what is the meaning of encore presentation

What is an Encore Presentation: 5 Key Benefits and Strategies

Definition of an encore presentation.

An encore presentation is essentially a rebroadcast of previously aired content. This term is often used in the television industry to denote a repeat airing of a popular show, episode, or special event. Unlike a simple rerun, an encore presentation is typically marketed and scheduled to attract a specific audience that may have missed the original broadcast. These broadcasts are usually highlighted in TV guides and promoted heavily to ensure maximum reach. By emphasizing the popularity and success of the initial airing, broadcasters can create a sense of excitement and urgency around the encore, encouraging viewers to tune in.

History and Evolution

Encore presentations have been around for decades, but their role has evolved with changing media consumption habits. Initially, they were used to fill programming gaps and cater to different time zones. Broadcasters found that replaying popular shows during off-peak hours helped maintain viewer engagement without the need for fresh content. Nowadays, with the rise of digital streaming, encore presentations serve as strategic tools to maximize content reach and viewer engagement. They are used to boost viewership during sweeps weeks, fill in during production delays, and create a continuous presence of successful shows in the viewers’ minds, leveraging the power of nostalgia and familiarity.

Importance of Encore Presentations

Benefits for broadcasters.

For broadcasters, encore presentations are a valuable asset. They provide an opportunity to capitalize on successful content without incurring the costs of producing new material. By airing encore presentations, networks can maintain viewer interest and loyalty, especially during off-peak seasons or times when new content is scarce. Moreover, encores offer a way to test new time slots for shows, gauge audience reactions, and strategically place content to counterprogram against competitors. This flexibility allows networks to optimize their schedules and maximize advertising revenues by ensuring that their most popular content gets as many eyes on it as possible.

Viewer Advantages

From a viewer’s perspective, encore presentations are a second chance to catch content they missed the first time around. It’s like getting an extra slice of a favorite cake. These presentations also help new audiences discover shows and events they might not have considered watching otherwise. For those who enjoyed the original broadcast, an encore provides an opportunity to re-experience the content, perhaps catching details they missed or reliving memorable moments. Additionally, encores can help families and friends who may have had scheduling conflicts align their viewing experiences, making it easier to discuss and enjoy the content together.

How Encore Presentations Work

Scheduling and timing.

The scheduling of encore presentations is crucial. Broadcasters often choose time slots that complement the original airing, ensuring that the encore doesn’t compete with other major broadcasts. Primetime slots or weekends are popular choices, aiming to capture a larger audience. Strategic timing can also align with key events or holidays, maximizing the likelihood of viewers tuning in. Broadcasters analyze viewing patterns and audience data to identify optimal encore times, ensuring that the content reaches the widest and most relevant audience possible. This careful planning is essential for maximizing the impact and success of an encore presentation.

Platforms and Mediums

Encore presentations aren’t limited to traditional television. They span multiple platforms, including online streaming services, cable channels, and even radio. This multi-platform approach ensures that content is accessible to a wide audience, regardless of their preferred viewing method. Streaming platforms like Netflix, Hulu, and Amazon Prime regularly feature encore presentations of their original content, allowing subscribers to rewatch or catch up at their convenience. This flexibility caters to the diverse habits of modern viewers, who may prefer to consume content on their own schedules rather than adhering to traditional broadcast times.

Types of Encore Presentations

Television broadcasts.

In the realm of TV, encore presentations are a staple. They can be anything from a hit TV show episode to a high-profile sports event. Broadcasters often use them to keep the momentum of a popular series going, especially if new episodes are on hiatus. This keeps the audience engaged and maintains the show’s presence in the public consciousness. Additionally, television encores can serve as a promotional tool, building anticipation for upcoming episodes or new seasons. By keeping viewers invested in the storyline and characters, encores help sustain long-term interest and loyalty to the show.

Online Streaming

Streaming platforms have revolutionized the concept of encore presentations. Services like Netflix, Hulu, and Amazon Prime regularly feature encore presentations of their original content, allowing subscribers to rewatch or catch up at their convenience. This on-demand model caters to the binge-watching culture, where viewers prefer to watch multiple episodes in one sitting. Streaming encores also come with added features like enhanced resolution, bonus content, and interactive elements, enriching the viewing experience. This makes streaming platforms a key player in the modern encore presentation landscape, offering flexibility and added value to their subscribers.

Creating Effective Encore Presentations

Content selection.

Choosing the right content for an encore presentation is critical. Broadcasters typically select episodes or events that had high viewership or critical acclaim. This ensures that the encore will attract attention and satisfy audience demand. Content that generated significant social media buzz or received positive reviews is often prioritized. Additionally, broadcasters might consider encores for episodes with cliffhangers or major plot twists, which naturally draw viewers back for another look. This careful selection process helps maximize the impact of the encore presentation and ensures it resonates with the audience.

Audience Engagement Strategies

To make encore presentations successful, broadcasters employ various engagement strategies. This includes promoting the encore on social media, offering behind-the-scenes content, and creating interactive elements like live-tweeting during the rebroadcast. Engaging with viewers in real-time can create a sense of community and excitement around the encore. Additionally, broadcasters might run contests or offer exclusive content to incentivize viewership. By leveraging these strategies, they can turn encore presentations into events that feel fresh and engaging, rather than just repeat airings of old content.

Common Misconceptions

Encore vs. rerun.

Many people confuse encores with reruns. While both involve rebroadcasting content, encores are often planned and promoted events aimed at capturing additional viewership. Reruns, on the other hand, are typically more casual and less strategically placed. Encores are usually marketed with specific promotional efforts and may be positioned as “special presentations” to differentiate them from regular repeats. This distinction helps encores maintain a sense of novelty and importance, which can drive higher viewership and engagement compared to standard reruns that might simply fill schedule gaps.

Impact on Ratings

There’s a myth that encore presentations hurt a show’s ratings. In reality, they can boost overall ratings by reaching new viewers and providing additional opportunities for advertising. Successful encores can even spark renewed interest in a series or event. By attracting audiences who missed the original broadcast, encores can extend the lifecycle of popular content. Additionally, they can help improve brand loyalty and viewer retention by keeping high-quality content in circulation. When executed well, encores can contribute positively to a show’s long-term success and profitability.

Case Studies and Examples

Successful encore presentations.

One notable example is the encore presentation of popular TV shows like “Game of Thrones” and “Friends.” These encores have not only attracted high viewership but also generated significant social media buzz and increased subscription numbers for the streaming platforms. Special event broadcasts, such as concerts or sports matches, also benefit from encores, reaching audiences who may have missed the live event. The success of these encores underscores the potential of strategic rebroadcasting to enhance viewer engagement and drive business growth for broadcasters and streaming services alike.

Lessons Learned

Broadcasters have learned that timing, promotion, and content selection are key to successful encore presentations. By understanding their audience and leveraging the right strategies, they can turn encores into powerful tools for engagement and revenue. Tailoring the encore experience to the preferences and habits of their viewers ensures higher satisfaction and better results. Moreover, continuously analyzing performance data and viewer feedback helps broadcasters refine their approach, optimizing future encores for even greater impact. These lessons highlight the importance of strategic planning and execution in maximizing the benefits of encore presentations.

Summarizing the Key Points

Encore presentations play a vital role in today’s media landscape. They offer broadcasters a way to maximize their content’s reach and provide viewers with additional opportunities to enjoy their favorite shows and events. By understanding the nuances of encore presentations, broadcasters can effectively use them to enhance their programming strategy and keep audiences engaged. Whether through traditional television or modern streaming platforms, encores have the power to extend the life of popular content, increase viewer satisfaction, and drive business success. Embracing these strategies ensures that both broadcasters and audiences reap the full benefits of encore presentations.

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What Is an Encore Presentation?

Hrideep barot.

• Presentation , Public Speaking

Imagine you are at a concert; you are having your best time when the crowd realizes that the show is about to end. In unison, you scream “once more!” which compels the artist to perform a piece again. Now when a similar thing happens with a presenter when they have to present again, it is called an Encore presentation .

By Definition, an encore is an additional or extra piece that the artist performs after the end of their planned performance, purely out of public demand .

Encores are mostly performed after concerts or plays . The artist usually performs a small piece or a scene that is most liked by the audience. At times, the audience might demand a very particular thing that they would like to see again.

Now, all that discussion surrounds what encore performance is and that is something you might have come across through your tiresome google search as well.

But getting answers to the questions below is what might have been challenging. Fret not, we’ve got you covered!

So, what is an encore presentation? or how do you define an encore presentation? 

An encore presentation is when the data which was originally presented at some conference or event is reproduced and presented again to reach a larger audience .

The idea behind any encore is that it is usually demanded by the people . This also means that the presentation or performance was so good or informative that the people want more of it. So, essentially an encore is the appreciation for the presenter or performer by the audience .

These encore presentations are sometimes uploaded on openly accessible channels like YouTube or open drives which means that they are easy to access by everyone.

The presenter presents their topic by either sharing a PowerPoint or can even choose to give completely oral presentations.

Encore presentations also happen to be a crucial part of the reruns of various Tv shows and News channels wherein one informative episode is telecast at a time that is different from the usual telecast time for the show.

In fact for The Andy Griffith Show , the reruns were retitled by Andy of Mayberry to help the audience distinguish between the episodes airing on Primetime and the ones that were rerun.

Keep reading the blog to know more about Encore TV presentations

In short, defining Encore presentation in a sentence would be, 

An encore presentation is the reproduction of the data originally presented in a conference, event, or meeting to reach a larger audience.

Short History of Encore Presentations

In the 18th century, wealthy men would often demand a repetition of a song or scene to enjoy the piece yet again. This is where the word encore founds its existence which originates from the French word that means “Again.”

The first known encore performance was in the year 1786 during the premiere of Mozart’s The Marriage of Figaro wherein the encored pieces ended up doubling the time of the actual event!

However, within a couple of days, under the orders of Emperor Joseph II of Austria , there was a limit set to encore performances leading to today’s one to three pieces’ encore performances.

And believe it or not, at one point, encores were banned in northern Italy. They felt that the encore performances were less serious, focused more on individual artists rather than the band or opera, and carried with them the potential for public disorder.

Initially, Encore performances or presentations were carried out purely out of the public’s continued applause or request .

However, things have changed with time. Now bands or artists are accused of planning out the encores. They leave out the best pieces of their work for the end and savor the audience’s cry for those very pieces. It is believed that these days, encores are very rarely unplanned.

How is an encore presentation different from the original presentation?

Unlike encore performances, there isn’t a huge difference between the original presentation and the encore presentation. Encore performances are short or include only a part of the entire performance .

On the other hand, Encore presentations as stated are when the presenter puts forth the information, he/she/ they presented earlier at some event .

It isn’t practical to share a part of the presentation or a snippet of the presentation as the audience would not gain anything from it.

The idea of an encore presentation is the same as that of the original presentation. The only difference between the two is that while the original presentation is presented to a live audience , an encore presentation can be shared with the people through online forums like YouTube from where they can access the data at any time.

Is encore presentation an Adaptation?

Adaptation is when you add information or tweak information in your presentation.

So, let’s say somewhere in 2020 you presented on the topic “Bitcoin in India” and would like to present on the same topic in mid-2022. For the new presentation, you might want to update your presentation. This includes adding information on the new tax rules when it comes to cryptocurrencies that were passed in the Indian budget in the year 2022.

This adding of new information in your presentation is what you call adaptation.

So essentially, adaptation is when you present new information or interpretations with previously presented data.

Encore on the other hand is simply the re-presentation of previously presented data and interpretations . There isn’t room for adaptations in encore presentations.

How do you use an encore?

One of the major uses of encore presentations is to reach a wider audience or to present the same topic to a different audience . A couple of ways in which you can use encore presentations or you can give encore presentations are:

1. To present the same topic at a different conference

Quiet a few times, researchers end up presenting the same study to various related conferences as it gives them a chance to present their understanding to a larger crowd of intellectuals who would be able to gain from their presentation.

However, researchers or academic scholars are not the only ones who reuse their presentations and topics. Even marketers who would want to pitch their ideas or products may use the same presentation as making different presentations for each client or company might be very challenging.

2. To present the topic in a local language

Encore presentations or presenting your topic again can also be done when you want to reach the locals. It would require you to present again in a language that is suitable for your new audience.

In research conferences, you might ask a volunteer or add another remember who can present the topic for you. This holds true especially when you have to present a topic in the local language. In this way, the content and presentation stay the same but you see a change in the presenter.

3. To present the topic to a much larger virtual audience

Another way of carrying out an encore presentation is to present it to a virtual audience through a channel that is easily and widely accessible, like YouTube. Find an example of the same below:

This serves as the best option as

• You can reach a much larger audience
• The information stays with the audience
• They can access it at their convenience

This brings us to the next question,

Why is there an encore?

Encore presentations bring with them a couple of advantages. Without wasting time, let’s check out some of them!

Advantages of Encore Presentations

1. allows the speaker to reach more people.

As we have been discussing encore presentations help the speaker to reach a larger audience and help them present their ideas, interpretations, or products.

2. It stays with the audience

Encore presentations uploaded carried out through online portals like YouTube and university websites stay with the audience for a longer time and they can access them whenever they feel the need.

3. Gives the viewers a chance to learn and relearn

The presentations made over open, easy-to-access portals give the people a chance to learn from them. These are the people who have come across the presentations for the first time.

While it also helps give a new perspective to the ones who are already familiar with the topic or even the presentation.

Examples of Encore Presentations

1. tutorial encore presentation.

This type of encore presentation is very common on youtube. It tries to teach you how to do certain things. Check out the video below for an example of tutorial encore presentations.

2. Academic Encore Presentation

Academic encore presentations aim to provide theoretical understanding to the people. They are usually long and can be anywhere between 30 minutes to 2 hours long.

Check out the video below for an example of an academic encore presentation.

4. Research Encore Presentation

Research encore presentations include presentations of the same topic to different conferences or after publication in a journal.

The above video is an absolutely amazing example of not only a research presentation but it is also an encore presentation.

The speaker makes it very clear at the beginning of his presentation that the paper he was about to present had recently been accepted in one of the well-known journals.

5. Encore Presentation for entertainment

Encore presentations for entertainment would include encore presentations of movies, Tv shows, and performances like operas and concerts.

Encore performance

For Concerts and performances, encores usually include either performance of the artist’s best piece or the one that is demanded by the audience. Although encores are usually unplanned, it is believed that encores these days are already planned by the artist.

It is the last piece of their performance which also means that it is their most awaited performance for the night or the event.

You can try to relive the encore of one of Eminem’s concerts here:

Encore Presentations for TV

Encores for TV usually involve a rerun of the episode originally telecasted on Primetime.

An example of the same is the encore of Ophrah Winfrey Show where she interviews Michelle Obama.

How to give effective Encore Presentations?

By now we have understood what encore presentations are. Essentially you are just trying to reach out to a wider audience in order to familiarize them with your topic.

So in a sense just like presentations, it is important for you to deliver them effectively

The reason we focus on delivery here is that you would already have the script of your presentation ready!

Tips to Effectively Deliver Encore Presentations

1. rehearse.

One of the most crucial things about Encore presentations is the need to rehearse your presentation.

Agreed you have already presented the topic before and you are very confident! But practice and rehearsal will only help you give a fantastic encore presentation. Even you know we aren’t lying!

Try to present your speech in front of a camera or through zoom. You can also read it out loud or present it to your friends or family (provided they are willing to listen to you for the nth time!)

2. Opening Lines

Opening lines are very crucial especially if your encore presentation is a long one.

Try to take a minute to pause and observe the room. The reason is very simple it gives you an idea of who you are going to be talking to which might be very different from the audience you originally delivered your presentation to.

The second thing you can do is to start strong . But how do you start strong?

By beginning your presentation with something different like a quote, some statistical figure, or some fact. You can also try to question a very popular view or opinion.

To get a clearer idea of opening lines for your encore presentations check out the short video below:

3. Closing Remarks

Closing remarks are crucial for all kinds of presentations. It doesn’t matter if your encore is of 3-minutes , 10-minutes , or even 30-minutes .

Make sure you have a very impactful closing remark so that your audience can easily recall your presentation. A few ways you can make it impactful are:

• Fitting Remark : Summarize your speech in sweet, simple words.
• Motivational remark : Leaving the audience with a motivational quote or line.
• Expository Remark : Share your personal experiences or story that your audience can easily relate to.
• Contemplative remark : Giving the audience thought, idea, or view to think about.

Final Words

Encore Presentations are simply repetitions or presenting your topic again. This should ideally give you a little confidence boost as you have already given a presentation on the same before.

Although rehearsing constantly can only help you enhance your presentations more. This would mean that when you do actually give your encore presentation, you’ll have more grasp over your presentation which can help you reach your audiences in a more effective manner.

Think about it!

If the very meaning of encore is repetition and its literal synonyms are replay, repeat, and rerun then shouldn’t concerts or performances wherein the artist performs an absolutely different song or scene not even be called an encore for it steals its very meaning?

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Encore vs. Original Presentations: Black, White, and Shades of Gray

Aug 13, 2018 | News and Trends

Ellen Baum, PhD, and Harry Ma, PhD,  Janssen Pharmaceutical Companies of Johnson & Johnson

After an “Original” abstract and its corresponding poster have been presented at a scientific or medical congress, publication professionals sometimes face challenges when preparing subsequent “Encore” presentations, and the way forward may not always be obvious. For example, will updates in the Introduction/Background section due to different word count and/or formatting requirements of the “Encore” congress make an abstract “not an encore?” Will these changes require approval by all authors, or just the corresponding author? And if the Original abstract of Congress A is due before Congress B, but presentation of poster B occurs before A, which is the Encore, A or B? Perhaps most importantly, is there an alternative if the target congress does not accept Encores? This article examines available definitions of Encore presentations and discusses some “real world” Encore scenarios and potential ways to handle them.

Original and Encore Presentations: Definitions, Guidelines, and an ISMPP Survey

Not to overstate the obvious, but “Encore” in this context refers to submitting the same data (abstract or poster; Encore oral presentations are relatively rare compared to posters and are not discussed in this article) to a congress after the initial presentation of the Original at an earlier congress (see Table 1 below). Usually the data would be “reproduced exactly” except for minor changes to meet the congress’ specific requirements, such as word count, formatting, translation, and author order. 1

Table 1. Presentation Types

Good Publication Practice-3 (GPP3) 2 addresses the topic of Encores only briefly. Encores are permitted provided that: (i) the congress permits it; (ii) copyright requirements are respected; (iii) prior presentations are disclosed; and (iv) repeated presentation is to reach a different audience. In addition, an Encore presentation usually has the same authors as the Original; GPP3 includes an exception to enable presentation in a local language when presentation by a nonauthor is not permitted and provided that all Original authors agree.

In a 2013 survey among ISMPP members (195 participants), Panayi et al. 3 examined respondents’ views on Encore presentations (GPP2 was the latest version at that time). Most respondents (71%) agreed that Encore abstracts should be presented “in moderation;” valid reasons for Encore presentations included “different geography” (95%) or “different specialty” (94%). Strikingly, 78% of respondents wanted more guidance on Encores from publication or medical writing professional organizations.

What If a Target Congress Does Not Allow Encore Presentations?

If a target congress does not accept Encore presentations, but there are sufficient reasons (eg, new audience, new geography, etc.) to present the information at that congress, many publication professionals have used a third option that is neither an Encore nor an Original abstract/poster and is known as an “Adaptation” 4 or “Repurposed.” 1 The content of an Adapted or Repurposed presentation overlaps with the Original but contains new/additional data, analyses, and/or interpretations; therefore, authorship can change relative to the Original. 1, 4 By this definition, addition of a new figure or table, for example, would make the Original presentation into an Adaptation/Repurposed, rather than an Encore.

Whereas Original vs. Encore definitions should be clear cut (that is, initial vs. subsequent presentations), the actual requirements to turn an Original into an Adapted/Repurposed abstract and poster fall into what can be considered a “gray area.” Guidance on this topic from professional organizations has been scarce, and it is not addressed in GPP3. A recent preprint on Good Practice for Conference Abstracts and Presentations: GP-CAP included information on encore abstracts and presentations but did not specifically address Adapted/Repurposed abstracts and posters; publication of GP-CAP is pending. 5

Copyright Considerations

In the case of abstract copyright, it is not a question of whether Congress B (occurring after Congress A) allows Encore presentations; rather, copyright ownership by Congress A could prevent an Encore at Congress B.

GPP3 points out the need to respect copyright requirements. 2 According to the survey by Panayi et al., 3 only 57% of respondents considered the potential copyright of the Original abstract when preparing an Encore abstract. In some cases, authors must transfer copyright to the congress, and it is increasingly common for congresses to publish abstracts in a journal without mentioning copyright transfer.

Congress policies on abstract copyright vary widely; some examples are shown in Table 2 below. A Google search for “(conference OR congress) AND abstract AND copyright” revealed three main types of congress copyright policies:

(i) authors retain copyright (eg, IAC and EADV, Table 2), implying that Encores are permitted at subsequent congresses;

(ii) congress retains copyright (eg, ASH and ASCO, Table 2), indicating that Encores are not permitted; and

(iii) congress retains copyright but suggests that authors contact the congress for permission to re-use (eg, CROI and EHA, Table 2).

For types (ii) and (iii), it is possible that Adaptation/Repurposing as discussed above for Encore abstracts might allow authors to present at subsequent Congress B, despite copyright by Congress A, with Congress A’s permission. It is expected that there would be a corresponding addition of new data, analyses, and/or interpretations to the poster, to accurately reflect the Adapted/Repurposed abstract. Alternatively, substantial rewriting of the abstract might avoid infringing on Congress A’s abstract copyright but allow the essentially identical poster to be presented at Congress B.

  Table 2. Examples of Congress Policies on Copyright Regarding Subsequent Encore Abstracts

Many congress websites do not state a copyright policy, so it is likely that authors retain copyright in those cases. However, if Congress A publishes the abstract without explicitly requiring copyright transfer, it is possible that authors cannot submit the essentially identical abstract to subsequent Congress B. When in doubt, the prudent policy is to contact Congress A to inquire about re-use of the abstract.

What about poster copyright?  In many cases, posters are a “prelude” to developing a manuscript, and it would appear to be counterproductive to prevent authors from re-using their poster content, especially figures and tables. Moreover, unlike abstracts, posters are usually not subject to peer review and not regarded as durable, citable publications. In fact, poster copyright transfer appears to be quite rare: for approximately 75 congresses (comprising oncology, neuroscience, infectious disease, and vaccine therapeutic areas) at which Janssen’s authors presented posters, the publications team found no instance of a requirement to transfer poster copyright to the congress. One extremely rare example found online is the Annual Meeting of the American Academy of Ophthalmology (AAO), 12 which states, “The Academy holds copyright on all material presented at the Academy’s annual meeting until and unless such material is found unsuitable for publication in Ophthalmology . Should an author wish to publish his or her material elsewhere, it may not be submitted for consideration until Ophthalmology has released the presenter from any copyright obligations.” The motivation for this policy is evidently to steer the manuscript derived from the poster to the AAO journal, but it would also effectively prevent Encores or Adapted/Repurposed presentations.

Author Approvals on Abstracts, including “Encore Switching”

Implicit in GPP3 guidelines is that ICMJE authorship requirements are mandatory for Original abstracts and Original posters and include author submission signoff. 2 Companies may have their own policies regarding authors’ approval/signoff process for Encores. For example, Janssen’s policy on Encore presentations is that although all authors must be notified of Encore abstracts/posters, only the corresponding author must formally approve Encore submissions in our documentation system. For a Repurposed/Adapted abstract and poster, which is considered “not an Encore,” Janssen’s policy is that all authors must review and approve.

In the situation where Congress A occurs before Congress B, but Abstract A is due after Abstract B, there is a switch of Original and Encore. Abstract B is the Original abstract, but Poster A is the Original poster; they are treated accordingly by Janssen for author signoff (all authors for Original; only corresponding author for Encore).

The definition of Original (initial submission to Congress A) vs. Encore abstract (essentially identical submission to subsequent Congress B) is clear cut. If Congress B does not accept Encores, or if Congress A requires abstract copyright transfer, then it is necessary to explore whether “the gray area” — transforming the Original into an Adapted or Repurposed abstract — is permissible. When in doubt, contact Congress A and/or B as applicable. Finally, as expressed by ISMPP survey respondents, 3 guidance on Encores from publication/medical writing professional organizations – but expanded to include the “gray area” discussed herein – would be helpful in elucidating the way forward.

Disclaimer: The ideas presented are those of the authors and not their employer, Janssen Pharmaceutical Companies of Johnson & Johnson.

• Ganesan, B. (2014). A Practical Approach to Encores in the Asia-Pacific Region. http://www.ismpp.org/assets/docs/Education/ISMPPU/APAC/apet%20oct%2029%20-%20final.pdf Accessed 11Jun2018.
• Battisti, W. et al. (2015). Good Publication Practice for Communicating Company-Sponsored Medical Research: GPP3. Ann Intern Med. 163:461-464.
• Panayi, A.E. et al. (2014). A Survey of Current Practices in Encore Abstract Submissions from Industry-Sponsored Study Data. http://www.ismpp.org/assets/docs/Education/EuropeanMeeting/2014EM/GeneralSessionPresentations/oral%20presentations.pdf Accessed 11Jun2018.
• Reed, D.M. et al. (2013). Developing an Encore Abstract Process that Complies with GPP. https://ismpp.memberclicks.net/assets/docs/Education/ISMPPU/2013/ismppu_globalpubplanning_5%2022%2013_final.pdf Accessed 11Jun2018.
• Foster C. et al. (2017). Good Practice for Conference Abstracts and Presentations: GP-CAP. PeerJ Preprints 5:e3356v1 https://doi.org/10.7287/peerj.preprints.3356v1
• https://am.asco.org/abstracts/abstract-policies-exceptions Accessed 14Jun2018.
• http://www.hematology.org/Annual-Meeting/Abstracts/2853.aspx Accessed 14Jun2018.
• http://www.croiconference.org/abstract-guidelines Accessed 14Jun2018.
• https://eadvgeneva2017.org/scientific-information/call-for-abstracts/online-poster-service/ Accessed 14Jun2018.
• https://ehaweb.org/assets/Pages/Congress/EHA23-Abstract-Submission-Terms-Conditions-January-2018.pdf Accessed 14Jun2018.
• https://www.aids2018.org/Programme/Abstracts/Submission-guidelines Accessed 14Jun2018.
• https://www.aao.org/annual-meeting/presenter/submission-policies Accessed 14Jun2018.

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Are better guidelines needed for ‘encore’ presentations?

‘Encore’ presentations; those that reproduce data originally presented at a previous scientific or medical congress, can be challenging to prepare. In a recent news article for the MAP newsletter , from the International Society for Medical Publication Professionals ( ISMPP ), Ellen Baum and Harry Ma review the state of play surrounding encores and describe the rise of a new breed of abstract: the ‘adaptation’. In addition, they address and offer solutions to a number of ‘real world’ scenarios that could leave authors confused.

Baum and Ma note that guidance on encores is available but limited. The Good Publication Practice 3 guidelines ( GPP3 ) stipulate when encores should and should not be permitted, but the topic is touched on only briefly. The Good Practice for Conference Abstracts and Presentations: GP-CAP preprint gives further guidance, including on the clear identification of encores, as well as the studies described therein. Meanwhile, it seems that authors are in search of more guidance. For example, in a 2013 survey of ISMPP members, 78% of respondents stated that they would like “more guidance on encores from publication or medical writing professional organisations”.

In an ’adaptation’, authors include previously presented data alongside new data, analyses or interpretations. This may be an option if a congress doesn’t allow encores. Baum and Ma explain that adaptations fall into a somewhat ‘grey area’ in terms of what a congress will permit, as opposed to the more black and white definitions of original and encore. What’s more, they note that guidance on adaptations is lacking; they are not addressed in GPP3. The GP-CAP preprint suggested that in the case of an encore containing new data “if the new iteration is more than a direct update on a previous preliminary report abstract, then the new iteration should be regarded as a new abstract“.

Baum and Ma note that individual congress policies on encores vary widely in their content and clarity, and recommend that if in doubt, authors contact the congress directly for their copyright policy. Based on the response from ISMPP members, they call for publication/medical professional organisations to produce more detailed guidance on encores and adaptations, to aid authors in their abstract preparation and lead the way in developing best practice.

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Summary by Emma Wise, a PhD Biomedical Sciences student registered at Plymouth University. Contact Emma at [email protected] .

With thanks to our sponsors, Aspire Scientific Ltd and NetworkPharma Ltd .

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• Open access
• Published: 05 June 2019

Good Practice for Conference Abstracts and Presentations: GPCAP

• Cate Foster   ORCID: orcid.org/0000-0001-6236-5580 1 ,
• Elizabeth Wager   ORCID: orcid.org/0000-0002-4202-7813 2 , 3 ,
• Jackie Marchington   ORCID: orcid.org/0000-0001-8482-3028 4 ,
• Mina Patel   ORCID: orcid.org/0000-0001-9357-1707 5 ,
• Steve Banner   ORCID: orcid.org/0000-0002-7852-9284 6 ,
• Nina C. Kennard   ORCID: orcid.org/0000-0002-8480-7033 7 ,
• Antonia Panayi   ORCID: orcid.org/0000-0002-1997-3705 8 ,
• Rianne Stacey   ORCID: orcid.org/0000-0002-6516-3172 9 &

the GPCAP Working Group

Research Integrity and Peer Review volume  4 , Article number:  11 ( 2019 ) Cite this article

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Research that has been sponsored by pharmaceutical, medical device and biotechnology companies is often presented at scientific and medical conferences. However, practices vary between organizations and it can be difficult to follow both individual conference requirements and good publication practice guidelines. Until now, no specific guidelines or recommendations have been available to describe best practice for conference presentations.

This document was developed by a working group of publication professionals and uploaded to PeerJ Preprints for consultation prior to publication; an additional 67 medical societies, medical conference sites and conference companies were also asked to comment. The resulting recommendations aim to complement current good publication practice and authorship guidelines, outline the general principles of best practice for conference presentations and provide recommendations around authorship, contributorship, financial transparency, prior publication and copyright, to conference organizers, authors and industry professionals.

While the authors of this document recognize that individual conference guidelines should be respected, they urge organizers to consider authorship criteria and data transparency when designing submission sites and setting parameters around word/character count and content for abstracts. It is also important to recognize that conference presentations have different limitations to full journal publications, for example, in the case of limited audiences that necessitate refocused abstracts, or where lead authors do not speak the local language, and these have been acknowledged accordingly. The authors also recognize the need for further clarity regarding copyright of previously published abstracts and have made recommendations to assist with best practice.

By following Good Practice for Conference Abstracts and Presentations: GPCAP recommendations, industry professionals, authors and conference organizers will improve consistency, transparency and integrity of publications submitted to conferences worldwide.

Peer Review reports

Note on terminology

Company refers to any medical commercial organization involved with research, such as pharmaceutical or biotechnology companies and medical device manufacturers.

Company-sponsored refers to all types of research (preclinical and clinical, pre- and post-marketing) that is directly sponsored and/or funded by a company. While this classification does not necessarily include research performed under other types of funding arrangement, such as investigator-sponsored or investigator-initiated trials or research (where companies are not involved with conference presentations or publications), those involved in submitting investigator-initiated study material to conferences are encouraged to consider following these recommendations.

Conference is used to refer to meetings, often organized by academic societies, that invite submissions (usually as abstracts) presenting research findings on an aspect of medicine or science. Such conferences have a scientific (or programme) committee that reviews and selects presentations to be given at the meeting from the submitted abstracts.

Abstract refers to those submitted for consideration to scientific and medical conferences (see above).

Presentation refers to posters or slides developed from abstracts accepted for presentation at such conferences.

Lead author refers to the person who normally presents study findings at a conference and is usually listed as the first author. This is often the Principal Investigator.

Society sponsor refers to a member of the society that is holding the conference, who acts as sponsor (or guarantor) of a submitted abstract.

Presenting author refers to the person on the author list who attends the conference and presents the poster or abstract.

Non-author presenter or local presenter refers to a person who presents on behalf of the author group, but who is not listed as an author.

Introduction

Research that has been sponsored (see the ‘Note on terminology’ section for precise definitions of these terms) by commercial organizations (e.g. pharmaceutical, medical device and biotechnology companies) is often presented at scientific and medical conferences. These conferences are pivotal for the presentation of data from ongoing research projects and clinical trials to the relevant audience and are often the first opportunity to disclose and discuss potentially practice-changing data. They facilitate early communication of data long before publication of a full manuscript and also provide the opportunity to present results of additional analyses such as secondary and/or exploratory endpoints and post hoc analyses. However, while abstracts submitted to conferences are reviewed by a scientific committee for suitability and interest to the audience prior to acceptance, it is important to note that they are not considered peer-reviewed as they are not subject to the same rigorous peer-review process as are journal articles. Poster and oral presentations based upon accepted abstracts are rarely, if ever reviewed. Furthermore, a recent systematic review showed that less than 50% of all studies accepted as abstracts went on to be published in full following presentation at a conference [ 1 ]. While it is desirable to strive for full publication after a conference presentation to ensure transparency and allow healthcare professionals to make appropriate informed decisions based on the peer-reviewed literature, this is not always practical and/or achievable. Therefore, it is important that abstracts and conference presentations, particularly for company-sponsored research, are developed with as rigorous a process as that of a full publication, because these may ultimately become the only source for a particular analysis.

While there are recommendations on the preparation of journal articles and qualification for authorship [ 2 ], and guidelines for best practices in the publication of company-sponsored research [ 3 , 4 , 5 ], until now, no specific guidelines have been available to describe good practice and best principles for conference presentations. This has resulted in diverse practices and a lack of standard expectations for transparency and ethical approaches. Although some aspects of good practice in Good Publication Practice (GPP) [ 5 ] and in reporting guidelines such as CONSORT and PRISMA for Abstracts [ 6 , 7 ] can be applied to conference presentations, the most widely cited recommendations on authorship from the International Committee of Medical Journal Editors (ICMJE) relate exclusively to publications in peer-reviewed journals [ 3 ]. These recommendations were not designed for, and therefore are not fully applicable to, abstract submissions and conference presentations and are challenging to implement in practice. Building on the acceptance and recognition of the GPP guidelines (first published as GPP for Pharmaceutical Companies in 2003 [ 3 ], updated in 2010 [ 4 ] and most recently published as GPP3 in 2015 [ 5 ]), this article endeavours to extend their principles and to address challenges relating to the presentation of company-sponsored research at academic meetings. These recommendations, on Good Practice for Conference Abstracts and Presentations (GPCAP), focus on company-sponsored research (see the ‘Note on terminology’ section). However, they do not cover other company activities that may be linked to conferences (e.g. satellite symposia organized alongside scientific conferences, medical education and marketing activities) because these are governed by regional and national legislation or codes (e.g. EFPIA code of practice [ 8 ], FDA regulations [ 9 ]). As with the GPP guidelines, GPCAP focuses on the presentation of all types of company-sponsored research and the specific challenges surrounding this, rather than investigator-sponsored or investigator-initiated trials or research (where companies have no role in their presentation or publication), although many of the principles also apply to the presentation of other types of research at scientific meetings. The aim of GPCAP is therefore to provide guidance on good submission and presentation practice for scientific and medical congresses, specifically addressing certain aspects where current publication guidelines are inadequate.

These recommendations were developed after informal discussions among a group of individuals who have wide experience of working with authors to develop abstracts, posters and slides for oral presentations reporting company-sponsored research. The main impetus for this article arose from a meeting regarding GPP3 updates (with which some of the authors had been involved). Prior to this meeting, two authors had noted that even the revised GPP3 guidelines contained limited advice for conference abstracts and presentations. Meeting participants discussed the requirement for clearer guidance and formed a working group to address this gap. At this point, invitations to join the group were extended to potential authors known to have previously presented relevant research at meetings of the International Society of Medical Publication Professionals (ISMPP) or had a known interest in conference presentations. This also ensured a broader global representation and improved the balance between pharmaceutical and medical communication agency representation. The authors all work or have worked for pharmaceutical companies and/or medical communication agencies (see the ‘Competing interest’ section for specific details). After a search for recommendations and guidelines on this topic revealed nothing specific (either in ICMJE or in a search on EQUATOR), the authors developed an initial outline for this article; individuals worked on pre-agreed sections and then a collective review of the full draft, comprising all sections was completed (see ‘Authors’ contributions’ for specific details). The resulting article was posted as a preprint on PeerJ [ 10 ] on 19 October 2017 for open comment. All comments received (and their responses) can be seen with the preprint on the PeerJ website. These comments were used to revise the recommendations. Some authors invited informal consultation from colleagues, and a courtesy legal review, as appropriate, was completed to ensure compliance with employee company policies. The copyright section was reviewed specifically for appropriate interpretation of copyright law. In addition to the preprint, 65 medical societies and medical conference sites, and two for-profit companies that run conferences on behalf of societies, were contacted for comment via contact emails listed on their websites or via ‘contact us’ options found on their websites. The societies and conferences and conference service companies were selected by recommendation from within the author group, to ensure balance across therapeutic areas, geography and variety of website submission sophistication. Only one of these societies/companies responded. All comments received on the preprint by 10 July 2018 were collated and discussed, and this final version was generated. The preprint was viewed by 2769 unique visitors and downloaded 3300 times between 19 October 2017 and 25 March 2019.

The recommendations are given here by topic, and so there is some overlap by intention, to ensure that all the key elements for any given topic appear together and allow readers to browse by topic.

Recommendations

The following principles aim to cover the key areas relevant for submissions to any research-based conference.

Author listings should reflect those who did the research and can take accountability for its conduct, and for the analysis and interpretation of the findings. Criteria for authorship of conference abstracts and presentations should generally be the same as those for full publications, although there can be occasions where local presenters may be included as authors, for example, where a conference requires a presenter to be listed as an author.

All authors should be involved in the development, and approve the final version, of any abstract, poster or slides that bears their names. For studies involving large numbers of researchers it may be most efficient for a subgroup of those involved in the studies to develop conference abstracts and presentations (similar to the use of a writing group to develop publications from large studies).

Posters and slides should list key contributors and describe their contributions to the research and development of the presentation.

Study registration numbers (e.g. ClinicalTrials.gov , EudraCT, PROSPERO) should be included on abstracts, posters and slides.

All sources of funding for the research and its presentation, and any author conflicts of interest, should be disclosed on posters and slides, on the conference submission site, and if space permits, on abstracts.

Any medical writing support and associated funding should be acknowledged on posters and slides, on the conference submission site, and if space permits, on abstracts.

These recommendations are mapped against the development of an abstract and subsequent conference presentation workflow in Fig.  1 , referenced by section number.

Roadmap of recommendations following abstract and presentation development stages

Recommendations for conference organizers

Conference organizers should:

encourage the inclusion of contributor lists on posters and slides;

include a field for trial registration details on abstract forms (outside the word or character limit) and publish this information with the abstract;

include a field for sponsor information on abstract forms (outside the word or character limit) and publish this information with the abstract;

include a field for disclosing medical writing support on abstract forms (outside the word or character limit) and publish this information with the abstract;

use ORCID identifiers (individual researcher identifiers [ 11 ]) to identify authors and presenters;

not set arbitrary limits on the number of authors, and permit the use of study group names; and

distinguish between authors (meeting the ICMJE criteria) and any additional individuals (who are not authors or contributors) included in the submission, for example, as a result of a requirement for a society member to sponsor submissions. With limited space in any printed book of abstracts, this information might be restricted to appearing with the online version of the abstract.

1.0 Authorship

1.1 authors.

1.1.1 The author listing on conference abstracts and presentations should reflect the people who did the research or contributed substantially to the design of the study or to the interpretation of the results, and who were involved in the development of the presentation and who are willing to take responsibility for the findings. Authorship and author order should be agreed by all authors (see 1.1.5 for factors to consider). While the authorship criteria recommended by the ICMJE are widely used for journal articles [ 2 ], GPP3 recognizes that it may be necessary to adopt slightly different criteria for conference abstracts and presentations [ 5 ]. For example, while all named authors should review (at least once), approve the content of abstracts and presentations and be willing to take responsibility for the findings, it may be impractical to expect all authors to contribute to drafting and critically revising abstracts in the same way as for full manuscripts, because of the abstract brevity, time constraints, etc. There is an argument for limiting the authors to a number that can meaningfully comment and review an abstract (see 1.2.1) and using a study group to identify others involved in the wider study. Our collective past experience indicates that it becomes impractical for everyone to be involved in a group with more than 10 authors, which is also the maximum number suggested by GPP3 [ 5 ].

1.1.2 Authorship criteria for all anticipated journal articles and primary conference presentations should, ideally, be agreed at the start of the research, and author listings for subsequent secondary abstracts and presentations should be finalized well before work starts on the secondary material [ 12 ]. As with journal publications, whatever criteria are used to determine authorship should be applied equally to all authors, regardless of whether they are company employees, contractors, independent clinicians, researchers or consultants.

1.1.3 Authors and contributors should have access to all relevant study materials and data to permit them to understand the research findings. Abstracts may need to be developed soon after results are analysed and before a final clinical study report is available. In such cases, authors should always have access to the protocol, statistical tables and any other information necessary to discuss and develop the planned abstract and presentation.

1.1.4 If individuals are authors on abstracts and presentations written in languages in which they are not proficient, companies should work with them and offer whatever reasonable assistance is required to permit them to discuss and review material effectively (e.g. to provide translations for the authors, or a discussion with an interpreter or local investigator/presenter who can read and explain the text). Authors may also choose not to be listed for such a conference abstract and presentation (see also 1.1.6).

1.1.5 Whatever convention is (or will be) used to determine the order of authors on the related full publications in journals should generally also be used to determine the order of listing on conference abstracts and presentations. The final order should be agreed by all authors; however, conference requirements (e.g. listing the presenting author first) must be respected. In cases where first or last co-authorship is requested, the conference organizers should be contacted for guidance.

1.1.6 While the authorship of conference abstracts and presentations should accurately reflect those who were involved in the research, individuals who meet the ICMJE authorship criteria (and may be listed on a subsequent full publication) may choose not to be listed for a conference abstract and presentation (e.g. if they are unable to review and/or approve the material within the deadline). While this individual choice should be respected, significant contributions to the research should be acknowledged where possible; that is, in a contributor list included on the presentation.

1.1.7 Conference organizers should encourage the use of ORCID identifiers to identify authors on abstracts and presentations, to avoid ambiguity between authors with similar or identical names. (Note: many journals and institutions now require authors to include their ORCID identifier at manuscript submission.)

1.2 Contributors/study groups

1.2.1 We encourage conferences (and company sponsors) not to limit the number of authors (or contributors) who may be listed on an abstract or presentation, because this practice may prevent the author list from accurately reflecting who did the work. However, named authors should be limited to those who have actively participated in the development of the abstract (see 1.1.1). GPP3 recommends an author group of fewer than 10 [ 5 ]; above this number, naming a study group may be a more practical approach. Likewise, if the source data come from a study, and the authors involved in that study meet authorship criteria, then the use of a study group name is strongly recommended.

1.2.2 Study group names may be helpful to acknowledge contributions to projects involving a large number of people, in addition to named authors who have contributed both to the research and to developing the presentation. Inclusion of a study name, either in the title or by including a study group in the author listing, will facilitate linkage of conference abstracts and presentations with journal publications. However, this should not be a substitute for including a unique study identifier such as a registration number for clinical trials (e.g. ClinTrials.gov or EudraCT numbers), which is a more reliable linkage method because these can be used as search terms in relevant databases. Provision should be made for study group membership details to be added during abstract submission and made available via the conference website once an abstract has been accepted.

1.3 Presenters and society sponsors

1.3.1 While the ICMJE criteria are a useful starting point for determining authorship, they were not designed for conference abstracts and presentations. Therefore, in certain circumstances, and if all authors agree, it is permissible for somebody who does not (or will not) meet the ICMJE authorship criteria for a journal article to present findings at a conference. For example, a local presenter may be included (preferably in a contributor list and not as an author) if the authors of the conference presentation will not attend a particular meeting, do not speak the language required or are not members of the academic society hosting the meeting. This local presenter, for example, could be an investigator who recruited patients but did not contribute to the study design or interpretation of data and will not be involved in developing journal articles. In the contributor list, this person should be designated as ‘presenter’ to clarify their role. However, if the conference requires that only authors can present, then the new presenter will need to be added to the author list.

1.3.2 Abstract authors (including company authors) attending a conference should always be preferred as presenters over non-author presenters. In cases where an author is not available to present, and the conference acquiesces to a non-author covering the presentation, the non-author presenter should be familiar with the research design and findings and have a good knowledge of the subject area in order to respond to questions about the presentation even if, unlike the authors, they cannot take direct responsibility for the research. An appropriately qualified individual from the sponsoring company (e.g. Medical Director) could present study findings if authors are not available; however, individuals with a commercial role in the sponsoring company (i.e. sales or marketing) should not act as non-author presenters.

1.3.3 All those listed as authors on an abstract or presentation must be able to take accountability for the research (following the spirit of the ICMJE recommendations). Therefore, if conferences require a society member to sponsor a submission, and none of the authors or study investigators is a member, this sponsorship role should be distinguished from that of the study authors if the sponsor/member was not involved with the research. If an existing author happened to be a society member, then no such distinction would be necessary. If the conference wishes to list the society sponsor, then this role should be indicated on the abstract (e.g. by an asterisk) and in a contributor list (not the author list) on the presentation.

Figure  2 illustrates some scenarios to differentiate between authors and non-author presenters.

When is a presenter not an author? Different roles possible for authors and presenters of conference presentations

2.0 Conference abstracts

2.1 To facilitate linkage between conference abstracts and presentations, and subsequent publications, abstracts should include a study identifier such as a registration number (for clinical trials), study name, protocol number or grant number. To encourage this, conference organizers should require this information in a specific field on the submission form and publish it with the abstract.

2.2 Abstracts describing company-sponsored research should always name the sponsor and all funding sources (if more than the sponsor).

2.3 Authors or sponsoring companies may involve professional medical writers to support authors in the drafting of abstracts. All authors should agree to these arrangements and work closely with any writers and approve the final version. Space limitations on abstract submission sites usually preclude writing support acknowledgement. Conference organizers should consider requesting this information and publishing it with the abstract.

2.4 We encourage conference organizers to consider the requirements of reporting guidelines when setting limits on the length of abstracts. For example, CONSORT for Abstracts suggests that around 300 words may be needed to adequately report randomized clinical trials [ 7 ].

2.5 We also encourage conference organizers to maximize the available space for content in abstracts by not counting authors, affiliations, trial registration numbers and sponsor acknowledgments towards the word or character limit.

2.6 Most conferences will not consider reports of findings that have already been published in full (i.e. in a peer-reviewed journal). This requirement must be respected and, even if permitted, presenting findings after their full publication should be avoided. However, abstracts presenting findings or novel analyses that are not included in a full publication may be submitted if the conference permits this. In situations where a journal article is in preparation at the same time as abstract submission, subsequent submission of the article may overtake the abstract in acceptance, at which point the conference needs to be advised, and the journal also, to avoid issues of prior data release. It may be necessary to withdraw the abstract, or it might be possible for the journal and conference to come to a mutually acceptable arrangement regarding either delay of the article or amendment to the intended presentation. Posting summary results on a trial register (e.g. ClinicalTrials.gov , EudraCT) or a clinical study report to meet regulatory requirements is not regarded as full publication by the ICMJE [ 2 ] and should not prevent subsequent presentation at conferences.

2.7 As conference submission requirements become more detailed (and therefore labour-intensive), conference organizers should acknowledge that it is acceptable for the abstract submission process to be completed by a third party (e.g. a medical communications company) on behalf of the submitting author, with that author’s permission. Where feasible, the submission might be checked by the submitting author prior to the actual submission; however, there are some sites where submission has to be completed in one sitting, and on other occasions, time differences (and time pressures) may make this impractical.

3.0 Conference presentations (posters and slides)

3.1 general considerations.

3.1.1 Study identifiers (e.g., trial registration numbers) should be included on presentations to improve linkage between conference presentations and subsequent publications (see also Section 4).

3.1.2 All funding sources for the research, any assistance with the presentation (e.g. medical writing support, editorial assistance or design) or support for conference attendance and authors’ conflicts of interest should be clearly disclosed on posters and slides. For posters and slides, such disclosures should be clearly legible (i.e. not significantly smaller or lighter-coloured than the main text).

3.1.3 Author listing and order on posters and slides should be the same as that on the abstract. Authors should not be added to a presentation after the abstract is accepted. However, if an author is unavailable to work on a presentation after abstract acceptance, their name may be removed from the author list but their contribution (to the study and/or publication) should be acknowledged. If an author other than the first-named author is to present, this should be indicated without changing the author order. The principle is to retain the same information about authors as on the abstract for ease of identifying the related presentation. Similarly, the title of the presentation should not be changed after submission; thus, the titles of the abstract and poster or slides should be identical. [If someone not on the author list is to present, and this is known in time for poster preparation, the relevant name could be added as a footnote, or close to the author list thus: (Presenter: J. Doe, ABC Institute, City, Country).]

3.1.4 All named authors should contribute to the development of, and approve, the presentation (see 1.1.1). Authors should be given sufficient time for presentation development and review. Making significant changes to posters or slides after all-author approval should be avoided. If changes must be made after approval, the actual final version must be sent to all authors. As with journal articles, for large studies, it may be most efficient for a subgroup to coordinate the development of a presentation (similar to a writing group for an article). This should be considered when deciding authorship.

3.1.5 Each author’s contributions to the study and to the development of the presentation should be listed.

3.1.6 Conference presentations should include a list of contributors who have made a significant contribution to the research or the presentation, regardless of whether they are listed as authors or attending the meeting. Ideally, permission for such acknowledgment should be sought in writing.

3.1.7 Because abstracts are usually submitted several months before a conference, they may contain interim or preliminary findings. Therefore, by the time of the conference presentation, some details may have changed. If research findings change substantially between abstract submission and conference presentation and affect the conclusions of the research, we recommend that authors alert the conference to this discrepancy. This is particularly pertinent in the case of oral presentations (because abstracts are typically selected for oral presentations based on the impact of the findings). Regardless of whether the new data change the conclusions of the research, we recommend indicating (e.g. in a footnote) any data that are different from those on the accepted abstract.

3.1.8 Authors or sponsoring companies may involve professional medical writers in the production of posters and slides. Authors should agree to these arrangements and work closely with any writers, editors and/or designers throughout the development of the presentation. Such support should be disclosed on the presentation, along with source(s) of funding (see also 3.1.2).

3.2 Posters

3.2.1 While there are platforms where posters can be made permanently available (e.g. on conference websites or platforms such as F1000 Research), some journals regard this as prior publication which may jeopardize full publication. Authors should therefore check the policies of their target journal(s) and of the sponsor or funder before agreeing to a poster being publicly posted.

3.2.2 Posters are not peer-reviewed by conferences and may not describe all aspects of the research. Posters should therefore not be viewed as a substitute for a full article in a peer-reviewed journal. However, if a poster is publicly available (and, ideally, searchable via an indexing system or DOI), it may be cited until the full publication is available, although some journals consider citation of posters as unpublished information rather than full citations. See Section 6 for citation best practice.

3.2.3 The lead author should be given the first option to attend the poster session(s), but this role may be taken by other authors or a local presenter (if no author can attend or if no authors can present in the language of the conference). The poster presenter should ideally be agreed before the abstract is submitted, although it is understood that circumstances may change by the time of the actual conference (see 1.3.1).

3.2.4 While disclosures, funding sources, acknowledgements and contributions should be clearly noted on the main poster, supplementary sources can be used to expand on these if there is not enough room for detailed information, and may be accessed via a QR code (or similar link). Such content should normally be available until the research is published, in full, in a journal (at which point the link should be deactivated). If QR codes (or similar technology) are used to provide copies of the poster or to link to other scientific content, these should only be available to conference attendees, unless the conference elects to make the posters freely available after the conference. Links for the QR codes may be time-limited to close once the conference is finished. Supplementary materials may include translations. Supplementary material should be provided under the same usage conditions as the poster and indicate who is the copyright holder or licensee.

3.3 Slides for oral presentations

3.3.1 While the lead author is normally expected to present study findings at conferences (and is given the first option to do so), this may not be possible due to local language requirements, availability to travel, or personal circumstances, etc. If the lead author chooses not to present study findings, another author may give the oral presentation. If none of the named authors is available or able to give the presentation, a non-author presenter may present the findings if all authors agree to this and the conference permits it (see also 1.3.1 and 1.3.2). The presenter should be agreed before the abstract is submitted (and only changed if that person becomes unavailable). The lead author should discuss the contents of the presentation and the interpretation of the findings with the presenter (and co-authors, if possible) before the conference to ensure the authors’ views are correctly represented.

3.3.2 If a non-author presenter gives a presentation on behalf of the named authors (or study group), this should be indicated at the beginning of the presentation. The presenter’s conflicts of interest should be noted on the disclosure slide.

3.3.3 Recordings of oral presentations may be posted online by conference organizers but, as with posters, care should be taken to ensure this does not jeopardize full publication in a peer-reviewed journal. Slides alone (without the accompanying talk or speaker notes) may be hard to interpret and not provide full context, so care should be taken if these are made publicly available. As with posters (see 3.2.4), online sources may also be considered to host supplementary materials for presentations if they are made available after the presentation. If slides are made publicly available, this should not occur until after the presentation has been given and should only occur with the agreement of all authors and sponsors, who will need to consider any restrictions around the posting of the data and possible ‘prior publication’ concerns for later use (see 6.1.2).

3.3.4 Some scientific meetings offer Continuing Medical Education (CME) credit for attendance at oral presentations. Local regulations and requirements of the accreditation body for this must be respected.

4.0 Encore abstracts and presentations

4.1. It is permissible to present the same research findings at more than one conference if both the first and subsequent conferences allow this. This practice may be referred to as an ‘encore’ (or more specifically an encore abstract or encore presentation). However, presentations of the same findings to the same audience should be avoided.

4.2 Although encore abstracts are not considered to be redundant publications (unlike publication of the same findings in more than one journal), some conferences elect only to accept findings that have not been presented at other conferences, and such requirements must be respected.

4.3 When considering encore abstracts, the authors and sponsoring company should decide whether it is most appropriate to submit identical abstracts to multiple conferences or whether it is better to emphasize different aspects of a trial (e.g. those of interest to different audiences). Use of study identifiers can help identify that multiple conference abstracts and presentations are from a single study. However, to avoid any confusion, we recommend that encores should be specifically identified as such (e.g. by stating that the presentation is an ‘encore’ and listing where previous abstracts of all or some of the findings were presented) (see also 4.4 and 4.6). We also recommend that previous presentations should be listed on the presentation, if accepted.

4.4 Conference organizers should consider including a means of identifying encore abstracts (e.g. including details of prior presentations) on the abstract submission form. This information should not be included in the abstract word or character count.

4.5 Addition of new data to a previously accepted abstract may not necessarily constitute a new abstract: conference guidelines should be consulted to confirm if this is acceptable. If no specific guidelines are provided, then as a general guide, if the new iteration adds any new data other than an update on analyses already contained in a previous abstract, then the new iteration should be regarded as a new abstract.

4.6 Where encore abstracts, or updated abstracts that include previously presented data, are accepted, their presentations should indicate that this is not the first time of presentation, for example, by a statement on the poster or slides such as “Data/some data first presented at [conference name and date]”.

4.7 Encore checklist: When deciding whether to submit an encore abstract to a conference to reach different audiences, authors and study sponsors should consider the following points.

What is the overlap, if any, with the audience of the earlier conference (e.g. in terms of region, specialism or profession)?

Are there any differences in the licensing status of any products mentioned in the presentation between the first and subsequent conference locations? For example, if the first presentation occurred in a region where a product is licensed, but later presentation(s) will take place in a region where it is not yet licensed, this fact may need to be reflected. For international meetings, remember that participants will attend from several regions, so the licensing status in different countries should be clarified.

Presentation at multiple meetings might delay and/or potentially jeopardize the full publication of research in a peer-reviewed journal. Companies should consider whether resources would therefore be better spent on ensuring a timely submission to a journal rather than preparing several encore abstracts and presentations.

5.0 Copyright considerations

5.1 Copyright transfer or publishing licence agreements that are executed during the abstract submission process are common when abstracts are to be formally published (e.g. in a conference-specific journal issue). These agreements relate only to the abstract, not to any subsequent presentation, unless explicitly agreed otherwise.

5.2 Copyright in a presentation is normally held by the authors, unless they have assigned it either to the conference or the sponsoring company. Re-use of a poster (at a subsequent meeting or in another format, such as a poster book or handout) normally requires permission from the copyright holder(s). It may therefore be simplest for authors to assign usage rights to the sponsor company if encore presentations or other types of re-use are planned. If a company author is included, then the copyright for that individual’s contribution rests with the company (not the employee).

5.3 If a conference wishes to acquire usage rights for abstracts, slides, or posters, we recommend that the conference offers an open access option under a Creative Commons (CC) licence. We encourage the use of the least restrictive CC-BY licence, which will allow authors and sponsoring companies the usage rights for subsequent presentations, as well as future publications. If presentations contain third-party material to which the authors do not hold copyright, it should be the responsibility of the conference organizers to clear rights for any further usage. The authors cannot be expected to anticipate the future use of materials by the conference organizers.

5.4 As for any publication, permission must be sought for use of third-party copyrighted material (e.g. a figure) in a presentation (and again for any encore presentations). Material should not be altered simply to avoid having to obtain permission from the copyright holder.

5.5 Peer-to-peer presentation at a scholarly conference by a researcher is generally considered to be fair dealing (UK) [ 13 ] or fair use (USA) [ 14 ], which does not require copyright permission. Any other use of a presentation by a company outside the conference will most likely be considered commercial use, for which permission from the rights holder(s) will be necessary.

6.0 Citing conference material

6.1 References (or citations) in scientific texts provide readers with source or background material and are used to justify or support statements. To be useable, the referenced material must be both permanently accessible and reliable; therefore, citations to full publications in journals that apply rigorous peer review are the ideal. However, if citations are needed for research that has not yet been fully published in a peer-reviewed journal, abstracts that have undergone scientific review (and on the basis of that have been accepted for presentation by a conference) may be cited, especially if they have also been published in a journal and are therefore permanently accessible and discoverable. Abstracts should not be cited after the full (primary) publication has been accepted by a journal.

6.2 Posters and slides are not peer-reviewed by conferences and are often not permanently or widely accessible or discoverable. Citations to posters or slides should therefore be avoided (see 6.1). However, if a poster or slide set is publicly available (and, ideally, discoverable via an indexing system or DOI), it may be cited until the full publication is available (although some journals consider citation of posters or slides as unpublished information rather than full citations). Authors and sponsor companies should ensure that publishing posters or slides online does not jeopardize full publication in a peer-reviewed journal.

6.3 To avoid citing conference posters or slides, companies should consider other dissemination routes such as listing findings as ‘Data on File’ (i.e. an unpublished data package held by the pharmaceutical company, which then should be supplied to anyone requesting those data).

6.4 If specific findings that were presented at a conference are omitted from a journal article (e.g. because of space constraints), they could be made accessible as supplementary material.

These recommendations summarize the authors’ collective experience with a view to outlining the underlying principles for best practice and providing guidance on the practicalities for navigating conference requirements. We did consider whether some of our recommendations could be accomplished by amendments to company–author agreements, but decided that such recommendations for ‘good practice for author agreements’ were beyond the remit and scope of this article and that GPP3 [ 5 ] adequately covers this aspect of author–sponsor relationship. Many of these recommendations are drawn from the working group’s experience across a variety of disease areas and conferences. However, this is also a limitation, in that by the nature of the authors’ work, their experience lies in conferences and conference submission systems with strong industry involvement. We believe that these recommendations could be applied to any type of scientific/medical conference and are as relevant to academic research as to company-sponsored research. Conferences maintain their value to the scientific community by covering the latest research and providing a forum for discussion: this value must not be lost due to lack of transparency or ethics in the preparation and presentation of the new data. By following these recommendations, industry professionals, authors and conference organizers will improve consistency, transparency and integrity of publications submitted to conferences worldwide.

It is earnestly hoped that future input from conference organizers and societies, as well anyone involved in submitting research to conferences, will augment and strengthen these recommendations. We therefore welcome feedback via the website ( https://gpcap.org ).

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Acknowledgements

Special thanks go to Peter Llewellyn of Network Pharma, for hosting the meeting on GPP3 that acted as a catalyst for getting these recommendations underway.

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CF raised the initial suggestion for guidelines, co-developed preliminary sections of text for the initial draft and discussed comments and revisions, reviewed all versions and approved the submitted version. EW drafted the Principles section and other portions of the text, discussed comments and revisions, reviewed all versions and approved the submitted version. JM consulted on the initial suggestion for these guidelines, drafted the Copyright section and other portions of the text, discussed comments and revisions, reviewed all versions and approved the submitted version. MP co-developed the foundation of the Encore Presentations section, discussed comments and revisions, reviewed all versions and approved the submitted version. SB consulted on the initial suggestion for these guidelines, assisted in the development of the initial draft, reviewed all subsequent drafts and approved the submitted version. NK drafted the abstract and other portions of the text, discussed comments and revisions, reviewed all versions and approved the submitted version. AP developed several sections with the author group, discussed comments and revisions, reviewed all versions and approved the submitted version. RS consulted on the initial suggestion for these guidelines, co-developed preliminary sections of text for the initial draft, discussed comments and revisions, incorporated feedback on the pre-print version, reviewed all versions and approved the submitted version. All authors read and approved the final manuscript.

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What It Takes to Give a Great Presentation

by Carmine Gallo

Summary .   

Never underestimate the power of great communication. It can help you land the job of your dreams, attract investors to back your idea, or elevate your stature within your organization. But while there are plenty of good speakers in the world, you can set yourself apart out by being the person who can deliver something great over and over. Here are a few tips for business professionals who want to move from being good speakers to great ones: be concise (the fewer words, the better); never use bullet points (photos and images paired together are more memorable); don’t underestimate the power of your voice (raise and lower it for emphasis); give your audience something extra (unexpected moments will grab their attention); rehearse (the best speakers are the best because they practice — a lot).

I was sitting across the table from a Silicon Valley CEO who had pioneered a technology that touches many of our lives — the flash memory that stores data on smartphones, digital cameras, and computers. He was a frequent guest on CNBC and had been delivering business presentations for at least 20 years before we met. And yet, the CEO wanted to sharpen his public speaking skills.

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Definition of encore

Examples of encore in a sentence.

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'encore.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

French, still, again

1712, in the meaning defined at sense 1

Dictionary Entries Near encore

encorbelment

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“Encore.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/encore. Accessed 29 Sep. 2024.

Kids Definition

Kids definition of encore, more from merriam-webster on encore.

Nglish: Translation of encore for Spanish Speakers

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What is an Encore?

An encore is an additional performance which is performed after an event comes to an end, in response to audience demands for more. Encores are most typically seen in the context of musical performances, with the performers playing an additional song after the event has concluded, although dramatic performances can sometimes include encores as well. As a general rule, performers are very flattered to receive calls for an encore, as it means that the audience loved their work so much that they aren't willing to leave without hearing just a little bit more.

The word “encore” is French for again, although the French themselves prefer to call bis after a particularly good performance if they wish to hear an encore. Most performers plan ahead for encores, to ensure that all of the people on stage, along with the crew, will be ready if the audience demands an encore, and typically, the piece chosen is either a famous standard of the performer, or a notable selection from the performance which has just concluded.

On rare occasions, an audience demands a second encore after the first encore is complete, and performers may choose to go along with it, or bring the performance to a reluctant conclusion. Second encores are relatively rare, and a great honor. If a second encore is performed, typically a very calm piece is chosen, to encourage the audience to wind down and get ready to go.

While encores usually happen at the curtain call, when all of the performers walk on stage to perform their bows and receive praise from the audience, an encore can also take place during a performance. This is extremely rare, occurring generally in the operatic world. If a star plans to perform an encore, he or she will discuss it with the cast and orchestra first, signaling the orchestra that he or she will perform an encore if the audience response merits it. This type of encore performance is done after a particularly challenging, beautiful, or distinctive aria, and some opera houses frown upon it.

In order for performers to offer an encore, the audience must offer sustained applause, and generally the performers also expect to see a standing ovation before they will perform an encore. Shouts of “encore” or “more” from the audience may also be viewed as a cue to perform an encore. Should the audience start to pack up or look restless during the applause, the performers will not grant them an encore, assuming that people are eager to get home.

Ever since she began contributing to the site several years ago, Mary has embraced the exciting challenge of being a Musical Expert researcher and writer. Mary has a liberal arts degree from Goddard College and spends her free time reading, cooking, and exploring the great outdoors.

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3 Answers 3

Its usage is certainly more common in the entertainment sector but in that example the content and intent is clear; this is independent of whether a lecture is considered a performance.

To "deliver an encore" as meaning "more of the same" could be used elsewhere, often in the negative form to describe a repetition not occurring e.g. an encore not taking place meaning a sports team not winning back-to-back games.

Merriam-Webster's Eleventh Collegiate Dictionary (2003) gives one reasonably audience-free definition of encore as a noun (definition 2b below):

1: a demand for repetition or reappearance made by an audience 2a: a reappearance or additional performance demanded by an audience b: a second achievement esp. that surpasses the first

Meaning 2b applies to instances like this one: In 2004, after painstaking effort, Russian and U.S. scientists succeed in briefly synthesizing ununpentium. A friend of one of the scientists asks, "What are you going to do for an encore?" The figurative reference is to performing before an audience, but the question itself is about topping a remarkable achievement.

"The lecturer gave an encore presentation" sounds fine to me, by the way. Google Ngram Viewer results find the phrase "encore performance" as far back as the 1870s. A typical example (from 1892):

We spoke before of the great and instantaneous success Miss Aus der Ohe achieved with the large audience, and after a triple most hearty recall she sat down to play as an encore performance Liszt's E major polonaise.

In such phrases, encore functions as an adjective and simply means "repeat." Merriam-Webster's doesn't endorse encore as an adjective, but that doesn't mean that people don't commonly use it as one, at least in the United States.

FOLLOW-UP (June 5, 2013): As for the history of "encore presentation," the phrase seems to have become fairly well established by the 1970s: Google Ngram Viewer search results return at least 18 unique instances of it between 1966 and 1979 in published works. The three earliest instances that Ngram Viewer finds date to 1946, 1955, and 1962.

From Bookbinding & Book Production , Volume 43 (1946):

H. Wolff's entry this year was another of its useful and attractively produced desk pads, while American Book-Stratford Press pleased friends with an encore presentation of its leatherbound pocket memo book.

From Musical Courier , Volumes 151–152 (1955):

The Co-Opera Company, a young group that presents one-act operas in English, in the round, gave an encore presentation of Arthur Benjamin's Prima Donna, in plot and score one of the finest of contemporary comedy operas.

From Autoharp , Issues 11–20 (1962):

Her encore presentation of the lullaby, Rozhinkes and Mendlen (Raisins and Almonds), was as tender a moment as any musical student could ever hope to hear, while her minor-key renditions of songs of Jewish family life brought back a dead age better than the books and ethnographic studies can ever hope to equal.

FURTHER FOLLOW-UP (also June 5, 2013): In the period from 1969 to 1979, "encore presentation" came into more frequent use in connection with lectures, seminars, and public addresses. Ngram Viewer notes the following instances:

"Adding up the results after the last of the 240 visitors had left, Friden [a manufacturer of electronic calculators] officials said the $46,500 in immediate and projected sales justified an encore presentation " [ International Commerce , August 24, 1970].

"An encore presentation will be held at the New York Hilton on Monday, October 18th, again featuring speakers with varying points of view, a probing press panel and topics of current interest." ( FACS Forum , 1975).

"Next month, an NPL encore presentation will entertain Van Camp brokers vacationing at company expense on the isle of Martinique." ( The Executive of Los Angeles , 1978 {cited text not visible in snippet window}).

"A private trade show in the trucking industry, the Mack Trucks 'Super Spectacular,' was a success in its encore presentation in the New Orleans Superdome" ( Industrial Marketing , 1979).

"The seminar, an encore presentation from Chicago's June CES, drew enthusiastic response when Berman pointed out weak, self-defeating sales practices and the overuse of the phrase 'Can I help you?'" ( Billboard , January 27, 1979).

The most common circumstance where "encore presentation" appears during the 1970s is in connection with repeat showings of TV shoes, as in this instance from United Methodists Today (1974):

April 12 on ABC, 10-11 p.m. Encore presentation of A Man Named John , starring Raymond Burr and based on the life of Archbishop Angelo Roncalli, later to become Pope John XXIII.

Evidently, broadcasters decided that "encore presentation" would sound more appealing to potential viewers than "rerun."

Ngram Viewer didn't return any matches for "encore lecture," "encore demonstration," "encore address," or "encore seminar," suggesting that few encore + noun combinations are in common use in publishing. However, it did find quite a few for "encore appearance," from as far back as 1927.

FURTHER FURTHER FOLLOW-UP (July 31, 2021): Looking again at Google Books search results, I found a figurative instance of "encore performance" from the early twentieth century. From " A Day's Jack Fishing " in Baily's Magazine of Sports and Pastimes (March 1908), a vignette in which a little boy who can't swim has been forced to climb a tree overhanging a pond to retrieve some fishing bait that had got hung up in the branches by an inept (but intimidating) angler:

When he [the boy] got down again, he looked from the shilling in his grimy little fist to the Major, and then at the shilling again, and sped off, making a bee-line for the farm, as fast as his legs could carry him. He evidently did not want an encore performance .

An even earlier instance, in which "encore performance" appears in the context of rereading an address originally given at some previous professional gathering, occurs in Henry McManus, " Thoughts About Inlays ," a paper read before the Vermont State Dental Society at its twenty-eighth annual meeting, March 18–18, 1904, reprinted in The Dental Brief (November 1904):

In accepting the kind invitation of your very worthy secretary to supplement the clinic I hope to have the pleasure of giving later in the session, with a paper, I want to state positively that I did not comply with his flattering suggestion that I, like the learned lights of our profession, could reach down into the bottom drawer and find a paper suitable for any occasion and allow it an encore performance here.

• But again that is an encore performance and not presentation –  mplungjan Commented Jun 4, 2013 at 5:21
• Hello, mplungjan. Please see the addition I just made to my response above. I had focused earlier on "encore performance" rather than "encore presentation" because the former is much longer established and because the main point I was trying to make is that people have long used "encore" as an adjective in published writing. But "encore presentation" shows up a fair number of times in Google Ngram Reader results by the end of the 1970s, as my follow-up remarks indicate. –  Sven Yargs Commented Jun 4, 2013 at 17:44
• Two out of three examples were musical ;) –  mplungjan Commented Jun 4, 2013 at 20:21
• Right. But many of the ones from 1969–1979 are not musical at all. I've added some examples to my answer as a "Further Follow-up." Perhaps the most common situation for "encore presentation" during this period is in TV listings, where it appears to have served as a more refined way of saying "rerun." –  Sven Yargs Commented Jun 5, 2013 at 2:17
• Isn't TV a bit like theatre? :))) I will not give in completely here... –  mplungjan Commented Jun 5, 2013 at 4:20

The definitions of encore in these dictionaries all refer only to the usage you cite: Chambers , ODO , Collins , TheFreeDictionary .

(That actually surprised me, because I thought that it could probably be used in most senses for again - its literal translation from the French.)

Note also that the cited dictionaries also all refer to the use of encore as noun , verb or exclamation - there is no suggestion that it can be used as an adjective as proposed in your example sentence.

• So you're saying the following would be OK? "The professor's presentation was an encore"? Just wondering. –  rhetorician Commented Jun 4, 2013 at 1:22
• @rhetorician, I find the implication is that the professor was retired, or that he repeated one particular lecture after the course was finished, or something like that. –  Andrew Lazarus Commented Jun 5, 2013 at 0:02
• It's weird that the dictionaries don't cover the use as an adjective: I've encountered that usage a number of times over the years, it's not a new thing. In any case the intended meaning of that usage is immediately obvious. –  nnnnnn Commented Jul 31, 2021 at 23:28

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GPP3 Frequently Asked Questions 

Welcome to the GPP3 FAQ page!

The following questions have been submitted from your colleagues through various mechanisms, including the mailbox. The answers are developed via a rigorous drafting and review process by members of the GPP3 Website Committee and GPP3 Steering Committee. The answers have been tied to individual section(s) of GPP3, noted parenthetically at the end of each question. We hope these FAQs and responses are helpful to you in furthering your understanding and implementation of GPP3.

Do you have a question about GPP3? Submit your question at !

A. Commercial (also referred to as marketing) functions/individuals should not direct/lead the publication planning process. Understanding that commercial colleagues should have a very limited involvement in the publication process, they can provide input into the broad concepts of the publication planning process. For example, commercial colleagues may provide valuable input about congresses that could be considered for abstract submissions or share insights derived from market research on specific medical educational gaps that might be addressed through the peer-reviewed literature. However, commercial colleagues should not request specific manuscript topics nor should they propose specific authors to invite to participate in publications development.

A. Encore abstracts can serve to communicate the same clinical data to different audiences for whom it is relevant, including those who work in different geographic or scientific areas from those originally targeted. For example, attendees at a conference in Asia might not   have been able to attend a conference held in the USA, so presenting an encore abstract to the Asian conference allows them to directly access the data and interact with the presenter, which is one of the strong points of conference presentations (especially posters). Similarly, attendees of a conference on Gerontology might be interested in data generated from trials on infectious diseases that disproportionately affect the elderly (eg, influenza), which might otherwise be presented only at an infectious disease conference.

The submission of encore abstracts is acceptable only if all authors agree, the congress permits encore presentations, and copyright is respected. Some congresses may require authors to notify organizers that the abstract submission is an “encore” of one that was previously presented, and for which the copyright is held by the congress where it was first presented.  The original organization may also require that an acknowledgement be published with the encore abstract that indicates that the abstract was reused with permission of Congress X, was previously presented at (year) Congress X, and all rights are reserved.

A. Both GPP3 and EFPIA/PhRMA Principles for Responsible Clinical Trial Data Sharing are clear about the fact that all clinical trial results should be made publicly available, regardless of outcome. However, as noted in the question, they differ in what should be published in peer-reviewed journals. For companies that follow the EFPIA/PhRMA Principles, we recommend those responsible for company policy consider aligning with GPP3. If the company prefers to align with EFPIA/PhRMA Principles, we suggest the company publicly defines what it means by “clinically important.”

A. Whether or not the individual who performed and interpreted the additional analyses qualifies for authorship is a matter of judgment regarding how the contribution meets the authorship criteria applied.  If the individual performing the additional analyses fulfills the same criteria applied to the other authors of the publication (ie, substantial contribution to conception or design of work, or acquisition, analysis or interpretation of data), then that individual may qualify for authorship.  The author team needs to evaluate whether the additional analyses are instrumental to the interpretation and/or reporting of the clinical trial data and critical to the publication itself.  If ICMJE criteria are used, that individual must not only fulfill criteria #1 (substantial contribution to conception or design of work, or acquisition, analysis or interpretation of data), but also the other three (including drafting/revising critically, final approval of submitted version, and agreement to be accountable for all aspects of the work) in order to qualify for authorship.  It is always appropriate to acknowledge individuals for their contributions which don’t otherwise meet all authorship criteria. The team might also have to consider whether the person who performed the analysis in the CSR is an author.  If not, then the additional analyses may not be sufficient for authorship.

  A. GPP3 recommends that results from all clinical trials (including noninterventional studies involving human participants) should be published, ideally in a peer-reviewed journal, or otherwise made public. Research results should be submitted for publication in a suitable peer-reviewed journal whether the findings are positive, negative, or inconclusive; and whether the intervention is licensed, discontinued, or withdrawn from the market. Some journals have policies of accepting all scientifically sound and ethical research, regardless of the likely level of interest. Such journals should therefore be considered following rejection by more selective journals. GPP3 advises that if a study yields data of limited scientific or clinical value or in the case of multiple journal rejections, posting results on a public Web site, trial registry site (eg, ClinicalTrials.gov or the European Clinical Trials Database [EudraCT]), or data repository is an acceptable option.

A. The intent of GPP3 is to provide guidelines for the dissemination of data from industry-sponsored studies regardless of format and channel. This includes presentations, defined as abstracts, posters, and oral presentation slides. The GPP3 guidelines should be applied to all such materials to the extent possible, especially regarding authorship, and in the final material within the constraints often imposed by the congress itself. For example, the number of slides in a presentation is often strictly limited, to as few as five in some cases. In those circumstances priority should be given to the data, but at a minimum the trial identifier and disclosures should be included. Posters should also include such information, but again, not at the expense of the data. Including disclosure of the funding source is in alignment with the recommendation of the CONSORT for Abstracts.

A. Both writing and editorial assistance have been listed in journal articles in either or both the Acknowledgments and the Disclosures sections. Usually, the Acknowledgments section is a recording of professional activities where the Disclosures section provides transparency about any relevant financial and nonfinancial relationships authors may have. The Disclosures section may also be called “Conflicts of Interest” or “Competing Interests” sections. Some journals may require an Acknowledgments section, a Disclosure/Conflicts of Interest section and a statement about the funder’s role in the research. According to GPP3, “clear and concise descriptions of the role of each author and any listed nonauthor contributors (for example, statisticians, medical writers, and research personnel) should be included within the publication or presentation.”

The GPP3 states “if writers do not meet authorship criteria, their contribution should be disclosed (e.g., as a nonauthor contributor in the acknowledgment section).” Based on this information, it is recommended that writing and editorial assistance along with who is providing payment for this support be included in the Acknowledgments section rather than in the Disclosures section. However, as noted in the GPP3, “all specific journal or congress requirements for acknowledgment and disclosure should be followed.” When in doubt, always disclose more rather than less.

A. GPP3 recommends specific timing for publication of data from clinical studies for licensed products and investigational drugs, and considers a product licensed if it is approved for use and commercially available in at least one country. For example, a product that is approved for use in the United States but not yet in Japan would be considered a licensed product with respect to the recommended timing for publication (ideally submission within 12 months of study completion). This definition of a licensed product is aligned with the .

A. It is important to ensure that contributors who have made substantive intellectual contributions to a publication are appropriately recognized as authors ( ). GPP3 recommends using the ICMJE authorship criteria, updated in 2013, to identify authors unless the target journal or congress has different requirements.

In the ICMJE, it states “when a large multi-author group has conducted the work, the group ideally should decide who will be an author before the work is started and confirm who is an author before submitting the manuscript for publication” ( ). It is recognized that many individuals may be involved in the design and execution of clinical trials, but it is not feasible to offer the opportunity of authorship to all of them. GPP3 recommends that “priority should be given to the key contributors who have the necessary background to analyze or interpret the findings.” “Necessary background” could include attributes such as knowledge, skills, experience in therapy area, treatment, or in similar clinical trials. Those who will be authors should make important intellectual contributions to the publication and be able to take public accountability for all aspects of the publication. Non author contributors such as statisticians, medical writers, and research personnel who do not meet all four ICMJE authorship criteria should, with their permission, be listed in the acknowledgement section according to specific journal or congress guidelines.

A. The GPP3 guideline does not cover marketing or advertising materials, which are regulated or accredited by specific national or regional authorities (GPP3 Introduction). Medical research should be published based on scientific and/or clinical merit and educational need, and not developed with the primary intention to support downstream commercial activities such as use in promotion. Publications should accurately state what is reported in the study report and not edited to reflect wording in the package insert. Commercial functions should neither direct publication planning or development nor be involved in publication review or approval (GPP3 Section 1.1).  Any commercial/regulatory/legal review of an article for use in promotion should occur after an article is published, not before it is published.

A. In general, the number of authors should be determined based on the ICMJE and GPP3 criteria for authorship in context of the target journal guidelines. These same criteria should be applied to both internal (authors who are employees of the sponsor) and external (authors who are not employees of the sponsor) authors. There should not be any predefined ratios or targets on the balance between internal and external authors.  To some extent, the number of qualified authors will depend on the complexity of the research and of the publication itself. In general, it is unusual in biomedical research (with few exceptions) to have >10 authors who fulfill authorship criteria. A high number of authors may call into question whether all could have provided “substantial contribution.” Fewer authors are often preferable, with other contributors acknowledged (e.g., as non-author contributors or collaborators). When considering authorship, it is important to remember to check the journal guidelines, as some journals limit the number of authors allowed on a publication. It may be prudent to contact the journal if the number of authors meeting ICMJE criteria exceeds that recommended by the journal.

A. Although GPP3 does not address this scenario directly, it does stipulate that authors who are considered key contributors should have access to the data. The principles in GPP3 are to protect the rights of authors who change employers after having already fulfilled most of the criteria required for authorship (e.g., design of studies, participation in data collection or analysis), and who then also intend to participate in the development and submission of the final paper. Although the individual author would have access to the data, the new employer would have no legal right to access the data, and the affected author of the study would have no obligation to provide data access to this company or institution (the author is obligated to uphold confidentiality agreements concerning the data). The author’s affiliation at the time the research was done should be listed on the article, with a note to indicate new contact details. A conversation on potential conflict of interest (COI) should be held at the time of new employment, so that, at least in principle, it is agreed that continued authorship is permitted by the new employer (and at a stage early enough to avoid adverse impact on the publication date). If it is a requirement stipulated in the internal company-employee policy, the author may be obligated to allow the new employer to see the final version of the manuscript before submission, as well as discuss how to fully disclose any potential conflicts of interest, (which may include the new employment). 

A. GPP3 does not specifically address the affiliation of the corresponding author. According to ICMJE, “The corresponding author is the one individual who takes primary responsibility for communication with the journal during the manuscript submission, peer review, and publication process, and typically ensures that all the journal’s administrative requirements, such as providing details of authorship, ethics committee approval, clinical trial registration documentation, and gathering conflict of interest forms and statements, are properly completed, although these duties may be delegated to one or more coauthors.” ICMJE also recommends that all authors be copied on all correspondence about the manuscript. Based on the ICMJE recommendations and consultation with the GPP3 Website and Steering Committees, there is no pre-defined, preferred or required affiliation (sponsor employee or investigator) for the corresponding author. The corresponding author should be identified by the author group before writing begins (GPP3 Section 2.3.2), and should be based on the individual’s availability and willingness to be responsible for all of the administrative details that surround a journal submission and post-publication communication; the decision should be exclusive of the author’s place of employment. Often, the first author is the corresponding author; however, this is not a first-author requirement. Journal guidelines should be followed regarding journal submission and correspondence with the journal.

1. ; accessed July 21, 2016.

 

A. GPP3 recommends use of the ICMJE authorship criteria; ie, requiring that all authors meet all 4 ICMJE criteria. GPP3 provides an expanded explanation of ICMJE criterion 2, which addresses author review (“Drafting the article or revising it critically for important intellectual content”). According to GPP3, “The key is sustained intellectual contribution, the provision of substantial comment, and approval of the final version. Although preferred, it is not always feasible or necessary for authors to comment on every stage of manuscript development.” Thus although all authors are not required to comment on every draft of a manuscript, they are required to have provided substantial intellectual input and critical review and comment on at least one of the early drafts, the final draft prior to submission, and revised manuscripts that reflect substantial change from prior drafts.

A. There is no specific template or guidance for the development of manuscripts that report the results of negative or equivocal studies. The manuscript should be written according to accepted guidelines based on the type of study regardless of outcome (eg, CONSORT for randomized clinical trials, STROBE for observational studies). When selecting a journal, it is important to identify one that is appropriate for the type and topic of the research, and that states in its author guidelines that it accepts manuscripts that report negative or equivocal trials. Selection of an appropriate journal may help facilitate publication. A presubmission inquiry may also be helpful to determine the journal’s level of interest. Prior to taking this step, the journal guidelines should be or the journal contacted regarding its interest in receiving such inquiries. 

 

A. GPP3 offers no specific guidance on this topic; however, there are some best practices that can be followed. When researching appropriate target journals, it is important to look at the type of study and ensure that it aligns with the focus of the journal. There should be careful assessment up front regarding the type, robustness, newness, and novelty of the data so that they align with the targeted journal(s). Ask authors to consider the following: have the potential journal(s) recently published on the same or a similar topic; are the data either too specialized or not specialized enough for its readership, how long is the lag time from submission to publication; and how do rejection rates compare. If the journal accepts presubmisson inquiries, that step should also be taken to determine the journal’s level of interest in the manuscript. All of these factors may impact the acceptance and publication of a manuscript. To aid selection and consensus building, it may be helpful to create a table to be used in discussions with the authors that would contain the relevant information on target journals under consideration—including the above—as well as the advantages/disadvantages (pro/con) of each potential target journal.

 

A. The ISMPP Advocacy and Outreach committee is currently developing a strategy and plan to advocate good publication practice to a range of priority stakeholders, including academic authors via their professional societies. It is anticipated that this will be launched from 4Q 2016. 

A.There are a variety of tools available on the ISMPP website, specifically on the GPP3 page ( ), to educate those involved in publication development. These include a link to the GPP3 article in , an editorial in , a frequently asked questions document, a PowerPoint presentation and a link to a You Tube presentation. A translation of GPP3 into Chinese language is also available. More additions are planned, including translation of GPP3 into Japanese language and a GPP3 checklist.

Another useful source of information is the ‘Medical Publication Insights and Practices’ Initiative (MPIP), which has a 5-step authorship framework as well as authorship toolkit designed to help all authors across industry and academia and is consistent with GPP3 guidelines ( ). 

A. GPP3 places more emphasis than GPP2 on the role of the medical writer, working with the author(s) and sponsor(s), to ensure that good publication practices are followed. GPP3 also discusses how medical writers may enhance publication quality and reduce the risk of retractions. It is important that medical writers, whether agency-based or freelance, maintain good publication practices and encourage others who are involved in the publication to maintain good publication practices as well. Encouragingly, the findings in the Global Publication Survey (Wager et al, 2014) suggest that education by agency staff was often found to be successful when dealing with apparent compliance issues. However, if an author fails to respond to the medical writer’s recommendation, the issue should be escalated to the writer’s contact at the sponsor company. The key point is to not ignore inappropriate publication practice, but to educate and reinforce good practice.

Elizabeth Wager, Karen Woolley, Viv Adshead, Angela Cairns, Josh Fullam. John Gonzalez, Tom Grant, Stephanie Tortell. . BMJ Open 2014;4:e004780. doi:10.1136/bmjopen-2013-004780 

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• PRESENTATION SKILLS

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The formal presentation of information is divided into two broad categories: Presentation Skills and Personal Presentation .

These two aspects are interwoven and can be described as the preparation, presentation and practice of verbal and non-verbal communication. 

This article describes what a presentation is and defines some of the key terms associated with presentation skills.

Many people feel terrified when asked to make their first public talk.  Some of these initial fears can be reduced by good preparation that also lays the groundwork for making an effective presentation.

A Presentation Is...

A presentation is a means of communication that can be adapted to various speaking situations, such as talking to a group, addressing a meeting or briefing a team.

A presentation can also be used as a broad term that encompasses other ‘speaking engagements’ such as making a speech at a wedding, or getting a point across in a video conference.

To be effective, step-by-step preparation and the method and means of presenting the information should be carefully considered. 

A presentation requires you to get a message across to the listeners and will often contain a ' persuasive ' element. It may, for example, be a talk about the positive work of your organisation, what you could offer an employer, or why you should receive additional funding for a project.

The Key Elements of a Presentation

Making a presentation is a way of communicating your thoughts and ideas to an audience and many of our articles on communication are also relevant here, see: What is Communication? for more.

Consider the following key components of a presentation:

Ask yourself the following questions to develop a full understanding of the context of the presentation.

When and where will you deliver your presentation?

There is a world of difference between a small room with natural light and an informal setting, and a huge lecture room, lit with stage lights. The two require quite different presentations, and different techniques.

Will it be in a setting you are familiar with, or somewhere new?

If somewhere new, it would be worth trying to visit it in advance, or at least arriving early, to familiarise yourself with the room.

Will the presentation be within a formal or less formal setting?

A work setting will, more or less by definition, be more formal, but there are also various degrees of formality within that.

Will the presentation be to a small group or a large crowd?

Are you already familiar with the audience?

With a new audience, you will have to build rapport quickly and effectively, to get them on your side.

What equipment and technology will be available to you, and what will you be expected to use?

In particular, you will need to ask about microphones and whether you will be expected to stand in one place, or move around.

What is the audience expecting to learn from you and your presentation?

Check how you will be ‘billed’ to give you clues as to what information needs to be included in your presentation.

All these aspects will change the presentation. For more on this, see our page on Deciding the Presentation Method .

The role of the presenter is to communicate with the audience and control the presentation.

Remember, though, that this may also include handing over the control to your audience, especially if you want some kind of interaction.

You may wish to have a look at our page on Facilitation Skills for more.

The audience receives the presenter’s message(s).

However, this reception will be filtered through and affected by such things as the listener’s own experience, knowledge and personal sense of values.

See our page: Barriers to Effective Communication to learn why communication can fail.

The message or messages are delivered by the presenter to the audience.

The message is delivered not just by the spoken word ( verbal communication ) but can be augmented by techniques such as voice projection, body language, gestures, eye contact ( non-verbal communication ), and visual aids.

The message will also be affected by the audience’s expectations. For example, if you have been billed as speaking on one particular topic, and you choose to speak on another, the audience is unlikely to take your message on board even if you present very well . They will judge your presentation a failure, because you have not met their expectations.

The audience’s reaction and therefore the success of the presentation will largely depend upon whether you, as presenter, effectively communicated your message, and whether it met their expectations.

As a presenter, you don’t control the audience’s expectations. What you can do is find out what they have been told about you by the conference organisers, and what they are expecting to hear. Only if you know that can you be confident of delivering something that will meet expectations.

See our page: Effective Speaking for more information.

How will the presentation be delivered?

Presentations are usually delivered direct to an audience.  However, there may be occasions where they are delivered from a distance over the Internet using video conferencing systems, such as Skype.

It is also important to remember that if your talk is recorded and posted on the internet, then people may be able to access it for several years. This will mean that your contemporaneous references should be kept to a minimum.

Impediments

Many factors can influence the effectiveness of how your message is communicated to the audience.

For example background noise or other distractions, an overly warm or cool room, or the time of day and state of audience alertness can all influence your audience’s level of concentration.

As presenter, you have to be prepared to cope with any such problems and try to keep your audience focussed on your message.   

Our page: Barriers to Communication explains these factors in more depth.

Continue to read through our Presentation Skills articles for an overview of how to prepare and structure a presentation, and how to manage notes and/or illustrations at any speaking event.

Continue to: Preparing for a Presentation Deciding the Presentation Method

See also: Writing Your Presentation | Working with Visual Aids Coping with Presentation Nerves | Dealing with Questions Learn Better Presentation Skills with TED Talks

• Cambridge Dictionary +Plus

Meaning of encore in English

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• anti-musical
• cloth-eared
• fog machine
• have cloth ears phrase
• in concert idiom
• jam session
• post-concert
• throat singing
• auf Wiedersehen
• eat your heart out idiom
• more power to you ! idiom
• you know something? idiom
• you should have seen/heard something/someone idiom
• you the man! idiom

encore | Intermediate English

Examples of encore, translations of encore.

Get a quick, free translation!

Word of the Day

the soft part of your face that is below your eye and between your mouth and ear

It’s as clear as mud! (Words and expressions that mean ‘difficult to understand’)

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• English    Noun Exclamation
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[ ahng -kawr , -kohr , ahn - ]

interjection

• again; once more (used by an audience in calling for an additional number or piece).
• a demand, as by applause, for a repetition of a song, act, etc., or for a performance of a number or piece additional to those on a program, or for a reappearance by the performers, as at the end of a concert, recital, etc.

He chose a Chopin nocturne for his encore.

• any repeated or additional performance or appearance, as a rerun of a telecast or a rematch in sports.

verb (used with object)

• to call for a repetition of.
• to call for an encore from (a performer).
• again; once more: used by an audience to demand an extra or repeated performance
• an extra or repeated performance given in response to enthusiastic demand
• tr to demand an extra or repeated performance of (a work, piece of music, etc) by (a performer)

Word History and Origins

Origin of encore 1

Example Sentences

After many requests from the audience, the band played one of their most famous songs — the theme song from the show “The L Word” — as an encore number.

During this period, the Encore report states that he also spent four months as the roommate of Ziyad Khaleel, a Palestinian-American extremist who was living in Missouri.

Operation Encore, which is also referred to as “the subfile case,” concentrated closely on Hazmi and Mihdhar and the people who assisted them in California.

While Katzenbach greeted the news with a large measure of relief, he resented the fact that Wallace would be given a chance to take an encore.

For an encore, the conference currently has four teams inside the Associated Press top 10 — before this season, it hadn’t done that since 1987 — including three of the top five teams.

The crowd bawls its approval, but begins to disperse after one encore.

The band manages one encore, “Whipping Post,” but halfway through the number the audience is busily streaming toward the exits.

And with a brief, foot-stomping encore of “I Feel the Earth Move,” she proved she can rock a bit, too.

And when, in a flurry of light and color, the band plays “Young Blood” as an encore, the house erupts.

It is as if Smilevski is demanding an encore by thumping on his own book.

I thought we were in for an encore performance, but gradually the uproar died away, and by midnight all was quiet.

Sur le confluant des deux rivieres, y avoit la plus belle assemble des Sauvages que j'aye point encore veue.

Car les Sauvages ayans encore de la reverence aux sepultures de leurs peres & amis, le vouloient porter au Cap de Sable 40.

Mais particulierement encore l'exemption de maladies, qui est vn miracle tres-evident.

This is the proper ending to every demand for an encore in “Le Grillon,” and it never fails to bring one.

Other forms: encores; encored; encoring

A performance that's repeated or added to the regular performance is called an encore . If you can't hear anything because of last night's concert, it might be because the band played for two hours and then did a thirty minute encore .

Encore is a French word meaning "again." Audiences often yell "Encore!" if a play, song, or other act has been particularly good. In essence they are shouting "Again!" After a musical number, the encore may take the form of a repeated verse or chorus. At the end of a concert, the encore may be a whole extra set. The word is sometimes used sarcastically: "Well, you flunked math. What are you going to do for an encore?"

• noun an extra or repeated performance; usually given in response to audience demand see more see less type of: performance the act of presenting a play or a piece of music or other entertainment
• verb request an encore, from a performer see more see less type of: bespeak , call for , quest , request express the need or desire for; ask for

Vocabulary lists containing encore

Groundhog Day is all about the future — whether there will be six more weeks of winter. It has also come to mean the endless repetition of the same day. Learn these words to describe things that keep repeating.

Here's your cue: Put this list in the spotlight and learn all about theater. Review genres of drama, parts of a play, stage directions, and more. Set the stage for vocabulary and you're sure to steal the show.

Bonjour, vocabulary connoisseurs! Did you know that almost 30% of words in the English language come from French? Brush up on these common English words derived from French and show everyone that your vocabulary is the crème de la crème. Here are links to our lists in the collection: List 1 , List 2 , List 3 , List 4 , List 5 , List 6 , List 7 , List 8 , List 9 , List 10 , List 11 , Terms

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Whether you’re a teacher or a learner, vocabulary.com can put you or your class on the path to systematic vocabulary improvement..

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Encore: when bands and artists return on stage

Yousician team 4 min read

If you’ve ever attended a concert, you’ve very likely encountered an encore. An encore is for many the highlight of a concert and an important part of a good show. Let’s see what an encore is, where the practice comes from and when bands and artists do or do not give an encore.

Table of contents

What is an encore in music?

What is the purpose of an encore, when do bands and artists not give an encore, learn about encores and other music terminology.

An encore is a performance by a band or an artist at the end of a concert where the players come back on stage at the audience’s request. The audience’s clapping, chanting, or shouting are ways to let the performers know they’re wanted back on stage to play more.

Encores are often planned beforehand by the band and in some cases, the band may return to play more than just a single encore. Some bands, such as The Cure, have taken this to the extreme, sometimes playing up to five encores at the end of a show. Nowadays, an encore by the concert’s headliner is expected and most bands and artists save some of their biggest hits or fan favorites to be played during an encore.

The origin of the word encore is in French where it means “again” or “more”. However, the French don’t use the word encore the same way in concerts as people do in many other countries.

Encores used to be spontaneous and not usually planned beforehand by the performers. Instead, the band would return on stage to honor the audience’s request and reward them with a song or more. However, nowadays most concert-goers know that the band is going to return at least once more.

So why are encores still a thing?

Simply, they’ve become a part of a concert’s script, a thing the performers are expected to do. Because most encores are no longer spontaneous and genuine, some performers have voiced their disliking of them. Some who have grown disillusioned with the current practice of encores have argued that they’re nowadays a way to feed the performers’ egos.

However, encores are also a way for the band to have a break and catch their breath before the show’s conclusion. If the encore is an authentic one, which can happen at smaller shows, the band may play a song again if they noticed that the crowd enjoyed it the first time around.

There are instances when the performers don’t perform an encore, even if the band and the audience would want one.

• Time limitations. When playing at a festival, the schedule is often tightly booked and there is no room for additional songs to be played at the end of a set.
• Headliners and supporting acts. Similarly, there may not be enough time to play an encore if the band is supporting another band and playing before them. On top of that, the headlining band should be the highlight of the show so having the supporting band play an encore could be seen as stealing the spotlight from the main act.
• No demand from the audience. This is the least likely reason for no encores, but the band won’t come back on stage if the audience does not ask them to. After all, in order for there to be an encore, the audience has to be the one demanding the band back on stage.

The lack of an encore has led to one of music history’s most iconic quotes. Elvis Presley famously never played an encore. This was intended as a tactic to leave the audience wanting more once the show had ended. Instead of an encore, an announcement would play stating “Elvis has left the building”.

Like the word encore, the names of many other musical terms come from a language other than English. To read more about encores and other musical concepts, visit Yousician’s Musician’s Glossary . There we have listed more useful musical terms every aspiring musician should know.

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encore Definition

an extra performance or piece of music that is played at the end of a show because the audience shouts for it.

Using encore: Examples

Take a moment to familiarize yourself with how "encore" can be used in various situations through the following examples!

The band played an encore of their hit song.

The audience demanded an encore from the singer.

The play ended with a standing ovation and an encore performance.

encore Synonyms and Antonyms

Synonyms for encore.

• curtain call

Phrases with encore

One more encore.

a request for an additional performance, often used humorously or ironically

After the third encore, the band jokingly said 'One more encore!' to the cheering crowd.

encore career

a career change made later in life, often after retirement from a previous career

After retiring from teaching, she started an encore career as a freelance writer.

encore presentation

a repeat showing of a previously aired television program or film

The network announced an encore presentation of the season finale due to popular demand.

Origins of encore

from French 'encore', meaning 'again'

Summary: encore in Brief

'Encore' [ˈɑːŋkɔːr] refers to an additional performance or piece of music played at the end of a show due to audience demand. It is often used in phrases like 'one more encore,' and 'encore career,' which denotes a career change made later in life. 'Encore' can also refer to a repeat showing of a previously aired television program or film.

EA Says AI Is 'the Very Core' of Its Business: What Does That Mean?

From college football 25 to the sims, ai is everywhere at ea now..

On Tuesday, Electronic Arts (EA) held its annual Investor Day — a three-hour presentation intended for its investors to learn more about the company's direction and promises to make them money in the coming year. But you'd be forgiven if you thought this was some sort of AI tech conference given how effusively the technology was brought up and touted as a key component of EA's future.

While we've known for a while that EA and a number of other gaming companies are experimenting with and investing heavily in AI, it was nonetheless a bit overwhelming just how often AI came up throughout the entire presentation. It was mentioned it just about every single segment in some capacity, had its own dedicated segment near the end, and was described during CEO Andrew Wilson's introductory speech as "the very core of our business" — a rather shocking new mission statement for a company that ostensibly makes and publishes video games.

We watched the entirety of the three-hour Investor Day presentation, and did our best to round up all the AI "highlights" in an effort to paint a picture of what, exactly, EA is doing with AI and what we can expect to see in the coming years if its investments and interest in the tech pan out.

Core of the Business

The first mention of AI in the presentation took place right at the top, in Andrew Wilson's opening speech. In addition to referring to AI as "the very core of our business" and "not merely a buzzword," he announced that EA apparently has over 100 active "novel AI projects" in the works right now, ranging from the practical to the very experimental. Wilson divvied these up into three categories: efficiency, expansion, and transformation.

Wilson describes the "efficiency" projects as not just cost-saving, but related to doing things faster, cheaper, and at "higher quality." Specifically, he cites College Football 25 , saying the developers could not have made the game's 150 different stadiums and over 11,000 player likenesses without AI.

Wilson elaborated by saying he believes AI can give developers "richer colors" to paint "more brilliant worlds" and make characters with "more depth and intelligence" while offering "more authenticity and deeper immersion" to the company's sports games. And for transformation, Wilson describes this as looking into the future and finding entirely new kinds of experiences that don't currently exist in games, especially around user-generated content.

Chief strategy officer Mihir Vaidya went into more depth about what the "transformation" element will mean for EA in a later section, but Wilson's opener made it clear that he's more than bullish on the technology.

AI Examples

In the talks that followed, a number of EA leads highlighted ways in which EA was already working with AI tech in its existing games. Laura Miele, president of EA entertainment, technology, and central development, talked about something called The Sims Hub, the first AI features coming to The Sims universe. EA plans to release a platform with "supercharged discovery tools" that use AI to allow players to find user-generated content more easily. She showed off an AI application that uses a photo search feature, allowing users to drop in photos of real life houses and then find user-generated houses that look similar to them. Miele also highlighted how the AI can be used for character creation, with users able to drop in an image of a celebrity or person in a certain outfit and then generate a Sim that matches up. Miele says The Sims Hub will be released "soon."

On the internal tech side, Miele talked about EA's asset library, which she described as "like the Smithsonian of game assets." Essentially, EA has a massive database of assets from all of its games and work behind the scenes over the years, and it's using it to train its machine learning capabilities and large language models. Those capabilities are then being used by the company's "SEED" innovation lab, aka "Search for Extraordinary Experiences Division", for things like EA's "Script to Scene" tool.

Script to Scene lets developers "create characters, direct performances, and define worlds all from text." Miele shows an example on screen, prompting an AI chat assistant to "build me a Parisian-style residential building." She then asks to make it taller, changes it to a modern high rise, and expands it into a larger neighborhood. With Script to Scene, Miele claims EA developers could eventually make an entire scene in a game using simple text prompts.

After Miele, president of EA Sports Cam Weber took the stage to talk about, well, EA Sports. He showed off the already announced FC IQ , which uses "tactical AI" and real-world data to more accurately simulate how players and teams play together in EA Sports FC 25. And he highlighted Wilson's prior statements about using AI in College Football 25, noting that the stadium creator AI tools in particular reduced creation time "by about 70%" and allowed developers to focus on building the "pageantry" and unique traditions of each school instead. "The investment in these tools and tech will benefit the rest of our portfolio in the months and years ahead," he said.

And finally, chief experience officer David Tinson briefly talked about an early prototype of a predictive simulation tool EA is working on. He claims the tool will combine EA game data, AI, and IQ ratings to allow users to run more accurate simulations and answer questions of which team would win in a match, who would have won in a hypothetical match, and which team is the best.

Cardboard boxes and AI soccer stars

If all that somehow wasn't enough AI chatter for you, chief strategy officer Mihir Vaidya took the stage next to talk about AI and nothing but. He opened by comparing the technology to the advent of makeup tutorial videos and cat videos, which he says people initially dismissed as trivial or niche, but now are ubiquitous and wildly popular. He says EA's experimental AI efforts should be viewed the same way as "early YouTube videos", and that while what he shows might feel rudimentary, it will naturally get better as AI improves.

Vaidya was specifically brought onstage to talk about the "transformation" portion of AI that Wilson mentioned earlier. He says the experiences he shows onstage are "not intended to replace AAA games, but instead unlock new and adjacent categories that add as opposed to take away from the existing gaming market."

Those "new and adjacent categories" Vaidya wanted to show off largely seem to involve apps of some sort that let people use AI to shuffle around EA proprietary assets and spit out minigames of a sort. One example he shows involves two people asking an AI to "make a maze out of cardboard boxes." They then ask the AI to make it more complex, then multi-level. Then they ask the AI to "make two characters with weapons," allowing them to select from a gallery of existing EA characters before settling on two that purport to be community-designed, then equip them with guns from a library of weapons. They then select from a handful of game modes and start chasing each other around the cardboard maze. The video ends with one of them asking the AI to "make it more epic," resulting in a giant cardboard box pyramid seemingly appearing in real-time to the astonishment of the two players.

In a second demonstration, Vaidya wants to demonstrate how AI can be used to create "more believable characters" that players care about even more. Unfortunately, we didn't get to see much of that in action, as Vaidya encourages investors to check out the demo at the investor event after the presentation is over. But we do see a few seconds of what he's talking about: an AI version of soccer star Jude Bellingham is apparently available to answer questions posed by investors using AI to simulate his likeness, voice, and likely responses. Vaidya demonstrates by asking him what it was like to play at Bernabéu "in front of millions of screaming fans." Bellingham briefly explains the indescribable thrill of the experience in a flat monotone, expressionless.

Finally, Vaidya demonstrates how EA wants to use AI for "social ecosystems", specifically something codenamed Project AIR. Project AIR seems to be a way to use short text prompts to generate characters, have text-based interactions with them, and then share those conversations with friends. In his example, he creates a "legendary investor" character using the prompt, "A high-stakes VC who swims in the deep waters of innovation."

He then decides the "game" will be to pitch business ideas to him. In an interface that looks suspiciously like Tik-Tok, the user pitches "self-tying shoes" only to be slapped down. He then invites a friend to help him pitch, but lost for any ideas on how to make self-tying shoes more interesting, he uses an AI co-pilot to write the pitch for him, which ultimately succeeds.

What does it all mean?

That's a lot of noise about AI, almost an astonishing amount even from a company we knew was pushing the tech hard. And it's a lot of noise specifically about generative AI. Artificial intelligence, broadly, has been used in games for decades. But generative AI, which is involved in most of the things EA shared yesterday, is different. Generative AI effectively spits out brand new images, text, sound, or other content based on data it's fed, which has led to numerous ethical questions regarding its use. Some of those EA has managed to answer effectively. For instance, EA is training its AI on its own proprietary material, so there's seemingly no concern about it stealing copyrighted work (we've reached out to EA for comment).

But other concerns remain. There's the environmental impact , for one, which we've also asked EA about. And then there's issues of using personal likenesses. EA says Jude Bellingham agreed to let EA train an AI on his likeness and voice for the model we saw yesterday, but will EA ensure it has permission from every single individual it uses in the future? What about voice actors for beloved characters, who are still at this moment on strike from companies including AI over these exact protections? We've asked EA for comment on all this, too.

On the game development side, how does this implementation of AI impact individual creatives at the company? It's easy to say that tools such as Script to Scene are intended to free up developers to work on other things. But it's a practical reality that the games industry has seen two years of unprecedented layoffs just as AI is beginning to creep into the mainstream, and EA has been a part of that . There are no guarantees that this tech might not eventually be used to replace developers eventually. Developers have said over and over that they are rightfully nervous about this possibility, but neither EA nor its investors seem to be especially interested in addressing that. Nor does it seem apparent to them the difference between the intentional, creative work of designers assembling a thoughtful map for a shooter, and anyone at all prompting an AI to spit out a random array of cardboard boxes. It's all content to be sold in the end.

As some have pointed out online, EA is no stranger to pushing hard on new tech before immediately backing off the second the wind changed . But this feels different. EA leadership made it abundantly clear at the Investor Day that the company is already very, very deep in on AI even if the experiments themselves are still in their infancy. Investors might be kept happy by these experiments, but perhaps fans of EA's 40-year history as a video game company ought to be asking why AI, not games, has suddenly become the "core" of its business.

Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to [email protected].

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