CYCLSIMar 20, 2022

Who Shares Fake News? Uncovering Insights from Social Media Users' Post Histories

arXiv:2203.10560v34 citationsh-index: 35
Originality Synthesis-oriented
AI Analysis

This addresses the issue of misinformation spread for researchers and marketers, but it is incremental as it builds on existing methods with new data and applications.

The paper tackles the problem of identifying fake-news sharers on social media by analyzing users' post histories, finding that textual cues like anger and power-related words enhance prediction accuracy and inform interventions.

We propose that social-media users' own post histories are an underused yet valuable resource for studying fake-news sharing. By extracting textual cues from their prior posts, and contrasting their prevalence against random social-media users and others (e.g., those with similar socio-demographics, political news-sharers, and fact-check sharers), researchers can identify cues that distinguish fake-news sharers, predict those most likely to share fake news, and identify promising constructs to build interventions. Our research includes studies along these lines. In Study 1, we explore the distinctive language patterns of fake-news sharers, highlighting elements such as their higher use of anger and power-related words. In Study 2, we show that adding textual cues into predictive models enhances their accuracy in predicting fake-news sharers. In Study 3, we explore the contrasting role of trait and situational anger, and show trait anger is associated with a greater propensity to share both true and fake news. In Study 4, we introduce a way to authenticate Twitter accounts in surveys, before using it to explore how crafting an ad copy that resonates with users' sense of power encourages the adoption of fact-checking tools. We hope to encourage the use of novel research methods for marketers and misinformation researchers.

Foundations

The foundational work for this paper's niche, ranked by how specifically the neighbourhood builds on it — not by global fame.

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