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5 Signs You Suck at Twitter

I’ve been playing around with Friend Or Follow over the last few days, and I’ve come to the conclusion that a lot of people suck at Twitter.

Friend Or Follow is a Twitter tool that shows people you’re following, but aren’t following you; people who follow you, but you’re not following; and people you have a mutual followship with.

I dumped over 500 people from my Twitter account this week with FOF. I checked out each account I unfollowed, and frankly, some of you people are just doing it wrong. That’s why I unfollowed you. Not sure if this includes you? Then check out the…

Five signs you suck at Twitter.

    • You claim to be a social media consultant/pro/expert/guru (CPEG), but your following to follower ratio is 10:1. That is, you’re followed by 5,000 or more people, but only following 500. Social media consultants looove to say “have conversations with people.” But shouldn’t people who truly value conversation be willing to, I don’t know, have them?. Or at least fake like you are? If you’re a CPEG, you should have a ratio fairly close to 1:1. This is not to say that everyone should have a 1:1 ratio. Just the CPEGs. (Pro tip: you’ll also have more than 200 followers. I’m just sayin’.)
    • Nearly every one of your tweets is some motivational or inspirational message. Why do I need to get ten motivational messages peppered throughout the day? If it didn’t help me at 8:30 — 29 minutes after your HootSuite-scheduled “Good morning, my tweeps! Make this an excellent day!” — then it’s not going to help me at 9:30, 10:30, and so on. Don’t regurgitate someone else’s cleverness, show me yours. If you really want to motivate me, tell me about the cool stuff you’re doing.
    • You’re trying to amass as many followers as you can. If you’re a celebrity, a public figure, or someone who’s really, really interesting, that’s great. If you grew your network through hard work and earned those followers, more power to you. But if you resort to computer scripts, trickery, and joining follower-building networks to boost your rankings, then stick with being a LinkedIn LION. Twitter is not a competitive sport. Despite what you’re already doing to LinkedIn and Facebook, Twitter isn’t just one more race to the bottom of mediocrity and uselessness.
    • Your Twitter bio has the words “money,” “fast,” and “make” in it. I spam-block every single person whose bio says they have some money making system they want to share with me. Stick to peddling penis drugs and fake watches by email.
    • Your time between tweets can be measured with a calendar. You don’t have to tweet many times a day, but at least once a day wouldn’t kill you. Even every other day would be fine. But when you’re only tweeting every 3 – 4 weeks on a regular basis, then Twitter isn’t a communication tool, it’s an afterthought, like calling your mom the day after Mother’s Day.

What is your Twitter pet peeve? What sort of annoying behavior have you seen?

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5 Ways Arts Organizations Should Use Social Media

Arts organizations are facing funding cuts all over the world.

For example, Scotland is cutting £2 million ($3.1 million) for the arts. The National Theatre of Scotland, the Royal Scottish National Orchestra, the Scottish Chamber Orchestra, Scottish Ballet, and Scottish Opera are all facing cuts of 10% in government funding.

This all got me to wondering how arts organizations could use social media to promote themselves, and find additional fans, attendees, and donors.

The Indianapolis Symphony Orchestra is one of the largest arts organizations in Indiana.

There are only a few arts organizations using social media, but with social media’s explosive growth, the organizations that aren’t are missing a great opportunity.

While you may think that social media is only for young people, this is a fallacy that has long been disproved. In fact, the fastest growing demographic on Facebook is women, age 50 – 60. If that demographic fits within your core audience, shouldn’t you be trying to reach them? And what better place to do it than where they are already?

Second, if your core audience is people in their 50s and 60s, don’t you want to try to reach a younger audience? Otherwise, your audience will get smaller and smaller as they retire, move away, and die. If a younger audience is using social media, then you should try to reach them in their world, instead of forcing them to come to yours. They haven’t come yet, and that’s not going to change any time soon.

So here are five ways arts organizations should use social media.

    1. Set up a blog and give readers a behind-the-scenes look at your organization. Your blog should be more than just a press release center. Don’t just make it a place to dump all your promotional information. Post photos of rehearsals. Let staff, actors, and performers post their thoughts on performances. Post diary-like reflections of preparing for an upcoming show or performance.
    2. Create podcasts of musical performances.If you’re a musical organization, create a regular podcast, and make that available to the public. People can listen to past performances and get an idea of what you sound like. But if you think “if people hear us on a podcast, they won’t want to come,” that’s untrue. (Did you know that was the argument by orchestras against selling sheet music, the Victrola, and radio?) The New York and Chicago Philharmonics have shows on public radio stations around the country, and the Indianapolis Symphony has a highlights show on WFYI, our local public radio station, and yet they still get people to attend. If anything, when people hear a performance, it makes them want to see it live.
    3. Create videos of performances. If you are a performing arts organization, try posting videos from past performances on YouTube, and then putting them up on your blog. This is especially true for visual performances, like dance and theatre troupes. This will let people know the kind of thing they can expect when they attend one of your performances. And if they like what they see online, they’ll want to be a part of the experience, and attend a show.
    4. Create a Facebook page for your organization. If there was a single social networking tool that was made for arts organizations, Facebook is it. Not only does it have the largest population of social media users (500 million people around the world), but it’s ideally suited for posting or reposting content from other sites. You can repost your blog content, videos, and photos to your Facebook page. You can ask your members and attendees to join, communicate with them directly, ask them to tell their friends, which will bring in new Facebook friends.
    5. Share your contacts with other organizations. Yeah, I saved this point for last, because a lot of you will think I’m crazy. But think about it for a minute: your biggest competitors are not the other performing arts organizations in the area, it’s television, movies, restaurants, and general laziness. You probably don’t share members, so you’re not competing for the same dollars. But sharing contacts could be a benefit to both organizations. For one thing, you can introduce dance fans to the music that supports the dancers. You can introduce theater goers to dance, another visual art form. And as you cross-pollinate your membership, both organizations will benefit, rather than steal members.How can you cross-promote with another organization?
      • Do a feature of each other in your respective blogs.
      • Promote ticket sales (buy one of ours, get one of theirs for 50% off).
      • Do a joint performance, like their orchestra playing for your opera. Have their chamber quartet play at your museum event.
      • “Like” their Facebook page, and encourage your Facebook friends to like it as well. Ask them to reciprocate.

      By combining your social media efforts, you can double your efforts, introduce a whole new audience — who is already predisposed to appreciating the performing arts — to your organization. The result is you’ll be able to add new audience members to each organization, and strengthen both.

What is your organization doing? Are you using social media, or do you want to try using it? And if you’re not in an arts organization, how have you seen other organizations using it?

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Gmail is the New Black: Why You Should be Using Gmail Right Now

Do you use Gmail or some other web-based program, or are you still accessing email strictly on your computer, cursing Outlook, and praying for the sweet, sweet release that death a hard drive crash will bring? Do you have a backup of your address book and necessary emails, should that blessed day ever come?

When I give a social media talk, I tell everyone to use Gmail for basic contact management. It has saved my bacon more than once, and I’ve become such a raving fan that I use it as my only email interface. I even forward my work email and other addresses into Gmail, so I have one window, one set of contacts, and the cleanest, least buggy interface I’ve ever had the joys of using. I can send email from any of my addresses, but the interface is all Gmail.

The joys of Gmail

If you’re not using Gmail yet, here are a few reasons why you need to:

  • Social network building Any social network you join is going to have a way to import your address book into the network so you can see if your friends are on there. Gmail is the easiest one to bring in. Some networks don’t even import web-mail programs like Hotmail. Others are a little more forgiving and will let you import Apple Mail, Outlook and Outlook Express, and comma-delimited CSV files.
  • Offsite storage of your contact list Let’s say that your work computer crashes, and you lose everything. Or you are, um, no longer allowed to. . . access your work computer due to a new arrangement you have with your now-former employer, and you need to let your friends and colleagues in other companies know about your new work situation. Having a copy of your address book in your control will make this a lot easier. You can even sync Gmail with Outlook, so any time you change or add a record, that is reflected in the other. Warning: some solutions will split up multi-email records, and then sync all those brand new records into Gmail. I had that happen twice, after I spent hours cleaning them up.
  • Emergency access If you ever need to reach people over the weekend or in the evening, but your computer is at work, you can still do so. This is especially important for people in crisis communication whose organizations are still planted firmly in 1997. If you’re counting on your email server and your email list to be available if you need to do a press release or media alert, you’re totally hosed if that thing ever crashes because of a large-scale disaster. When I was in crisis communication, we had to come up with some plan to work around just that contingency. And if you’re in the middle of an emergency, and you can’t get access to your email server, you need another solution. There are so many workarounds to getting online, as long as you can get there, you can communicate. But if you’re depending on one computer’s data, forget it.
  • Enterprise email You can even use Gmail for business. For $50 per user per year, you can get 25 MB of storage per user, plus it syncs with Outlook and Blackberry. (For the record, I can also sync my personal email with my HTC Droid.) You keep your corporate identity and addresses, but you have the security and ease of use of Google’s email, calendar, and Docs.

What about you? Why do you use Gmail (or your favorite web-mail application)? Why should people switch to web-mail from computer mail? Or, why shouldn’t they?

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Defining Two Types of Crisis Communication

Crisis communication has two different, distinct meanings. They require different approaches, different ideas, and completely different types of plans. And not knowing the differences between the two can create some problems if you try to use one approach in the wrong place.

There’s corporate crisis communication (CCC), and there’s CERC.

CERC — Crisis and Emergency Risk Communication — is what the government calls communication during a massive emergency, such as swine flu, a terrorist attack, or large-scale natural disaster. (And you can tell the government came up with it, since it’s so much longer and has more words than are truly necessary.)

Both are often called “oh shit PR,” but the difference is that in a CERC situation, a lot of people could die. With CCC, a lot of money could be lost. One type of emergency gives emergency first responders sharp chest pains and indigestion, the other makes the corporate lawyers pull out their hair. But they both say the same two words when something goes down.

Although these two forms have a lot of similarities, there are some important differences. And if you’re talking about social media for crisis communication, you need to know them, because they affect your strategy.

Corporate crisis communication

I’d like to say that it’s important to always tell the truth and to be as open and honest as possible. But the sad truth is that being completely open and honest can ruin a company. I’ve hassled corporate legal departments over their “wrecking” crisis communications, but they’re a necessary part of any response. They just shouldn’t control it. In CCC:

  • Transparency tends to go out the window. The emergency is usually something that will make the corporation (or individual) look bad, so the first instinct is to hunker down and contain the bad news. This often means trying to keep it under wraps. This hardly ever works.
  • The negative end result of a corporate crisis is a loss of money. It could be a hit to their reputation, credibility, or branding, but those will all effect the bottom line. And since that can be in the millions or billions, crisis communication is not something that should be taken lightly. Entire companies, like Chi-Chi’s restaurants, have been lost to bad communications. But it’s the attempt to avoid losing money that leads to bad communications.
  • Communication is about containment. Many corporate crisis PR professionals are focused on keeping their client from being found guilty or negligent. They’re not worried about whether people like them, they just want to win the pending lawsuits. So they’ll put out information that, while is not a lie,
  • The message is the biggest part of the response. There’s other stuff going on behind the scenes — product recall, legal preparations, brand managment — but the communication is what’s going to affect the public’s perception, and thus, their reaction, lawsuits, vendor relationships, etc. Information may be easy to get if you’re in crisis communication, but it’s not always easy to share.

Social media strategy: Guarded, but present. Correct misinformation, use Tweets and Facebook to communicate with customers in a brand management manner. Put on your best face, but don’t lie. Monitor the gossip sites, but don’t engage.

Crisis and Emergency Risk Communication

This is the area I came from. We wanted as much open communication as we could get. More was better, and there was no such thing as too honest. Our goal was to “prevent panic,” and make sure everyone knew what was going on. With CERC:

  • Transparency is crucial. This is information people need to know. Information about where to go for safety, supplies, or medication.
  • The negative end result of a public crisis is a loss of life. When I was at the Indiana State Department of Health, we trained for things like medication distribution during an anthrax attack. The goal was to tell as many people as possible where medication was available. Information has to be gotten out quickly and to as many people as possible.
  • Communication is widespread. The point of CERC is to get as much information out as possible, and to correct misinformation. There is nothing that should be contained or covered up.
  • The message supports the rest of the response. It’s the other stuff that’s going on — law enforcement, public health response, rescue/recovery, clean-up — that’s going to affect the public, and communication lets the public know what’s going on. If there’s medicine to be distributed, communication will tell the public where to get it, but it’s the Point of Distribution that will give it out. The problem with this approach is that the public information officers (PIOs) are trying to get information from the busiest people, which means it’s not always readily available or being put out as quickly as possible. This is one reason the PIOs have direct access to the Incident Commander, the person in charge.

Social media strategy: Strong social media strategy. More people are getting their news on Twitter and Facebook than they are in their regular media. Put information out on social media at the same time you give it to the mainstream media. Correct misinformation directly, rather than through mainstream media. Monitor the citizen journalists, and engage when it’s appropriate.

Photo: Slworking2

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Be an Entre-Commuter With Just a Latte and a Laptop

I’m the mayor of my office and my church.

At least that’s what Foursquare tells me. I’ve checked in enough times at both places that I’ve been declared the mayor.

Foursquare is a location-based social networking site that lets you tell people where you are via Twitter and Facebook.

Think: 50% friend-finder, 30% social city guide, 20% nightlife game. We wanted to build something that not only helps you keep up with your friends, but exposes you to new things in and challenges you to explore cities in different ways.

You check in at different places around a city, give tips and recommendations, and in general get to know your city better.

I’ve been using FourSquare a lot lately, especially after I got my new Droid phone a few weeks ago.

I’m starting to earn the reputation for being out and about all the time. I check in everywhere I go: the office, the coffee shop, the library, the grocery store. I’m not out any more than usual. I’m just telling people about it.

But it’s become a whole lot easier now for me to be out and about too, thanks to my laptop and the proliferation of free wifi around the city. I’ve become a real entre-commuter.

(Entre-commuter: entrepreneurial commuter who works out of a coffee shop, cafe, restaurant, library, or any other place with free wifi. Term coined by Erik Deckers and Paul Lorinczi to justify why they don’t sit in the office all day, every day.)

We came up with the term entre-commuter for those people who own their own business and have the ability to do it anywhere. They can do it from home, the local library, or their local coffee shop. We happen to favor Hubbard & Cravens in Broad Ripple, although I’ll travel just about anywhere around Central Indiana for good coffee.

The great thing about being an entre-commuter is that you get to network with other people, and collaborate with them on occasion. I can’t tell you the number of people I’ve met with, helped, provided connections for, and done business with, just because we both happened to be out at the same time in the same place. And meeting some of the same people in the same place several times has blossomed my network beyond the typical Chamber and other networking events.

Where do entre-commuters gather?

I prefer to patronize local coffee shops and restaurants, although I’ll hit the occasional chain once in a while. We need to support our local establishments more than the chains — the chains don’t support our local economies. The locals do.

Is there entre-commuters etiquette?

There are a few rules for entre-commuters. They’re fairly common sense, but I still see people violate them from time to time.

  • Don’t camp out. They have to turn tables during peak times. If you’re sitting with a computer and a bottled water over lunch, they’re losing money on you.
  • Only occupy tables during low times. Don’t take up a 4-top all by yourself if you can help it, and don’t be afraid to share a table with a stranger either.
  • Buy something. Spend money, and more than just a little. Don’t buy a $2 coffee and then sit for 8 hours.
  • Be respectful. This is someone else’s business, not your office. Don’t treat it like it’s your place. You’re a guest.
  • Keep your voices down. Other people are there too, so don’t have loud conversations. You’re not at the club, you’re at a quiet little shop.

Entre-commuters just need to be somewhere we can find free wifi and good coffee. Somewhere we can connect online and offline. Find your local shops and spend some time there. See if you can create some business, as well as giving the local shops some business as well.

Photo: Nina Turns 40 blog

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The Role of New Media in a National Toy Recall

Never doubt the power of a few well-connected people, or a confluence of timing, technology, and information, to have a huge impact on events around the world. I got to witness one of these events firsthand, and even played a very small role in it. You may remember it. It turned out to be one of the biggest lead-contaminated toy recalls in 2006, and one of the first in a long series of Chinese toy recalls that year.

In June 2006, I was working at the Indiana State Department of Health as the Risk Communication Director. Basically, I was in charge of crisis communication, or as I called it, “oh shit” PR.

That’s because whenever some emergency or crisis came up, those were the first two words any of us usually said. We all did, the public affairs staff, the epidemiologists, even the Emergency Response department. Whether it was a Hepatitis A scare at a Pizza Hut in Fort Wayne, salmonella in a Wal-Mart in Johnson County, or a national outbreak of salmonella in peanut butter, we all had the same response when we first heard the news of the latest public health crisis.

I had been working on the job for about three weeks, when I was called down to Legal because “we have a problem.” My first “problem,” in fact. When I showed up, there were eight people sitting around a conference table. They filled me in.

As part of a summer reading program, the Monroe County Library in Bloomington had been giving away bendable children’s toys which were discovered to be dangerously contaminated with lead. The children’s librarian and the lead prevention nurse at Monroe County Hospital had sent samples a couple months earlier to the Consumer Protection Agency, but no one had responded beyond an initial phone call.

Rather than giving up, they then contacted the State Health Department, hoping that someone, anyone, would pay attention to the fact that they had just given out a bunch of lead-contaminated toys, and could we please help them get the word out to their community?

Happily, I didn’t utter my little mantra out loud.

Turns out, another library in another county had also been giving away these toys, which made this a statewide issue. So we decided to send out a press release to all the state media outlets, and see what happened. That afternoon, I answered a few reporters’ questions, and then forgot all about it.

Three days later, I received a call from the director of the New Jersey State Library Association.

It turns out the Muncie Star-Press had run our story, which was then picked up by a librarian blogger. The director read the blog and nearly freaked: they had been giving those toys to a statewide children’s reading program all summer.

Guess what I said, out loud, over the phone.

“You’re telling me,” he said. “What should we do?”

“I don’t know, I’ve been doing this job for three freaking weeks!” I wanted to shout. “This is my first real crisis.”

Instead, I ran through the talking points we had given out to the media, and gave him a few recommendations.

“Could you email that to me?” he asked. “I belong to a listserv group of librarians around the country. I think several of us have been giving out these toys. I can pass it on to them.”

I emailed the talking points and recommendations off to the guy, and then forgot all about it again. Two days later, I received another phone call from the Orange County Register.

The reporter said that several of California’s libraries had been giving away some toys that were found to be contaminated with lead, and since we were the ones who had started this whole thing, did we have any information we could give them?

I explained how the whole thing had started with the nurse and librarian in Monroe County, and how this was apparently being felt in a couple of states now.

“Oh, it’s more than a couple now,” said the Times reporter.

As the days went by, I would go online to see who else had been recalling these children’s toys. Within 24 hours of the OC Register call, the story exploded. Several librarians on the librarian listserv had called their local media with the same story. In a couple cases, someone in one city would read the story and tell their librarian friends in another city, who would then find the listserv information, and call their media outlets.

The tipping point came when the Associated Press sent a national story over the newswire, and local reporters called their local libraries to see if they had those toys. The librarians would go pale and whisper my two words. A quick check always revealed the very same toys for the very same children’s reading program.

A few weeks later, a check of Google News showed something I had never expected: a recall of 385,000 lead-contaminated toys from all 50 states, and more than 530 news stories in the United States, Canada, Germany, England, Italy, India, and Taiwan. And two field agents from the Consumer Protection Agency were suddenly very interested in some bendable toys they had received several months earlier from two women in Bloomington, Indiana.

As I look back on this story, I am struck by one very important lesson: this did not become a national recall just because of traditional media. They had help. What really kicked it off is that a blogger saw an article in her local paper and wrote about it. Then a guy on an email listserv sent it out to the other members. Old-school media played an important part, but it was the new media that really pushed it in the right direction.

All because a librarian blogger was connected to a guy on a librarian listserv. But more importantly, because a nurse and a children’s librarian decided that they needed to speak up about an issue in their hometown, and didn’t quit until someone heard them.