The Business of Content with Simon Owens

Technorati rankings. Full RSS feeds vs partial RSS feeds. Blogrolls. The Techmeme leaderboards. Blogspot vs Wordpress vs Typepad. If you were a blogger over the mid-aughts, these were just a few of the things you might have obsessed over as you catapulted blog post after blog post into the ether, hoping someone would notice and provide you precious links and send even more precious readers. Back then, the internet felt huge, but the number of actual content producers was tiny compared to today, and distribution of content was much less centralized. A-list bloggers duked it out while the rest of us B and C-list bloggers pined desperately for attention from these internet demigods, who they themselves only wanted recognition and legitimacy bestowed upon them by the Mainstream Media. I remember all this because I was right there at ground zero, plugging away as a blogger while I went to college and later worked as a newspaper journalist. And so was my guest, Bill Beutler, who worked at a DC publication called The Hotline and launched a blog called The Blogometer. Tune in while we reminisce about a bygone era when we didn't live or die by the Facebook algorithm and the internet was a Wild West composed of various ideological fiefdoms.

Welcome to Night Vale. The Message. Steal the Stars. Homecoming. The Bright Sessions. All are fiction podcasts that have seen downloads in the millions. Some have been optioned for television or film adaptation. All were launched in just the last few years. For much of the early to mid 20th century, millions of listeners tuned in each week to listen to radio dramas and fiction broadcasts in genres ranging from adventure (Superman) to science fiction (War of the Worlds) to crime noir (Dragnet). But by the early 60s, due to the rise of television, the radio drama faded in popularity, and most were canceled by the end of 1962. Though some broadcasters continued to dabble in the medium, most people today have grown up without having listened to a single radio play. Podcasting, however, has led to a resurgence in this kind of audio fiction, and a whole new generation of fans are tuning in to new episodes, attending live events, and ordering merchandise online. Why are we seeing this resurgence in what was thought to be a bygone medium? To answer this, I interviewed Alasdair Stuart, the owner of Escape Artists Inc, which produces a number of popular fiction podcasts in the science fiction, fantasy, and horror genres.

Podcasting as a medium has been around for about 13 years now, and for most of that time you'd find that most podcasts were platform agnostic. When a new episode was released, it would appear pretty much simultaneously across all podcast apps. Sure, podcasters placed most of their promotional efforts on iTunes, but that's because it accounted for most of all podcast listening. But over the last few years, the podcast and audio app space has gotten more competitive, and because of this we've seen some of these apps marketing exclusive content. Spotify, for instance, has signed deals with podcast companies like Gimlet so that it gets an exclusive window on new episodes before they're published to all the other podcast apps. In some cases, podcast apps are actually bankrolling and producing their own podcasts in an effort to differentiate themselves from other apps. The hit show Missing Richard Simmons was produced by Stitcher Premium and exclusively windowed there (this apparently pissed off the executives at Apple, since they refused to feature the show on iTunes). Audible launched Audible Channels, a platform for its own podcasts that aren't available on any other apps. And now add Castbox to the list of podcast apps that are producing their own shows. An app with 15 million downloads, Castbox has recently launched "Off Track with Hinch and Rossi," a show about auto racing, and it has several other podcasts in development. I recently interviewed Peter Vincer, head of global strategic partnerships at Castbox, about why the company is producing its own shows and whether podcast apps are taking a page from Netflix's strategy.

In 2014, former Major League Baseball player Derek Jeter launched a media company with a novel premise. Called The Players' Tribune, it's a sports site that's produced and written by pro athletes themselves. Many wondered if this would result in what are essentially bland, rewritten press releases that would be typed up by publicists, but in its few years of existence, The Players' Tribune has produced some astoundingly raw first-person journalism. In 2017, for instance, NBA player Isaiah Thomas wrote about the gut-wrenching pain he felt when the Boston Celtics decided to pawn him off on another team. Kevin Durant used the site to announce his move to Golden State. While not every article at the Players' Tribune is Pulitzer-worthy, it certainly has brought forth pro athlete perspectives that you won't find anywhere else. Could the same idea work for famous musicians, artists, directors, and actors? Several years ago, a record label owner named Ian Wheeler launched a publication called Talkhouse, and it's essentially The Players' Tribune, but for artists instead of athletes I recently interviewed Wheeler about Talkhouse and whether famous Hollywood and music artists actually need their own media outlet.

If you want to subscribe and listen to podcasts, there are dozens of apps to choose from, including podcast-specific apps like Stitcher and even music streaming apps like Spotify. But anyone who works in the industry knows that Apple is the king of podcasts; its podcast app, which it spun off from iTunes a few years ago, accounts for more than 50 percent of all podcast use. This is why Apple's podcast rankings can be so important for driving discovery and downloads. There's one master list of the top 200 most popular podcasts at any given moment, and then there are also dozens of content categories, each with its own top 200 list. Making it to the top of one of these lists can drive thousands of fresh downloads and put a podcast on the map. But how does Apple rank its podcasts? And what's the best way to make it onto one of its lists? To answer this question, I interviewed Dan Misener, the head of audience development at a company called Pacific Content, which specializes in helping brands develop their own podcasts. For over a year, Misener ran an experiment in which he took snapshots of the Apple podcast charts and kept track of which content categories showed up most consistently. I interviewed Misener about his findings and what strategies his company uses to get a client podcast ranked.

This week I interviewed a guy named Ernie Smith. Why do I think Smith is so fascinating? Because over the past decade he's created two successful media properties, each with the absolute opposite goal of the other. The first was a Tumblr account called ShortFormBlog. It amassed over 140,000 followers and was one of the hyperreactive news aggregators that thrived in the aughts. Every single day Smith logged in and plucked the most interesting quotes and stats from news stories and served them up in a tightly-packaged news product. The blog was so successful that it was covered in the pages of both Newsweek and Time (back when these were still relevant publications). And then just when ShortFormBlog was at the height of its popularity, Smith abandoned it and launched a newsletter called Tedium. Unlike ShortFormBlog, Tedium would only be published twice a week and, instead of chasing headlines, it would tackle the most boring subjects imaginable and try to make them interesting. Several of its issues have gone incredibly viral and the newsletter now has over 10,000 subscribers. Smith and I talked about why he made the switch and whether it's possible to run a profitable independent newsletter.

If you run a hit podcast, you might have a couple avenues open to your for monetization. You could host live events and charge admissions, like what we've seen with Slate's Political Gabfest and Pod Save America. You could, like Gimlet Media, launch a membership program and charge $60 a year for free tshirts, exclusive bonus content, and access to a private slack channel. Or you might turn to running sponsored ads within your podcasts, an approach that generated $220 million for podcasts in 2017. But Macmillan's podcast network is more diversified than most. The book publisher has been producing podcasts since 2007, and in addition to selling host-read sponsorships, it's also generated revenue from running programmatic ads on its website. But what's perhaps most interesting is how it's leveraged podcasts to elevate the brands of its authors in order to sell more books and audiobooks. I recently sat down and interviewed Kathy Doyle, vice president of podcasting at Macmillan, about the publisher's strategy heading into 2018 as it expands its podcast lineup.

For the past several years, Twitter's been a punching bag, both for tech writers and Wall Street analysts. It remained unprofitable, was a magnet for trolls, and, worst of all, its user growth came to a halt. But in just the past few months we've seen some meaningful signs of life at the embattled social network. For one, it had its first profitable quarter in, well, forever. But it also saw growth in other areas. For one, though monthly active user growth is flat, it saw a sharp increase in daily active users. Also, a report from Social Flow found that Twitter traffic to news sites has increased while Facebook referral traffic has fallen. Is this the sign of a company turnaround? Or just a temporary blip at an otherwise struggling company? I recently discussed these questions with Jonathan Rick, a digital media consultant based in Washington, DC.

The last decade hasn't been kind to local news. While the entire news industry has experienced hardship, local newspapers have been hit particularly hard. A recent article in the American Prospect detailed how newspaper chains have been bought up by private equity firms and then were systematically cut to the bone, the private equity firms wringing out every last cent of profit before closing the newspapers for good. Even tech companies have struggled to make local news profitable. AOL famously launched Patch, a network of hyperlocal news sites, only to sell it off a few years later. That's what makes Mike Shapiro's success so interesting. Shapiro was working as a lawyer when, in a bid to spend more time with his kids, he launched a news site for his New Jersey town. That site soon spawned two new sites, and then blossomed from there. The TAPInto network now boasts dozens of sites all across New Jersey. I recently interviewed Shapiro about how he has managed to find success in local news where so many other companies have failed.

According to Alexa, Wikipedia is the sixth most visited website in the U.S. and the fifth most visited in the world. When you Google famous people, places, or companies, their Wikipedia pages usually come up as the first or second result. If you're a company that already has a Wikipedia page, then monitoring what's written on it is vital to your reputation management strategy. If you don't have your own Wikipedia page, then you may aspire to create one for yourself. But this is where companies often get into trouble. Wikipedia has strict conflict of interest rules, and the site's army of dedicated editors and admins are often quick to reverse undisclosed edits from conflicted parties. Abuse the rules too much, and you may get yourself banned or, even worse, attract attention to your page from activists who want to do your brand harm. So what's a company to do if it wants to edit its Wikipedia page without running afoul of Wikipedia's rules? You'll want to call a guy like Bill Beutler. Beutler, founder of a company called Beutler Ink, has been conducting Wikipedia consulting for almost a decade and led a coalition of PR firms in developing a code of ethics for Wikipedia editing. I spoke to Bill about how he fell into his line of work and how he navigates Wikipedia's regulations on behalf of clients.