Articles by: "Esther Kezia Thorpe – Independent Media Reporter"

How 3 local news outlets optimize mobile experiences

September 3, 2020 Esther Kezia Thorpe – Independent Media Reporter

Around the world, mobile accounts for just over half of all online traffic. However, a concerningly large number of local news publishers have sites that are either inaccessible to mobile users, or are slow to load and clunky.

“A good mobile experience is absolutely pivotal,” emphasized news industry analyst Ken Doctor, who is launching his own local news outlet Lookout in the fall. “At least 65-70% of news reading is mobile. That defines the landscape. If you want to be in the news distribution business, you’ve got to go where people are.” And they are using their phones.

But providing a good local news experience is about more than just making sure the content is accessible to readers. “The massive yet slow movement of traditional publishers to the web meant that they largely took their news sections and put the headlines on mobile in the most boring way possible,” Doctor explained. “A good local newspaper always gave you a sense of city life. It would show you the problems. But it also told you what was going on in town, fun things to do, characters in town.”

According to Doctor, most mobile experiences from local publishers lack a sense of place. “And local press at its best has always been about a sense of place.”

Many legacy organizations struggle to cater to the growth of mobile. But some recent launches have shown just how vital a good mobile experience is. Here, three publishers explain how they’re putting the mobile experience at the front and center of their local news delivery.

Spectrum’s new News App

SSpectrum Networks, a News and Sports Network owned by Charter, has recently launched its own local news app. The Spectrum News App combines written reporting from existing newsrooms and curated content from partner news organizations. It also includes local weather and linear feeds of all Spectrum News networks.

Although Spectrum already has local linear news networks, they saw a mobile app as a way to go deeper into those communities with a wider range of content. “We were seeing these trends with mobile growth just exploding, and TV and mobile getting to a similar amount of time spent,” said Alison Hellman, Group VP, Audience and Content Strategy at Spectrum. “It made sense for us as a business, but when you look at the gaps, there really is a gap in high-quality, targeted local news. We wanted to bring it to a new platform, and that’s how we got here.”

The app has live video and podcasts as well as text content. Hellman emphasised that it was how it all worked together which is one of the key draws. “Weather is critical for local news, and it’s not just the data, but it’s about the context,” she explained. “If we do this right, we are a one stop shop. People are doing some of these pieces well in the mobile space. But no one was providing it all.”

The app is free to access to all 28 million of Spectrum’s residential customers. For non-customers, the company offers a 30 day trial. The mobile initiative is a play for a long-term relationship with their customers. “We want to be a part of their lives in the way that they live their lives,” Hellman said. “If they watch TV, we want to be there. But if they’re on the go, we want to be providing that information as well.”

Each locale in the Spectrum News App features original content produced specifically for the app by dedicated local digital journalists. It is also includes content from nearly three dozen local news partners. Sources range from major daily newspapers to community digital news outlets. This has helped bolster the app’s content in local areas.

Launching The Longmont Leader

McClatchy is another publisher using mobile as a key part of its local news strategy. The company has partnered with Google to found The Compass Experiment. This news laboratory explores new sustainable business models for local news. The second of their local news sites, The Longmont Leader, was launched in May in Colorado.

Rather than building the site from scratch, The Compass Experiment partnered with Village Media, which operates a number of local news sites in Canada. Village Media’s platform is mobile-responsive. It also has features such as classifieds and obituaries which can sometimes be complex to build and manage from scratch.

The Compass Experiment’s General Manager Mandy Jenkins explained that partnering means the team can focus resources on reporting rather than development. “I’ve seen other startups that have built their own thing. It always ends up being more expensive and more clunky than they think,” she said. “Ultimately, there’s a lot of people who do this well. And I don’t feel like we have to reinvent the wheel.”

The team did extensive research in the local community before launching to find out what people’s expectations were around both the content and the experience. The answers were unsurprising, but included not wanting hugely busy screens, ads popping up or autoplay videos. A clear, easy-to-navigate site was needed. And with the vast majority accessing the internet via mobile, a mobile-default mindset was essential.

This mindset extends back even to before the stories are published. “Even within the CMS, when [the journalists] produce stories, we get a mobile preview by default,” explained Jenkins. “Most of our readers are on mobile, so that’s where we have to look at it.”

This mobile-first thinking doesn’t have to mean producing an app as there are plenty of ways to engage users through mobile sites. “Although we’re not going with an app strategy, we’re sticking with a mobile web strategy, we’re still looking at doing mobile push alerts,” Jenkins outlined. “Not just for breaking news, but things like local election alerts and what’s going on around town. We’re starting to put together the strategy around that and how we’ll use them.”

Lookout for local news in Santa Cruz

Unlike Spectrum and The Longmont Leader, Ken Doctor’s Lookout has yet to launch. However, he is applying his extensive knowledge of the news ecosystem to how he and the team are shaping the Santa Cruz, CA publication.

Doctor is working on the assumption that around four fifths of the readers are going to be on mobile. So, the whole experience will be mobile-first. Like the Longmont Leader, Lookout has chosen not to build the site from scratch. Instead, they’ve opted to use the L.A. Times’ Graphene platform. The team will benefit from the technology expertise and development resources of a much larger publisher, which allows Lookout to focus on the content.

Lookout will also focus on just content for the first few months, saving audio and video capabilities for later down the line. But they are looking to get the community involved very early on.

“We have a number of community features and interactive features that are important in terms of the two-way communication between our reporters and the public,” Doctor explained. “It’s a small community – 275,000 people – and to get to know them, to be able to interact with them and do weekly chats with the correspondents, those kinds of things are build-in.”

However, a good mobile experience is just a part of the puzzle piece for local news organizations. “It’s a combination of what kind of content [it is], how it’s presented, what the overall experience is, and how it’s optimized,” Doctor outlined.

His advice for local publishers looking to provide a better experience is to work hard to understand their readers and would-be readers. “They need to understand how their reading habits work today, because they’re not going to change those reading habits,” he emphasized. “It takes a mind shift and it takes investment, and it’s amazing how slow both moves have been.”

How three media companies are approaching virtual events and monetization

August 6, 2020 Esther Kezia Thorpe – Independent Media Reporter

Many media companies have turned to virtual events as a way to engage audiences on a personal level during the pandemic. From webinars to virtual festivals, teams have worked to evolve their offerings as the long-term outlook for physical events remains uncertain.

The Financial Times, The Atlantic, and Bloomberg, are among media companies that produce events as one of their diversified revenue streams. They are also among those that have had to evolve their revenue strategy as their teams hit their stride with virtual events.

Maturing virtual events strategies

In March, FT Live went from being completely focused on physical events to virtual in just days. As a test, they launched The Global Economic Emergency webinar. And with just three days of promotion, they racked up over 7,000 attendees who logged in to watch.

“We had these huge numbers, and it was a bit of a lightbulb moment for us,” explained Orson Francescone, the Managing Director of FT Live. “We quickly realized that we could do something bigger and bolder.”

Weeks later, the company launched The Global Boardroom. The three-day event featured 110 remote speakers and boasted 52,000 registrations. The event focused on the impact of coronavirus on policy, business, and finance. And it was so popular that a second edition is scheduled for November.

The Atlantic has seen similar success with online registrants, with over 20,000 attendees attending their 28 virtual events. “It’s a larger audience than we would have been able to convene in person,” said Aretae Wyler, COO of The Atlantic. “It’s more international, and we’re seeing the same caliber of attendees.”

Bloomberg faced a different challenge with virtual events, as they already had an established Bloomberg TV offering. For them, it wasn’t a matter of a pivot to video. Rather, it was creating a distinct experience and value proposition for a new offering. This meant the focus for its virtual events had to be on the level of interaction attendees could have, and what the value would be for sponsors.

“Once we got crisp on these elements…what we needed from a platform, resource, and process perspective became self-evident,” Bloomberg Live’s Global Head Patrick Garrigan explained. “Not only are our audiences tuning in, they’re staying with us and engaging.”

The value for sponsors

For Bloomberg Live, attracting sponsors came down to the basics of why clients support events in-person. “We distil it down to three core attributes: thought leadership, brand awareness, and content creation and amplification,” said Garrigan. “Similar to in-person, it then becomes a matter of identifying how our platform can deliver on these metrics.”

Bloomberg delivers this by creating sponsor “moments” throughout its virtual programs, as well as allowing sponsors to share the perspectives of their senior leaders. They then share segments from the events widely across Bloomberg channels.

For the FT, it is their technology stack – as well as their access to large global audiences – that has been a key selling point for sponsors. Early on, the team focused on ensuring they had a strong analytics functionality in place.

“We can analyze who is attending, what stage of the event, how they are engaging, and serve this intelligence to our sponsors,” Francescone outlined. “Sponsors really enjoy our platform because it’s giving them, from an ROI point of view, much bigger and more detailed numbers than in a physical environment.”

Big numbers are also a draw for The Atlantic’s sponsors. The publisher is gearing up for The Atlantic Festival in September which will be entirely virtual, and free to attend. Whereas they would normally have 3,000 in-person attendees, the team is targeting between one and 2 million registrants for the virtual version.

Sponsor interest has grown as The Atlantic’s confidence in their model and ability to pull in high-caliber attendees. “Most of the sponsors that we have worked with in-person have been interested in trying this model with us,” said Wyler. “Part of that is the belief they have in our power to convene and engage audiences. We’ve maintained a 75% average watch time for our audience, which is pretty incredible.”

Reader revenue and data

When it comes to audience revenue, the FT is now charging delegates for all its events from autumn onwards. But for the second edition of its Global Boardroom event in November, FT Live is taking a freemium approach.

The event has three tiers of ticketing. First, they’ll offer a free pass which gives live access to talks, Q&As and polls. A $65 pass provides on-demand access to all talks and summary reports. The professional pass, at $385, adds 1-1 networking, exclusive access to extra sessions, and a business community area.

Beyond ticket sales, the FT sees long-term opportunities for the newly engaged data. “Of the 52,000 people we had attending The Global Boardroom, about 75% were completely new to us,” said Francescone. These attendees can be monetized not just through the event, but as part of the FT’s core subscription strategy.

The Atlantic also sees opportunity in bringing in new subscribers. “We are constantly thinking about how this can be a driver of subscription growth,” Wyler emphasized. “The benefit of virtual events is that it’s an opportunity to convene both the superfans, but also to introduce The Atlantic to new audiences.”

In previous years, tickets to the in-person Atlantic Festival have ranged from $50 to $975. However, registration to the virtual Festival in September this year is free. That said, there will be subscriber-only benefits like exclusive sessions and Q&A opportunities to bring value to existing subscribers and entice new joiners.

Bloomberg has historically not charged for its events. However, the exception is their Bloomberg Break a way CEO membership community, where virtual events have been leveraged as part of the membership package.

“We’ve created content that is exclusively for members. It gives them the tools, best practices, and essential feedback to grapple with the issues that are impacting business,” said Garrigan, highlighting the opportunity to provide another touchpoint to members through virtual events.

The future of virtual business events

Garrigan sees virtual events being a part of Bloomberg Live’s programming for the foreseeable future. “Given Bloomberg Media’s global footprint, virtual events are such a natural fit,” he said. “While we are incredibly eager to get back to in-person events as soon as it’s safe to do so…[virtual events] serve as a way to connect broad geographies in real-time that may not be able to join us in-room.”

For FT Live, their early success gave the team the confidence to run events for the rest of the year in a digital form. But for 2021, they are being cautious. Francescone suspects that they will iterate towards a hybrid event model. However, details (such as access and pricing) are still to be determined.

“We’ve set up a small internal task force within FT Live which is examining what the future is going to look like,” he explained. “What people’s preferences might be today might not be the same not only in five years’ time, but in months or even weeks.”

These publishers may have the scale that makes it easier to convince top-tier sponsors to get on board, but there are lessons for publishers of all sizes. Virtual events offer a wider audience and higher engagement than in-person events, whether that be hundreds or thousands of attendees.

As for reader revenue, features like on-demand viewing or virtual networking can be sold as an add-on, or as a subscriber-only benefit. The key is being flexible in your offerings and understanding what your audience will respond to as the situation evolves.

Why Skift is putting reader revenue in the pilot’s seat

July 7, 2020 Esther Kezia Thorpe – Independent Media Reporter

Travel industry intelligence site Skift has become the latest publisher to put membership at the forefront of their business. CEO and founder Rafat Ali announced the launch of Skift Pro on Twitter, saying that “Skift is now officially a Subscription-First business information company.”

Skift is now officially a Subscription-First business information company…
— Rafat Ali, Media Operator & Dad (@rafat) July 1, 2020

Skift joins a growing number of publishers turning to reader revenue as a way to diversify revenue streams and mitigate the impact of the coronavirus pandemic on other aspects of the business like events and advertising.

We spoke to Skift co-founder and Chief Product Officer Jason Clampet about the details of the launch, how it sits alongside its other products, and why this is such an important shift for the niche travel publisher.

Laying the foundations

Skift Pro has been in the works for over a year. The publisher already has two existing subscription products: Skift Research, which does deep-dive reports, data and analysis on travel industry trends, and Skift Airline Weekly, a subscription product dedicated to aviation news and analysis. The two products were faring well. However, Skift had een eyeing examples from other B2B companies like Digiday and Business of Fashion, which made subscription models a more central part of their strategy to build business resilience.

The first task the team had to tackle before adding another subscription product into the mix was to bring everything into one payment platform. “We built our own database to store users and details about the payment process so that everything was seamlessly tied together,” Clampet explained. This meant that subscribers to multiple products would be able to manage their subscriptions in one place.

In the last week of February 2020, Clampet held a big team meeting where he walked everyone through Skift Pro. In particular, he told the team how excited they were to be launching it on March 16th. But March 11th would be Skift’s last day in the office.

“We decided not to launch Skift Pro at that point,” said Clampet, aware of the potential scale of lockdown disruption to the travel industry. “Instead, we did a Guardian-style contribution model. We said, “Hey, we’d love direct reader support. You can make a one time gift or a recurring gift.””

Spurred by the success of the contribution model, Skift then introduced a ‘Pay what you want’ model to their new online events and webinars, using the payment system they had built to support subscriptions the previous year. As the initial shockwaves of the pandemic settled, Skift Pro’s launch moved to the top of the agenda.

Membership benefits

Despite the initial delay, Skift’s decision to launch a membership product marks an important shift in the publisher’s relationship with its readers. Rather than simply adding another revenue stream into the mix, Skift Pro will help build business resilience and audience engagement, as well as strengthening their editorial work.

“It’s become a centerpiece of how we think about our readers and customers,” said Clampet. “Hopefully it’ll be a much more significant part of our revenue, but it’ll also allow us to tie things together better.”

Clampet believes that Skift Pro members will be more deeply engaged with the brand, from attending events to reading its analysis and reporting. In turn hopes that he and the team will be able to learn more about them. “It’s a way for us to have a better insight into who our users are, and then serve them better,” he explained.

This plays a key part in the presentation of Skift Pro as a membership product rather than a straightforward subscription. Skift Pro goes beyond just access to stories online. It includes additional content and events, as well as a custom newsletter which will start up in August, for $365 a year, or $1 a day.

“We want it to be more than just a newsletter in your mailbox every day. It’s about being actively engaged with other things beyond just reading,” Clampet said.

Launching in a pandemic

Following the delay, deciding when was a good time to finally launch Skift Pro was a subject of much internal discussion. Skift’s other major revenue streams are from its content studio, which works with travel brands to develop bespoke content for them, and its events. Both have suffered as a result of coronavirus, making reader revenue a more urgent consideration. But the travel industry as a whole is also under immense pressure, with many furloughed or laid off.

“It’s hard to know what is a good time right now for anything,” Clampet explained. “The reality of business is that direct from consumer revenue is vital to just about any media business.”

“We also know that the people who are still at companies in Europe and Asia, which is waking up again. They need actual information to do their jobs better and make smarter decisions. We’re still here providing that, so in that sense, it is a good time [to launch].”

A new route

Skift Pro may be live, but the team aren’t resting on their laurels. Clampet’s main goal for the membership is that people are really happy about their decision after signing up, and that is going to require some changes to the product as time goes on.

“The launch is just the very first phase for us. We need to be constantly evolving the product experience,” he emphasised. “What it is right now is going to be very different from what it is a year from now, and hopefully we’ll have made a lot of smart decisions.”

This is a very important lesson that other publishers with subscription or membership products can learn from. For Skift, the launch is not the end of the road. It’s the starting point of a product which will change and grow as they focus on the reader response, and how they can best serve those needs.

Food brands deliver a hearty response to changing consumption habits

May 14, 2020 Esther Kezia Thorpe – Independent Media Reporter

As we begin to adapt to new routines amidst the coronavirus crisis, food publishers have seen a large rise in audience numbers and engagement. People facing weeks at home with limited take-out options (and even limited cooking skills) have turned to food sites and networks in droves. They’re looking for inspiration and guidance about everything from baking to budget meal planning.

However, these publishers have had to deal with challenges of their own. Production teams, editorial staff and studio stars have all had to adapt to remote working and changing audience demands.

Record-breaking ratings

One food publisher rising to the challenge is Condé Nast’s digital consumer-focused food brand Epicurious. The site has seen a surge in overall traffic of 69% year over year, according to Digital Director David Tamarkin. For the five years he has been at Epicurious, he says the title has focused on “realistic cooking: the kind of cooking that happens when you’re juggling childcare, or got home late from work, or the kind of cooking you do on the weekends when you have more time.” And that, it seems, aligns with the times.

Epicurius’ focus has pushed daily average traffic up +88% as audiences search for accessible recipes. The publisher is also seeing unexpected success with its eCommerce revenue. It’s seen a “huge increase” in sales of baking-related products, such as kitchen scales, which have seen a 1,000% year over year increase. Meal delivery services sold through Epicurious were another stand-out–up an astonishing 388% in March. And even individual grocery items, which are typically not high performers for the site, were up 59%.

“Because we’ve been operating with what we call a ‘home cook realness’ always in mind, it feels like we’ve been preparing for a moment like this – a moment where people suddenly find themselves cooking more than they ever have before,” Tamarkin explained. “Our content is all about helping people be smarter, more nimble, more joyful cooks, so it makes sense to me that it is resonating at the moment.”

It’s not just food-focused websites seeing growth. In April, Discovery Network’s Food Network channel saw record-breaking ratings over the weekends, as audiences tuned in looking for entertainment, community and recipe inspiration. The network reached more than 46 million viewers, which is a 6% year over year increase, and also delivered its best month ever in Weekday Daytime ratings. Early figures for May have yet to be finalized. But a Food Network representative confirmed that it is showing a similar pattern to April.

Adapting content strategies

Epicurious was quick to fine tune its editorial strategy as stay-at-home measures kicked in. “We pivoted to pantry-building content almost immediately, creating a two-week meal plan that exclusively uses shelf-stable ingredients,” said Tamarkin. “Then we launched Cooking Through It – a series of 10-day meal plans that used hyper-flexible recipes.”

This approach allowed people to do one big shop that would last for ten days or more, in order to minimize trips out. Epicurious has also seen success with its recipe-finding tool that allows readers to search recipes based on the ingredients they have on hand. They are also preparing to launch a series of articles about affordable cooking, which will continue for the foreseeable future.

Food Network on the other hand has made only slight changes to its programming. “There is a slight additional focus on pantry staples and making sure to discuss substitutions should anyone at home not have specific ingredients. But we haven’t been hyper focused on changing the shows too much,” said President Courtney White. Their focus now is on keeping their scheduling flush with premier episodes, rather than relying on repeats.

Coping with production challenges

When it comes to planning shows from home, Food Network’s team has been quick to adapt. “Fortunately, many of our talent were fairly easy to get up and running,” White explained. “With production partners also working from home, the creativity and nimbleness to continue to create, edit, and deliver content that audiences enjoy has been an ongoing evolution.”

White explained that Food Network’s programming has been bolstered by self-shot shows such as The Kitchen Quarantine Edition, The Pioneer Woman: Staying Home, and the ‘Guy at Home Watch Party’ edition of Tournament of Champions. “We want to be there for our viewers, and now more than ever as so many find themselves sheltering at home,” White said. “We’ve enhanced the lineup with even more comfort food shows and trusted food personalities.”

For Epicurious, the editorial team is relying on tools like Zoom and Slack to communicate and discuss how to best help their readers through their recipes, menu ideas and videos. “Helpfulness is in Epicurious’ DNA. But it’s rare that we see the impact of the content we put out in such an immediate way,” Tamarkin concluded.

As audiences continue to seek out practical content to help them navigate the everyday challenges of the crisis, these brands have spotted an opportunity. Publishers who can capitalize on this surge in attention and build loyalty now will be in a strong position to maintain this engagement as we settle into the much anticipated “new normal.”

With a new live LinkedIn show, HBR connects with readers on coping in the wake of Covid-19

April 30, 2020 Esther Kezia Thorpe – Independent Media Reporter

As the world adjusts to the “new normal” of remote working life, forward-thinking publishers have been coming up with new ways to connect with their audiences and help them through the crisis. In a matter of weeks, Harvard Business Review has spun up its own live video offering: HBR Quarantined.

HBR’s new weekly LinkedIn Live show focuses on how businesses are coping with the consequences of coronavirus. The show, co-hosted by Editor in Chief Adi Ignatius and Chief Product and Innovation Officer Joshua Macht, debuted on April 27 with Pulitzer Prize-winning columnist Thomas Friedman as a special guest.

Ignatius, Macht and HBR’s Senior Multimedia Editor Scott LaPierre talked to DCN about what prompted the launch, how the first show went, and where they plan to take it in the future.

Evolving an idea

The initial concept for HBR Quarantined stemmed from Ignatius and Macht wanting to explore their dynamic in different formats. “Adi and I go way back together. We’ve grown accustomed to taking chances together and inventing things,” Macht said, explaining that a podcast was initially on the table. “Within weeks we went from, ‘Maybe we should launch a podcast,’ to ‘We’re going to do a live television show on a platform that’s pretty new.’ Then, all of a sudden, we had a show.”

Ignatius said that the genesis of the idea came from a desire to connect with the millions of their audience who are now working from home. “They, like us, are wondering, ‘When do we get to go back to work, and what will work look like when we do?’” he explained. “We’re always talking about these issues. So we figured we could do a service delivering insight on COVID-19 and how it affects businesses and the economy.”

But unlike other HBR products, the show is designed to have a very different tone. “Harvard Business Review tends to be a brand that speaks to a very high altitude. That’s our secret sauce: high-level pieces that are based on research,” Ignatius emphasized.

“This show is something different. It’s meant to be warmer, really connecting in the moment. We’re all in the same boat and trying to figure this out together. So, it’s certainly an experimentation with a different kind of voice for us.”

Viability in quarantine

Under normal circumstances, a product like this would be resource-intensive. But LaPierre highlighted that quarantine has actually lowered the bar for everyone in terms of production values and expectations.

“The way a lot of video producers are seeing the COVID-19 crisis, perversely, is as an opportunity to try new things,” he said. “HBR is not a TV station. We only have a small video team. So it would be hard for us to launch a true broadcast live video series. But now, everyone’s been equalized in terms of what they’re capable of doing. It’s a chance for us to make a viable series that doesn’t look that different from what others are doing.”

LinkedIn’s Live tool is just over a year old, and the platform was relatively late to the video space compared to its competitors. But for HBR, their vast social following on LinkedIn – 10.2 million followers – made it an obvious choice to debut this type of show.

The team began by testing out a high-level broadcast tool. However, that was proving problematic as it wasn’t suited to their purposes. “We pivoted to something called StreamYard, which is a ‘prosumer’ grade software that allows you to stream live, but is a lot more lightweight,” explained LaPierre.

Live streaming can be risky in terms of technical hitches. But HBR’s first show went smoothly, attracting 35,000 live viewers and thousands of comments during the stream. Ignatius highlighted the long-tail benefits of the video as well, with total views doubling in just a few days.

The biggest surprise for the team was the lack of drop-offs. “Everyone was saying we would have these spikes in viewers. But actually, people showed up for the whole thing, and it just kept growing,” Macht explained.

HBR Quarantined post-quarantine

When it comes to the future of HBR Quarantined, the team is remaining flexible. They have a total of six episodes planned so far. However, they will be constantly reviewing what the response is to them and what their audience needs going forward.

“I was pleasantly surprised that it went off as well as it did. But it will be interesting to see where it goes,” commented Ignatius. “I think there is something of a service that we can provide for our readers. There’s knowledge and insight about what’s going on, and we want to see what that means post-quarantine.”

HBR is also scouting out potential sponsors. They believe the show offers a timely opportunity for advertisers to reach their audience with messaging related to the moment. “There is not a lot of sponsorship money out there these day. And part of our experiment was to find a new medium that was of the moment,” explained Ignatius.

But sponsorship aside, future episodes will be focused on trying to engage people with the brand, and with the wider goals of bringing people into HBR’s subscription funnel. “The show is good for getting people to engage with our brand, and we want to continue to grow the number of people visiting the site,” Macht concluded.

Pandemic parenting: How Parents.com is pivoting its digital strategy to serve readers in a time of crisis

April 9, 2020 Esther Kezia Thorpe – Independent Media Reporter

As schools close around the world and a growing number of people are having to juggle home working and childcare, parents face unique challenges in the wake of the Covid-19 pandemic. As a result, the Meredith Corp. brand Parents.com has responded with a radical shift to serve their audience.

Julia Dennison is the Executive Editor at Parents.com. She and her now fully-remote team have pivoted their digital strategy to provide advice and resources to parents during the coronavirus crisis.

The crisis has come on so quickly that just four weeks ago, the team were debating whether to even cover coronavirus. “We try to stay in our beat. We have a sister site Health.com that we syndicate content from,” Dennison explained. But it quickly became apparent that this would need Parents.com’s own input.

“Our initial thinking was that this was going to affect a lot of people. So we looked at search trends to see what terms we could answer from a parenting-resource point of view.”

The content pivot

Looking at search trends and responding is something the Parents.com team are well-practiced in doing. It has helped form a more strategic response to the content they have now produced, which has three primary areas.

The first is a comprehensive guide to coronavirus for parents, covering everything from how the virus is affecting pregnant women, to basic tips around sterilizing thermometers. This was the initial content strategy the editorial team focused on, and have been updating ever since.

“We’ve been really trying to just watch the trends and respond to them with informative content,” Dennison explained. “More than ever, parents need a reliable, trustworthy, and relatable source. We’re really trying to lean into our specialty.”

The second area is creating content that is supportive to parents. “Parents are going through the hardest test of parenthood they’ve probably ever gone through,” said Dennison. “It’s testing everything about parenthood to its limits.” In response, Parents.com have been working to create resources to help parents feel less isolated. This ranges from tips to how to cope with childcare to how to discuss the crisis with younger children.

As part of this, Dennison has been documenting her own experiences as a daily video blog on YouTube. Like many parents today, Dennison is juggling childcare with working from home. “I wanted to document that and show the world that I might be the Executive Editor of Parents.com, but I’m finding this just as hard as everybody else is.”

As video rises in popularity during the pandemic, the Parents.com team are looking out for ways to produce more content remotely, including having Editor in Chief Julia Edelstein read stories over Instagram Live.

The final strategic area involves creating entertaining content for both parents and children. “We’re trying to focus on heartwarming stories to lift people’s mood, and to keep them positive,” Dennison said. From a neighborhood drive-by to celebrate a birthday, to more practical resources around the best educational apps for children, the aim is to both help parents keep their children entertained, and also uplift the parents themselves.

Driving online growth

The swift digital pivot is paying off. By the end of March, views of articles in Parents.com’s ‘Fun’ section were up 40% week on week. There was particular growth within the section of articles on activities and printables (up 89% and 88% respectively). And entertainment content has seen a massive 110% spike in views.

The video blog has also had a “tremendous response, according to Dennison. “People are just grateful to see that other people are going through what they’re going through. I’m a mom, and we have a few moms on our team. I know how hard it is.”

This relatability, coupled with keeping a close eye on search terms has helped the digital team avoid some obvious topic traps. “We could easily have leaned into creating elaborate schedules for parents to put their kids on, and that homeschool setup,” she said. But that wasn’t the right approach for their audience.

This has resulted in a surge in positive responses to the brand on social media. “People appreciate just being told that they’re doing the best job they ca. And we’re here to help them do that,” said Dennison. “Parents are having to step up and perform the impossible. And so how, as a brand, can we be there for them?”

A post-pandemic lens

Many of Parents.com’s plans for upcoming content have had to be adjusted. They are shifting perspectives on a planned spotlight digital issue for the International Day of Maternal Health and Rights in April, looking at how America can improve birthing.

“We’ve been planning that for months. All of a sudden we’re having to pivot and see everything through this post-pandemic lens,” Dennison explained. “We’re seeing hospitals banning partners from being in the delivery room due to Covid-19. It’s a really scary time to be giving birth, and in this context it’s only going to get worse, so we have a bigger duty than ever to produce this content.”

In the longer term, Dennison is particularly interested in the crossover between parenting and education. She’s also thinking about what the impact will be for parents who have to continue working full time while also looking after their children. “We’re looking at what we can do in terms of resources to lean into the educational side of things, and how parents can keep their kids going even if they can’t go to school,” she said.

But for now, the team is keeping a sharp eye on the search terms and listening out for what their audience want. “It’s a matter of seeing how this goes, and responding to it,” Dennison concluded. “On the digital side, it’s easy as we can be pretty responsive.”

“Life will be different after this. All these things we thought mattered at one point don’t. And then all of these new topics matter, so it’s recalibrating what we’re covering, and putting it through a post-pandemic lens.”