Análisis comparado del sistema MTCC y DENP para especies arbóreas.

The first data sources I included within my sample were documentary artefacts, specifically:

• 7 monographs written by serious beauty and lifestyle YouTubers;

• 10 issues of Blogosphere, a quarterly magazine “written by bloggers for bloggers” that covers

YouTube- and social media-related matters (About Blogosphere, 2017); and

• 31 episodes of Beauty and the Vlog, a weekly podcast “dedicated to sharing the journeys of

today’s most popular beauty, fashion and lifestyle vloggers and uncovering their secrets, […] revealing the keys to success on YouTube as well as providing an insider look into the lives of professional YouTubers” (About Beauty and the Vlog, n.d.).

Documentary research can draw upon extant or elicited traces, artefacts, records, or documents as a data source and as a type of (sometimes) “mute evidence” (Hodder, 1994, p. 110). Sampling such content means that a researcher may come to better understand the substantive area in which he or she is interested, acquire backdrop descriptive material, think abductively, or obtain additional excerpts for constant comparison (Glaser & Strauss, 1967). The textual and audio content included in this sample was drawn from existing, “extant” artefacts (e.g., Hodder, 1994), which also qualify as “commercial media accounts” (Berg & Lune, 2012, pp. 283-284). The data sources listed above served as an accessible foundation for this study, and helped me to meet my primary goal for this stage of research, which was to increase familiarity and sensitivity with regard to, particularly, serious beauty and lifestyle YouTubers’ serious leisure careers and their social world.

The seven monographs sampled were selected from a comprehensive list of all non-fiction books written by YouTubers, compiled in 2017. This list was narrowed to those written by: 1) women, 2) women associated with the beauty and lifestyle YouTube category (deferring to

amazon.com/.co.uk descriptions as necessaary), and 3) published or scheduled for publication prior to or during 2017. Table 3 below lists the seven monographs that ultimately fit this inclusion criteria and were sampled; detailed publisher-provided descriptions for each are included in Appendix D.

Table 3. Monographs Sampled (alphabetical by author last name) YouTuber-

Author Title

Publication Date (Place) of Edition Sampled

Tanya Burr Love, Tanya January 2015 (UK)

Fleur de Force The Glam Guide February 2015 (UK)

Eva Gutowski My Life as Eva: _{The Struggle is Real} February 2017 (USA)

Estée Lalonde Bloom: Navigating Life and Style October 2016 (USA)

Bethany Mota Make Your Mind Up: My Guide to Finding Your Own Style, _{Life, and Motavation!} June 2017 (USA)

Louise Pentland Life with a Sprinkle of Glitter July 2015 (UK)

Each sampled monograph intersperses elements of biography with those of guidebook, anchoring advice with anecdotes, and details individual journeys of childhood passions and creativity turning into jobs, chronicling the sorts of turning points typical of serious leisure careers—

equipment investments, video monetization, press invites, brand deals, spin-off projects, recognition in public, and more—that are described in Chapter 5. These monographs are not rehashings of YouTube channels; rather, they contribute supplemental facets to the transmedia personas of their YouTuber-authors. Louise Pentland (2015) tells readers, for example, “After sharing my experiences on my blog and YouTube channels, I wanted to take the next step and write a book” (p. 8, emphasis added), while Tanya Burr (2015) explains that she is using her book to “talk about […] all the

everyday stuff that goes on behind my videos” (p. 8, emphasis added). Typically, these monographs address audiences imagined to be the same age as or younger than the serious beauty and lifestyle YouTuber writing them, and, though all differ in degree of intimacy, adopt a friend or sister tone. For example, Forewords and Acknowledgments are signed off in the manner of greeting cards, and many include space for readers to respond to journal prompts or pose questions to them, as when Estée Lalonde (2016) closes her book by asking: “You’ve read my story, I throw out the challenge to you to think about yours. What has made you who you are today and where will life take you next?” (p. 248)

Blogosphere magazine was previously known to me for featuring serious beauty and lifestyle YouTubers on its covers. The ten magazine issues I initially sampled are the first ten issues released, thus backdated to 2013. Online searches for YouTube- and social media-related magazines

conducted into 2017 indicated that there were no other potentially valuable data sources of this kind in existence (which later conversations with an interviewee, Lucy, Blogosphere reader and contributor, confirmed). Blogosphere was launched in October 2013 by formerwriter and editor for The Daily Telegraph,Alice Audley, who found searching for relevant blogs to be “a chaotic experience” in the rapidly expanding Web 2.0 landscape (About Blogosphere, 2017). She explains in the first Editor’s Note:

“I didn’t want to spend hours trawling through old, badly written, boring blogs in the hopes of stumbling across a good one. I needed direction—a trusted source to tell me, show me, advise me—where to go” (BS1, 2013, p. 3).15

Blogosphere is based in the United Kingdom, but strives for a global scope. Its contributors are bloggers themselves. Issues range in length from under 100 pages (early on) to nearly 200 pages (recently), and typically include interviews with prominent online content creators and other actors, such as managers and convention planners; features that revolve around curated sets of food, recipe, fashion, beauty, lifestyle, and travel blogs; how-to columns that address matters like monetization and copyright or the ins-and-outs of different tools and platforms; and advice and Q&A columns. Specific details for each issue included in this sample are listed in Appendix E.

I learned about the Beauty and the Vlog podcast through a popular (non-beauty and lifestyle) YouTuber’s online mention, and conducted searches for related podcasts during 2017 that indicated that there were no other potentially valuable data sources of this kind in existence.16 _{The majority of} Beauty and the Vlog episodes involve an interview with a beauty, fashion, fitness, and/or lifestyle YouTuber who has a subscriber base of more than 100,000, focusing on her journey and strategies. A minority of episodes feature interviews with other types of YouTubers or online content creators, infopreneurs, or are otherwise themed. The podcast was launched in 2014 by Erika Vieira, former

15 _{Hereafter, BS will be used to abbreviate Blogosphere issues in all in-text citations, followed by the issue number. Issues}

will not be individually listed in the References, but are listed in Appendix E.

16_{The Influencer Podcast has been in existence since 2017, run by Julie Solomon, “exploring the secrets behind the ever-}

changing trends of influencer marketing and the careers of today’s top social influencers” (The Influencer Podcast, 2018), yet adopts a general purview and is neither YouTube- nor beauty and lifestyle-focused. The same is true of others like Digital Diamonds, The Erin May Henry Show: Personal Branding for Influencers and Entrepreneurs, and The Social Boss Podcast. One interviewee, Hannah, has run the Hannah Ashton Podcast since 2017 as part of her online business (discussed in Chapter 5), yet intends it to “inspire #bossbabes” (Hannah Ashton Podcast, 2018), not to be YouTube- or beauty and

celebrity interviewer and “closet” YouTube fan (BATV1, 2014).17 _{She says its aim is for listeners to}

learn, have fun, and to be inspired, and all episodes are closed off with a pronounced kiss from her. The 31 podcast episodes that I sampled initially were selected from a comprehensive list of all Beauty and the Vlog episodes available as of March 2017, compiled based on its iTunes listing page (Beauty and the Vlog, 2018). Because of its extensive backlog, inclusion criteria that required

individual episodes to mention information creating activities and/or leisure careers in the summary descriptions provided by iTunes were established. This list was then narrowed to those that seemed most relevant and least repetitive. Information for each episode sampled is listed in Appendix F.