Many large Twitter audiences are there because the person was already famous and that's where they're hanging out. Barack Obama doesn't have a large Twitter account because he's good at Twitter because he's Barack Obama. What is the alternative if you're a creative professional who wants to embrace the online world? Create the absolute best stuff you can released on your own platform, be this a web based text platform or an audio based podcast. Build a fiercely loyal audience slowly but steadily when you get a new member of your audience because they've heard your stuff enough. They really want to read it. It's not just a Twitter follower. When your work occasionally goes viral on your behalf, which
Why does Twitter maintain such a strong grip on those who produce things with their minds for a living? Is it really so critical that we all spend so many hours spreading our output on this particular platform? In today’s episode, we explore this question, seeking new, more sustainable and humane ways to be an online creative professional.
Below are the questions covered in today's episode (with their timestamps). Get your questions answered by Cal! Here’s the link: bit.ly/3U3sTvo
Video from today’s episode: youtube.com/calnewportmedia
Today’s Deep Question: Given all the advantages of controlling your own digital press, why do so many content producers rely on Twitter? [5:39]
- Does Twitter’s new view count feature make the service even worse? [27:10]
- Why do so many important business/thought leaders spend so much time on Twitter? [35:14]
- Does this professor need Twitter? [43:00]
- Does Mastadon stand a chance against Twitter? [53:26]
SOMETHING INTERESTING:
Started From the Bottom podcast [1:01:04]
pushkin.fm/podcasts/started-from-the-bottom
Australian senators backing 4-day work week [1:03:12]
theguardian.com/australia-news/2023/mar/09/australia-four-day-work-week-labor-greens-senators-support
Thanks to our Sponsors:
hensonshaving.com/cal
zocdoc.com/deep
mintmobile.com/deep
cozyearth.com (Promo code: Deep)
Thanks to Jesse Miller for production, Jay Kerstens for the intro music, and Mark Miles for mastering.