← View All Articles

SC Philharmonic seeks marketing/communications director

Apply before January 12 The South Carolina Philharmonic, based in Columbia, S.C., seeks an energetic, creative, forward-thinking marketing/communications director. Principal duties: Develop and manage communications and marketing strategies to make symphonic music fresh and relevant to a broad, modern audience. Primary responsibilities include:

  • Achieve budgeted goals for earned revenue and strategic goals for organizational communications
  • Create, edit, and disseminate visually compelling and well-written sales and communications materials across channels for (but not limited to): marketing/advertising; news releases/advisories; e-mail newsletters to patrons; event calendars
  • Create and manage engaging content on social media outlets
  • Handle media inquiries and solicit/arrange media appearances for S.C. Phil personnel
  • Develop strategic partnerships with area media outlets
  • Create and manage compelling content for CMS-based website: add/update general content pages; add/update events, news, etc.; coordinate website design needs with vendor
  • Manage brand direction and ensure visual and messaging consistency
  • Create/implement advertising plan each season and manage advertising budget
  • Provide copy, layout/design/production, and editing for: advertising (direct mail, print, digital, outdoor); marketing materials (magnets, decals, guest cards, posters); educational and some fundraising materials; multi-page publications (season brochures, annual review, concert-night program books for Masterworks Series and Youth Orchestras); event invitations for development activities
  • Manage CRM database for list segmentation
  • Serve as a committee liaison as assigned and give regular written and verbal reports on various duties to executive director, board of directors, and board’s executive council
Qualifications, skills, and attributes:
  • Three - five years experience in marketing at another non-profit organization, preferably in the arts-and-culture sector, demonstrating proficiency and success in managing subscription and single-ticket campaigns and organizational communications
  • Bachelor’s degree in related field or equivalent
  • Excellent verbal presentation and written communication skills
  • Ability to manage multiple projects simultaneously, and to respond thoughtfully, calmly, and with excellent judgment to shifting priorities and urgent situations
  • Comfort in a fast-paced, results-oriented environment
  • Knowledge of and passion for classical music highly desirable
  • Commitment to providing world-class, patron-centric customer service in all patron interactions
  • Proficiency in Microsoft Office suite, e-newsletter programs such as Vertical Response, and graphic design software such as InDesign and Illustrator
  • Experience managing data and generating reports using PatronManager or other patron databases highly desirable
  • Respect for and ability to maintain confidentiality of sensitive information
  • Availability to work frequent evenings and weekends
Employee benefits:
  • Generous medical, dental, vision and life insurance contribution (currently 75%)
  • Simple IRA retirement plan with company match (currently 3%)
  • Paid vacation, personal days, and sick leave
  • Optional supplemental insurance (cancer, short- and long-term disability coverage, etc.)
Application process: Send cover letter, resume, and salary requirements before January 12, 2018, to Charlie Owens, Executive Search Consultant, Resonate Search Group: cowens@resonatesearchgroup.com The South Carolina Philharmonic is committed to nondiscrimination and equal opportunity in employment. About the South Carolina Philharmonic: The South Carolina Philharmonic entertains, educates, enriches and excites diverse audiences through live symphonic music. An independent 501(c)(3) non-profit organization, the South Carolina Philharmonic performs and promotes high-quality, professional symphonic music in South Carolina’s capital city, Columbia, serving the community’s needs for cultural development and education, entertainment and tourism since 1964. The 2017-18 season marks the 10th season of the Philharmonic’s fifth Music Director, Morihiko Nakahara, whose arrival in 2008-09 ushered in a new era of artistic excellence for the Midlands’ preeminent performing arts group and one of the leading orchestras in the Southeast. The Philharmonic performs its signature, six-concert Masterworks Series at the Koger Center for the Arts on the campus of the University of South Carolina, along with a wide range of community programs, including concerts and lectures in the community, educational programs in schools and out, and a collaborative “Music for a Cause” program in association with other area charities. Founded in 1964, the S.C. Philharmonic Youth Orchestras (SCPYO) offer exceptional orchestral playing experience for young people throughout the Midlands. Each year more than 200 students participate in three orchestras comprising the region’s top student musicians, age 8 through high school, selected on the basis of competitive audition.

SC Arts Commission seeking communications director

Application deadline: September 18 The South Carolina Arts Commission seeks an energetic, creative and resourceful communications director with a successful record of managing public relations and communications programs and a commitment to public service for the citizens of South Carolina. The communications director must be willing to take the initiative to accomplish tasks, manage projects and programs and solve problems. Our ideal candidate will share our mission and values, have a love of the arts and be excited to help lead the agency's efforts to communicate our programs, services and activities to a range of audiences. Duties:

  • Plans, directs and manages communication strategies for the agency's public relations, marketing and advertising efforts designed to promote and publicize agency goals, objectives and activities.
  • Develops and implements a comprehensive communications plan that elevates public awareness and visibility of the agency statewide, regionally and nationally.
  • Directs the planning, development, editorial content, production and evaluation of educational, informational and promotional communications tactics through print, internet, social media, traditional media and other channels.
  • Produces communications products and resources that promote, market, and support agency programs and services.
  • Manages media relations and develops and disseminates news releases and other information to appropriate media outlets.
  • Manages the agency's websites and social media channels, working collaboratively with staff to produce content.
  • Assists executive management in coordination of long-range and strategic planning processes.
  • Assists and advises Arts Commission board, executive management and other staff in developing and presenting information and representing the agency to the public.
  • Manages the agency's compliance with the Freedom of Information Act and develops policies and procedures for releasing agency information.
  • Responds to requests for information from public, media and staff.
  • Delivers speeches and presents programs to various organizations.
  • Develops and manages the public information budget.
  • Attends legislative, public and advocacy group meetings as appropriate.
  • Advises agency constituents on communications issues as appropriate.
View the complete list of requirements and find out how to apply.

Chapman Cultural Center welcomes Rachel Williams as marketing and communications director

Rachel WilliamsGreenville native Rachel Williams has joined the Chapman Cultural Center in Spartanburg as the marketing and communications director. Williams will create and implement communication, advertising, and marketing strategies across diverse platforms to support the mission of the Chapman Cultural Center and the growth of the Spartanburg Cultural District. Williams' previous experience includes working in marketing for Hartness International, Coldwell Banker Caine, and most recently as the marketing and communications coordinator for Paxton Access. “We’re thrilled to welcome Rachel Williams to the Chapman Cultural Center," said Jennifer Evins, president and CEO. "Rachel's role will be integral in implementing a marketing and communication plan that will help support the Chapman Cultural Center’s strategic goals. It’s our role at Chapman Cultural Center to make sure Spartanburg’s cultural story is told locally, regionally, and nationally.” Via: Chapman Cultural Center    

Chapman Cultural Center in Spartanburg seeks marketing & communications manager

Chapman Cultural CenterReporting directly to the president/CEO, the marketing and communications manager will manage all aspects of marketing, communications and promotions for Chapman Cultural Center. Candidate must be versed in traditional and digital marketing strategy, media planning, event planning, budget management, and graphic design principles. He/she will be responsible for creating marketing strategies that will continue to build CCC’s brand leading to increased awareness, participation, loyalty and attracting new donors and customers. Description of work / primary job factors

  • Develop and execute a comprehensive annual marketing and communications plan that maximizes on our 50 years of providing cultural leadership and inspires increased participation in arts and culture in a culturally vibrant community
  • Utilize competitive research and analysis for insights into campaign development and regional and national market trends to develop innovative marketing strategies
  • Create and curate content for brand positioning in visitor packets, presentations and advertising
  • Enhance public awareness of CCC through increased media coverage at the local, regional, state and national level.
  • Plan and execute earned media and promotions to support CCC; develop relationships with key media and manage media contact lists
  • Create and deliver content for press releases, media relations, case studies, executive bios, corporate newsletters, social media, etc
  • Leverage CCC awards and impact to encourage increased investment
  • Collaborate with CCC team and cultural partners to insure relevant and fresh content for website and social media channels.
  • Establish, drive and assess the impact of existing communications vehicles and look at consolidating, strengthening or establishing new channels including:
    • Direct mail
    • Targeted digital narketing/social media
    • Print and TV
    • E-blasts
    • Content marketing (blogs, PR)
    • CCC website
  • Seek in-kind support in marketing and promotional efforts
  • Manage vendor relationships, contracts/scope of work to meet project deadlines, budget and expectations
  • Ongoing recruitment and management of marketing interns and volunteers
Compensation: $45-60k; commensurate with experience. The complete job description, list of qualifications and application instructions are available online.  

South Arts seeking director of communications and development

South ArtsSouth Arts, one of the nation’s six Regional Arts Organizations and based in Atlanta, seeks a director of communications and development. South Arts is a fast-paced, multidisciplinary organization working regionally and nationally. This position reports directly to the executive director and creates and implements communications that effectively engage people with South Arts’ programs and services, as well as with the organization as a whole. Facility with online, written and visual messaging, and experience developing strategic communications plans, are required. This position also works with the board and executive director to plan and implement South Arts’ development efforts. This is an opportunity to be a key member of a diverse and creative team that is building a better South through the arts. Duties and responsibilities Communications (approximately 80 percent of this position’s time): Develop and implement an annual communications plan and budget for South Arts to span across all communications media (online and offline) and reach appropriate target audiences; evaluate the success of various strategies and provide and implement recommendations for improvement; design and implement South Arts’ communications activities including copywriting, graphic design, collateral materials, website content, public relations, and media relations; coordinate communications efforts with member state arts agencies and other strategic partners; develop, manage and maintain organizational communication vehicles, including but not limited to email newsletters, social media, brochures, one-pagers, websites and annual report; work collaboratively with appropriate internal staff to create and manage communications activities specific to program areas; Development (approximately 20 percent of this position’s time): Work with executive director to develop and implement a plan to guide resource development over the short and long term to support the strategic plan; conduct research of prospects, assist in matching prospects with prioritized needs, and make recommendations on which prospects to approach for contributions or sponsorships; prepare proposals and accompanying informational materials and conduct follow-up; provide stewardship in recognition of donor philanthropy; implement and maintain a management system for donor cultivation and solicitation; and other duties as assigned by executive director. Review the complete list of qualifications and find out how to apply. Application deadline: open until filled. About South Arts South Arts is a non-profit regional arts organization founded in 1975 to build on the South’s unique heritage and enhance the public value of the arts. South Arts’ work responds to the arts environment and cultural trends with regional perspective. South Arts’ offers an annual portfolio of activities designed to address the role of the arts in impacting the issues important to our region, and to link the South with the nation and the world through the arts. The organization works in partnership with the state arts agencies of Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, and Tennessee. It is funded by the National Endowment for the Arts, member states, foundations, businesses and individuals. Via: South Arts

McKissick Museum seeks communications manager

Applications due March 15 McKissick Museum at the University of South Carolina is seeking a communications manager to be responsible for planning, implementing and evaluating the Museum's public relations and marketing efforts, internal and external communications, museum publications, and initiatives to increase public understanding of and support for the Museum's mission and goals. Primary to this is the development and implementation of a consistent and effective institutional message and image. This position requires a skilled communicator able to work creatively in print and digital media, with the media, as well as with a variety of stakeholder groups. In addition, the position is responsible for proactively developing opportunities for telling the McKissick story via multiple and, preferably, top-tier media channels.

This position also manages all on-the-ground visitor logistics. The communications manager is responsible for strategic thinking and planning to 1) increase annual visitation from the campus and greater Midlands communities, 2) heighten awareness of the Museum locally, regionally and nationally, 3) establish and increase repeat visitation, and 4) provide exceptional visitor service.

The communications manager works in collaboration with administrators, staff, students, and volunteers and reports to the Museum's executive director.

Visit McKissick Museum's employment page to find a link to more information and how to apply.

Engaging Creative Minds seeks director of development and communications

Reporting to and in partnership with the executive director, the director of development and communications will spearhead these efforts as Engaging Creative Minds continues to grow. A new position in the organization, the director of development and communications will have the opportunity to build on our current efforts in public relations, brand awareness and fund acquisition and management. Responsibilities:

  • Develop and execute ECM’s strategy for annual fundraising plan
  • Secure financial support from individuals, foundations and corporations to reach/surpass fundraising goals set by ECM’s board of directors
  • Manage the implementation of fundraising software and oversee staff responsible for data entry and gift processing
  • Develop and maintain ongoing relationships with major donors and school districts
  • Create and execute a strategy for a large sustained base of annual individual donors
  • Develop and manage special events
  • Create and secure sponsorship packages
  • Develop and track proposals, donations and reports for all foundation and corporate gifts
  • Assist in preparation and management of annual organizational budget
Qualifications:
  • BA (required), MA (a plus)
  • Five-plus years experience in nonprofit development
Skills needed:
  • Expert knowledge of fundraising techniques
  • Knowledge of Raiser's Edge or similar fundraising software
  • Demonstrated excellence in organizational, managerial, and communication skills
  • Demonstrated ability to analyze information/situations and solve problems
  • Ability to handle sensitive information discreetly and maintain confidentiality
  • Excellent project management skills to organize and manage multiple projects/tasks simultaneously; must be able to work independently and collaboratively, and adapt to changing priorities
  • Knowledge and interest in arts education
  • Experience in and ability to assist director of operations with recruiting and management of volunteer staff
Email letter of interest with salary requirements and resume to Robin@engagingcreativeminds.org. Job will be posted until filled.

Coastal Community Foundation seeks Communications Intern

The Coastal Community Foundation of South Carolina, based in Charleston, is hiring a Communications Intern. This part-time, hourly position reports to the Communications Associate and is responsible for assisting with the print and electronic communications and public relation efforts of Coastal Community Foundation. The Communications Intern may assist with researching best practices, tracking the impact of communications efforts and project management of special initiatives and events. Priority will be given to drafting copy for press releases and advertisements, researching and writing stories for publications, creating content for social media accounts and other projects as assigned. In the fall semester, the Communications Intern will be expected to work between 10-15 hours per week, while in the spring semester the time commitment will be 15-20 hours per week. The Communications Intern earns an hourly wage of $10/hour. Communications Responsibilities

  • Contributes content to Foundation social media outlets including but not limited to the Foundation blog, Twitter, Instagram, LinkedIn and Facebook accounts.
  • Gather and help maintain biographical files for Fund Establishers.
  • Archives earned media mentions, Foundation publications and photographs.
  • Assist in formatting basic layout and production of newsletters, forms, flyers, and other Foundation-related collateral as needed.
  • Assist with special events and community projects as needed.
General Responsibilities
  • Assist donors, Board members, grantees, Professional Advisors, and the general public in a courteous, helpful, and respectful manner.
  • Support the Coastal Community Foundation’s practice of encouraging diversity, equity, and inclusiveness.
  • Pursue and apply professional and academic knowledge as necessary for the position.
Knowledge, skills, experience, and education needed
  • Must be pursuing a college degree.
  • Must be proficient in Microsoft Office Suite.
  • Excellent verbal, interpersonal, writing, organizational, and communication skills a must with the ability to multi-task.
  • Must be able to work in a fast-paced production environment with proven success handling overlapping deadlines.
  • Proficiency in social media tools: Facebook, Twitter, YouTube, LinkedIn, blogs, etc.
  • Video editing capability or Adobe Creative Suite knowledge a plus.
Submit a resume and cover letter by Friday, August 28 at 5 p.m. to Monica@CoastalCommunityFoundation.org. Must be available for in-person interview during the week of August 31. Via: Coastal Community Foundation

How improv can open up the mind to learning in the classroom and beyond

From Mind/Shift:

By Linda Flanagan; illustration by Bauke Schildt Long before Amy Poehler became famous for her comic roles as Hillary Clinton on “Saturday Night Live,” and as indefatigable bureaucrat Leslie Knope on “Parks and Recreation,” she was a college freshman looking for something to do outside class. During her first week on campus, she auditioned for the school’s improvisational theater group, “My Mother’s Fleabag,” and discovered a passion. “Everyone was getting to act and be funny and write and direct and edit all at the same time,” she writes in her memoir, Yes, Please. “My college life sort of exploded in happiness,” she adds. What Poehler found liberating as a performer — the free-wheeling, creative and judgment-free nature of improv — is what makes it an appealing way to learn. Improvisation is well-known as comedy and entertainment, but during the past decade it has grown as a method of teaching and learning as well, says Robert Kulhan, adjunct professor of business administration at Duke’s Fuqua School of Business, and CEO of Business Improvisations. Today, improv is offered in the theater departments of many colleges and some high schools, according to Kulhan. As well, improv troupes around the country offer short workshops to school kids on specific subjects, and teach the basics of the art form in afterschool programs and summer camps. ImprovBoston, a 30-year old nonprofit comedy theater, sends staff into local schools to perform assemblies and share the fundamentals of improv to teachers and students. The first rule of improvisation is “yes, and,” meaning that anyone’s contribution to the group discussion is accepted without judgment. “We always talk about the four ‘c’s of improv: creativity, critical thinking, collaboration and communication,” says Deana Criess, director of ImprovBoston’s National Touring Company, about how she teaches the form to seventh-graders. To persuade students to abandon their fear of mistakes, she insists on unconditional support to all answers, then works to build trust among the group and invite risk-taking. “Once we have confidence in our ideas and in our teammates, we can free ourselves up to have fun,” she says. “So support, trust, risk, confidence and fun. That’s what improv is all about,” Criess says. Improv enthusiasts rave about its educational value. Not only does it hone communication and public speaking skills, it also stimulates fast thinking and engagement with ideas. On a deeper level, improv chips away at mental barriers that block creative thinking — that internal editor who crosses out every word before it appears on a page — and rewards spontaneous, intuitive responses, Criess says. Because improv depends on the group providing categorical support for every answer, participants also grow in confidence and feel more connected to others. “It’s one of the few opportunities they have to truly create something, and have a voice that isn’t prescribed for them,” Criess says about students engaged in an improv exercise. And the form’s imperative to be fully “in the zone,” as Kulhan puts it, is a rebellion against the interruptions and distractions of our modern, high-tech lives. Improv is especially beneficial for atypical kids, no matter their stripe. It helps children with learning and physical disabilities develop a sense of play, and enables the socially awkward intellectual to socialize more easily, Kulhan explains. Run-of-the-mill introverts, who might be reluctant to raise their hands or audition for the play, also gain from the experience, Criess says. When they know they’ll be supported no matter their answer, introspective kids thrive. “Introverts give improv its richness,” she says, adding that many improv instructors identify themselves as introverts. [caption id="" align="alignnone" width="300"]Big Ideas Fest Facilitators at ISKME’s Big Ideas Fest 2014 conveyed the improv mindset for solving problems and learning new ideas.[/caption] And improv is liberating for those in fields like science, where emotional detachment is critical for success. The Alan Alda Center for Communicating Science at Stony Brook University offers a graduate course on improv to help emerging scientists convey their ideas without resorting to textbook speak or one-sided lectures. “Improv helps the scientist re-engage with their own passions in their work, get out of their head and connected to the needs of the listener, be able to respond more freely, spontaneously and flexibly,” says Valeri Lantz-Gefroh, the improvisation coordinator at Stony Brook. A Student’s Perspective Lilly Hartman, now a junior at Brookline High School in Brookline, Massachusetts, took her first improv class in eighth grade, and remembers thinking it seemed cool but kind of nerve-wracking. Her first few times on stage she felt anxious about what her peers would think of her, worrying that she might do something foolish or embarrassing. But the more times Hartman did it, the less self-conscious she became, and the quicker she began to trust her own ideas and to think on her feet. “It’s about deciding to go with the flow and acting on what’s around you, and making decisions based on that,” she says. “And then feeling good about those decisions,” she adds. Unlike the classroom, where the learning environment is often tense and competitive, an improv setting builds enthusiasm among the participants, Hartman explained. “When you’re performing, it’s not competitive,” she says, and the trust that the performers build with one another is rewarding in itself. Acknowledging that math and English classes teach important skills, Hartman says that her improv work has been more personally transformative. “Improv helps you change on the inside,” she says. Without it, “I would be a more scared and quiet person,” she says. In fact, she adds, “I wouldn’t be the same person.” Improvisation Exercises Improv works cumulatively, so that a group ordinarily starts with a simple task and moves on to more challenging assignments once they’ve loosened up and begun to trust one another. Kulhan offers these two simple introductory examples: One-Word Story: In this exercise, a group of individuals tells a cohesive story one word at a time. It starts when one person says a single word, and unfolds when someone else in the group offers up another word. Groups can do this in circles, so the participants know when it’s their turn to talk, or at the will of the teacher, adding a randomness to the exercise. The improvising continues until the group has created a story. “It takes a lot of focus, concentration, adaptability, flexibility, attentive listening, etc., just to create a single sentence … let alone a whole story,” Kulhan says. Conducted Story: This is more advanced than the one-word story. Here, participants form a line with the teacher up front, who behaves like the conductor of a line orchestra. When the conductor points to a student, that person talks for as long as the conductor remains pointing — perhaps just a couple of words, or maybe a few sentences. But as soon as the conductor turns to another student, the first talker must stop immediately and allow the second speaker to take over the narrative. The conductor moves haphazardly, forward and back through the line, lending even more unexpected twists to the story. Variations of improv are also useful in helping revitalize a sleepy or distracted class or to introduce more proactive kinds of learning: Shakeout Exercise: Together, the teacher and class stand at their desks and count backward from eight to one — then seven to one, and six to one, etc. — saying the number out loud as if it’s the most important word they’ve ever heard. While counting, they also shake their right hands in keeping with the number. Then they do the same series of countdowns while moving their left hand, then their right leg, and finally their left leg. “It’s superpowerful,” says Criess, “and doing it together can teach kids and adults it’s OK to look foolish in front of each other.” Living Wax Museum/Historical Talk Show: Students pick an important historical figure to research, and later “become” that person, improvising answers to questions posed by fellow classmates, visiting parents or the talk-show “host”. An Aid for Teachers and Schools Inviting kids of all types to engage together in improv exercises reinforces the values that most schools seek, Criess says. With its emphasis on support and acceptance of all ideas, improv’s “yes, and” code penetrates social tribes and teaches kids to see the positive in their peers, creating a healthier climate at school. “It helps kids be positive community members,” she says. Big Ideas Fest Training in improv may help teachers be more effective as well. Criess began learning improv while working in a preschool for children on the autism spectrum, and found herself applying the lessons from theater to the class. “What I was doing there with adults is exactly what these kids needed,” she says. Improv class helped her work with the kids on their level rather than according to a preconceived idea about what they needed to know. It also reminds teachers that listening and responding to students, and adapting to their needs, is more educational than obeying a rigid teaching plan, Kulhan explains. “It’s communication based on observation, collaboration, and not teaching with blinders on,” he says. Teachers might also find that kids are energized and more attentive after engaging in simple improv exercises that induce everyone to look ridiculous together. But does “yes, and” diminish one’s ability to think critically? Are there limits to all the right answers? “Improv says yes to the idea of ideas,” Criess says. Not every original thought will turn into the next invention, but offshoots of that first idea may lead to better ones, she explains. “Let’s agree to have ideas,” she says. “And set up a culture where risks are encouraged, and greeted positively and with respect.”

How you can save arts journalism, starting right now.

Arts administrator and marketing consultant Howard Sherman explains why arts journalism is a numbers game and what you can do to encourage more media coverage of the arts.

I am going to take it for granted that, since you’ve opted to read this article, you care about the arts. I’m also going to save time and typing by assuming that you appreciate media coverage of the arts and that you realize that without the attention of the media, it will be ever harder for the arts to share their news, their work and their value locally, nationally and internationally. Since we are agreed, I will proceed directly to my point. If you want to see intelligent, comprehensive coverage of the arts – features and reviews alike – then you’ve got to start clicking. Journalism is well on its way to being a numbers game for most outlets. How many people clicked on a story or video, how many times was it liked or shared, how much time was spent looking at it? We are already seeing journalism sites paying writers base salaries with bumps or bonuses based on online metrics; outlets say they are dropping certain types of coverage because it’s simply not generating enough traffic. It’s not enough to be happy that arts coverage exists, you have to actually engage with it to insure its survival and the job survival of those who create it. Clicks mean eyes and eyes mean advertisers. As print becomes an ever-harder sell, online advertising grows ever more important to outlets. Even back in the days pre-internet, I encountered cuts in arts coverage because the arts didn’t generate enough advertising revenue (whereas advertisers loved sports sections and we get regular features about new cars because auto dealers buy big ads). Even now, arts spending online is a small sliver of online advertising, so our best means of supporting arts coverage is by actually reading it. Let’s face it: anyone with a WordPress blog knows how many people read each piece they post (yes, I’m watching you). But that’s amateur hour compared to the realtime and cumulative algorithms and analytics applied at big media outlets. There are teams of people looking at clicks, links and likes for every story, and media empires are being built on click-bait methodology (why, hello BuzzFeed). It’s running the show in many places and it can’t be ignored. So here’s what I propose. Every morning, when you get online, go to the arts section of your local media outlets, seek out their arts and entertainment stories, and click of them. Don’t click on each in rapid succession, but spend 30 to 45 seconds on each one (remember your multiple browser windows). You have to wait a bit because one analytic is stickiness or hang-time or whatever it’s called now, namely whether people are really engaging with coverage. A click on and immediate click off looks like you got there by mistake. And needless to say, it certainly won’t hurt in the least if you actually read a story or watch a video while you’re at it. Read the complete article on Sherman's blog.
Via: Howard Sherman