversation about the general topic (arts in New York)?

Finally, this tool facilitates engagement with customers with integrated workflow, alerts, and sentiment monitoring. You can assign different people to be the Community Managers for different topics or audiences who respond to those constituents personally. Radian 6 also advocates contributing to the conversation by contributing white papers or other research to the topic.

Coremetrics (price varies)

cop-thumb-img-new

If Radian6 looks at the big picture, Coremetrics (IBM's answer to analytics software) drills down to the individual customer level. Its main strength is that it is a comprehensive marketing system, integrating different channels and even offline information to convert and retain customers online. They also have a three-step philosophy: anticipate what your customers want based on cross-channel historical data, automate an immediate response to customer actions, and syndicate personalized content to the customer via the right channel at the right time.

Coremetrics puts all of your data--social media, CRM database, etc--into one application and measures it with the same metrics. This allows you to segment your customer base according to any and as many characteristics as you want to create the ultimate personalized experience.

BONUS: Coremetrics publishes informative white papers on analytics that you can download in exchange for an email address.

ComScore (price varies)

ComScore is another "360-degree" tool. Like Coremetrics it unites web analytics and social media data. The difference is that ComScore uses a consumer panel of approximately 2 million consumers worldwide to measure people's behavior in the digital environment. ComScore's Social Analytix tool is powered by Radian6, but when combined with ComScore's other tools, you can integrate social media measurement with other analytics tools. ComScore’s analytics toolbox is vast and covers a multitude of different needs, including ad effectiveness, search marketing, mobile, and cross-media measurement.

Twitalyzer ($30/mo)

One of my favorite free tools is now a paid tool, but it is still affordable to many non-profits. At only $30 a month, Twitalyzer not only tells you what is happening with your Twitter account in terms of reach, impact, and the other metrics we’re familiar seeing in association with social media, but it give you concrete recommendations on how to improve your outcomes based on more successful Twitter users. For example, I did a social media analysis for a client last year and Twitalyzer told me that:

If @"ClientName" is interested in having a more measurable impact in Twitter we recommend the following:

●     It is moderately important that you find more followers ●     It is moderately important that you find a few more people to follow yourself ●     It is moderately important that you engage others in conversation more frequently ●     It is very important that you write more frequently

Few tools on the market actually connect the dots by analyzing data and then telling you what you should be doing. If you can afford it, it's a good tool for those starting out as well as those re-orienting their social media strategy.

Next time in Part 3: Basing management decisions on the data you find with these tools (in case you aren't using Twitalyzer), including when it is worth it to pay for an analytics tool and examples from the Smithsonian on the concrete actions their staff has taken based on social media data.

Using Google URL Builder to Track Your Website's Traffic [mini-nar]

Mininar
Mini-nar

Back in November, Tara took a look at Google URL Builder.  Given that some people learn better by watching someone else do it first, we decided that this would be a great topic for a mini-nar.

Here's David to walk you through how to use Google URL Builder to track the traffic being driven to your site through promotional campaigns, social media, e-mail marketing, and more.

Mini-nar - Google URL Builder from Technology in the Arts on Vimeo.

If you have topics that you'd like to see us cover in upcoming mini-nars, post a comment below or send us a message to let us know what you would like us to cover.

The Art of Social Media Analytics, Part 1

Summer is the “off-season” for many of us in the arts world. Why not take this time to refresh your social media strategy? This is part 1 of our three-part series on social media analytics tools.

Brain1
This is your brain on social media. Image from Your Social Move.

Social media marketing is an artistic endeavor as well as a scientific one. We use the right side of our brains to create the perfect message that will engage our audience and the left brain to crunch numbers on views, comments, etc. We know instinctively how to talk to our audiences, but we don’t always know how they are reacting to that message beyond a peripheral “feel” of the importance and sentiment behind the comment or action. There is often not an obvious way to categorize or quantify reactions to gain insights into your audience’s thoughts and feelings and to chart your own impact.

With the economic situation as it is right now, nonprofit employees are under more pressure than ever maximize their productivity and capacity. With technology, and social media in particular, as the most nebulous, mysterious, and constantly shifting elements of an organizations’ marketing/PR operation, it can be frustrating to track social media interactions and to gain resources from management for social media. Often initiatives face “death by delay” or end up being based on assumptions rather than data. At the Center for Arts Management and Technology, it’s one of the issues we talk about most often amongst ourselves and to clients.

It’s not just the arts, though.

In the non-profit arts world, we have the tendency to think that we are insulated and that our problems are due to a lack of time or resources. Some of these questions are ones that the social media field as a whole is trying to answer. While in the Masters of Arts Management program, I participated in a Social Media Analytics class where we had real-life clients. My team was working on the account of a major sportswear manufacturer. At first I thought that the questions that this company would have about social media would be very different than the ones that I worked on at the Center for Arts Management and Technology for our mostly non-profit arts clients. However, the more we worked with our client, the more similarities I noticed in the questions they asked about ROI, tracking, and analysis of social media initiatives.

Throughout the research that I’ve done and the conversations that I’ve had, I’ve heard social media right now described it as “the wild west”. Like web analytics was in its infancy, we are just now building the hallmarks and benchmarks for social media analytics. It’s an exciting time, and an extremely fast-paced one. If you have been keeping up with how businesses are using social media for the last five years or so, you’ve seen Facebook dominate MySpace, then Twitter edge its way in. As we moved to mobile, a slew of geo-location platforms arrived on the scene and now we’re trending toward game-based platforms.

As much as social media trends change, it is imperative to have a social media strategy, not just to spend your marketing dollars most effectively, but also to get to know your audience better. How do you get a social media strategy? You need information first. That’s where analytics come in. There is a wealth of information about your patrons hidden in their interactions on social media—like your own on-going focus group. But (A) how do you get to that information and (B) how do you draw conclusions from it?

A. As of today, what are your options for social media tracking? There are thousands of analytics tools out there and more being developed every day. Nonprofit arts organizations are faced with a dual bottom line: to serve the community and to create, present or preserve great art. Which tools are most useful to a nonprofit arts organization in gauging how they meeting the dual bottom line? In Part 2 of this series, we’ll take a look at some popular analytics tools and how to evaluate the tools out there given your organization’s more specific goals.

B. How can you use analytics data to make management decisions? There are many ways to slice and dice the data you might get from those tools. What are some strategies for using the current tools available? How can you make a confident decision about what is essentially a moving target? Given the tools and tactics in the above questions, when is it worth it to pay for analytic tools? In Part 3, we’ll address the problem of structuring your social media tracking efforts to find information relevant to your day-to-day decisions.

Social Media Spotlight: The ToonSeum

Welcome to the fifth installment of the Social Media Spotlight, our monthly feature focusing on arts organizations’ social media strategies.

How to allocate time and money towards both social media engagement and online marketing is different for every arts organization. To get a different perspective Technology in the Arts decided to talk with a smaller organization, the ToonSeum, about how they achieve their social media and online marketing goals with a limited staff. I had a chance to chat with Joe Wos, Executive Director of the ToonSeum, about his approach:

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So Joe, what is the ToonSeum?

The ToonSeum is Pittsburgh’s Museum of Cartoon Art. It is one of only three museums in the country dedicated to the cartoon and comic arts. We offer rotating exhibitions covering all aspects of cartoons and comics, from animation and anime, to comic strips, comic books, editorial cartoons, illustration and much more. We also offer ongoing workshops, screenings and lectures.

It really is one of the most unique museums in Pittsburgh. Every city may have a version of a children’s museum or traditional art museum, but there are only three cartoon art museums! New York, San Francisco and Pittsburgh. We take great pride in our unique place in Pittsburgh.

What kind of marketing and PR challenges does the ToonSeum face?

Our number one challenge as with any small non-profit is budget. We are a small museum up against juggernauts! We are up to the challenge.  If anything, budget limitations have led to creative thinking. You aren’t going to see us investing a lot in “traditional” advertising.  Being a smaller museum also eliminates a lot of the fear of change you see from larger venues. We don’t have a huge investment in outmoded technology or ideas, so we are more inclined to let go and move forward to embrace new ideas in both marketing and tech.

We have been very lucky, the media both locally and nationally has been very supportive.  Part of that attention is because of our approach to marketing. We use online marketing to create interest in “real world” experiences. We innovate new ways of reaching out. How many museums can say they had their own beer? Illustration Ale was a great success. We didn’t mail out postcards we used facebook.

In February we will launch our own themed hotel room in partnership with the Wyndham Grande downtown. It’s all about immersive experiences, translating virtual experiences we enjoy in gaming and through cartoons into the real world. That’s the kind of creative thinking we embrace.

A limited budget forces truly creative thinking.

Why did you choose to go with social networks/online marketing as a solution?

We are a fan-based museum. It’s a new approach to museum management, marketing and even exhibitions. Comic and cartoons by their very nature, are a fan-based medium. We embrace that. Just look at San Diego Comic Con, why is every major movie launching there? Because of the power fans have via social networks. We tap into those same fans. We are a geek museum, and proud of it. Our audience is very tech savvy, early adopters who can market virally better than anyone.

We know that the ToonSeum is a real world extension of a fan based virtual world. We are a museum of characters, icons and avatars. We want to become a real hub for comic and cartoon fans, and the only way to do that now, is through creating online connections and then inviting them to join us at the ToonSeum. Once we get them here, we know, they will tell their friends, strangers, tweet, blog, post, and tell the world about us.

We also recognize that it can’t be just virtual, you have to take it to the fans! We have booths at major Comic Cons, from San Diego to New York. We also host Blogger events and Tweet Parties at the ToonSeum. If we can get the word out to them about our exhibits and programs they will help us spread the word.

Beyond the standard social media efforts, such as a Facebook page and a twitter account, what other types of online efforts are the ToonSeum trying?

I worked for twenty years with a museum that had a real aversion to technology, it took a decade for them to come around. The ToonSeum is the opposite. We want to be the first. We were the first museum in Pittsburgh to have an I-Phone App. We may still be the only one! MailChimp, EventBrite, every new social marketing tool that comes out we give it a try. We were among the first to participate in KickStarter (we were even featured in the New York Times in an article about it.) I attend the Consumer Electronic Show in Las Vegas just because I know we need to stay at pace with the public. The technology in most museums is outdated, kids can do more advance and exciting interactions at home. So we reach out, we are a Beta Test museum. We put ourselves out there to new technology and say, let us try this out first!

Image via the New York Times

We have an ipad docent at the entrance. Any guests who wants to experience more online while in the gallery can use it as a tool.

For light up night we launched lights in our windows that can be controlled from the outside via an iphone. The guest has control over their experience before they even enter the door.

I am a self-professed geek and nerd, I attend the Consumer Electronic Show in Vegas every other year, I attend the Toy Fair in New York. I bring those innovations and ideas back to the ToonSeum and find ways to integrate them. So the ToonSeum has a giant screen projection in the center of our ceiling that loops cartoons. It is of course blu-ray 3d as well.

We have worked with Behar-Fingal to integrate QR codes into all our exhibitions. This allows guest with smartphones to link to additional content online. Whether it is a wikipage entry on the artists, or video we provide of the cartoonist at work. This is a great tool to take our exhibits beyond our walls and is also cost effective. People are walking around with access to all the information they need. In the future museums won’t need placard after placard of explanatory text. They will just need to provide a link. Their curiosity will take them beyond your walls. Each and every work of art is a potential jumping off point to a world of discovery in the world wide virtual museum.

We know that the traffic has to flow in both directions. A museum should be a destination from those on the web looking for real world experiences, but a museum must also be a gateway to curiosity that can be infinitely explored in new and exciting ways online.

Despite our using technology in so many ways, the ToonSeum is still ultimately about art on the walls. Because we have integrated ways to put the technology in your hands we don’t have to use a lot of monitors and computers. It makes it an individual experience, which is something we learned from social marketing. Everyone wants to interact on their own terms.

I know you operate on a small staff, how does this affect how you manage your various online efforts?

We have a social marketing intern whose only job is to tweet and post. That’s a must! The museum has to have a presence online that allows for immediate interaction. So we respond to every tweet that mentions us, every facebook post. It’s time consuming but it is the most important aspect of social marketing… being social!

All of our staff also has access to post to our various accounts. So we are updating daily. More important though is the fact that our fans are out there, retweeting and posting everything for us. It gives us a much bigger presence.

They also know to speak with the ToonSeums voice. It’s always connected to our mission and not personal. I have seen top-notch museums whose official facebook page has post about their kids getting the flu! Unless there is an epidemic of every kid visiting your venue getting the flu, how does a museum have kids that get sick? It doesn’t. Your venue has to have a virtual identity, a voice that your fans can interact with and it has to be consistent.

This is all easier to accomplish with a small staff. There are no committees, no approval process, no budget meeting, we identify what needs done and do it!

Does your staff size affect how you track the success of all of your online projects?

Every guest that comes in is asked how they heard about us, and their zipcode. We track every single opened email and clicked link. That data is all placed into a matrix we use to measure our success. It doesn’t take a big marketing firm, it just takes a commitment of a few minutes each day.

Can we talk about the Bloggers Blast? What is the event and why focus on bloggers?

I was at the Consumer Electronics Show in Vegas and attended about 5 after parties. What impressed me was they were all geared toward bloggers and social media. I knew this was something the ToonSeum had to do in Pittsburgh.

Traditional press is great, we love them! But today even they are pulling content from bloggers. Bloggers have fans, just like we do. It comes back to embracing a fan-based culture. So we wanted to let those bloggers get a sneak preview at our upcoming exhibitions and programs for 2011. We have special guests, a preview of the art, prizes and every single blogger will get a flash drive filled with all our press releases, promo art and more. If you are reading this and are a blogger, contact joe@toonseum.com for your invite.

We will be following this with tweet parties, where everyone is admitted free if they tweet about the exhibits.

You have mentioned that the ToonSeum was one of the first Pittsburgh museums to develop an iPhone app. What does the app do and what was the development process like? Has there been a good response?

A screen shot of the ToonSeum App

Going to back to my previous experience with another museum, I was often frustrated by the phrase “we’ll look into it.” I began to realize that phrase meant, we don’t know how to do it and aren’t willing to learn. Forget the yellow pages, the phone book is dead. It’s all about web and apps. We knew we needed an iphone app. It provides immediate access to enhance the guest experience. It also goes a long way to legitimizing you to tourist. It’s one of the first things I do when I visit a venue in a new city, I check them out online and then download their app.

Creating an app can be an expensive prospect, thousands of dollars. That was out of the question for our budget. So, I just learned to do it myself. I applied for an apple developer license, found a great site that would allow me total control over the creation of the app, submitted it for approval and that was it. Total process took about five hours, not counting waiting for approvals, which took three weeks. I used rss feeds so that info on our hours and events could be changed on the fly. I created a framework that would allow our youtube videos to be viewed from within the application. As a cartoonist it was easy to do most of the graphic design work myself and there you go. It’s done. Our social marketing intern can update it from anywhere. I can even update from my iphone when I am out of town.

If I am going to run a museum I should know how to do every job. I better know how to market, run the register, curate an exhibition and even mop the floors. I can then have a better understanding of how difficult a task is and more important I can lend a hand when it is needed.

I am working on an android app right now and we are doing a complete web overhaul in spring.

We are geeks, we love this stuff.

Tracking Direct Marketing with GURLs & PURLs

Direct marketing campaigns are notoriously difficult to track in terms of ROI and effectiveness.  It’s hard to know which of your organization’s communications best reaches your audience, the artfully designed postcard and brochure or the large billboards and posters placed throughout your area. Organizations usually have to rely on methods such as surveys and historical estimates to track the effectiveness of their marketing campaigns. One possible solution to this tracking problem is to utilize customized URLs with your organization’s marketing efforts. When someone clicks on a custom URL, they are directed to a custom landing page seperate from your organization's main site and specific to your marketing campaign and can be individually noted using online analytics. There are two types of custom URLs currently available for marketing campaigns (and also great for puns): GURLs and PURLS

PURLs or Personal URLs will include both a message specific to your marketing campaign and the recipient’s name inside the URL. They are totally custom and best fit for E-mail and direct mail campaigns. PURLS contain the recipient’s name generated from your organization’s mailing list and leads to a custom landing page that can offer content specifically tailored for that person. For example, if Technology in the Arts were to have a membership campaign, our PURL would look like this:

www.ThomasHughes.JoinTechnologyInTheArtsToday.com

GURLs or General URLs are the more generic version of a PURL, usually including just a campaign name, but offer the same advantage with tracking. The landing pages are also more generic and the ability to customize the offer based on who clicks the link is lost. GURLs are a better fit for marketing efforts like signage, billboards, and print advertisements. For instance, say I wanted to use a custom URL for a newspaper advertisement for our website’s membership campaign; the GURL would look like this:

www.YourTechnologyInTheArtsMembership.com

If your organization decides to try out utilizing either GURLs or PURLs, or both, in its next direct marketing campaign, here are a few things to consider when choosing a service:

Cost – According to easypurl.info, the cost of a PURL can range from 4 cents to 12 cents per purl. The price varies based on the amount needed. For example, a campaign using about 10,000 PURLs can average about 10 cents per PURL.  This is a case when you might want to go with a less personal, but less expensive, GURL. For both PURLs and GURLs, there is usually a setup cost for both the template and landing pages to which the custom links are directed.

Lifespan – These custom links won’t last forever, so this is an important question to ask when choosing a service. GURLs tend to have a longer lifespan that PURLs, which contributes to them being better for instances like billboard and signage where you are trying to reach a less specific audience.

An example of the PURL analytics data taken from getsatisfaction.com
An example of the PURL results and ROI tracking data taken from getsatisfaction.com

Data – What kind of tracking abilities comes with the URL service? In a recent post, we discussed the advantages to using custom URLs for tracking a variety of metrics using Google Analytics. Check into the kind of metrics that are offered and how well you can import, export, and integrate the data into your current database.

Google URL Builder - Deeper Tracking for Your Analytics

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Google Analytics has emerged as the industry's leading tool when it comes to web analytics.  The platform's easy installation process, in-depth reporting features  and user-friendly interface make it a marketer's best friend.  Among the many reporting features in Google Analytics is the ability to chart where your website's traffic is coming from. Google URL Builder is an often overlooked platform in the Google toolbox that can help organizations measure the effectiveness of their web presence. URL Builder is primarily tailored for tracking internet campaigns that fall outside of the pay-per-click or Adwords realm.

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Here's a quick overview of URL Builder:

  • Works in conjunction with Google Analytics to provide advanced metrics for measuring the performance of a specific URL that you will “build”.
  • Allows you to  chart the traffic for particular pages within your website and determine which communications channels provide stronger traffic per page.
  • Allows you to enter tags for detailed tracking, particularly Campaign Source, Campaign Medium, and Campaign Name.
    • Campaign Source indicates the originating source of the traffic.  Does it come from your organization?  Is another organization promoting a web link on your behalf?
    • Campaign Medium is useful for charting how much of the campaign's traffic comes from different locations.  Did the traffic come from e-mail, web ad, Facebook, Twitter, etc.?
    • Campaign Name is a short description for the campaign - often one to three words and often a distillation of the link's page title.
    • Google processes this information and provides you with information about the performance of your unique URL including its bounce rate and conversion

For example, here's the information that we will assign to a URL campaign for the article you are currently reading:

  • Campaign Source: tita -- We use "tita" to indicate when Technology in the Arts is the originating source of the traffic.
  • Campaign Medium: twitter -- The medium area is where we indicate if a link will be shared on Twitter, in an e-mail, on our Facebook page, etc.
  • Campaign Name: GoogleURLBuilder -- Typically, we use a shortened version of our article titles as campaign names for analytics.

Let’s consider some practical applications:

Web Content: It could be very helpful to see how fans and followers on your social media profiles compare and contrast in terms of their interaction with your blog posts, event listings, etc. Simply build a URL for each campaign medium to which you distribute your web content links (Facebook, Twitter, LinkedIn, etc.) and see how your links perform across various sites.

Email Announcements and Newsletter Campaigns: Another useful application could be for tracking the performance of URLs in your email announcements and newsletter campaigns. You would simply enter ‘newsletter’ into the campaign source option. For smaller organizations or independent artists who do not utilize broadcast email service providers (like Constant Contact), Google URL builder could prove to be a viable alternative for tracking traffic deriving from e-mail communication.

Helping Others: When conducting an interview or mentioning another link on your blog or website, consider contacting that person and asking them if there is a specific URL you should use in your post (in case they have a campaign name established for that page). This will make it easier for them to track how much exposure their blog, website or the interview received based on your posting it.

If they do not have a customized URL for you to use, it is still a great idea to create your own.  Because the web page is being tracked within their Google Analytics data, the campaign data (source, medium, name, traffic information) will appear in their reports.  If you share multiple links from the same website, then using URL Builder for each link you share will allow the organization to see if particular links were more interesting to your communication recipients and site visitors.

Google URL Builder Best Practices

  • Always take time prior to setting up a campaign to consider your ultimate goals. Which sources and media will you need to track?
  • Reach out to other organizations and bloggers prior to posting a link to their information in your post.  They may provide you with a customized URL designed for their Google Analytics campaign reports.
  • Consider if any adjustments should be made in your email, social media and overall web campaigns as a result of the data you collect.
  • Spread the word! Share URL Builder with your colleagues to make sure that everyone on staff uses the correct URLs when sharing links.

Want to learn more? Check out our mini-nar:

Using Google URL Builder to Track Your Website's Traffic

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NAMP 2010 - Day Two - Recap Discussions

David, Corwin and Amelia report out on Day Two of the 2010 National Arts Marketing Project Conference. Items discussed: disembodied panelists, Vimeo analytics, the Audience Engagement Platform, the value of quantifying intrinsic impact, and more.

Focus on the data: LSO's Digital Season Brochure

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A page from the 10/11 LSO brochure. Click image to see the whole brochure.

Last year I wrote about the London Symphony Orchestra’s digital season brochure. As technology and environmental concerns cause more printed pieces to go online, the arts industry will see more season brochures go digital. According to a recent Technology in the Arts poll, 56% of arts organizations already have their season brochure online in some form (PDF or interactive).

Last season was the first that they made the brochure, launching it in February of 2009 with their season announcement. Based on its success, they have released another brochure this year with plans to distribute it more widely. Today I have a follow-up with Digital Marketing Manager Jo Johnson about the success of last year’s brochure.

The marketing team at the London Symphony Orchestra chose to make last year’s season brochure after deciding to plan the online and offline elements of our season campaign together.  Jo said, “we had produced films to illustrate the season's themes, but it was a few months after the season had first gone on sale, and so felt rather like an afterthought. Also we had decided that we were going to put our season on sale online before we opened to telephone booking, so turning to online channels (email, web and social networks) to send info out to the bookers felt natural. A digital brochure was the obvious choice.”

LSO brochure

The first page of the brochure created by Ceros includes an instruction window for newcomers.

For newcomers to the digital brochure, it may be hard to know where to get the technology to make the brochure, as well as how much lead time to allow for it. This year symphony again used interactive publication platform Ceros to create their season brochure, complete with audio and video. Other platforms that were suggested in our poll included Issuu and Yudu.

According to Jo, after the art and copy was approved for the print brochure, the digital brochure only took about two additional weeks. “[The print version] needs to be made suitable for online readers (adding some buttons, changing some bits of text to make it obvious that their links, making the images 16:9 ratio so that you can embed a video over it). That's about a week. Then because I don't have Flash skills, the digital brochure company did all the Flash work for me. They were pretty quick, but leave time for changes, testing and sign off. That was about another week.”

Jo found that the brochure was driving traffic primarily to concert pages (where tickets can be purchased). “The top 20 clicked links are all to concerts, with the season opening concert on 20 September being the most clicked.” Using Google Analytics, Jo determined that roughly 1 in 5 viewers played a video, and viewing figures correspond to page numbers (i.e. the least viewed video is last in the brochure). Viewers stayed on the digital season brochure an average of about four minutes.  Overall, the 2009/10 digital brochure was viewed 10,870 times. Based on the data she pulled she concluded that the amount of revenue directly from the brochure covered its costs, but that the brochure “played a more of a role in decision making than direct purchasing." She said:

On the financial side, I could see purchases made on our website that had come directly from the digital brochure. Added up, the income was just over the figure it cost to make the brochure. But as with all marketing, I'm also interested in the purchases that were made as a result of someone having the digital brochure, but not directly. At the LSO we talk about multi-channel marketing and CRM, whereby we allow the customer to make his own decision on which method to use to make the final purchase. So although the brochure had embedded links back to the LSO website where tickets can be bought, a customer may have browsed the brochure, seen a concert they like, gone away to chat to a friend about going together, made a decision a week later, and then gone back directly to the website to make the purchase, or called the box office on the phone. In this case I would not have seen the income from his ticket in the analysis I did on the brochure; and this is what I meant when I said 'It's likely it plays more of a role in decision making than direct purchasing.'

When taking on these technological innovations, it’s difficult to know how to measure success. As Jo said in our conversation, “This is the challenge marketers face every day--how to track customers as they hop through our available channels.” Your outreach program or social media site may have paid for itself in tickets, but how do we measure things like brand recognition? Social marketing experts like Charlene Li and David Berkowitz have come out with suggestions, some of which go beyond mere revenue. Jo saw two huge benefits to producing the brochure, beyond its break-even point.

The very fact that we had produced one at all gave the LSO a huge amount of coverage. It was passed around as a 'novelty' item, which people enjoyed looking at, turning the pages, watching the videos, just to see what it did. This is the same kind of benefit as social media brings an organization--people talking about your group. They might be on the other side of the world, they might not come and buy a ticket, but the fact that you have come to their attention is almost as valuable as a ticket sale - in our case it may eventually assist in ticket sales when we go on tour, or on sales of our CDs (our own label). Unfortunately, the "buzz" isn't really trackable in any meaningful sense, other than clicks and views and Retweets. But it still counts.

Lastly, the digital brochure brought a small environmental benefit. We reduced the number of brochures we printed, since we sent it out to people on our database that had email addresses instead of the print in the post. We also used the digital brochure in the information we emailed out to journalists at the season launch, instead of posting them one. Our Managing Director likes to email the digital brochure to prospective festivals and venues abroad as our "flagship" publications, thus saving more paper and postage. I'm sure the effects are negligible in the bigger picture, but any boost to our green credentials helps!

So, is investing time and money worth it for your company? Here are Jo’s thoughts:

Probably the most useful thing I can offer is some thoughts into whether others should follow suit and produce a digital brochure. Here's some:

  • A digital brochure should never replace your printed one, but should be complementary to it. A good marketing campaign should have all the online and offline elements planned in together at the same time.
  • Personally I think the key to it is to have good content which makes it worthwhile - video content is the obvious one. There are plenty of free options for making a digital brochure out of your PDF, but mostly these don't offer the rich media content like embedded videos and soundclips.
  • Make sure you have the mechanisms and a plan in place to market the digital brochure - which can only really be done online. Social networks are ideal, but don't ignore your own website! There's no point in having one if you don't market it - people will not stumble upon it randomly.
  • Ideally the digital brochure should be designed with online usage in mind - and possibly independently from the print version. We weren't able to do this wholesale though because of the cost of the designers! We chose the route of adapting the printed version.

SEOoooo....what? Improving your organization's search engine optimization.

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As promised too-long ago, here is a quick-and-dirty guide to improving your website's search engine optimization.

I certainly couldn't have made sense of this all on my own; I had the great fortune to be able to pick the brain of David Hejduk of River City Studios. He is the man behind the website-optimization curtain for many companies and organizations.

While the various search engines in creation all claim slightly different methods of operating, according to Hejduk there are some hard-and-fast rules that you can follow to make your site as discoverable as possible.

Make it easy

The 'bots that crawl the web, searching for the words that somebody wants to find, are very smart for non-sentient beings. But as people, according to Hejduk, they are like second graders. They can do a surprising amount on their own, but the easier that you make it for them, the better the results that they will return on your behalf.

As with any marketing plan, SEO requires that you think like your audience (or the audience you hope to attract). What would people type (and usually this is a couple-word phrase, as opposed to one single word) if they were looking for your organization? What would people type if they were looking for something that your organization provides?  These are the phrases and words that  should continuously appear from page to page, in title tags, headers, copy, internal and external linking.

From the literal top down, your page should make it easy to figure out what you are about. Your address should include words that are pertinent to your organization--like its name, for example. Your banner should highlight words that are relevant and interesting--the more cryptic your titles (do you call the link where you can buy tickets "buy tickets" or "box office," or do you use a clever and obtuse moniker?) the more difficult it will be to directly access the information that a person seeks when they Google you.

So take a look at your homepage. How clean is it? Where is information placed? The more important stuff should be on the top, should be in bold, should be headings. Do you have captions for your visual and audio content, are you social media sites up to date (and linked from your homepage), and do you link to news articles that are relevant? And what are the keywords that appear throughout your site, indicating to the 'bots and your potential audience what you are about?

Don't assume

Don't assume that you know what your site's keywords actually are:  check here to see what the 'bots consider your site's keywords. Does that list best describe your purpose and mission? Will they attract the audience you WANT to visit your site?

Image from http://www.searchengineguide.com/stoney-degeyter/seo-101-part-8-everything-you-need-to-kn.php

Image originally found here.

If not, it is time to take a moment (or multiple long moments) to work out how you want your organization to be identified online. If the words you think are most relevant are highly competitive (i.e. other websites that naturally generate more traffic use the same keywords), your site still may wind up buried deep in the results pages of a search.  So think about word combinations that may be less popular but more representative of your organization, and which may bring visitors and audience that will be most interested in what you offer.  A more comprehensive keyword  instructional can be found here or here. When you are ready to start placing keywords strategically, check out this reference.

Get analytical

Before you tackle your very own homepage, there are a number of tangential tools that are free and require only that you insert a little code onto your pages. The first is Google Analytics. We've said it before and I am here to say it again: USE THIS TOOL. It is free. It is incredibly useful. Register your website with Google Analytics and copy the code into your page (Analytics gives you a really basic how-to when you sign up).

Analytics tracks how people find you. Do they click on a direct link that they found on someone else's page (did you even know that someone else has linked to you?) or did they find you from a google search or did they track you down from your Facebook page? If your response is, "How could I possibly know where they came from?" my answer to you is "Google Analytics!"

I don't work for Google, Google doesn't give me any kind of incentive for talking about their products (I'm so over Google Chrome, by the way), and yes, they are approaching world wide web domination, BUT...they make great free tools. And you should learn how to take advantage of what they offer.

Over the summer I gave a shout-out to the Google Business Center, and I'm here to do a follow-up cheer. Like Google Analytics, the Local Business Center is free, and provides insight into how people are finding your organization. It can give you diagnoses and provide feedback on your website's traffic.  It also places your organization's physical location on a map that makes your location in real-space clearly apparent for someone who is searching. This means that somebody searching in Boston for information on the Artspace Gallery will be much less likely to get top results of Artspace Gallery on South Ridgefield Rd. in Edison, NV and Artspace Gallery and Coffeeshop in Madison, California, than your Artspace Gallery right there in Beantown.

Keep your site current

A search engine, when it crawls the web, isn't really looking at what is out there RIGHT NOW. It's actually searching the input phrase against pages that were cached in the past--sometimes a month or so ago or longer. (You can find out the last time the 'bot stopped by your site: in the list of search results there is a hyperlink below your site that says "cached" and will tell you when the page was indexed last.)  This means that you want to keep a consistent presence--and it also means that you cannot guarantee that your calendar will be indexed in time for your events, so be sure there are other places that information appears that may register more readily.

Keeping your site current is important, because when you update, the bot notices the next time its crawling out there, looking for sites that are active. You don't want somebody to search for your company and have the top five results be reviews from a play you produced in 2007. You want them to find YOU.  The challenge is that when your local paper is receiving a lot of traffic on a daily basis, even its archived pages are getting more action than your website. So does Facebook, incidentally.

(You say, "If Facebook receives a lot of traffic and therefore scores more highly in the bot's mind, does this mean that I should have a page on Facebook for my organization that also includes information and links to my homepage?"  I say, "YES! (Caveat: don't just use Facebook to say you use Facebook, have a social media plan.)  So, have some pages that have fresh, regularly updated content (this may be a blog, or perhaps a newsletter that you publish on your page once a month).

NOTE: This does not mean your entire site should get a face lift every month. There should be stable pages, with easily identifiable URLS (like www.yourgallery.com/directions  and www.yourgallery.com/home and www.yourgallery.com/artists) that stay consistent.  You may have links from those pages to other pages that do change frequently (your artist page may be about artists that have shown in the past, but have a link to "current show" that takes the visitor to a new page, www.yourgallery.com/lcorwinchristie), but you should have a core of reliable, recognizable pages that your visitors and Google recognize as solid.

Get listed

Alright, good work. The next thing I want you to do is sit down and think about the other search tools that people use that are NOT search engines. I'm talking about sites like Citysearch,Yelp, Yellowpages, ask.com, epinion. You may not be using them to find out something fun to do on a Saturday night, but I have news for you: a LOT of other people are. These are free directories that list businesses and allow users to write reviews and comments about experiences.

The great thing about this resource is that, because these web directories get so much traffic all the time, search engines check them. If your organization is listed with full contact information (THIS INCLUDES YOUR URL--I could rant for hours about how obnoxious it is to find a listing for someone ONLINE without a way to ACCESS THEIR WEBSITE. But I digress.), this gives a search engine more to go from. "Ohhh," it "thinks" in its little second-grade "brain," "The person searching for XYZ company is in Atlanta, and here is a listing on Yelp.com for an XYZ company that has an address in Atlanta!" Voila! A match made in Georgia!

Get linked

Another tip? Links are huge.  Links to both internal and external content will improve your rating when a search engine is looking for you.  As always, however, do not simply compile a list of links for the sake of having them. A search engine will notice if you have a "links" page that is little more than a list of everyone you have met and their blogs (recent or outdated).

It's much wiser, and more interesting, to integrate links into your web design. This can be in blog posts, or side bars on specific pages, definitely in artists' profiles.  The more you link out to places that are both relevant and potentially interested in what you are producing, the more likely they are to link back to you.  What does this mean?  Well, if Google sees that you have a certain amount of popularity, that is, that there are people who think that you are saying things that are worth sharing, it will consider you more important as it indexes your site.  (Yes, it's true--Google judges you.)

So, to sum it up:

  • Your headline, header tag, bold text or text that is a larger font, should be IMPORTANT and RELEVANT (and will thereby improve your searchability).  They should be placed higher on the page and centered whenever possible. There should be a continuity of keywords across your pages.
  • You should have a core of a few pages that have consistent content, and from those pages link to others that are updated and altered regularly.  Your homepage can be current without being overloaded with new content on a monthly basis.  Having the pages link to each other ("artists" from "home," "location" from "artists" and "home") is also crucial for giving the search engines a sense of the overall picture of your site and the information therein.
  • Plan ahead:  If you have an artist who you will be featuring in a few months, publish a page about that artists in advance.  That way the 'bot can find the information before it is outdated. The 'bots only stop by every month or so (and if you were cached long before that, you have some updating to do!)
  • Plug your page in sites where it is kosher to do so: Yelp, Yellowpages, Citysearch, and so forth.  And remember, this also gives people a forum for discussing your work, and this will give you a sense of what the word of mouth is about what your organization is doing.

Know who you are, be who you are, and have fun figuring out what works: NAMP reflection

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I apologize for my delay in getting this up. In the spirit of the subject of this post, I'll be honest: I just wasn't satisfied with it. Repeatedly I tried to write about authenticity, and it was schlock. So I give you the intended post (happily abbreviated), plus an offshoot (bonus!) thought.

The final reflection on the NAMP Conference, I would like to call attention to the importance of conducting your organization's online presence with authenticity, and of taking a deep breath and just experimenting to see what works for you.

We can all access information at the touch of a button. Our phones are smarter than we, the internet is pervasive (and invasive?), and finding out the truth is easier than it's ever been. If you are being disingenuous, you can bet that your audience will know.

Web 2.0 means audiences may instantly learn about organization, the people who make it work, and the reasons behind its existence. Audiences are afforded the opportunity to connect with you in new ways that seem to be personal because they defy "conventional" marketing practice. This means that your organization must speak with a unified voice, with clarity of intention, and with honesty. Web 2.0 transcends the boundary of cover-ups and spin doctoring. Be honest, be real, and your audience will appreciate you all the more. Quick and dirty tip from the NAMP session "Command the Cultural Marketplace": Know who you are, BE who you are, and make others know and understand who you are.

Audiences will sense this authenticity, and will appreciate the additional things that you do to make your organization accessible (though, of course, they may not understand how very time-consuming it may be!).

In this vein, the very last NAMP take-away was one that Rich Mintz introduced in his plenary address, and which became a bit of a rallying cry: “Throw spaghetti at the wall and see if it sticks.” Translation? Just try stuff. If it doesn’t work, toss it, but at least give it a shot. You will probably discover things that DO work for your organization, and how exciting is that? I was reminded how important this is when I attended a round-table discussion the other day that was attended by many different individuals from many different types of arts organizations. The purpose of the meeting was, in fact, to reflect on much of what we had learned at NAMP. As we discussed various sessions and reflections, a few of the attendees were visibly alarmed by the daunting prospect of tackling some of the social media and technologies that we were discussing, including developing the sort of e-mail marketing plan that I discussed here, or establishing a YouTube channel or blog. It can be overwhelming, so choose one or two areas you want to work on. E-mail and Facebook, perhaps? But really give it a shot.

As NAMP presenters Chris Elam, Rich Mintz, Jeffrey Inscho, Gene Carr, and Chad Bauman will tell you—not everything works. But don’t let the fear of failure keep you from trying. If you are being authentic your audience will identify with you and appreciate your efforts. Nobody is going to fault you your failures (sometimes those leave as much of an impression as your successes—look at all the conversation that the Seattle Opera's attempt generated).

So take a deep breath. Get your staff together and be sure you're on the same page with your online presence. What could you do more of? What social media tools are your friends, staff, audience using that your organization isn't? How do you want your staff voice to be heard--from individual accounts or one overarching organizational account? Will there be different user names? Are you doing things that are working? Are you doing things that aren't? Can you quantify the success or failure? (If not, get analytic tools NOW--Google Analytics is free.) Are you or is someone on staff particularly interested in trying out a particular tool, like building a Flickr account, and willing to work on that and see how it can benefit your organization? Ask these and more questions, and build a plan. Remember--it doesn't have to be a runaway success from the start. But know what it is you want and try things to get that result.

Now go have some fun.