What does entrepreneurship have to do with cultural diplomacy?

By Fernando Berdion Del Valle

Jean-Luc Goddard’s protagonist in Le Petit Soldat famously observed that “the cinema is truth twenty-four times per second.” What he failed to mention is that this cinematic truth does not come free. As any filmmaker (especially any independent filmmaker) knows, capturing a story with a camera is only half the battle. Films must be pitched, financed, marketed, and distributed. Teams of creative and technical experts need to be recruited, managed, coached (and paid). After the whole film production cycle comes full circle, investors, institutional backers and concerned family members continue to ask questions about the film’s impact and ultimate success. Did it return a profit? Did it resonate with audiences? Did the outcome justify the cost of production?
 
In short, contemporary filmmakers, especially independent filmmakers, are as much entrepreneurs as they are artists.
 
This dual-role has long been a fact of cinematic life (whatever midcentury, continental theories of the auteur suggest), but it is especially relevant for young storytellers seeking to navigate a highly fragmented and rapidly changing global media landscape. Coincidentally, these are exactly the types of media professionals that the US Department of State seeks to support through several of its cultural diplomacy programs.  
 
Put another way, the success of several American cultural diplomacy programs depends, in large part, on conveying entrepreneurial knowledge and skills to emerging media professionals around the world. Many regions in which American PD programs work lack either a culture of independent filmmaking or a media market robust enough to support emerging talent working outside the “traditional” filmmaking path (e.g., attending the national film school and then working within a hierarchically organized national filmmaking guild).
 
Success in this context might require adopting alternative financing models that are better suited to local contexts or founding entirely new non-profit organizations to supplement the support provided by national governments and international organizations. Without these types of innovations necessary to create more vibrant media ecosystems, it is difficult to see how, over the long-term, American cultural diplomacy efforts can take firm root.
 
Considering these challenges, how can American public diplomacy learn from the field of entrepreneurship education?
 
The first step involves policymakers globally recognizing the connection between these two areas. Thankfully, the past few years have seen several initiatives designed to bring entrepreneurship education under the umbrella of American PD practice. The State Department currently sponsors the Global Entrepreneurship Summit, Global Entrepreneurship Week, and the Mexico-United States Entrepreneurship Innovation Council - all well-established programs that promote mentorship and capacity-building among emerging professionals abroad, much as cultural diplomacy programs currently do.
 
The Obama administration was particularly bullish on the possibilities of so-called “startup diplomacy” seeing it as a tool to promote American ideas and promote economic development simultaneously. Anne-Marie Slaughter, the former Director of Policy Planning at the State Department described the public diplomacy potential of entrepreneurship in this way:

Indeed, entrepreneurship, as a channel for young men and women to express themselves, is a compelling weapon in the fight against terrorism and violent extremism. It is an outlet to build and add value rather than destroy it. This is especially important in the Middle East, which is, as the Brookings Institution has noted, experiencing “an unprecedented ‘youth bulge.’”
 
Replace “entrepreneurship” with “storytelling” or “film making” and the point stands.
 
Yet, even if policy makers continue to recognize this key area of potential convergence, how do other, non-state actors move towards greater collaboration?
 
Should film education and mentorship programs simply place a greater emphasis on teaching the business of media making? Should supportive non-governmental organizations create accelerator or incubator programs specifically tailored to startup business in the independent media space? Or is a more formal collaboration needed, perhaps between the Bureau of Economic and Business Affairs (EB), where entrepreneurship-related programming is centered, and the Bureau of Educational and Cultural Affairs (ECA), where cultural diplomacy efforts are housed?
 
All these options are possible, of course, but perhaps the greatest opportunity for the film diplomacy community is to adopt some of the data collection practices that have emerged among non-profits.
 
One striking example is the Kauffman Index – an in-depth measure that captures the rate at which new ventures are created, the durability of startups over time, and the contribution to local economies, all mapped geographically. The Index is not only helpful for entrepreneurs and investors to gauge where new opportunities may exist, it also facilitates the work of policy makers looking to assess and communicate the impact of entrepreneurship education to other  stakeholders. Also, the Kauffman Institute’s reputation as an effective non-partisan and non-profit organization adds to its credibility as an honest-broker of entrepreneurship related research, especially within the United States.  
 
Another organization whose work has a more global focus is Endeavor, a non-profit that promotes mentorship to entrepreneurs globally, mapping the country-by-country (and sometimes city-by city) landscape of the local “ecosystem” for new firm development. What is intriguing about the Endeavor model is that by operating as an independent non-profit it can gather with a range of constituencies – venture capitalists, universities, policymakers, and entrepreneurs – and disseminate that accumulated knowledge broadly with the goal not merely of supporting individual entrepreneurs, but more importantly, the entrepreneurial ecosystem as a whole.   
 
Granted, film diplomacy and cultural diplomacy programs are not resourced in the way that many entrepreneurship education programs currently are. Even so, the potential for an initiative analogous to the Kaufman Index or Endeavor Insights is promising.
 
Imagine a global media landscape map comparing the national or sub-national environments for local film and media makers, highlighting particular areas of growth and opportunity. Or imagine an independent repository of best practices in the field of global media entrepreneurship, available to partner NGOs and independent filmmakers all over the world?  Now that would be entrepreneurial.

Check out our annotated bibliography on public diplomacy evaluation

Johanna Blakley
The Norman Lear Center and the Paley Center for Media held an event on November 2 exploring how technology and storytelling are raising awareness about important social issues. I gave a presentation (which you can watch here) addressing how we can connect the dots between media exposure and social or political action. Summarizing results from the Lear Center’s impact studies of the documentary film Waiting for “Superman,” the narrative feature film Contagion, and the Guardian’s global development news website, I explained how mixed methods research can be used to assess changes in knowledge, attitudes and behavior from media exposure (You can read full-length reports here).

The evening started with a very timely panel discussion about how new technologies are informing and invigorating public discourse about social issues. Justin Osofsky, Vice President of Media Partnerships and Online Operations at Facebook, discussed how “humbled” the organization was by the profound impact that Facebook Live video streaming has produced. Wesley Lowery, National Reporter at The Washington Post and author of the forthcoming They Can’t Kill Us All: Ferguson, Baltimore, and a New Era in America’s Racial Justice Movement, explained how his fluid use of Twitter, Snapchat and Periscope transformed his journalistic process. Raney Aronson-Rath, Executive Producer of Frontline, weighed in on the expanding use of VR among newsgatherers, and her “Aha!” moment at MIT’s Open Documentary Lab. Jennifer Preston, Vice President of Journalism at the Knight Foundation, which sponsored this event, joined the panel in a nuanced conversation about the difference between journalistic ethics and online community ethics, which are becoming more deeply interwoven as citizens move to social media platforms for news

By Kevin Davis, MIP Senior Fellow

Big Data and metrics are changing the way businesses of all types operate in a digital environment. From automotive (think Uber and Waze), to retail (think Amazon and Gilt) to content (think Netflix and Facebook) to advertising (think Google) big data is changing the way today’s most successful businesses and industries operate.

While data has changed the way news organizations are producing and packaging content (think data journalism and data applications), the business of journalism has not been as fast to adopt and adapt to a world where every consumer action and decision point can be tracked, measured and analyzed.

The reasons for this have been stubbornly persistent even within news organizations that grasp the concept; that see metrics and measurement as an opportunity to improve their products and services, and which have committed resources to the effort.

This was a key takeaway from three intrepid and determined news leaders from independent publishers from around the globe after participating in “Measuring Digital Media Impact 101,” a media metrics training course conducted by the USC Annenberg Norman Lear Center Media Impact Project on the USC campus in early June 2016. 

The Open Society Foundation’s Program on Independent Journalism sponsored participants from three nonprofit news organizations:  El Faro (El Salvador), Efecto Cocuyo (Venezuela), and Himal Southasian (Nepal).  The course was led by Dana Chinn, MIP director.  Three other media metrics analysts – Jason Alcorn, Justice Haque and Alana Victor – also helped with hands-on training in both English and Spanish.

The program provided an intense if not practical crash-course on leveraging ubiquitous measurement tools to help newsrooms answer the most persistent questions in newsrooms today:
Who is reading our content? What are they doing on our platforms? Where are they coming from and where are they going? What content is and what is not working? How do we translate these findings into action that increases our effectiveness, revenue and impact?

The course syllabus stated the objectives of the program this way: “After completing this course, participants will know how to prepare, interpret and present basic and customized reports from Google Analytics for their staff, board members and funders.”

Participants were told that as a result of attending the seminar that they would learn how to:

1. Develop questions about measurable opportunities and problems that their organizations need to answer to fulfill their missions, including where their readers come from and how the topics they cover perform.
2. Identify site-wide and story-level data that will help answer both editorial and business questions. 

3. Organize and analyze the data to make it easy to understand and act on both internally (to make their products and services better) and externally (to support revenue generation).

Working from early in the morning to late in the evening for an intense two days, each participant was taken through a rigorous agenda that started with asking the right questions and ended with how to share answers.

One of the first lessons learned is that most of the metrics that people cite today are actually not very good and don’t actually say much about what’s really going on. Hits, page views, and even aggregate demographic information were each knocked off their perches as go to data-points. Instead, analysis of things like bounce rate, primary traffic sources and user segments were all shown to provide a far more nuanced picture with greater potential actionable effect.

At the end of the two days, each exhausted yet enthusiastic participant hopped a plane back to their respective organizations to take back what they had learned and, hopefully, apply it in meaningful ways.

It was my responsibility to find out just how effective the program was in helping these smaller, mission-driven news organizations become more responsive and therefore more effective in their business.

Within a few days of returning back to their homes, we first asked the participants to complete an online survey. What we heard back was not that surprising. While the participants rated the program, the staff and the curriculum very highly, it was clear that each participant would have liked more time to absorb and practice what they had just learned. While the generosity of the Open Society Foundation made this program possible, the agreed-upon budget for the program dictated the time and level of effort – particularly post-seminar - that the Media Impact Project staff were able to provide.

Not surprisingly, when asked what else we could provide to each of these newly minted practitioners when they returned home, the answer was almost unanimously that they needed more support and follow-up. It is one thing to perform a task when you have a one-on-one dedicated resource in the classroom helping with every step. What each participant reported was that it was much more difficult to reproduce the functions and do the work when they were back home on their own.
Two months following the seminar in Los Angeles, we conducted Skype interviews with each participant one-on-one. Those conversations yielded even greater insights into the reality of putting these lessons to work.

“The management team of El Faro are trying to figure it out without having the benefit of being there [in Los Angeles],” said seminar attendee, Ivonne Veciana.  “The El Faro team do have some hypothesis; but they want the answer to all of their questions in Google Analytics.”
 
This reflects a common perception that there are hard and fast answers to these important, but complicated questions. The answer, it turns out, is rarely a yes or no or fixed response, but more often “It depends.” The “on what” is what these organizations have to figure out.

Upon returning to El Salvador, Ms. Veciana had a hard time meeting the expectations of her management team who agreed for her to participate and who are anxious to learn more about their business.

“The hypotheses of the management team required additional context, including qualitative data, not just metrics,” said Ms. Veciana. In the real world, it wasn’t as simple as identify a business problem, design your questions, form a hypothesis, test and measure it, draw conclusions, act on them and repeat.

That is not to say that she was unable to provide any insights or value. Ivonne has become, in effect, the “data whisperer.” In order to provide more context to the data she is providing her team, she has created an index of external site data, particularly of distribution partners, in order to provide more insight into the reach and impact of their journalism.


 

By Jessica Clark, MIP Senior Fellow

Producing a high-impact media project can be a befuddling prospect. What starts as a germ of an idea—“I’ll make a film about X to solve Y!”—quickly snowballs into a social media campaign to reach Z, an app to accomplish A and B, and so on. And then there are all those outcomes to track for each platform. How are you supposed to keep this all in your head?
 
Don’t fret—instead pick up our newly minted Media Engagement Strategy Deck:

The deck was developed by our MIP Senior Fellow Jessica Clark. She set out to understand how makers and funders can best assess media projects on emerging platforms. She quickly realized that part of the problem was a gap in shared language around impact models and outcomes, and began to develop a symbol font to begin to fill in that gap.
 
The font in turn morphed into this deck, designed for producers, funders and developers of media projects that aim to have a public interest outcome.
 
How does it work?
 
The deck is divided into multiple parts—a Core Deck focused on the question “How do you engage your audience?” and Expansion Packs designed to help users dig further into content strategy or work directly with audience members to prototype projects.
 
Different “suits” are organized by color. In the core deck you’ll find suits that answer these questions:

1. Who are you trying to reach? (Audience cards are red)
2. What platforms are you using? (Platform cards are chartreuse)
3. Why are you making this media project? (Outcome cards are black)
4. How is your project designed to connect with users? (Engagement Model cards are light aqua)

 
In addition the Core Deck contains Connectors (peach) which will help you to build and edit strategies or impact stories, and Key Concepts (aqua) to consider as you go.
 
The Connectors allow the deck to work a bit like an equation—you can begin with the factors that you already know (either your desired outcome or your starting platform) and then build an impact story from left to right.

Or, if you’re using multiple platforms with discrete outcomes, you can stack or stagger strategies. The cards are meant to be flexible to reflect the many different creative approaches that media makers are taking.
 
The cards can be used in multiple settings: by individual makers and funders for planning or assessment; by a team to articulate and debate next steps; in a conference or classroom to prototype different media projects. While we’ve done our best to think through common platforms, outcomes and social tools, we’ve also included a few blank cards for you to customize for your own needs.
 
Using the Expansion Packs
Each of the expansion packs is available separately, or you can order the full deck to get all four:

1. Rising digital content types cards (burnt orange) help users think more deeply about how to use newly popular content types—such as data visualizations or  podcasts—within digital plaforms.
2. Individual response cards (grey) help users think through different ways emotion might prompt action. They can be combined with the Outcome cards for strategizing, or used directly with audience members to prompt discussion.
3. Sense cards (purple) prompt users to think more broadly about the sensual experiences users are having with their media projects and how to enhance them in surprising ways.
4. Social media cards (green) – help users identify which tools to use and why.

 
Learn more and order your own cards today! 
 ​

By Anjanette Delgado and Rob Gates
 
Gannett recently honored nine of its newsrooms for devising creative audience strategies that led to growth.

The winning newsrooms — ranging in size from small town to metropolitan and tackling topics from the county fair to the Kentucky Derby — all had one thing in common: They studied metrics before planning coverage.
 
Most gave new thought to time-worn beats, while some launched entirely new projects.
 
We asked the journalists behind those strategies to explain their ideas, share what they learned about audience and revisit their biggest challenges. (Full disclosure: Rob and Anjanette are audience analysts at Gannett, and Rob provided the foundation for the winning Derby strategy in Louisville, Ky.)
 
Here are the Smart Growth Award winners:
 
THE COURIER-JOURNAL, LOUISVILLE, Ky.
 
Looking back to move ahead
Since 1875, The Courier-Journal had hardly changed the way it covers the Kentucky Derby. Sure, over time the staff added some digital elements (photo galleries, especially), but the heart of their coverage remained feature stories on horses, owners, jockeys and more. “Nothing makes a newsroom analyst cringe more than the notion that we have covered the same event the same way for the past 140 years,” audience analyst Rob Gates said. “We knew we could grow the digital Derby audience. We just had to figure out how.” The answer was sitting right there in the newsroom’s historic data: Above all else, the digital audience was interested in betting information.
 
What they learned about the audience: Their thirst for betting information was unquenchable. More than two dozen videos of experts picking horses multiplied video traffic on race day by 10 times.  
 
Results: In some subject areas, year-over-year traffic (page views and visits) more than tripled. And because they cross-linked feature stories to that wagering information, traffic to those was also higher than in previous years.
 
Biggest challenge: Anticipated challenges were actually larger than the challenges themselves. “We were concerned that reporters who had been covering Derby the ‘old way’ would not be too receptive of this new strategy, but we found them more willing. This no doubt played a role in our success.”  
 
DETROIT FREE PRESS
 
Make something popular just that much better
Inside the newsroom at freep.com last year, Ashley Woods and Elissa Robinson noticed a surprising trend in their metrics — advice columns they had been thinking about as mostly a print feature were getting significant traffic from search.

So Robinson, a web editor, and Woods, the consumer experience director, turned their attention to optimizing the columns, replacing writers’ mug shots with stock photography to make them more visual, crafting better headlines and linking to additional advice content. They branded their site with an advice tab, promoted the columns on social media and created a video to raise awareness. They created polls to increase reader engagement.
 
“The advice columns submission is a winning entry in big part because of its simplicity,” the judges said.
 
What they learned about the audience: Mothers older than 30 are the ones searching for these columns. They’re opinionated, engaged and increasingly loyal. Social media doesn’t drive much of the audience yet, but Woods said she believes sharing these pieces will eventually build awareness of her site as a source for advice — increasing direct traffic to freep.com in the long run. “Search isn’t a long-term strategy we can rely on,” she said. “So what more can we do to improve our browsing audience awareness of this section?”
 
Results: Optimizing the advice columns initially doubled their page view traffic, and adding the advice tab pushed the site to the first page of Google search results. Creating branded videos for these columns powered the site’s increase in video views.
 
Biggest challenge: Finding ways to make their loyal, local readers return for advice.
 
THE DES MOINES (Iowa) REGISTER
 
A template take state fairs to the digital audience
State fairs have been a summer staple in Iowa long before anyone had ever heard of a computer, let alone the internet. In 2015, the Register took a whole new approach to coverage of the Iowa State Fair that led to a huge increase in audience. Some of the tactics they used:
 

• Launching an “Iowa State Fair by the Des Moines Register” Facebook page to serve the fair’s biggest fans. The audience for the page was 78 percent female and 68 percent younger than 44.
• Creating a parody mascot called the Ornery Old Boar on Twitter to engage with new audiences and promote Register fair news.
• Building an experiential quiz to allow readers to find out “How Iowa State Fair Are You?” The quiz was created for mobile devices and winners were awarded fair ribbons to share on social media.
• Built a “Random Fair Food Generator” to help those overwhelmed by the options at the state fair (and to have some fun). The results then linked to the Register’s Food Finder App and online map.
• Launching a series of “Rare Fair” storytelling podcasts from Register columnist Kyle Munson that took readers behind the scenes at the Iowa State Fair. The short audio stories (often under 10 minutes) were intended to provide a break and posted on Soundcloud, Stitcher, Twitter audio card and iTunes.
• Creating a state fair selfie contest.

 
Consumer Experience Director Nathan Groepper and Storytelling Coach Lisa Rossi led coverage instead of the features editor because they wanted to pursue a true digital-first approach. “Almost all of the new efforts started with the mobile audience as the primary target,” Groepper said. He used Adobe Analytics data from the previous year to help determine what events to cover and what topics might need more resources. Page views grew by 91 percent despite the staff writing fewer stories than the year before because they avoided writing the types of stories people hadn’t read.
 
What they learned about the audience: The year-over-year traffic increase, especially on mobile, demonstrated that the audience is willing to engage with State Fair content that was presented in a new way that was outside of the traditional features stories and photo galleries.
 
Results: Social media traffic to fair coverage increased by more than 500 percent. Munson, the columnist, doubled his state fair audience.

RENO (Nev.) GAZETTE-JOURNAL

Pay attention to voice
Reno devised a newsletter strategy for a younger audience. The key? Humor and consistency. The Reno Memo, which has published three times a week for a year now, features humorous commentary on local news that’s designed to be mobile-friendly and conversational — like your friend explaining a story over beers at a bar. Before launching, they took the time to understand both the medium (email) and audience through focus groups and interviews. They realized they were missing audience by thinking their mobile site or text alerts were reaching them; email could fill that gap.

What they learned about the audience: Voice matters. Assume nothing about your audience. “Snark is easy, but a curated, smart voice to cut through the clutter of news with authority is a bit tougher,” said Executive Editor Kelly Scott. “That’s also the sweet sport for our audience.” Most of Reno’s newsletter readers are new customers. "Overwhelmingly positive” feedback suggested that they had hit a nerve among their target demographic.

Results: Key metrics include the newsletter’s open rate (holding steady at 41 percent), click-thru rate (13 percent) and subscriber count.

Biggest challenges: Ensuring consistent subscriber growth and developing a social strategy around the newsletter. “If the newsletter is the product, then what should our social strategy be?” Scott asked. “At first we tried to drive sign ups and minimize social. Then we tried to use social to create buzz. In the end, we’ve decided to use social as a voice — and that seems to be the most organic use in-line with driving sign ups.” 

ARGUS LEADER, SIOUX FALLS, S.D.
Tap into a new community
Jodi Schwan, who is both audience analyst and Sioux Falls Business Journal editor, launched "Sioux Falls Made" in late 2014 around the emerging maker movement.
The idea was to broaden Argus Leader Media’s audience for business coverage and make it more accessible to younger readers and women.
The new brand includes frequent coverage of makers in the Sioux Falls Business Journal, the Argus Leader and related digital products. It includes everything from farmers’ market vendors to artists, crafters, chefs and tech entrepreneurs.
Sioux Falls Made has its own presence on Facebook, Twitter, Instagram and Pinterest. A semi-annual pop-up market of locally made items began in a converted garage in December 2014 with vendors grossing $10,000. When the December 2015 market was announced, the response on Facebook was so overwhelming (more than 7,000 people said they planned to attend) that Sioux Falls Made worked with one of its corporate sponsors to move the event downtown. The market featured work from more than 50 local makers and grossed more than $50,000.

What they learned about the audience: “It is an extremely engaged audience that is eager to share content and interact, both in person and digitally,” Schwan said. “Our most engaged demographic on the Sioux Falls Made Facebook page is females ages 25 to 34 so we feel we hit our target.” We also noticed the Sioux Falls Business Journal audience skewing younger and more female, which suggests that Sioux Falls Made is serving as a gateway to other business content.

Results: The metrics showed clear audience growth. Page views on business coverage in 2015 grew by 79 percent on desktop and 320 percent on mobile. Reach on the December Facebook event was 438,000 (the Sioux Falls metro area population is 250,000). Overall business content ended 2015 with 7 million page views with Schwan as the only full-time content producer.
​
Biggest challenge: Finding time to fit the brand launch and market project into the workflow.

ST. CLOUD (Minn.) TIMES

Draw on expertise in the room
This Minnesota newsroom applied both analytics and additional reporting time to solve the problem of its flagging entertainment section, Up Next. “Readers and advertisers were losing interest,” said Sue Halena, content coach.

They restructured, turning a part-time beat of 16 hours into a full-time beat. Kate Kompas, the entertainment reporter, enlisted her colleagues to help cover subtopics in which they had interest or expertise — food, tech, drink, music, movies, anime, pop culture. They experimented, measured the results (metrics: Twitter and Facebook followers, page views, time spent, unique visitors, return visits) and then experimented again.

What they learned about the audience: “They want to know what they can do with free time,” Halena said. “They want ‘true gossip,’ such as little details about venues or performers or restaurants. They want variety.” Strong response to a social media post, though, didn’t necessarily mean those readers would become regulars.

Results: Kompas grew her own page views by 84 percent in a single quarter. Page views for one of those niche entertainment columns are 10 times higher now than before the change. The main Up Next Twitter account doubled its followers in a year, and social media accounts associated with that brand (movies, etc.) grew by 13-16 percent in a quarter. 
​
Biggest challenge: “Consistency of content” from those drafted to support Kompas, Halena said. “Some columns are scuttled when staffers are forced to focus on higher priorities tied to their beat.” 

THE DAILY ADVERTISER, LAFAYETTE La.

Give ‘em a month of football
Preseason coverage of high school football used to be an annual print tabloid at the end of August in Lafayette, but moving the coverage online and spreading it out throughout the  month made it more immediate, engaging and financially successful.

“While I still love the concept of the football tab from an anticipation and football-nerd readership aspect, it always bugged me that we’d worked so hard for that one big bang at the end of August and had so little actual high school football coverage each day throughout August,” said Kevin Foote, sports engagement editor.

This extended online coverage, reflected in print each day, focused on a single school. “We didn’t run a huge story on it, but instead broke each team’s prospects down into 3-4 categories that were a lot more readable.”

The staff also used its archives to reinforce its authority, publishing shots from football picture days 10, 15, 20 or even 30 years ago “to remind everybody exactly how far back we go in covering high school sports in our area,” Foote said.

What they learned about the audience: While some readers are “still stuck in the old ways of doing things,” more of them said they enjoyed not having to wait for the end of the month and getting more information on their school.

Results: More page views. “We always struggled with how to present the football tab online,” Foote said.
​
Biggest challenge: Being ready with a new school every day. 

YORK (Pa.) DAILY RECORD
Take advantage of your archives
Coverage of an annual event can become rote, but this Pennsylvania newsroom used analytics to retool its York Fair strategy and focus on quality, not quantity. “I was really focused on not doing the status quo,” said Kate Harmon, then the paper’s dayside metro editor.

She and Joel Shannon, the innovation editor, studied the data to prove a theory — that stories about hot-dog races and tractor pulls, those daily features that pulled a rotating schedule of reporters away from their beats, weren’t getting read but more in-depth fair stories were. They were right. “For years, our coverage had been extensive, routine and low-impact,” Shannon said. “Once we recognized this, we had a strong desire to use data to update our approach — to give our readers more of what they did want and less of what they didn’t.” Harmon focused a single reporter on two or three larger stories and let photographers handle the rest for a fresh approach that paid off.

What they learned about the audience: Fair readers valued news and information they can use. They wanted stories with emotion, stories that surprised. Anything other than that wasn’t worth the investment, Shannon said. Readers who seemed to value “fair news for the sake of fair news” were actually nostalgic and loved the historic photo galleries the newsroom produced instead.

Results: The number of page views per story improved. “We cut the number of bylines in half and doubled the number of page views,” Shannon said. “We worked less and got more results by only writing stories we knew our audience wanted to read.”
​
Biggest challenge: Planning. “This could never have happened if we didn’t conduct the analysis and work to assemble the galleries weeks in advance,” Shannon said. That, though, is key to York winning the company’s Smart Growth award. “Analyzing audience metrics takes time that some newsrooms, large and small, sometimes feel they can’t afford,” the judges said. Clearly, though, that time can pay off. “I've always tried to look at work and life that way,” said Harmon, who now works in nonprofit marketing. “Not everything needs to be done better, or can be done better. But I really believe that you have to stop and take a look at how and why you're doing things often. The world and people are always changing and we have to adapt to keep up.”

THE NEWS STAR, MONROE, La.

Reporter finds that politics is social
Greg Hilburn, Gannett’s Louisiana political reporter based at the News Star in Monroe, expanded his reach by sharing stories to social media pages of topical interest. “In a story I did about the warming relationship between the United States and Cuba and the possible benefits to future trade – Louisiana rice, Cuban cigars, etc. – I shared the link at least 15 times on Facebook, from the Louisiana Farm Bureau to national and state rice industry groups to cigar lovers,” Hilburn said. “It drove thousands of readers to our website, where we try to keep them there with other related links. I’ve had similar success with many other stories.”

What they learned about the audience: “There is a great demand for our work, but we can no longer expect the audience to find us,” Hillburn said. “We have to find the audience in the platform they frequent, then coax them to spend more time with us. “

Results: Hillburn said he was surprised by the effectiveness of such a simple strategy. “Success is measured not just by the additional people who read the story I’m promoting, but the amount of time I can engage them in our site once attracting them there,” he said.
​
Biggest challenge: Taking the time to find the social audiences to target. “I might spend a few hours reporting and writing the story and an almost equal amount of time (sharing) it,” Hillburn said. 

By Jessica Clark, MIP Senior Fellow

​How can media producers and funders get on the same page about the social impact of projects developed for emerging platforms?
 
That’s the question that has animated my research as a senior fellow at the Media Impact project, and in April I travelled to LA to report in on my ongoing explorations.
 
In my talk, What’s New Media Good for Anyway, I introduced an experimental new symbol font that I’ve created in collaboration with designer Carrie McLaren to help make impact conversations and analysis quicker, more creative and more playful.
 
Here’s a quick rundown on how it works and why I’ve taken this approach: 

​In the full presentation, embedded below, I also lay out a series of questions to ask when encountering a social impact media project created using an unfamiliar platform: 

​These questions include:

• How new is this?
• Is this even media?
• Where is this in the hype cycle?
• What are the points of connection? (i.e., the various platforms across which the project engages users)
• What’s the point of the connection

 
It’s this last question that I’m hoping this font can help makers and funders to answer. Why is a social impact project being produced, and what’s the goal for audience engagement? The font offers several engagement models that I’ve developed in recent years in dialogue with  researchers and producers of documentary and news — ranging from creating a private “safe space” for reporting on and discussing sensitive social issues, to “you are here” projects based in a local community, all the way up to the “big bang,” which assumes that the goal is to spread the message far and wide. Also on tap: symbols for a range of emotions that users might experience when interacting with the production, which can be used to help inform impact strategy.
 
In addition, the font offers users the chance to think about the impact of various new forms of media. On the number keys, you’ll find familiar platforms such as radio, TV and print. However, hit the shift button, and these keys transform — to virtual reality, wearables, bots and more. The goal is to help you think through how these platforms change consumers' experiences of media, in turn spawning new models of social impact media yet to be defined.
 
During the talk and in other workshops and presentations that MIP kindly organized for my visit, we discussed many other icons that could fill in the “TBD” gaps currently in the font. We're currently working on a second version of the font to incorporate these suggestions. In the meantime, though, you can download and install the beta version of the font yourself to play around with. It’s in True Type format (.ttf) and was designed primarily for use on the Mac.
 
You’ll find it here in Dropbox, along with a key that explains the meaning of the various symbols. Please note that this font is for noncommercial and educational use only — please don’t sell it or repackage it. Stay tuned for an updated version with more icons, and more instructions about how to put the font to use in your own work.

Expert on entrepreneurial journalism to explore best practices in measurement  for independent and nonprofit publishers

LOS ANGELES, April 1, 2016 - The USC Annenberg Norman Lear Center announced Kevin Davis' appointment as a 2016 Media Impact Project (MIP) Senior Fellow. During his year-long fellowship he will examine how independent journalism can best take advantage of innovations in metrics and measurement.

Davis is the principal of KLJD Consulting, a strategic revenue and development practice specializing in assisting independent news and information companies and their leadership. Davis was formerly the inaugural CEO and Executive Director of the Investigative News Network (INN), now known as the Institute for Nonprofit News, a consortium of 100+ nonprofit newsrooms in the U.S. As a publisher and digital business entrepreneur, he has over 20 years of experience in strategic development and growth at news and media organizations, is a frequent speaker on the topic of entrepreneurial journalism and a regular contributor to NetNewsCheck.com.
 
As a MIP senior fellow, Davis will write about metrics that are appropriate for independent and nonprofit publishers and how the right tools and techniques can be used to measure performance. He will also consider how the knowledge transfer of these types of innovations can be scaled in a way that ensures every independent publisher has the opportunity to benefit from them.

#

MIP strives to accelerate measurement thinking and open source tool development in order to explore, validate and share solutions for measuring impact. It is supported by grants from the Bill & Melinda Gates Foundation, the John S. and James L. Knight Foundation and the Open Society Foundations. For more information, visit www.MediaImpactProject.org.

The Norman Lear Center is a multidisciplinary research and public policy center studying and shaping the impact of entertainment and media on society. From its base in the USC Annenberg School for Communication and Journalism, the Lear Center builds bridges between faculty who study aspects of entertainment, media and culture. Beyond campus, it bridges the gap between the entertainment industry and academia, and between them and the public. For more information, visit www.learcenter.org.
​
Located in Los Angeles at the University of Southern California, the Annenberg School for Communication and Journalism is a national leader in education and scholarship in the fields of communication, journalism, public diplomacy and public relations. With an enrollment of more than 2,200 students, USC Annenberg offers doctoral, graduate and undergraduate degree programs, as well as continuing development programs for working professionals across a broad scope of academic inquiry. The school's comprehensive curriculum emphasizes the core skills of leadership, innovation, service and entrepreneurship and draws upon the resources of a networked university located in the media capital of the world. For more information, visit annenberg.usc.edu.
 

By Rob Gates, Analyst

Nothing should make a newsroom analyst cringe more than the notion that we have covered the same event the same way for the past 140 years and we’re not going to stop now…

Since 1875, The Courier-Journal in Louisville, Ky., had covered the Kentucky Derby – horse racing’s (and Louisville’s) signature event – in more or less the same way. Even in the digital age, short of adding a bunch of photo galleries, videos and some interactives, the basic theme of the coverage remained unchanged.

And that theme is what’s important -- you can throw all sorts of goodies at the coverage of an event or topic, but if your content focus is off, you’re not maximizing your potential for either traffic or revenue.

I stumbled upon what would become our 2015 Kentucky Derby strategy while looking at past years’ metrics for another report. We had always looked at content buckets (stories, galleries, videos, etc.) as opposed to grouping all content by specific themes or topics.

In doing this, I discovered that while the bulk of our coverage was centered around features about horses, jockeys and owners, those were not the sorts of things to which our readers gravitated. Instead,  I found that anything we published having to do with wagering, picking winners or speculation on which horse would actually win, far outperformed those features that we had been writing the same way for the past 140 years.

Armed with this information, the newsroom and advertising department got together and devised a coverage and sales strategy that focused heavily on the topic of wagering.

LOS ANGELES, March 6, 2016 - The USC Annenberg Norman Lear Center has announced Jessica Clark’s appointment as a 2016 Media Impact Project (MIP) Senior Fellow. During her year-long fellowship she will write about and conduct a forum on the future of interactive storytelling.

Clark is an internationally published journalist, researcher, and media futurist whose work connects thought leaders across disparate disciplines. She is the founder and director of Dot Connector Studio, a cross-platform production and strategy firm whose clients include Media Impact Funders, Tribeca Film Institute and The Internet Archive. Clark brings over a decade of experience developing research and producing events with high-profile universities and national media networks, including NPR, PBS, CPB, Harvard’s Berkman Center for Internet and Society, USC Annenberg and MIT. She holds a BA/MA from the University of Chicago and serves as the Media Impact Funders' Director of Research and Strategy.

As an MIP Senior Fellow, Clark will explore how innovative forms of storytelling have ushered in new relationships between the physical and the digital; examine how evaluation practices have evolved within this new landscape; and consider their application to assessing media impact.

​Jessica Clark will present at USC Annenberg on April 21 at Noon in ASC 207. 

MIP strives to accelerate measurement thinking and open source tool development in order to explore, validate and share solutions for measuring impact. It is supported by grants from the Bill & Melinda Gates Foundation, the John S. and James L. Knight Foundation and the Open Society Foundations. For more information, visit www.MediaImpactProject.org.

The Norman Lear Center is a multidisciplinary research and public policy center studying and shaping the impact of entertainment and media on society. From its base in the USC Annenberg School for Communication and Journalism, the Lear Center builds bridges between faculty who study aspects of entertainment, media and culture. Beyond campus, it bridges the gap between the entertainment industry and academia, and between them and the public. For more information, visit www.learcenter.org.

Located in Los Angeles at the University of Southern California, the Annenberg School for Communication and Journalism is a national leader in education and scholarship in the fields of communication, journalism, public diplomacy and public relations. With an enrollment of more than 2,200 students, USC Annenberg offers doctoral, graduate and undergraduate degree programs, as well as continuing development programs for working professionals across a broad scope of academic inquiry. The school's comprehensive curriculum emphasizes the core skills of leadership, innovation, service and entrepreneurship and draws upon the resources of a networked university located in the media capital of the world. For more information, visit annenberg.usc.edu.