The rapper 50 Cent is among the legion of stars who have recently embraced Twitter to reach fans who crave near-continuous access to their lives and thoughts. On March 1, he shared this insight with the more than 200,000 people who follow him: “My ambition leads me through a tunnel that never ends.”
Shaquille O’Neal
Those were 50 Cent’s words, but it was not exactly him tweeting. Rather, it was Chris Romero, known as Broadway, the director of the rapper’s Web empire, who typed in those words after reading them in an interview.
“He doesn’t actually use Twitter,” Mr. Romero said of 50 Cent, whose real name is Curtis Jackson III, “but the energy of it is all him.”
In its short history, Twitter — a microblogging tool that uses 140 characters in bursts of text — has become an important marketing tool for celebrities, politicians and businesses, promising a level of intimacy never before approached online, as well as giving the public the ability to speak directly to people and institutions once comfortably on a pedestal.
But someone has to do all that writing, even if each entry is barely a sentence long. In many cases, celebrities and their handlers have turned to outside writers — ghost Twitterers, if you will — who keep fans updated on the latest twists and turns, often in the star’s own voice.
Because Twitter is seen as an intimate link between celebrities and their fans, many performers are not willing to divulge the help they use to put their thoughts into cyberspace.
Britney Spears recently advertised for someone to help, among other things, create content for Twitter and Facebook. Kanye West recently told New York magazine that he has hired two people to update his blog. “It’s just like how a designer would work,” he said.
It is not only celebrities who are forced to look to a team to produce real-time commentary on daily activities; politicians like Ron Paul have assigned staff members to create Twitter posts and Facebook personas. Candidate Barack Obama, as well as President Obama, has a social-networking team to keep his Twitter feed tweeting.
The famous, of course, have turned to ghostwriters for autobiographies and other acts of self-aggrandizement. But the idea of having someone else write continual updates of one’s daily life seems slightly absurd.
The basketball star Shaquille O’Neal, for example, is a prolific Twitterer on his account — The Real Shaq — where he shares personal news, jokes and occasional trash talking about opponents with nearly 430,000 followers.
“If I am going to speak, it will come from me,” he said, adding that the technology allows him to bypass the media to speak directly to the fans.
As for the temptation to rely on a team to supply his words, he said: “It’s 140 characters. It’s so few characters. If you need a ghostwriter for that, I feel sorry for you.”
Athletes seem to be purists. Lance Armstrong, only hours after breaking his right collar bone, tweeted about it, using his left hand. Charlie Villanueva, a forward for the Milwaukee Bucks, tweeted at halftime from the locker room on March 15 about how “I gotta step up.” (His coach, Scott Skiles, was not pleased with his diversion, but the Bucks did win.)
But for candidates like Mr. Paul, Twitter is an organizing tool rather than a glimpse behind the curtain. During the presidential campaign, said Jesse Benton, Mr. Paul’s campaign manager, “we assigned a staffer to each social network site. Each was used to generate the same message as a way to amplify the message and drive people back to our site.”
He said that in rare cases, however, supporters would read more meaning in the online relationship than was intended. “On a bunch of social-networking sites, we would get some sincere written notes that would say ‘thank you for letting me be your friend,’ ” he recalled.
Many online commentators are appalled at the practice of enlisting ghost Twitterers, but Joseph Nejman, a former consultant to Ms. Spears who helped conceive her Web strategy, said there was a more than a whiff of hypocrisy among critics.
“It’s O.K. to tweet for a brand,” he said, remarking how common it is for companies to have Twitter accounts, “but not O.K. for a celebrity. But the truth is, they are a brand. What they are to the public is not always what they are behind the curtain. If the manager knows that better than the star, then they should do it.”
In the last couple of months, the Britney Spears Twitter stream has become a model of transparency. Where the feed once seemed that it was all written personally by Ms. Spears — even the blatantly promotional items about a new album — lately it can read like a group blog, with some posts signed “Britney,” some signed by “Adam Leber, manager” and others by “Lauren.” That would be Lauren Kozak, social-media director of britneyspears.com. (Ms. Spears’s management team declined to be interviewed for this article.)
An unabashed user of ghost Twitterers is Guy Kawasaki, chief executive of alltop.com, an aggregation site. Mr. Kawasaki, with more than 80,000 followers, is full of praise for the two employees who enliven his Twitter feed, often posting updates while he is on stage addressing a conference.
“Basically, for 99.9 percent of people on Twitter, it is about updating friends and colleagues about how the cat rolled over,” he said. “For a tenth of a percent it is a marketing tool.”
Annie Colbert, a 26-year-old freelance writer from Chicago who is one of Mr. Kawasaki’s ghost Twitterers, said she judged her performance based on how often her postings for Mr. Kawasaki are “retweeted,” that is, resent by other users of Twitter.
Recently, she said, she had a coup when the actor Ashton Kutcher repeated her post about a YouTube video showing someone getting high from a “natural hallucinogen.”
“Facebook is like ‘Cheers,’ where everyone knows your name,” she said. “Twitter is the hipster bar, where you booze and schmooze people.”
She said she had been considering trying to get other ghost Twitter clients. “I don’t think I could ghost Twitter for 100 people,” she said. “More like 10 clients. I think I would have to get to know them.”
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