Articles by: "Jessica Patterson – Independent Media Reporter"

At The Texas Tribune, audiences expect service from social audio

July 21, 2022 Jessica Patterson – Independent Media Reporter

Social audio creates opportunities to grow and engage with audiences. It also provides an ideal medium for tackling big issues. However, The Texas Tribune’s social audio experience reminds us about the importance of concentrating on key issues that affect the everyday lives of audiences.

Austin-based Texas Tribune keeps a tight focus on specific issues, events, and questions when using social audio. “Our approach to live social audio is to ensure that we’re talking about a topic or a storyline,” rather than a project or its journalistic process according to Bobby Blanchard, Director of Audience, who oversees Texas Tribune’s social channels.

Topical discussions

The Tribune has found that there are topics that resonate with their audiences and keep them more engaged over others, Blanchard says. “We generally lean towards service work — how to vote, to understand and follow elections, how to prepare for possible power grid problems. These conversations attract a wide variety of readers because they’re all impacted by what’s discussed,” he says.

For example, The Tribune held a Twitter Space on preparing for the winter in December 2021, which discussed how and why Texans should prepare for the winter ahead. The conversation centered around the power grid and safety, and it featured the president of the Austin EMS Association.

The following month, The Tribune held a Twitter Space on redistricting and voting coverage. The discussion focused on what citizens should know about voting in Texas in 2022, what redistricting is and how it affects the election, and what would be on the ballot. The event featured former Tribune executive editor Ross Ramsay and Alexa Ura, demographics and voting rights reporter of The Texas Tribune.

“The Texas Tribune helps its readers navigate and understand how Texas policy and politics impacts their day-to-day lives,” says Blanchard. “Answering reader questions and engaging with our audience is a key part of our service journalism work.”

In addition to providing critical information, social audio does help The Tribune build community by giving the audience the chance to engage directly with the reporters behind the news they read. However, their emphasis remains on using the new platform to provide readers with what they expect from the brand.

As Blanchard points out, people consume information in all kinds of ways — some via text, some via visual and some via audio. “I think giving our readers multiple ways to consume the news helps us serve all types of readers. I also think it strengthens our relationship with them. It helps our readers understand that, like them, we’re humans doing this work.”

Preparing to go live

While Twitter Spaces and other social audio platforms gives anyone the option to go live, it’s not something The Texas Tribune does on impulse. A lot of planning and logistics goes into preparing for an event and they leverage lessons they’ve learned over time.

The Tribune has a thorough process to be prepared before going live on social audio. Blanchard says that, prior to going live, they give everyone a chance to test their tech and make sure they’re in a space with a good connection and have the equipment they need to record good audio. Blanchard and his team prefer wired headphones to wireless headphones, for example.

“We always have a preference for actual microphones or wired headphones to Bluetooth or built-in laptop microphones. It ensures a higher level of audio, in our experience,” Blanchard says. “We’ve just found the audio quality is better and there is a lower chance of technical problems with the audio when you use wired headphones as opposed to wireless. Best to remove as many chances for things to go wrong as possible.”

It is critical to ensure that the moderator is prepared and set up with everything they will need. “We write an introductory script for the moderator and prep questions ahead of time, just in case we get very few audience questions,” Blanchard says. “We pepper in a lot of reminders for the moderator to do a fresh table setting of what the conversation is about midway through, so folks who join late can easily catch up. We try to limit these conversations to 15-30 minutes.”

Blanchard noted they don’t open the mic to everyone. If listeners want to ask questions, they have to tweet at or direct message The Tribune. From a moderation standpoint, Blanchard says letting just anyone speak can become a minefield. If anyone can join the conversation, it opens up the possibility to trolls or bad faith actors trying to attack journalists or guests. “We don’t want that to happen — it spoils the conversation. There’s also enough of that online as it is. There’s no need to make space for anymore of it.”

As for timing their social audio events, the Tribune tries to schedule them when people are most likely to tune in, which is typically lunch time, according to Blanchard. Time of day affects how engaging a conversation is and how many people tune in. “If you do a live audio conversation at 4:45 PM, when everyone is driving home, you’re not likely to get a ton of listeners.”

“It’s my working theory that people enjoy listening during lunch,” he says. “I’ve also seen newsrooms have success with this in the early morning or late evening. I consider 1-5 PM a bit of a dead zone, and typically avoid programming live conversations then.”

Monetize like a sponsored event

Beyond audience engagement and a new storytelling platform, media organizations can look to social audio as a potential new revenue source. The Tribune does not generally have sponsors for its social audio events. However, in some cases they’ve used social audio for what would have traditionally been a live event. As such, they secured a sponsor as they would for those events otherwise.

“Our conversation about our primary preview coverage on March 1, 2022 — for example — was sponsored by The Marchant Good Government Fund and Raise Your Hand Texas,” Blanchard says. However, he notes that “financial support plays no role in picking topics or guests for these conversations — or any of our journalism.” And, because The Texas Tribune is a not-for-profit organization, sponsorship is not a significant driver behind its social strategy. However, other organizations seeking to build a revenue stream on social audio might emulate the live-event model as one approach.

Certainly, monetization opportunities seem promising. However, social audio falls into a class of its own. It isn’t as neat and tidy as podcasts. Its immediacy and intimacy is one major differentiating factor, and it still seems to be space in which content companies are experimenting.

Takeaways

While Millennials might be digital natives, Gen Z are social natives, having grown up watching video and listening to audio instead of visiting traditional news sites, according to the Reuters Institute’s Digital News Report 2022.

Thus, it seems likely that social audio will play an increasing role in their consumption habits, given Gen Z’s heavy reliance on social platforms. Digital content companies need to keep an eye on the changing needs and wants of this next generation, as they exhibit different behaviors than those who came before.

However, when conceiving a social audio strategy, it’s critical to think about what audiences need, and expect, from your brand. Priority number one is to figure out how social audio uniquely serves an audience and what you’re trying to accomplish. For this brand, having a narrow focus on service-based journalism works best.

At The Texas Tribune, social audio offers immediate engagement with audiences and the opportunity to provide useful, practice advice and trusted guidance, and address its readers’ needs in a moment. Their experience demonstrates how social audio can be used to help audiences make decisions, on what to buy, how to do something, answer specific questions, and solve their problems.

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How social audio supports The Washington Post’s “adoption, addiction, and affection” strategy

May 19, 2022 Jessica Patterson – Independent Media Reporter

In the 18 months since social audio spaces were introduced the media landscape, digital content companies have experimented to uncover their purpose and how they can best serve audiences. For The Washington Post, the answer was revealed amid the discussion of a massive leak of offshore data, which exposed the secrets, deals, and assets of the world’s rich and powerful.

The Pandora Papers investigation was not The Post’s first use of social audio. They’d experimented with Clubhouse in mid-May 2021 and held their first Twitter Spaces event June 10, 2021.

It was, however, one of their most ambitious experiments as it involved other global news organizations simultaneously joining the Twitter Spaces event. The Pandora Papers investigation spanned five continents and involved 600 journalists in 117 countries.

“The Pandora Papers was the largest reporting consortium in journalism history. We’re talking about [journalists examining] 11.9 million documents and financial records,” said Michelle Jaconi, head of news talent strategy and development at The Washington Post.

That’s a wealth of information – but a challenge to present given its scope and depth. “The amount of nuance that you can go into in a platform in audio where you don’t have the set limitations of an article is wonderful.”

“Twitter Spaces has been an incredible playground for creativity and exploring ways where we could stretch that platform,” Jaconi said. “That one was one of the biggest and most ambitious spaces we’ve done, because we did it across different newsrooms. It was an incredibly fascinating test and stretch, and incredibly well received.”

Space(s) for transparency and engagement

Social audio allows The Post to share the teamwork and collaboration that takes place in their newsroom, Jaconi explained. The work that goes into a large scale, investigative report is largely invisible to readers. However, the audio format allows the journalists to communicate the process and passion that goes into a project like this one. As Jaconi points out, “The voices humanize the work, effort, the passion and the care that goes into every piece of journalism at The Post.”

One thing the team at The Post has learned through its use of social audio is that the audience is incredibly curious and wants to learn more about the journalistic process.

“We learned, wow, there is an audience for this, and [social audio] is incredibly good for things that are so complex that you need extra time and nuance and care to explain,” Jaconi said. “And, especially with Pandora Papers, we were testing the platform and how much we could stretch the production capabilities of an audio event that was truly global. We had some issues. But I think Twitter’s even gotten better since then at the product and the production aspect of doing massive events.”

Attracting and engaging audiences

Like all publications, Jaconi says The Washington Post not only wants to increase the size of its audience, but also engage younger, next generation, diverse and global audiences. For the use of Twitter Spaces grew the following of @washingtonpost on Twitter, as well as the following of their reporters.

“I think one of the things that social audio is incredible for is that social platforms convene audiences of curious people – or sometimes just bored people who become curious when they see a trending hashtag,” Jaconi said. “Every time we do one of these spaces, our reporters get new followers. That shows that we’re building audience.”

Social audio spaces create an intimate connection between The Post and their audience, on a device that many use to interact with their family and friends. “That is a wonderful way for us to not tell our expertise, but instead to show it. We do it in a way that provides intimate connection between our reporters and their audience,” Jaconi said.

For reporters who often work in text-based mediums, one of the things that makes social audio fun is that they get to know their audiences more personally and engage directly.

“While you’re talking, you can actually see avatars and photos of people joining in that conversation right there with you. And that is something that I love for reporters to know,” Jaconi said. “Who doesn’t like telling a story and looking at the avatar of someone and saying, ‘oh, thank you for listening. That’s so interesting that you’re popping into this conversation and listening to me.’ That has been really rewarding for everyone who’s participating.”

And, as it continues to improve the functionality of Spaces, Twitter is now surfacing live audio to users when they first log in and providing beacons to audiences indiscriminately. This adds value for digital content companies because previously, Twitter had only surfaced Spaces to an organization’s existing audience.

“Social audio is one of the most exciting playgrounds right now to gather new audiences because the product keeps getting better,” Jaconi said.

Adoption, addiction, affection

In helping Post reporters reach new audiences, Jaconi looks for a funnel of adoption, addiction, and affection. With The Post’s recent reporting on the war in Ukraine, Jaconi said they are seeing an uptick in followers, but also affection. Social audio plays into this by increasing the personal engagement between audience and reporters.

In particular, The Post has sees a trend of audience members sending deeply moving messages. “People have been following reporters for the first time and posting comments like: ‘I am praying for your safety. I hope you’re okay. Please be all right.’ That is affection and concern for our journalists,” Jaconi said, noting that she’s never seen this kind of thing take place at this scale before.

“To have that be the overwhelming chat response to an audio space from our reporters covering the war, boy, is that a different experience for our journalists and reporters,” Jaconi said. “It means that we we’ve done a really good job and reaching people who are interested in information and are interested in building that relationship with us and our reporters.”

Lessons learned

Jaconi explained that there are a few best practices in the social audio space that digital content companies ought to think about.

First, update your Twitter app. Jaconi explained that Twitter often updates Twitter Spaces and improves and fine tunes its functionality. (We covered some of those in our last social audio piece.)

Second, remember that audience members can join Twitter Spaces mid-stream. It’s possible those audience members have never met you before. Hosts should make a habit of re-introducing themselves during the course of an event. This should include addressing new people joining the Space and telling them what they’re speaking about, their name, background, expertise, and the topic of discussion.

“It doesn’t have to be boiler plate. It can be done in a casual way. But also, because there’s audiences that are listening while they’re multitasking, I really urge people to introduce themselves again,” Jaconi said.

Thirdly, Jaconi suggested that digital content companies who engage in social audio spaces ought to “feed their audience.” This means give your social audio space a thread of everything you covered in that space. If you’re using social audio to discuss investigations, mention the methodology of your investigation, the complexity of doing the investigation, biographies of speakers or guests and the like, in a thread. This assures that the listening experience isn’t just a one-off that happened in the Twitterverse, and instead is and can be connected to other content, events, or used in the future.

“It is so rare, and so exceptionally powerful, to be in the same place as your audience at the same time, with everybody convened,” Jaconi said. “You’re convening the curious at something that you’re an expert in. So feed them when they’re there, because it might be a while before you convene them again.”

Featured Post | Innovation

For Axios, social audio builds journalists’ profiles and skillset

April 7, 2022 Jessica Patterson – Independent Media Reporter

For the last two years, social audio platforms have provided space hang out and chat. Businesses, brands, and groups have found that social audio fills a gap they were missing during the pandemic. Media companies have enthusiastically jumped into this format as a way to extend their brand and increase audience engagement and interaction. It’s also been a space for digital content companies like Axios to build their reporters’ on air experience and boost their profiles.

Neal Rothschild, director of Audience & Growth at Axios, says that they primarily use social audio for major news discussions, product launches, or new initiatives within the company. “We’re like, how can we add a little extra boom on top of it? And so we’ll do a Twitter Space for it.”

As Axios is still figuring out how to maximize potential of social audio, they are cautious about topic selection. “What we think is most impactful is you really need to make it about the topic that people care about, not just about Axios,” Rothschild explained.

For example, Axios hosted a Twitter Space in April 2021 about Biden’s first 100 days with reporters Alayna Treene, Hans Nichols, Stef Kight, and Sara Fischer. A few months later, Axios hosted a Twitter Space around the launch of their What’s Next daily newsletter with reporters Sam Ro, Joann Muller, and Erica Pandey.

Audience building

As is the case with the media’s exploration of many social channels, the hope is that the investment pays off in exposure to new audiences.

Reporters and journalists already live on Twitter, Rothschild explained. Thus, they have built-in audiences that carry over to their use of Twitter Spaces. However, those included in the Space – experts or guests – may also be popular on Twitter, which can be beneficial to increase reach and visibility.

“Using Twitter Spaces seems like a good bet for a media company, given the existing audiences and the ability to reach new audiences. If you’re doing a Twitter Spaces and you want to bring someone on as a guest and they have a huge following, you can have some cross-pollination and introduce your following to theirs. The potential is certainly there.”

The sound of success

However, beyond engaging in topical discussions and extending audience reach, Axios has found another interesting use for Twitter Spaces: providing its journalists with exposure and experience in the audio format.

“Some reporters are the type to go on MSNBC, CNN. Others are doing radio hits.” However, Rothschild points out that social audio is “definitely a nice option for kind reporters that don’t have as big of a public profile to have the opportunity to do live, on air experience.”

Digital content companies that want to build a brand for their reporters – many of whom are great, charismatic speakers – can use social audio as a way to introduce those personalities to the world, at a low cost.

“I think it’s important to many journalists — not all — to develop on-air skills. You never know when you might be invited onto a podcast or a radio hit or a TV hit, so getting reps in is valuable,” he said. “From a glory standpoint, it’s also a cool thing to show your friends, family and professional network. There’s a little more shine to being seen or heard than just having a byline on articles.”

Social audio hosting

But there a formula for social audio hosting. Like podcasts, hearing the “voice” of a host – both figuratively and literally – is an important component in social audio spaces. However, effective social audio hosts require a careful balance. While radio and television broadcasters deliver information in a natural voice with well-paced delivery and controlled breathing, this type of performance may sound too rehearsed on social audio platforms. On the other end of the performance spectrum, people who are less charismatic or animated will sound boring. Social audio hosts also run the risk of talking too much and overwhelming guests or the audience.

“I really think that the value of these products is that it sounds like an authentic conversation, and like you’re chatting in the living room among people. There’s cutting in and interrupting, with some give and take,” Rothschild says, “And its not just, here’s me doing my rehearsed two-minute sound bite like they might be used to on TV or radio.”

Many journalists studied writing and never planned for on air-careers. For media brands, it is always a plus to have their most popular writers extend their expertise into formats beyond text[jessica p1] . For them, social audio has the benefit of being audio-only. Hosts (and listeners) don’t have to worry about their appearance. Rothschild says that this comes through on the audio as sounding more relaxed and conversational – unlike Zoom events. “After two to three years of Zoom, I’m done. I’m so done,” he says. (And he’s not the only one.)

Spaces have potential

For digital content companies that need to see more data before jumping into social audio-based spaces, there are some interesting developments in the works. For example, Twitter has added replay stats for recorded events, so digital content companies can see how their audiences are tuning in after the fact, which could affect strategy and broadcast times. Twitter also offers Spaces analytics, which gives hosts access to data on replays for recorded Spaces, how many listeners tuned in, and how many replays the session had. Twitter also reports that it is testing other analytics tools for Spaces including total speakers in a session, duration, and monetization tracking for ticketed Spaces.

Social audio is still in its early stages so monetization and other concrete benefits have not yet crystalized. However, early forays into the format have offered different takeaways and reveal much potential. While Axios is still feeling its way through the new platform, they plan to continue to host spaces for the time being with the hopes that it will deliver audience reach. They also believe that social audio offers Axios’ journalists another way to raise their profile and promote their work as well as audio experience to broaden their skill set for the converged era of journalism we find ourselves in.

Featured Post | Innovation

Social audio brings NPR new, engaged audiences—and much more

March 10, 2022 Jessica Patterson – Independent Media Reporter

Social audio, which came to prominence with the now eerily-quiet Clubhouse, took off during the pandemic. A slew of competitors has emerged during the past 24 months. And just this week, Amazon joined the market with Amp. The company’s pitch is that the new audio app allows users to become live radio DJs, curate playlists, and talk to listeners and guests.

NPR is no stranger to live radio. The Washington-based non-profit media organization hosts two flagship news broadcasts: Morning Edition and All Things Considered. And, in 2020, more people than ever before were consuming NPR content through their website, radio, apps, live streaming, and smart devices, according to Nieman Lab, which pinned its audience around 57 million.

For Matt Adams, engagement editor + social audio at NPR, moving into social audio spaces made sense because it allowed them to meet audiences where they are. Audio also clearly plays to the strengths of their radio roots—but offers added benefits. And, unlike live video, which may take a while to set up or look a certain way, Adams explained, social audio can be set up in minutes. “This is like, get on your Twitter app. You start it. And then you’re just in a conversation. It’s very quick and easy.”

NPR has been doing Twitter Spaces for a year. Adams says that its first Spaces was with the Code Switch team about their fellowship. “I thought it would be a great way to get people who are interested in applying to that fellowship to ask questions and get answers for it,” he said.

And from there, Adams started to experiment. What’s Next: An NPR Conversation Series ran two or three Spaces every day for a week. NPR and member stations would invite their audiences to join on various topics including kids and COVID, climate change, The Supreme Court, and Indigenous community coverage.

Get feedback

Social audio is a great tool for digital content companies to connect with and expand audiences. Adams says it clearly offers a quick and easy way to talk to their social audience. “What I think is cool is it’s we’re not speaking at them; we’re speaking with them. We can bring them on stage and get their questions and thoughts.”

One of the Spaces that worked really well in the What’s Next series, Adams says, was a conversation about the housing market. “There was a lot of back and forth about, how do you buy a house now? Why is the housing market so wild out there? How do you figure it out?” Adams said.

Find new audiences

While engaging with current fans is important, a big goal for a lot of digital content companies is to attract new and younger audiences. Adams believes social audio offers a way to do just that. In fact, over the last year, Twitter Spaces has introduced new audiences to NPR.

One way is through audience referrals. As companies invite speakers to social audio spaces, their followers are notified that there’s a Space happening. When NPR Weekend Edition host Scott Simon interviewed Matthew McConaughey, they did it on Spaces. And that brought Matthew McConaughey‘s fans to NPR’s Space. “They might not follow NPR, they might not even listen to NPR, they might just be there because they’re Matthew McConaughey fans,” Adams said. “But maybe we pick up some new followers… and that’s key.”

“It’s a great way to just interact with people that you might not be able to interact with otherwise. I think that’s very cool.”

Find new content

Adams said that NPR’s social audio spaces have also sparked content and story ideas from the audience. “Sometimes they’ve said, ‘I think you should be thinking about this or doing that. The host’s like, ‘it’s a good idea. We should think about that or add that to our coverage.’”

NPR has opted to record some of their social audio spaces and later make them downloadable—or even broadcast them on air. They have also transcribed their Twitter Spaces into stories that get page views also grow audiences. All of these tactics allow them to better leverage what might be a one time live-only event in a variety of ways, and to reach broader audiences.

Where Adams has seen social audio really work is for trending topics. They can quickly produce Twitter Spaces to discuss current events and issues, like Ukraine, Russia, or the State of the Union Address.

Listen and learn

As Amazon jumps on the bandwagon this month, it’s clear that social audio isn’t going away soon. And, with potential options to monetize it in the future – from in-app tipping features, to sponsorship, to tickets for premium events – it might become a revenue stream as well.

Social audio offers Zoom-weary audiences the intimacy of podcasts but also the ability to participate in discussions, be brought up on the stage and ask questions directly to speakers in real time.

It is interesting the way in which live social audio experiences mirror live radio, but also how they differ. Unlike pre-recorded segments or podcasts, live offers real time audience engagement. But, as the name would imply, social takes it even further. Audience members can “see” each other. They are able to react even if they don’t speak up. And they feel easily empowered to engage. For younger audiences, who may have never listened to terrestrial or even satellite radio, this new format offers the ease and comfort of social media. But for all audiences, engagement and interaction can clearly reach a new level altogether.

Adams saw this firsthand when NPR hosted a Twitter Space based on a story about college students’ experience during the pandemic. Adams asked the reporter to bring her sources into a Space for a discussion. “And then all of the college students in the audience were joining and then jumping up to talk about what was happening at their school and what they were going through,” he said. “There was just this big conversation between the sources and the audience, and we were just directing traffic. It was awesome. It was not what you would do on the radio.”

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Regulation, revenue, and relationships top of mind at the 2022 DCN Next: Summit

February 7, 2022 Jessica Patterson – Independent Media Reporter

Held virtually January 31-February 3, the 20^th annual members-only DCN Next: Summit was a gathering of digital content companies from all over the world.

CEO Jason Kint opened the event by offering his perspective on how the last few years have underscored the need for quality information. He also reinforced the need for trust, particularly as we move toward web3. “Where people have choice and a competitive market, where they spend their time, attention and relationships, trust will matter. Trust matters more than ever,” Kint explained.

Keynotes and discussion sessions touched on subscriptions, paywalls and reader revenue, video, film, audio strategy, and AI. The event also explored the political and technical forces shaping the media landscape today, with sessions focusing on cookies, identity, trust, privacy, and platforms.

The personal is political, and platforms

The opening keynote featured 2021 Nobel Peace Prize recipient Maria Ressa speaking with investigative journalist Carole Cadwalladr. They discussed platforms and the critical role a free press plays in healthy democracies. As Ressa put it, “Until technology gets guardrails around it, until we get to the point where the platforms that deliver the news are redesigned so that lies laced with anger and hate do not spread faster and further than facts, journalists will be under attack.”

Investigative Journalist Carole Cadwalladr in conversation with Maria Ressa, CEO of Rappler

Platform concerns and necessary regulation arose again throughout the event, notably in Thursday’s final keynote. Attendees heard from U.S. Senator Amy Klobuchar, mere hours after a Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights hearing.

Klobuchar, who has been working to hold big tech platform accountable, provided an update on the bipartisan antitrust app store bill that just went through committee, as well as other bills she’s leading. “We just had an incredible vote on a bill that Senator Blumenthal and Blackburn and I … put out a few months ago on app stores: 21 to 1,” she said.

The bipartisan legislation, called the Journalism Competition and Preservation Act would enable news organizations to collectively negotiate terms with platforms to provide fair compensation for news content. Klobuchar told attendees, “The big issue is advertising money and fair compensation. These companies are sucking up the ad dollars using the original content that you produce and they’re using the data they collect from your audiences to compete against you.”

Chris Pedigo SVP, Legal Affairs of Digital Content Next, interviews Senator Amy Klobuchar

First-party data and identity

Unsurprisingly, the upcoming deprecation of the third-party cookie was a topic of much discussion at this year’s summit. The change has destabilized the advertising ecosystem. Experts discussed how to prepare for the post-cookie reality and how publishers could invest in their first-party data.

To prepare for the post-cookie reality, Rachel Parkin, CafeMedia’s EVP, Sales and Strategy, suggested publishers strengthen relationships with advertisers and build up their arsenals and come up with the right framework for identity and authentication for users and content.

TRUSTX CEO David Kohl suggested that publishers, by acting as a group to create scale, can create competitive advantage. ” We are in transition and there’s tremendous chaos in identity and audience data. But here’s the thing: Chaos creates opportunity,” he said. “And the question is, how can publishers take the lead in organizing the chaos? How can we band together? It is time to create an ‘easy button’ for scale.”

Another session discussed how publishers are leveraging consent-based visitor relationship data sources to fuel monetization as the industry moves forward into a cookie-less future. David Rowley, senior director data and identity products at News Corp. said they feel first party data is going to be one of the most important assets to a publisher. News Corp is assessing what’s out there for external identity solutions, Rowley said, and building out a proprietary identity solution.

“Publishers use so many different types of technology, DMPs, CDPs, analytics platforms, you name it, all of them spit out and create their own identifiers. Being able to stitch all of those together to have a unified view of a user is critical, so you can have that one-on-one relationship with a user,” he said.

People and empathy

Another theme that echoed through the conference was that of managing during these difficult times. As Agnes Chu, president of Condé Nast Entertainment remarked, “I think it’s hard to drive change during a time where people are experiencing so much anxiety themselves.”

Lindsay Peoples Wagner, editor-in-chief of The Cut, outlined that it’s important for leadership to have and bring a sense of empathy. Leaders must “be able to step outside of yourself and understand that, yes, we’re all employees and work at a company, but we’re human beings,” Peoples Wagner said. “People, especially in the past couple years, have had a really hard time with mental health or their family issues or being sick. It’s important to understand, I think, that people may need time, and that push and pull as a manager, I think is more important than ever.”

Michelle Manafy, Editorial Director of DCN interviews Lindsay Peoples Wagner, Editor of The Cut

The biggest shift for TripAdvisor’s Christine Maguire when the pandemic hit, was from building products to empathy. “I had to sort of take a step back and realize where everybody was in their journey,” she said. “Having empathy for what goes on in their day to day is so important, because oftentimes we come in to make a change when there is a problem, and that’s too late.”

The future of work

The newsroom of the future may look nothing like the pre-pandemic one. Indeed, as publishers move forward, they’re stepping into a future which doesn’t look much like the past. There’s upside, such as the ability to create more flexible working situations, which facilitates broader recruiting.

However, as author Anne Helen Petersen noted, when companies allow their employees to live anywhere and work any time, they may run into a lot of sticky situations.

“The larger question that a lot of companies are dealing with is if we say that people can have really flexible work schedules and can go in when it is most convenient for them, are we also going to put stipulations on the states or countries where they can live,” she said. “Are we going to say that they get into New York within the day, that they take the train in? Is that okay? Or are we going to say that it’s one flight away? What are our boundaries?”

The future of the industry

On the last day of the summit, Co-founder and CEO of Insider Henry Blodget and Atlantic CEO Nicholas Thompson engaged in a spitfire conversation about the digital media industry. They discussed the complicated relationship with platforms, new technologies like AI, NFTs and blockchain, and made predictions for web3.

Blodget was optimistic about the future of local news. However, he sees a different scenario play out for others going forward. As the industry evolves, he thinks there will be three to five big generalists, a bunch of targeted specialist publications that serve a particular niche, and everyone else is in the middle.

Atlantic CEO Nicholas Thompson in conversation with Henry Blodget Co-founder & CEO of Insider

“I do think we’re all going to face pressure and there’s going to be a lot more consolidation because there are enormous returns to scale,” Thompson replied. “We see that every day with The New York Times, when they roll out some cool new tech feature that they can spread across their 10 million subscribers.”

“Let us just acknowledge that The New York Times is Netflix of journalism,” Blodget said. “My view is in five to 10 years, they will have 25 million subscribers and they will still be growing strong and they will become one of the most powerful English language journalism publications in the world. And the rest of us are gonna have to find places to carve out what is left.”

Featured Post | Innovation

Great lengths: Optimizing video across platforms

October 14, 2021 Jessica Patterson – Independent Media Reporter

Make it short. Show real stuff. This may seem obvious, but these are best practices in video length and content authenticity for Gen Z audiences.

Gen Z, born between 1998 and 2016, spends a lot of time watching videos on social media. And last year, Gen Z’s video consumption increased: Snapchat reported that Gen Z watched over an hour each day of video content on social media apps alone. They value video more than any other media platform, by a margin of roughly 2-to-1 over social, gaming, music or Google search, according to a recent study by DCN. They prefer video, specifically user-generated content, due to its relatability and personability.

Understanding that Gen Z viewers and consumers have different behaviors, values, and attitudes when it comes to video is important because it can impact your audience of the future, your strategy, and your revenue. It will also help you withstand shifts in viewer tastes and larger shifts in the media landscape. Building relationships with this generation of viewers, readers, consumers, starts now.

Video length on TikTok

Video length varies by platform, and there are a lot of platforms to choose from. Gen Z favors Instagram, Snapchat and TikTok, according to a Pew survey in 2021.

Video content on TikTok must be extremely short. In fact, 50 seconds is long, according to Erin Weaver, Group Nine Media’s Senior Director of Audience Development. For Gen Z-favored platforms Snapchat and TikTok, video length needs to be short and videos need to be fast-paced, according to Weaver. “On TikTok, I consider anything between 30 and 60 seconds to be almost the default. And then slightly longer is over one minute up to three minutes. We’ve seen some success with longer videos, as long as they’re really engaging and interesting.”

#DCYoungFly hitting the #CrankThat at the #HipHopAwards [https://www.tiktok.com/@bet]

Brittiany Cierra Taylor, director of audience development at BET, says she sees similar results. “Our audience development team has been trying out shorts and they’ve seen that they were amazing in getting new views, new viewers and from an ad perspective, we see more ads, more earned views. That shortness really is the key because we noticed that the sweet spot on TikTok is seven seconds where you see that jump that engagement,” she said.

“Our TikTok partners always encourage us to create shorter and more succinct videos, as they do tend to perform well on the platform,” says Kelsey Alpaio, an editor and producer with Harvard Business Review’s Ascend brand for young professionals, “But, that doesn’t mean long videos are off limits. The majority of our top-viewed videos are more than 50 seconds long. If people are interested in the content, they will stick around.”

Video length on YouTube

On YouTube, videos that are 2-4 minutes long work well for Harvard Business Review, but they also see success with videos that are longer, about 10-14 minutes each.

Scott LaPierre, Harvard Business Review’s senior editor for multimedia, says that for YouTube, trends around length are similar. Length is less important than topic and storytelling. LaPierre says HBR’s more authentic and honest videos on YouTube, which are casual, host- and personality-driven, perform about as well in the long run as their more traditional content. “Both have about an even number of breakout successes, and comparable average performers,” he says. “The video’s topic, and how compellingly it delivers on that topic are still the primary factors in the number of views and how long people watch, whether traditional or authentic in style.”

Short and medium-length videos at about two to nine minutes each work best on YouTube, for a broad reach. And longer (10-15 minutes) seems to work to deepen engagement with established fans, LaPierre said. “Shorter videos seem to have broader reach while longer videos seem to have deeper engagement. Long for us is around 10-15 minutes. Short is two to four. Most of our current video lineup is in the middle: six-to-nine-minute range. Anything over about 15 minutes does not perform great on our channel.” (Live video is a different conversation where lengths over 15 are more the norm.)

Optimize for story

“It really depends on the goal of the story and whatever length makes the storytelling complete,” says Zainab Khan, associate director of audience, video at The New York Times. “We might do a months-long investigation that merits a 12-minute video. What we see, because we edit our videos for pacing and storytelling, if a video is longer, we get more overall watch time. But we’re really rigorous about thinking about length so it fits the needs of the story. And in some cases, that means the best way to share a story means to do a quick 30-second snippet, showing viewers what’s happening on the ground.”

All of the digital content companies we spoke to said that storytelling trumps minutes and seconds. Video content should be as long as it needs to be, to tell an engaging story. LaPierre says, “Topic and storytelling generally trump length or style. So, my rule of thumb is: make it as short as possible, but no shorter.”

Content authenticity

Best practices for user-generated content are that video content must be low lit, not super polished, and not have a high production quality.Often, it is a selfie-style cell phone footage. It’s casual, host- and personality-driven. It is concise, engaging, and easy to produce. It shows people talking about what they care passionately about.

Harvard Business Review aims to make some of their videos in that user-generated style, LaPierre says. “For me, the best way to get authentic-feeling video is to have people talk about what they care passionately about,” he says.

Production values

Ascend Multimedia Producer Andy Robinson explains they try to find a sweet spot between having a polished feel and showing the real world. “My rule is, show the real stuff whenever possible. We’ve been leaning heavily on less-overly produced elements in our video content. Audiences can smell something that is highly produced, over scripted, over thought.”

Group Nine makes a point of putting people as the focal point of their UGC content, explains Weaver. “For PopSugar, a tutorial on applying makeup does a lot better than a product review or something that’s mostly focused on beauty products or a workout. You should see people doing the workouts, not so much like a description of the movements.”

At The New York Times, best practice for finding authenticity in a creator’s work is to have a deep understanding of the company’s values and to find common ground with their audience, Khan says. “It’s really important for us, when we want to build trust with our audience, we show our authentic selves. We literally put our reporters on screen in a way that helps the audience understand who is doing the reporting,” Khan says.

Gen Z has a bullshit detector

Gen Z’s desire for authenticity has been well documented. They want brands to be transparent, authentic and trustworthy. Gen Z audiences have spent their lives surrounded by digital technology. They’re incredibly discerning and know how to filter content that lacks the right tone, language, relevance or value. “What I love about Gen Z is that they hold companies more accountable,” Taylor says. “They’re doing the fact-checking, they’re doing the homework, they’re seeing if your staff resembles the world, if your content resembles the world year round. Is your message consistent and congruent in the content that you showed me? That’s actually one thing I love about them because it forces brands to be authentic.”

Authenticity is the way to grow audiences, Taylor explains. “I think that if you want to stay around, that is the basic component that audiences are resonating with. So, if you’re not going to be authentic, you’re not going to meet the KPIs you want, you’re not going to grow your audience, you’re not going to hit your revenue… So, from an audience perspective, a revenue perspective, authenticity is just the way to move forward.”

Be real, not trendy

“In the long term, if your identity and authenticity are dependent on a trend, you only last as long as that trend,” Khan says. “On the other hand, if your company has a handle on its core values, and what sets you apart from your peers and competitors, you can choose which trends to follow. And it means you can withstand shifts in the media and shifts in viewer taste.”

LaPierre says content authenticity connotes honesty, vulnerability, transparency, and relatability, which may not always have been top priorities for publishers. “And, we’ve seen some of the distrust in media that can result,” he says. “Show your flaws, show that your content is made by real people with real concerns that overlap with your audience’s, and show your work–it’s about building a trusting relationship over time.”

For their audience of the future, digital content companies need to put real intention behind the content they create and innovate constantly. As one expert put it, you need to think about who you’re talking to, and create content that is meaningful to them. It’s a lot of effort trying to please Gen Z, but if you’re not putting in the effort, you’re not going to get the results. This is your future audience, after all.