How to Do Public Humanities

Jeffrey R. Wilson

doi:10.1017/pub.2026.10155

How to Do Public Humanities

Part of: The How-To Issue

Published online by Cambridge University Press: 08 July 2026

Jeffrey R. Wilson

Article contents

Abstract
References

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Abstract

Public humanities often require an expert in one area to learn another field or skill on-the-fly or to collaborate effectively across boundaries of specialization. Fear of the unknown combines with taken-for-granted assumptions about standard forms of humanities work to prevent our pursuit of promising public humanities projects and careers. Even veteran scholars with expertise important to public life shrink when going outside the comfort zone of academia to engage with audiences via new formats and professional pathways. A recognition of this need to upskill has emerged from a recent surge of research on public humanities in practice. This comic introduces The How-To Issue of Public Humanities, which provides instruction manuals for doing public humanities, meeting people where they are via media, formats, and professions that require conceptual understanding of what these new platforms offer and technical training in the nuts-and-bolts of these spaces. The piece identifies four pillars of public humanities (upskilling, teaming, universal design, and authority sharing), maps the phases of a public humanities project (dream, plan, create, improve), provides a toolkit of key concepts and strategies for the field, includes a directory of examples and instruction manuals, and provides guidance for sustainability and evaluation in public humanities.

Information

Type: An Editorial
Information: Public Humanities , Volume 2 , 2026 , e97

DOI: https://doi.org/10.1017/pub.2026.10155 [Opens in a new window]
Creative Commons: This is an Open Access article, distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives licence (http://creativecommons.org/licenses/by-nc-nd/4.0), which permits non-commercial re-use, distribution, and reproduction in any medium, provided that no alterations are made and the original article is properly cited. The written permission of Cambridge University Press or the rights holder(s) must be obtained prior to any commercial use and/or adaptation of the article.
Copyright: © The Author(s), 2026. Published by Cambridge University Press

Figure 1.

Image: A bookish female history professor doing a podcast in her office.
Public humanities often require an expert in one area to learn another field or skill on-the-fly—
Image: A nerdy African philosopher collaborating with a slick government official.
—or to collaborate effectively across boundaries of specialization.
Image: A bearded Latinx literature professor nervous about going into a cable news recording studio.
Fear of the unknown combines with taken-for-granted assumptions about standard forms of humanities work—
Image: An environmental studies professor feeling excluded outside a climate change conference.
—to prevent our pursuit of promising public humanities projects and careers.
Even veteran scholars with expertise important to public life shrink when going outside the comfort zone of academia—
Image: Two older female political science professors looking nervous in an empty lecture hall.
—to engage with audiences via new formats and professional pathways.
A recognition of this need to upskill has emerged from a recent surge of research on public humanities in practice.
Images: MLA Profession’s Public Humanities issue, book cover for Doing Public Humanities, book cover for The Routledge Companion to Public Humanities Scholarship, page 1 of “The Theories and Methodologies of Public Humanities,” Public Humanities’ The Manifesto Issue cover, and Public Humanities in Action cover.

Figure 2.

Introducing Public Humanities: The How-To Issue
Instruction manuals for doing public humanities.
Meeting people where they are via media, formats, and professions that require conceptual understanding of what these new platforms offer and technical training in the nuts-and-bolts of these spaces.
The How-To Issue of Public Humanities features authors who have had success in various forms of public humanities offering guidance to the next generation who are interested in those pathways but aren’t sure where to start or how to do it.
• museums
• activism
• empirical research
• policy work
• public writing
• community engagement
• social media
• administration
• podcasts
• fundraising
• publishing
• elected office
The issue provides concrete examples of successes, failures, lessons learned the hard way, and time-tested strategies for turning ideas for public humanities into realities.

Figure 3.

Image: In an apartment, six people chat during a book club meeting.
In its most basic form, public humanities is easy and doesn’t require any technical know-how: just have an informed conversation with someone about human creativity and culture—that’s public humanities.
Image: Two friends walking quickly on a hiking trail and have a happy conversation.
Those conversations happen organically and intuitively all the time.
Image: Widescreen aerial view of a city where the buildings are made of giant bookshelves, speakers, televisions, and computer screens.
The challenge comes when we need to curate those moments intentionally, allowing people to find the ideas and debates that they are most interested in—
—as opposed to those that just happen to arise in the routine of their daily lives.
The biggest shift that happens when academics move from humanities scholarship to public humanities is the shift from creating knowledge for subject matter experts to creating products and services for a fickle and demanding audience.
But public humanities implicate the skills of business administration, shifting from the old model of a public intellectual deigning to give knowledge to the masses to new forms of civic engagement that need grit, planning, and collaboration with technical expertise separate from the subject matter.

Figure 4.

Sustainability in Public Humanities
Image: A nerdy Anthropology professor laughing with children.
Public humanities is often the work scholars feel called to: what we’ll suffer through other professional responsibilities to do.
Image: A Classics professor grumpy that he has to do grading.
There’s a mismatch between public work not valued by academic employers and professional work that must be done to keep our jobs.
Thus public humanities encounter sustainability challenges.
How can this vital work that is done in addition to standard job responsibilities maintain momentum as the world wears us down?
Sustainability simply means that hours of work will be required to turn an idea into a reality, and people need a compelling reason to do it.
There are three routes to sustainability in public humanities.
Passion: Public humanities projects often grow from the ambition of a single person or small group. Sometimes their energy is enough: they put in the hours. But passion is a problem when people have limited capacity, especially if they need to spend time in other places that provide financial compensation.
Money: Financial compensation for labor done on behalf of public humanities projects is the ideal. Getting paid provides people with a motive to do the work, even if they don’t believe in the vision, though they usually do. But money is a sustainability problem when there’s not much to go around: securing funding for public humanities projects is difficult.
Inspiration: People will labor for public humanities—even without financial compensation—when they believe in the social value of the project. This free labor is the basis of volunteer work and philanthropy, but public humanities must be mindful that hope labor shifts the register from altruism to exploitation.
The most sustainable public humanities have all three.
At least one factor must be present for a project to survive long-term.

Figure 5.

The Pillars of Public Humanities
Four skill sets are so crucial that they uphold nearly every public humanities project.
Image: A younger scholar showing an older scholar how to do something on a computer.
Upskilling: Public humanities projects often involve learning new skills on the fly. Practitioners need both an eagerness to learn new skills and mechanisms for acquiring new knowledge.
Image: A meeting in a warehouse with a hodgepodge of businesspeople and scholars.
Teaming: Unlike the isolation of scholarly research, public humanities is intensely collaborative. “teaming” is being able to do good teamwork with specialists who aren’t on a stable team—who enter and exit a project as needed.
Image: A group of people at a museum exhibit: one is using headphones, one is using a wheelchair, and one is using a paper handout.
Universal Design When you take the time to ensure that people with disabilities can fully access your project, you create higher quality public humanities for everyone.
Image: A board meeting at a round table filled with female executives being led by two Indian scholars.
Authority Sharing: Because public humanities projects often involve many stakeholders—both in content (what the project is about) and form (how the project is created)—they need to adopt an approach to joint decision-making.

Figure 6.

Public Humanities on the Ground
Public Intellect
Public Writing
• Donna Zuckerberg, “As Eidolon Lay Dying”
• Jeffrey R. Wilson, “How to Do Public Writing”
Public Events
• • Sarah Churchwell, “Ten Years of Being Human”
• Joshua Calhoun and Sarah Marty, “How to Design Public Events”
Podcasts
• • Lisa Yun and Shruti Jain, “Community-Engaged Podcasting with Hidden Heroes in a Small Town”
• Anita Chikkatur, David T. Lawrence, and Crystal Moten, “How to Podcast”
Interviews
• • Stuart Green, “The Perils and Pleasures of Talking to Reporters”
• Alice Marwick, “How to Talk to Journalists: Best Practices for Academics”
Social Media
• • Emma Pettit, “How Kevin Kruse Became History’s Attack Dog”
• Mark Carrigan, “How to Use Social Media for Public Engagement”
Websites
• • Cathy N. Davidson, “How to Lead an Academic Social Network”
• Jennifer van Alstyne, “How To Make A Personal Academic Website”
Politics
Activism
• • Manuela Picq, “Scholar Activism: When Our Bodies Stand by Our Ideas”
• Caroline Levine, “Three Weeks to Political Action: A Workbook” in The Activist Humanist
Policy
• • Horacio Sierra, “An Interview with National Leaders in the Arts and Humanities”
• Louie Fooks, “Humanities and Policy Engagement: An Introduction for Researchers”
Consulting
• • John A. Lawrence, “A Historian on the Hill”
• David Lowe and Carolyn Holbrook, “How to Write Policy Briefs”
Elected Office
• • Stephanie Saul, “The Education of Elizabeth Warren”
• Lynn Mills Eckert, “How to Run for Office”
Education
Classroom Pedagogy
• • Jocelyn S. Martin, “Stories, Art, and an Orphanage: Writing against Duterte’s Extrajudicial Killings in the Philippines”
• Dicky Yangzom, “Teaching an Introduction to Public Humanities: A Pedagogical Reflection”
Curriculum Development
• • Jonathan Bate, “Teaching the Humanities for the Future Public”
• Michelle May-Curry and Younger Oliver, “Approaches to Training in the Public Humanities”
Internships
• • Juhie Bhatia, “Meet Three Gen-Z Interns Doing What They Love—and Getting Paid for It”
• Lillian Wilson, “How to Do Humanities Internships”
Program Management
• • Christopher Daley and Matthew Smith, “Building Engaged Humanities Infrastructure: An Experiment in Intra-Institution Collaboration”
• CE Mackenzie, “How to Run a Humanities Center”
Online Learning
• • Gillian Osborne, “A Schoolroom Poetry for the 21st Century”
• Elizabeth Harris, “10 Steps To Creating A Wildly Successful Online Course”
Continuing Education
• • Jim Cocola, “A Crash Course in Directing the Clemente Course in the Humanities”
• Susan M. Yelich Biniecki and Steven W. Schmidt, “Organization and Administration of Adult and Continuing Education Programs”
Organization
Program Development
• • Poul Holm and Steven Hartman, “What Can the Public Humanities Learn about Impact from the Environmental Humanities?”
• Gaini Seitenova, “Why Should People Form Professional Groups and Associations?”
Program Administration
• • Matthew Frye Jacobson, “The ‘Doing’ of Doing Public Humanities”
• Elizabeth L. Angeli and Rachel McNealis, “How to Prepare Faculty and Graduate Students for Public Humanities Leadership”
Community Partnerships
• • Jordan Landes, Katie L. Price, and Vivian Truong, “Beyond Interdisciplinarity: How Rosine 2.0 Created Social Structures of Community Care”
• Helen H. Cho, Ruth Curry, and Ashley Cheyemi McNeil, “How to Sustain Public Humanities Partnerships”
Museum Exhibits
• • Jude Piesse, “Mapping Susannah Darwin: Practice and Process”
• Laura Holzman, “How to Create Exhibits”
Entrepreneurship
• • Whitelaw Reid, “Entrepreneur Was an English Major Who Worked at the White House”
• Cait Brumme and Brian Trelstad, “Should Your Start-up Be For-Profit or Nonprofit?”
Fundraising
• • Briann Greenfield, “Making the Humanities Public: The Example of Connecticut’s Humanities Council”
• Raphael Brewster Folsom, How to Get Grant Money in the Humanities and Social Sciences
Infrastructure
• • Peter Meineck, “The Politics of Public Humanities in America”
• Ashley Beard-Fosnow, et al., “State Humanities Councils and the Public Humanities: A Forum”
Research
Co-Created Research
• • Thomas Cauvin, “Public Participation as Decentralization of the History-Making Process: The HistorEsch Project in Luxembourg”
• Jasper Knight, “Methodologies for Research Co-creation in the Social Sciences: Insights and Recommendations From Community-Based Research in Africa”
Theoretical Research
• • Judith Butler, “Ordinary, Incredulous”
• Daniel Fisher-Livne and Michelle May-Curry, “Public Humanities Scholarship in Practice and Theory”
Quantitative Empirical Research
• • Humanities Indicators of the American Academy of Arts and Sciences, The Humanities in American Life
• Claire Lemercier and Claire Zalc, Quantitative Methods in the Humanities: An Introduction
Qualitative Empirical Research
• • Erica Kohl-Arenas, “Supporting Public Humanities at the Critical Intersections: An Imagining America Manifesto”
• John W. Creswell and Cheryl N. Poth, Qualitative Inquiry and Research Design

Figure 7.

The Phases of Public Humanities
Phase 1: Dream
Brainstorming: Observe social needs for knowledge and imagine possible projects to address them.
Community Building: Based on needed expertise, assemble the core team and its cheerleaders. Expect the team to change as the project evolves.
Market Analysis: Don’t roll your eyes. It’s not corporate-speak: you need evidence that people want the public humanities you’re proposing.
Sustainability Plan: Articulate what specifically—passion, money, inspiration—will motivate team members to do labor for the project.
Proposal: Synthesize a statement of who would be doing what when, how, and why. Who needs to approve this pitch to go forward?
Phase 2: Plan
Green Light: It’s go time when the project team and its backers agree on the core concept and commit resources – energy, time, talent, and money.
Scope of Work: Detail exactly how much of everyone’s resources the project will take and the timelines the group will target.
Prototype: Create a preliminary version of the product or service you’re planning; test it on people; adjust based on discoveries and feedback.
Strategic Plan: Define what success looks like by stating desired outcomes and the metrics you will use to measure how well you’re doing.
Project Plan: Draft a detailed checklist of exactly who will be doing exactly what by exactly when. Anticipate that plans will change.
Phase 3: Create
Development: The longest and hardest step—involving multiple rounds—in which you develop the actual content that the project will deliver.
Launch: The moment when the project becomes available to audiences. This is what you’ve been working towards, so enjoy it.
Promotion: Promotion feels weird for scholars, but if your project is serving people and ideas that matter, it’s easy to spread the good word.
Celebration: Elevate up from the muck of microtasks: congratulate the team and acknowledge individuals’ contributions.
Evaluation: Remember that strategic plan? Collect data on your project so you can see how you’re doing and where you can get better.
Phase 4: Improve
Study: Everything can be better. Establish a habit of continuously diagnosing imperfections and adjusting policies and processes.
Experiment: Create a system for improvement by empowering the team to try things differently
Fail: Foster a culture that celebrates failure—that’s how you learn and it’s a sign that you’re trying new things.
Analyze: Identify patterns where the same failure happens over and over; map the causation to determine the best point of intervention.
Revise: Scholars get how revision works—sometimes in tiny incremental improvements and sometimes with sweeping structural changes.

Figure 8.

A Public Humanities Toolkit
The Public Sphere: A social space where people freely discuss matters of general interest, often facilitated by newspapers, television, and social media.
Counter-Publics: Segments in the public sphere where marginalized groups circulate alternative opinions in opposition to dominant norms.
Non-Profit Industrial Complex: A web of state and elite interests linked with non-profit organizations to manage dissent and channel activism into depoliticized bureaucracy.
Decolonization: Repatriation of Indigenous land and resources—not in symbolic gestures of solidarity but in tangible transfers of ownership.
Strategic Legibility: Speak in the vernacular. Write in plain language that is easy for non-specialists to understand.
Harm Reduction: A concept drawn from public health: approaching your work as an effort to decrease the negative effects of forces beyond one’s control.
Presentism: Interpretation of the past through the lens of present-day attitudes, concerns, or values, connecting current issues with historical analysis.
Active Learning: Avoid the model where experts talk and the public listens. People acquire knowledge through conversational exchange and by doing things.
Centering Mission: Start every meeting with your mission statement: it centers what we’re doing and why.
Stating Values: Make a list of what you value and why—and refer to this list when setting goals and making decisions.
Storytelling: Stop defending the value of the humanities—it’s nauseating. Show—don’t tell—through narrative not argument.
Affirmative Citation: Use citations to support scholars who face systematic bias, as in Christen A. Smith’s #CiteBlackWomen campaign.
Evidence Synthesis: Drawing together the best available knowledge from relevant fields to inform policy or decision-making.
Power Mapping: Visualizing decision-making authority in collaborative projects to foster shifts toward citizen control.
Institutionalizing: Use your organization’s mission statement against it: make your project a priority for people who hold the levers of power and money.
Accompaniment: Going along with people who are experiencing systematic injustice to aid navigation of complex social systems.
Design Thinking: A user-centered approach to innovation with four key stages: empathize, ideate, develop, and implement.
Project Management: Collaborative public humanities projects involve interdependence. Learning the craft of project management pays off tenfold in time saved.
Career Development: Unlearn academia’s weird professional priorities; master other industries’ routine career conventions.
Crisis Response: Don’t let a good crisis go to waste. 2020 was a watershed moment for public humanities because limitations forced innovations.

Figure 9.

Evaluation in Public Humanities
Public humanities projects aim for maximum impact.
Thus they often undergo internal evaluation by a project team to assess and improve performance and external evaluation by project backers to aid decisions about offering support.
Internal Evaluation: Is the project meeting its stated goals?
External Evaluation: How big of a social impact is the project making?
Continuous Improvement
State objectives: what you’re trying to accomplish and how you’re going about it.
Identify metrics—things that can be measured—to show you are achieving objectives.
Create goals for the measurable metrics that you want to hit.
Establish data collection mechanisms for each metric so that you can measure success.
Celebrate successes and tend to shortcomings.
Impact Measurement
External evaluations often come from funding agencies, but employers also conduct performance reviews and consider how public humanities work contributions to an organization’s mission.
Academic performance reviews often triangulate research, teaching, and service. Public humanities is all three and can fall through the cracks.
Recent guidelines from professional organizations can help academic employers count public humanities work fairly and fully.
Evaluation of humanities scholarship measures the efficacy, value, and impact of a concrete product. public humanities evaluation also emphasizes the quality and ethics of an intangible process. Public humanities success inheres not in content delivered but in connections created.

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