Category results for "Innovation"

How AI is helping media companies attract and engage audiences

November 11, 2024 Dorinne Hoss, Head of Marketing – Arc XP

In today’s rapidly evolving media landscape, publishers and broadcasters are increasingly looking to AI to reach new audiences and build loyalty. At Arc XP’s recent Connect London event, a panel of industry experts—Lisa Anzinger, Enterprise Lead at Echobox; Aliya Itzkowitz, Strategy Manager at FT Strategies; and Madeleine White, VP of Marketing at Poool—shared their insights on how AI is reshaping engagement strategies for media companies.

How AI can help reach new audiences

One of the biggest challenges for media companies is breaking through the noise to reach new audiences. AI offers a way to do this by understanding and targeting specific audience needs. As Anzinger from Echobox explained, “AI can help you counteract [algorithm changes] and actually still reach those audiences, maybe even reach them through wider channels… whether that’s social media, newsletters, or even others.” AI’s adaptability is crucial in an environment where third-party platforms frequently adjust their algorithms.

Itzkowitz from FT Strategies highlighted the importance of multi-format engagement: “One of the most exciting things for me is there’s so many new ways that we can engage with readers, especially thanks to the generative AI boom.” For example, she shared that the Financial Times (FT) has been experimenting with a feature called “definitions,” which helps younger readers understand financial terms by offering definitions that pop up on hover. This is one way AI makes news content more accessible and appealing to younger audiences, who may find certain jargon intimidating.

Personalization and community building

AI’s ability to personalize experiences was another focus of the discussion. Anzinger explained that Echobox has seen significant engagement improvements through AI-driven personalization in newsletters, saying, “We have the ability to personalize each newsletter to the individual reader… [our client] Group Sud Ouest managed to increase open rates by 53% and click rates by 42%.” This tailored approach ensures that readers receive content that matters to them at just the right time.

Beyond personalization, White from Poool highlighted the growing importance of community building, emphasizing that AI’s real value lies in connecting people. “With AI, content can be created so easily that anyone can create content… community is what’s going to set you apart.” AI can help facilitate these communities, for example, by using AI-driven chatbots to engage users in conversations and provide a space where people with shared interests can connect and interact. White mentioned that some Norwegian publishers have even used AI chatbots that act as virtual community members, creating a more dynamic and interactive environment.

Ethical considerations and transparency in AI

Implementing AI responsibly is a priority, and transparency is essential in building trust. White believes in the value of being open with audiences: “Always be transparent…if a reader believes they can trust you and they know when you are being honest about whether AI’s being used, I think that really helps.” On the other hand, Itzkowitz offered a nuanced perspective, suggesting that over time, labeling every AI-driven feature may become unnecessary as AI becomes more integral to everyday processes.

However, when AI is directly engaging with audiences, clear communication is critical. Itzkowitz shared an example from a project involving synthetic voices: “If you’re using the voice of a journalist or cloning a voice…then you need to disclaim that.” AI’s role in generating content is likely to be acceptable for readers as long as they feel informed about when it’s being used.

Legacy media vs. new brands: Who has the AI advantage?

An interesting debate arose around whether legacy media brands have an advantage in AI-driven engagement due to their extensive archives and resources. While Itzkowitz acknowledged that larger companies have more data and resources, she pointed out that smaller publishers can often innovate faster due to less bureaucratic red tape. “Smaller publishers…may just say, let’s try full automation. Let’s see how it goes,” said Anzinger, highlighting the experimental edge smaller companies can bring to the table.

For smaller teams, adopting hybrid models that combine ready-made AI solutions with limited internal development is a viable approach. As Itzkowitz noted, “AI has somewhat changed this…you no longer need huge development teams to build something.”

Overcoming fear of failure with AI

The panelists acknowledged that trying new technologies like AI can be intimidating, especially with the risk of projects not meeting expectations. However, Anzinger advised companies to take a “trial and error” approach, iterating based on results. “Just keep trying… you can’t be afraid of something going wrong, just need to keep trying,” she said.

White underscored the importance of resilience and learning from failure, recalling the New York Times’ bold decision to implement a paywall in 2011 despite criticism. “Trying and failing means you are potentially going to succeed and be ahead of anyone else,” she said, stressing that bold moves can often be the most rewarding in the long term.

What’s next for AI in audience engagement?

Looking to the future, the panelists shared their excitement about the new ways AI can enhance engagement. Anzinger is optimistic about using AI to produce dynamic content, such as automated videos from articles, which will help media companies engage younger audiences on platforms like TikTok and Instagram. Meanwhile, Itzkowitz is eager to see AI-driven creativity blossom: “What’s that killer app for generative AI, or how are we really going to change the news experience so that young people and audiences in general really want to engage with news again?”

White emphasized the potential to create individualized experiences: “Instead of creating this one-size-fits-all model… [AI means] giving them a unique experience that the reader next to them isn’t going to get.” This hyper-personalized approach has the potential to make each reader feel valued and understood, a key to building loyalty.

Finally,the panelists concurred that AI is not here to replace journalists but to augment their capacity to connect with readers in increasingly meaningful ways. As AI tools evolve, media companies that embrace experimentation, prioritize transparency, and stay committed to creating genuine connections will be best positioned to thrive.

With Where to Watch, ESPN simplifies sports discovery

November 7, 2024 David Weldon – Independent Media Reporter

Gone are the days when a sports fan could locate their favorite team’s game quickly on a predictable outlet. Instead, broadcast contracts are divided among many media outlets, with sporting events appearing on dozens of broadcast, cable and regional sports networks, as well as streaming services. In fact, it’s gotten so tough that ESPN thinks that the biggest win for sports fans may just be having an easy way to figure out where an event is being offered in time to catch the opening kick-off, tip-off or puck drop.

Disney’s ESPN set out to solve the sports discovery problem with its new “Where to Watch” feature. Offered on its main app and website, the feature helps viewers instantly locate any sports event appearing on ESPN platforms and elsewhere, including cable and broadcast networks or streaming services. ESPN is aiming for this feature be comprehensive across the market, not just for ESPN and ABC properties, because the goal is to solve fan fragmentation and frustration.

Where to Watch, which debuted in August, showcases tens of thousands of events across dozens of leagues. Included are events from the NFL, NCAA football, NCAA men’s and women’s basketball, MLB, NHL, NBA, WNBA, NASCAR, UFC, F1, PGA Tour, MLS, tennis majors, Premier League, Champions League, and other live sports events that air on Disney’s ESPN platforms—with plans to grow.

We recently spoke with Casey Grabbe, senior director of ESPN Strategy, and Chris Jason, executive director of ESPN product management, on the development and objectives of this ambitious feature.

The feature aims to solve fragmentation

“Where to Watch is an easy-to-use guide for sports fans to locate any sports event on ESPN platforms and beyond. That includes broadcast, cable and regional sports networks and streaming services,” Jason explained. “From Where to Watch, fans can view all the sports events for an entire day, along with the network or service on which to find them, with quick one-click access to ESPN network streams for pay TV authenticated users and ESPN+ subscribers.”

Beyond just ESPN, fans are also linked directly to select partner networks, which currently include regional sports networks such as NESN and Monumental Sports, Jason said. Fans can search for events, filter, and customize the guide to prioritize their favorite teams and leagues.

“This makes for a fast and easy to discover what they care about most, all tied to their ESPN profile and personalization preferences,” Jason explained.

The motivation behind the Where to Watch feature was simple: reduce complexity.

Disney’s internal research found that sports fans are confused about where to find games, according to Grabbe. As sports viewing has become fragmented across many TV networks and streaming platforms, it has also become difficult and confusing for people to know where they can watch their favorite teams, players, and sports.

“We are hoping to solve that consumer pain point by creating a centralized home for sports viewing information with an intuitive interface that is easily accessible from within their daily routine of visiting ESPN.com and the ESPN App,” Grabbe explained.

How Where to Watch works

Where to Watch is designed to be a simple, scrollable, time-based guide of sports events, Jason said. It is powered by a proprietary event database, managed by the ESPN Stats and Analysis team.

The event database aggregates ESPN and partner data feeds along with originally sourced information and programming details from more than 250 media sources, including television networks and streaming platforms, Jason explained.

“We currently support coverage of tens of thousands of events across dozens of sports and leagues, and other live sporting events airing on ESPN platforms,” Jason said.

In order to watch an event, fans need only press boldly colored “watch” buttons on live game selections, which takes the viewer directly to the broadcast. That is, provided that they are a subscriber to ESPN+ or a pay-tv service. Fans can also customize the feature to highlight a specific sport or league.

Event-driven database drives discovery

Where to Watch is currently available for free to all ESPN App and ESPN.com users, which do not require a paid subscription. The feature employs an event database that was created by and is managed by the ESPN Stats and Information Group. The Stats group aggregates and analyzes data from ESPN and partner feeds. It combines that data with that of more than 250 other media sources. This includes television networks and streaming services. ESPN has a partnership arrangement in which it links users on the ESPN App directly to partner feeds to view content, in an effort to cut down on the friction of finding and assessing sports content.

Sports fans using the Where to Watch service see two primary features: A Favorites element and the Guide. If the fan has a favorite team, sport or league they wish to watch, they can set that information into the feature and it will display upcoming games or events at the top of their screen. The viewer need only click on the event they want to be directed to. The viewer can personalize or change favorite settings at any time. Otherwise, the Guide feature will display all of the options available to watch at a given time on a given day.

Early feedback says Where to Watch is a winner

Jason notes that the Where to Watch feature was designed with the sports fan desires in mind, and that seems to have paid off so far.

“Fan feedback has been overwhelmingly positive, primarily in that this is focused on solving a real pain point for sports fans,” Grabbe said. “We see this sentiment reflected on social media, through various media outlets following launch, and ongoing interactions with sports fans. Several million fans have already used the feature, which is a really promising sign that this can become an indispensable utility going forward.”

Initial partnerships have been formed with only a few regional sports networks – NESN and Monumental Sports – to link fans directly with their programming, with plans to increase the number of these partnerships.

“We want ESPN to be a part of every sports fan’s daily routine,” Grabbe stressed. “Providing fans with this added functionality is helping to further strengthen ESPN’s position as the preeminent digital sports platform. We are always thinking about how we can put the sports fan’s needs first.” ESPN also plans to launch a new stand-alone direct-to-consumer product in 2025, and hopes to include its Where to Watch feature.

“Our near-term focus is to expand coverage across more sports events and leagues,” Jason said. “We are also working on adding additional utility within the experience, for example giving fans the ability to set reminder alerts for games they are interested in. In parallel we continue to monitor fan feedback to evaluate additional ways to improve the experience.”

Diversity, Equity & Inclusion | Innovation | Video

PBS Film Club launches, featuring a film community Fable

November 6, 2024 Michelle Manafy, Editorial Director – DCN

Social media gets a lot of bad press these days, and for good reason. It’s associated with any number of negative effects – from misinformation to increased anxiety, polarization and more. However, there’s no denying its impact as a cultural force. And, to be fair, there are notable bright spots including the ability of social platforms to increase awareness around mental health and environmental issues and enjoy moments of cultural significance, hobbies and entertainment.

With the launch of PBS Film Club, this trusted public broadcasting service known for its high-quality educational, cultural, and informative programming is doubling-down on the potential of social media to build constructive communities around shared interests. As PBS VP of Marketing Amy Wigler points out, “edutainment is one of the most popular types of content on social media, and we do edutainment better than anyone.”

Produced by the PBS Social Media team, the PBS Film Club – a new social video series – publishes every week on PBS’s TikTok and Instagram channels. Notably, however, PBS has also partnered with Fable, a community-powered platform for discovering, tracking, and discussing books and TV shows. Given PBS’ strong presence across established social channels (200K on TikTok and over 1 million Instagram followers), the decision to partner with Fable was as much around ethos as the ability to reach a new audience.

Founded in 2019 by Padmasree Warrior, Fable’s mission is to foster a love of stories of all kinds and build meaningful communities through curated experiences. Fable’s philosophy centers on promoting literacy, encouraging thoughtful conversations, and creating a supportive environment for readers of all backgrounds. Fable bills itself as a community for bookworms and binge-watchers—both of which titles Wigler and Pina personally and professionally embrace. “Social media should be about community and connection,” says Wigler. “And that’s what Fable is to me.”

Community-centric audience approach

In addition to the launch of its Fable club, the initial PBS Film Club video series roll-out includes 10 episodes hosted by Marissa Pina and Lucky Nguyen. Pina, who is PBS’ Senior Manager, Social Engagement and Multiplatform Marketing says the social team came up with the idea when they were thinking about how to serialize content across TikTok in a way that made sense to showcase PBS’ vast library.

@pbs
Welcome to our very first episode of #PBSFilmClub ✨ This week we’re discussing The Perfect Crime from American Experience and what we’ve learned from it. We want to hear from you, comment below or join us on Fable to share your thoughts. #pbs #documentary #truecrime #bobbyfranks
♬ original sound – PBS

“We were looking for ways to kind of extend our engagement and our community reach especially for younger and more diverse audiences, particularly Gen Z… In the past, I would have done something like this maybe by creating a Facebook group. But Fable already had the audience.” That audience, says Pina, is over a million strong, comprised mostly of those ages 18-35.

To be sure, reaching a young audience is critical to the longevity of any media brand. However, as Wigler points out, “I can no longer run a promo and expect that people will talk about it. I was intrigued about the idea of using content marketing to build audience in a new way.”

“I’ll speak for myself in particular, since I’m in that demo,” says Pina. “I’m probably not going to watch a promo. But when my friend calls me on the phone and tells me, ‘Hey, I’ve been watching this crazy documentary,’ or ‘I’ve been watching this amazing show,’ nine times out of 10, going to watch it.” With PBS Film club, Pina believes they’ve landed on an approach that will “tie in our library with the cultural zeitgeist and things that are going on in the world” in an authentic way.

Authentic audience connections

Throughout the series, Pina and Nguyen will highlight the cultural relevance of past and present PBS programming through short clips. The idea is to bridge today’s trends with some of the historical and nostalgic content from PBS programs. And, in a market crowded with content and faced by younger demographics that lean into individual creators over institutions, landing on a strategy that doesn’t just reach the audience, but truly engages them is the recipe every media company is trying to perfect.

For its strategy to work, “people are essential,” says Pina. “We talk a lot about authenticity, connection and communication. To do that you need to be able to connect with a person.”

Wigler is quick to point to the strength of PBS social team and the hosts of Film Club as winning components of this initiative. But both see the value in allowing audiences to “see the people behind the brand, that maybe looks like them,” as Pina put it. And they plan to include more of the people behind the scenes at PBS in Film Club.

So, while social media has become a complex ecosystem that brands must carefully navigate, Wigler is among those who believes it is critical to have a presence in order to engage with younger audiences, who rely on social for content discovery. However, in keeping with the company’s goal to empower individuals to achieve their potential and strengthen the social, democratic, and cultural health of the U.S., PBS approaches this social-first initiative, and particularly its new Fable fan community, “as a way to explore creative partnerships in the social space that allow our content to shine and community to form,” says Wigler. “Wouldn’t it be wonderful if PBS were known as the friendliest place on the Internet and social media? Wouldn’t it be wonderful if people like our mission is to educate, inspire, and entertain,” Wigler suggests. “And wouldn’t it be amazing if PBS on social media was synonymous for the ability to do all of that?”

Diversity, Equity & Inclusion | Featured Post | Innovation | Perspectives | Revenue

Redefining media revenue: the search for new ‘DVD sales’

October 31, 2024 Richard E. Brown, Media Revenue Consultant

One of my new favorite YouTube channels is First We Feast, specifically the show Hot Ones, where celebrities answer great interview questions as they eat progressively hotter wings. While it’s always entertaining, a recent interview with Academy Award winner Matt Damon really stuck with me because of the way it parallels what is happening with news media today.

He was asked about the macroeconomics of Hollywood, particularly how streaming has affected the subjective quality of content compared to decades ago. Damon explained how DVDs once generated huge revenue, allowing studios to take more creative risks because they could rely on profits from DVD sales after a film’s theatrical release. He shared an example from a studio executive who explained that making a movie would, in theory, cost $25 million, with another $25 million for print and advertising. Gross box office receipts are then split with theater owners, who typically keep about half. This structure means the film would need to earn around $100 million just to break even or beginning to even discuss profit.

Safe bets versus experimentation and adaptability

This hit me close to home, even though I’m in a different industry. It made me think about how the news media industry has also undergone drastic changes due to technology, shifts in audience consumption habits, and declines in traditional revenue streams like print subscriptions and classified ads. Both industries now take fewer risks in unpredictable environments, arguably leading to a drop in content quality and diversity. While exceptional work is still produced, the shift toward safer, commercially viable content is evident. Yet the evolving landscape hints at a future that demands a more integrated and adaptive approach.

Hollywood content creation, as Damon suggests, centers on box office hits that drive significant revenue in their theatrical run. In news media, revenue reliance is on digital ads, subscriptions, and paywalls.

Damon’s discussion of the economics of film made me wonder: What’s the new “DVD-sales” for the news media industry? What will create sustainable revenue beyond conventional methods? As technology advances, I believe the solution is in building new models that effectively leverage current tech and audience trends to offer long-term financial stability.

While traditional news content remains important, it’s clear that audience expectations constantly evolve. Technology unlocks new possibilities which organizations must experiment with to master. At the same time, communities and influencers are reshaping how audiences connect with news. To stay relevant, news media has to adapt to these changing consumption patterns and provide deeper engagement. It’s time for journalism to meet these evolving demands, focusing on the key areas that will define the future of news and become the industry’s new “DVD-sales.”

Diverse and individualized identity in media

As audience preferences evolve, identity and self-representation are becoming central to media consumption. People no longer want just content—they want content that reflects their values and creates a sense of belonging. Subscriptions, affiliations, and donations have become extensions of personal identity, allowing individuals to support causes, movements, or news platforms that align with who they are or aspire to be. This shift is empowering. It fosters deeper connections between the audience and the media. However, it requires representation and relatability.

Audiences increasingly seek a voice in the content they engage with. Community-led journalism and immersive experiences meet this demand by offering behind-the-scenes access, deeper insights into investigative reporting, and platforms for expressing concerns and successes within communities. These media-driven town halls—both in-person and virtual—create spaces where passion and substance shape the conversation. Historically, community-led journalism has also empowered underserved groups. It gives them ownership of their stories, fosters empathy, and reinforces a sense of identity as individuals see themselves reflected in the content.

Mission-driven partnerships

As audiences seek media that reflects their authentic selves, corporations and philanthropic organizations are aligning with news outlets that share their values to forge impact-driven partnerships that open new revenue opportunities for news media. These partnerships—particularly with philanthropic foundations, renewable energy companies, and organizations focused on health and sustainability—fund journalism with shared societal goals. Rooted in corporate social responsibility, they empower journalism to deliver objective reporting while driving meaningful social change.

By supporting investigative journalism, documentaries, and projects that resonate with consumers’ values, these partnerships enhance engagement and create a sustainable, mission-driven funding model. And companies that invest in media that align with their core values forge deeper connections with consumers who see these efforts as an extension of their own identities. This trend could shift news revenue models from short-term advertising to long-term, scalable partnerships, offering a significant and exciting opportunity for the future of news media.

Transformative role of technology

While sticking with the tried-and-true tactics may seem like the safe bet, the industry will need to reinvigorate its spirit of innovation and risk to best connect with ever-evolving audience expectations. Technology has empowered today’s audiences to be more authentic by providing quicker access to information and more immediate ways to explore their interests. Information access helps people understand themselves and the world around them with greater speed and depth.

Newsrooms can harness this shift by embracing immersive reporting through interactive experiences like AR and VR, which allows individuals to step into different perspectives, fostering empathy and engagement. These immersive technologies, from placing reporters on the front lines to using interactive learning platforms, enable audiences to connect more deeply with content, helping them refine their views and consider how they want to contribute or enact change.

The real breakthrough, however, is in AI’s role in driving personalized engagement. AI allows news organizations to deliver hyper-personalized content based on individual habits and preferences, a process once manual and time-consuming. With AI-enhanced data insights, organizations can understand their audiences at a granular level, offering timely, relevant, and highly customized content. This deeper connection with consumers anticipates their needs and creates impactful experiences, potentially transforming how news is consumed and delivered.

The road ahead for media revenue

So where is this all leading, and how does this become the new “DVD-sales” for news media? The answer lies in a transformative, identity-driven, community and tech-powered ecosystem where audiences help shape the content. This approach will foster loyalty and create scalable, sustainable revenue beyond traditional ads and subscriptions. By leveraging the combined power of community and technology, news organizations can form partnerships with purpose-aligned entities, redefining how journalism is funded and experienced.

I envision a digital platform where users actively participate, voting on story ideas or contributing content in an environment that tackles local and global issues. With AI and data-driven personalization, users can receive tailored content and news organizations can create high-demand immersive experiences like virtual town halls.

If you’re wondering how these ideas translate into reality, take a look at City Bureau in Chicago, which is already putting some of them to work. This journalism lab is reimagining local media by equipping communities to address information inequity. Their Documenters program trains and pays residents to cover local government meetings, boosting transparency and citizen involvement.

This concept upholds journalistic integrity, ensures accuracy and drives meaningful community involvement. It integrates the community into the editorial process without compromising professional standards. The approach builds authentic connections and strengthens trust, which is crucial for attracting corporate sponsorships and philanthropic partnerships. No, it does not come in a handy book-sized package like the DVD. However, this is a model that puts the audience at the center to build a sustainable model through experimentation in how the news is made, delivered, and funded.

Featured Post | Industry-Research | Innovation

How media companies can authentically connect with TikTok audiences

October 17, 2024 Damian Radcliffe, Carolyn S. Chambers Professor in Journalism – University of Oregon

TikTok is becoming an increasingly important platform for content creators, brands and media companies of all kinds. That’s especially true for those seeking to connect with younger audiences. Today, young people take a distinctly different news journey than older generations in which social media and visually-led content plays a leading role. Specifically, about 40% of those under age 30 in the USA regularly get news from TikTok. That’s up from around 10% in 2020, highlighting how quickly this demographic is adopting the platform as part of their news diet/habits.

TikTok – once viewed as a passive entertainment platform – is evolving into an algorithmically driven engagement powerhouse for content of all kinds. Estimates of its audience size vary, spanning from a massive 1.5 billion to close to two billion users worldwide. Regardless of this variance, there’s no denying that the network has a huge reach, and that it has grown astronomically since launching globally in 2018. It’s now the sixth-largest social network in the world, and its users worldwide spend 34 hours a month on it. That’s way ahead of its rivals in terms of time spent.

“Roughly 170 million Americans use TikTok,” The New York Times noted earlier this year. “That’s half the population of the United States.” Charting 19 ways the platform has influenced American life, the Gray Lady observes that “Even if you’ve never opened the app, you’ve lived in a culture that exists downstream of what happens there.”

With that in mind, here are four things media companies need to know about TikTok, and how to harness it to reach new audiences effectively and build brand awareness, while at the same time making their content more accessible and relatable to younger consumers.

There’s a widely held misconception that TikTok is a “lean-back,” passive platform. However, new research from Weber Shandwick, a global communications and consulting firm, shows that TikTok consumption is more engaged and intentional than you might realize.

“Comments are king,” the report states, observing how “the comments section is where people go to learn more, fact-check claims, make jokes and attempt to make sense of what they have seen.”

Talking to Digital Content Next, Dr. Claire Wardle, a Cornell Professor who worked on this research, shared in more detail how users actively engage with TikTok content through the comments. This includes visiting the comments to determine if they agree, or not, with certain stories, the entertainment value they offer, as well as using insights from their peers to determine the veracity of a video. Many consumers see these behaviors as an intrinsic part of their experience on the platform.

For media companies, this may mean that engagement on TikTok should go beyond just creating content. It might require active involvement in the comment sections, given that this is where audiences spend a great deal of time and energy.

Determining the best way to do that, however, isn’t easy. “If I’m a publisher, what am I doing in the comments? What’s my role?” Wardle asks.

One potential solution stems from an idea proposed by Sophia Smith Galer. The freelance journalist and former BBC and Vice staffer has argued that newsrooms should encourage and support “individual journalist creators” on TikTok. It may be easier for people in that guise, to respond to comments on the platform, instead of through an anonymous brand account.

Nevertheless, despite the importance of TikTok’s comments section, Weber-Shandwick’s report cautions that this arena can be a home to trolls and other bad actors. Subsequently, “a detailed protocol for engagement in the comments of your own TikTok videos or videos posted by others is a must,” they advise.

2. Authenticity is key to audience-media connections on TikTok

Authentic was Merriam-Webster’s Word of the Year in 2023. “Authentic (their italics) is what brands, social media influencers, and celebrities aspire to be,” the company said.

On TikTok, as with many other visually led social networks, perceptions of authenticity are fundamental to audience engagement. I say “perceptions” because, as Social Sprout points out, seemingly lo-fi content is often actually highly produced.

Nevertheless, at its heart, this is content that intentionally looks a little less polished. In turn, this rawness can also make it more relatable and accessible. Furthermore, this style of content may be seen as more trustworthy and authentic with younger audiences than traditional media, the latest Digital News Report found.

However, the style of content that often does well on TikTok may fly in the face of traditional media production values, and that can sometimes be difficult to reconcile.

That’s amplified by an anti-establishment feel that the platform has, a notion “that came through very strongly in the research,” Wardle says.

@morningbrew
it’s called hygge #work #job #business #finland
♬ original sound – Morning Brew

As a result, TikTok “is not an obvious place for The Wall Street Journal or CNN to turn up,” Wardle reflects. That’s partly based on the style of content on the network, user preferences – which lean towards independent creators – and a concern that media outlets just look like they’re trying too hard to fit in.

Nevertheless, it’s no surprise that the most successful brands on TikTok lean into authenticity. Morning Brew’s account, in my opinion, is a great example to learn from. It’s funny, irreverent and looks like the creators shot it in their home (perhaps they did). As a result, it fits seamlessly with the style and tone of other content in my feed, while also managing to make some valid points (on occasion).

For publishers, key ways to curate an authentic aesthetic include using more casual delivery styles, behind-the-scenes content, and collaborating with creators who understand TikTok’s culture. Adapting, or partnering, in this way matters if you want to be relevant on the platform.

3. Navigating algorithms when familiarity breeds contentment

Reflecting on how Americans use TikTok, the Pew Research Center recently highlighted the value of its recommendation technology, and in particular its “For You” page. For users, this is a highly curatable space, one that enables you to teach TikTok what you want to watch. As Buffer explains, that is part of the app’s secret sauce. “The blend of familiar and new content is tailored meticulously to user preferences, making the social network addictive and fresh,” they explain.

As a result, it’s perhaps not surprising that “users generally like the content the algorithm serves them,” Pew’s research found. Their data revealed that “40% of users say this content is either extremely or very interesting to them.” In contrast, just 14% of their survey respondents said this wasn’t relevant or interesting to them.

For brands and content creators, this makes it all the more important that users know you’re on the platform. If they’re not following you, it can be hard to find and discover you on TikTok.

The success of this algorithm is a key factor behind users devoting so much time on the app. eMarketer anticipates that Gen Z, adults aged 18-24, spend an average of 77 minutes per day on the platform.

There are long-standing concerns, however, that algorithms can create echo chambers. This could reduce the perspectives that audiences are exposed to and lay the foundations for misinformation.

TikTok users, it seems, actively embrace – and are highly cognizant of – these concerns. Users acknowledged that “I know I’m not seeing anything from the other side, but I really love that,” Wardle said. “I love that I never come across people who are different to me.”

Users are aware that they are in echo chambers, but rather than trying to break out of them, they revel in the familiarity of their feeds. And they also feel confident that if they need to step outside of their comfort zone, then they know how to do so.

Responding to this is challenging, especially for news outlets. But, rather than trying to fight the echo chamber, publishers may just want to lean into it. This may mean producing more non-news content, as well as niche or specialized content that resonates with specific audiences, alongside evergreen content, and material beyond the daily news cycle.

That said, despite these cultural and algorithmic challenges, news does still have a place on the platform. Despite its reputation for entertainment, TikTok has become an important arena for consuming news and discussing social issues.

In fact, many users report encountering social and political content regularly, even though TikTok is not traditionally seen as a news platform. The latest Digital News Report found that nearly a quarter (23%) of 18–24s in the markets they surveyed, use the platform for news, as did 13% of all digital news consumers.

“These averages hide rapid growth in Africa, Latin America, and parts of Asia,” the authors note, with “more than a third now use the network for news every week in Thailand (39%) and Kenya (36%).” Figures are lower in countries like the United States (9%) and the UK (4%).

Perhaps more importantly, according to Weber Shandwick, although users don’t necessarily seek out news on the platform, they do stumble upon it through trending content.

Users often perceive that they see these stories first on TikTok, Wardle told us, with the mainstream media playing catch up. “Our survey results validated this,” Weber Shandwick’s research says, “77% of users said TikTok is where they first learn about news on political or social subjects at least some of the time.”

However, much of this news discovery does not come from traditional news brands. Instead, individual creators and commentators drive many of these conversations.

This once again reinforces the need for news organizations to partner with influencers and creators who have already mastered the platform’s style and audience. Encouraging individual journalists to build their own presence on TikTok may also help bridge the gap between traditional reporting and this new media landscape. Collectively, collaboration and empowering journalists to engage with the platform directly could be pivotal for ensuring many publisher’s stories reach and resonate with younger, highly engaged audiences.

So, is TikTok right for your media brand?

The size of TikTok’s audience suggests that the platform is too big to ignore. However, the style of content and community culture that flourishes on it can be difficult to tap into. As a result, publishers need to carefully consider if it is a good fit for them.

Media companies that can adapt to this environment will find opportunities for deeper connections with audiences. Meanwhile, those who simply see TikTok as just another outlet for distributing their content, often doing so in the same format as elsewhere, may struggle to make an impact.

Worse still, efforts to blend in risk being seen as trying too hard. “How do you show up in a way that doesn’t look like a dad dancing at the wedding?” Wardle asks.

@underthedesknews
Part 2! Better Explainer on Kamalas plan to expand #medicare to include #homehealth options vs Trump plan to privatize medicare and create a tax shelter? Out of it? Idk.. #kamalaharrispolicies
♬ original sound – UnderTheDeskNews

Audiences, Wardle says, are “kind of resisting” traditional players, preferring instead to get their content from native providers like Under The Desk News. A consistent favorite with my students, Kelsey Russell is a Media Literacy Influencer and Co-Host of First Stop News. Russell, the self-professed ‘Print Princess’ reads different newspapers and magazines to her audience, and has garnered nearly 100,000 TikTok followers in the process.

The key takeaway for publishers wanting to flourish on TikTok is to balance being relatable and informal, with being useful and entertaining. They need to do so in a way that doesn’t force humor or tap into trends in a way that feels inauthentic and “cringe.”

That’s potentially a tall order, and these efforts may not drive traffic to your site or other platforms in the way that most publishers have historically used social media.

Nevertheless, if media companies can foster authentic connections with audiences, this can help to build brand loyalty and awareness, potentially unlocking long-term benefits that go beyond simple click-through metrics.

As Enrique Anarte, a journalist at Context previously told IJNet, “You’re not on TikTok to go viral; you’re really on TikTok to reach the audience you wanted to reach.” “It’s better to get a video with lower views, but high positive engagement from the people you want to reach,” they added.

For many younger audiences, TikTok may be the first time they encounter your brand, creating a connection that may well pay even further dividends down the line. It won’t be for everyone, but if you’re prepared to play the long game, mix up your video style to fit in, and find the right people to collaborate with, then TikTok might well become a key plank in your social media strategy in 2024 and beyond.

Why Dow Jones’ new Leadership Institute will have peer learning at its core

October 10, 2024 Esther Kezia Thorpe – Independent Media Reporter

In September, Dow Jones announced the creation of the Dow Jones Leadership Institute, a commercial proposition focused on executive learning and leadership.

Plans are still in their early days. But Alan Murray, former Fortune Media CEO and newly appointed President of the Dow Jones Leadership Institute, believes that senior executives are in need of a trusted authority to guide them through leadership challenges. They also think that Dow Jones is in an ideal position to do this.

“I’ve been covering business for more than four decades. I don’t think in those four decades there’s been a time quite like the present, where the speed of change is so rapid, and the multiplicity of issues that leaders of large organizations have to grapple with is so great,” Murray explained, outlining the opportunity Dow Jones spotted. “You’ve got a technology revolution going on that’s moving very fast. ChatGPT was announced in November 2022, and within 60 days, the people who run large companies were being told their whole company was going to be disrupted by this technology that they’d never heard of 60 days ago.”

Murray also pointed to other global forces affecting businesses, from energy transformation and decarbonization to geopolitical threats. Many larger companies were founded in a world where they could operate freely globally. “That’s no longer the case any more,” he noted. “There are all sorts of geopolitical threats, massive rethinking of supply chains, and realigning manufacturing facilities.”

As global pressures affect the way businesses run, Murray is emphatic that executive leadership has to transform as well. Given Dow Jones’ position as a world leader in business information and news, he believes he can create an offering to help executives navigate these changes.

Bringing together communities under one umbrella Institute

Dow Jones already has an existing collection of executive communities. The Wall Street Journal’s CEO Council is one of the most well-known. It also boasts CFO, CMO, CIO and CCO Networks.

These vertical networks are valuable as they bring together C-suite executives from different industries but with similar responsibilities to share experiences and advice. What Murray hopes to do with the Dow Jones Leadership Institute is create a horizontal ‘umbrella’ network, which links them together.

“We’re thinking about: who are the groups of people who we can bring together, who can learn from each other? And what are the other information services, data and research services, education and coaching that we can provide to help them through that journey?” he said, explaining that many of the challenges such as AI disruption are the same across job roles. “How do you lead in the face of such rapid change? How do you rethink what you’re doing?”

One of Murray’s key observations from his experiences moderating C-suite technology panels over the past few years is that the conversation may start on technology, but it always comes back to people. “We’re talking about, how do I get my middle managers to embrace this technology, not reject it? How do I get people to adopt new ways of working?,” he illustrated. “Those conversations have left me convinced that while technology is evolving very rapidly, and lots of people are focused on how we make technology evolve rapidly, not enough people are focused on how leadership evolves to match it.”

The Dow Jones Leadership Institute will focus its attention on addressing this, rather than specific technology solutions. But it also faces another challenge: time. Senior executives are notoriously time-poor, and continuous learning is a particularly acute challenge for them. Murray said that they are also reluctant to show their vulnerabilities to their board or employees.

The value of peer learning communities for executive leadership

Addressing the time issue will mean creating opportunities for executives to stay up to date with what’s happening in ways that suit them best.. Murray outlined that the Dow Jones Leadership Institute will be serving those needs through creating thought leadership content, videos, education programs, surveys and research data.

But first and foremost, the priority will be on peer learning. This is, from Murray’s experience, what senior executives value most: “having the opportunity to share ideas, experiences and plans confidentially with someone who is in a job similar to their own.”

Virtual events will have a role to play, especially as Murray’s mandate is to “make this a global organization.” But in-person gatherings in the US will be the main focus as the Institute starts out. “There’s something different about being together in-person, things happen when you have an in-person interaction that don’t happen virtually,” he observed. “So there’s a role for both, but I do believe in-person gatherings tend to be more powerful.”

Other outputs will depend on the demands of members. As a business with membership as its primary revenue stream, Murray emphasized that they need to be “relentlessly focused on our members and provide them with any services that they think would be helpful.”

Details of membership pricing are still being planned out. A membership to the WSJ’s CEO Council comes in the ballpark of around $25k. So, a similar range would seem appropriate for building up a pricing plan for the Leadership Institute.

Sponsorship will be an additional revenue stream, but the driver will be membership. Dow Jones is in a strong position to build this, as it has doubled its digital news subscription footprint over the past four years under CEO Almar Latour. Murray noted that Latour is dedicated to making the Leadership Institute a “significant pillar of the future of Dow Jones,” and has joined the executive leadership team as a show of commitment.

Complementary to news coverage

Dow Jones is a leading provider of business news, and is home to titles like the Wall Street Journal, Barron’s and MarketWatch. Education and community services are a very different proposition to news, but Murray believes that their deep well of expertise, and robust business news acumen, gives them an edge in building an executive Leadership Institute and communities around it.

“A lot of the changes in how you lead are very news-driven. It changes around new concepts, new technologies, new things happening,” he explained. He also points out the fact that traditional universities, and even private professional service companies can be slow to adapt. [Dow Jones] “is an organization that’s all about the new, it’s all focused on the leading edge. What’s happening right now that is going to change the way you have to look at leadership in the years ahead? That’s going to be our secret weapon.”

For Murray, the measure of success for the Dow Jones Leadership Institute in the years to come will be the response of its members. “It’s member appreciation, member engagement, member renewal,” he said. “Whether it’s measured by an NPS score or by the size of the membership, our goal is to provide value to members, and the members will show us if we provide that value.”

Although there are many elements of the Leadership Institute which other publishers could look to for inspiration, Dow Jones has a clear advantage in having its own established C-suite networks which it can bring together. While first party data, particularly information about registered and premium subscribers can help an organization develop an offering such as this, few media companies have successfully built their own community initiatives. However, particularly as social networks decline for distribution and audience building, extensions like these show the value of leveraging audience relationships to drive deeper connections and new revenue.

Innovation | Supporter Spotlight

Balancing efficiency and authenticity in journalistic use of AI

September 30, 2024 Naomi Owusu, CEO and Co-founder – Tickaroo

Two small letters – AI – are proving major disruptors for the digital news industry. Already, 70% of journalists and newsroom leaders use generative AI in some capacity. While we hear much excitement over its potential, opinion remains divided. Senior editorial representatives at titles such as UK newspaper The Sun have expressed concern that AI in journalism will deliver a “tsunami of beige” content. And readers say they prefer AI-free news.

As such, there is a balancing act to be performed for AI and human input in newsrooms, pitting its potential to revolutionize the industry against the risks of over-reliance and ethical concerns to find a middle ground that benefits all. Against a backdrop of budget and team cuts, however, it’s crucial to realize that AI can enhance workflow efficiency, allow journalists to do more with less. That, in turn, can allow teams to focus on what matters the most: creating human-centered, authentic content that engages the reader.

Using AI to bridge the gap with users

Primary motivations among journalists for using AI technologies include automating mundane tasks. But as Ranty Islam, Professor of Digital Journalism, pointed out at the 2024 DW Global Media Forum, this isn’t the be-all and end-all of AI. The key lies in integrating AI into a holistic strategy that brings journalism closer to readers. Using AI to perform necessary but time-intensive tertiary tasks means that journalists—notably those in local newsrooms with smaller budgets and teams—can get more actual journalism done. They can get out there to connect with real people and stories.

Moreover, as audience needs change, AI can help newsrooms track and enhance the stories and formats that perform for them in an audience-first strategy. Using AI alongside tracking means newsrooms can harness suggestions about when to write stories and the kinds of topics and formats that audiences want to see. Content suggestions can be made based on AI tagging systems,while algorithms that suggest stories based on user behavior or interests can help tailor content for different audiences. This enhances the reader experience for greater engagement and retention while also helping boost subscription offerings through data-driven personalization.

Doing more with less

There is a wealth of opportunities for newsrooms to use AI to help with everyday tasks, and the benefits for understaffed newsrooms are clear. The local news sector has particularly felt the impact, losing nearly two-thirds of its journalists since 2005. AI can serve as a helping hand for tasks that would otherwise require multiple staff members. We have integrated AI into our liveblogging software, for example, to enable users to generate liveblog content summaries in seconds, assimilate live sports results, adjust tone and language, create social media posts, and generate image captions for enhanced SEO.

AI’s potential to localize content and engage new audiences is widely recognized. FT Strategies has highlighted AI translation as “truly disruptive in the context of news”, particularly for multilingual communities or multinational publishers seeking to replicate regional content across multiple sites.

Indeed, AI excels at summarizing and extracting information, making it extremely useful for summary generation. While most reporters aren’t keen on full AI copy generation, enabling teams to recycle their content quickly and easily or suggest headlines based on keywords can be a huge help. Moreover, since the training data is their own, the summaries reflect the author’s original, authentic style.

This summarization can be carried through to data analysis to create charts and infographics. AI can even create text descriptions for supporting media to help with search engine optimization or social media posts and matching hashtags to promote stories. Journalists aren’t typically SEO or social media managers, but small teams sometimes need to wear multiple hats. Using AI as a virtual assistant allows reporters to focus more energy on their reporting.

AI can also be harnessed to support a journalist’s development or to augment collaboration or brainstorming that might once have been done in a newsroom among a large team. AI can be used to create identify story gaps or flaws, a tool to suggest improvements, or to proofread, make composure suggestions, and adapt tonality to the situation at hand. This is particularly useful when wanting to address various user needs or even different age groups.

Liveblogs offer a prime example of how AI can be harnessed to enhance reporting, helping manage and update live content in real-time, automatically pulling in relevant information, images, and social media posts. This allows journalists to focus on providing valuable insights and context, delivering a dynamic and engaging experience for readers.

Trust and transparency while using AI in journalism

Using AI behind the scenes in this multitude of ways chimes with reader comfort levels. The Reuters Institute for the Study of Journalism revealed that while readers are skeptical of AI-generated content, they are generally happier with AI handling behind-the-scenes tasks under human supervision—as long as newsrooms are transparent about AI usage.

While AI can help to detect disinformation, fact-check, or moderate online comments, adding to the integrity of journalistic content, its tendency to hallucinate and invent also means that human oversight is vital. We must train journalists to work alongside AI, using it to enhance, not supersede, their skills, striking a balance between AI utility and the preservation of the human element in news reporting.

AI is a tool, not a substitute. It can automate mundane tasks, save time and assist research and brainstorming processes, but its power lies in complementing human effort, not replacing or overshadowing it.

The future of journalism lies in a hybrid approach in which AI supports, not replaces, the essential human touch that defines quality journalism. Whatever the medium—print, online, liveblog—by fostering collaboration between technology and editorial expertise, newsrooms can navigate this evolving landscape, ensuring that AI enhances, rather than diminishes, the integrity and creativity of journalistic work.

Featured Post | Innovation | Revenue | Video

How Crooked Media leverages video for podcast audiences

September 26, 2024 T. J. Raphael – Independent Media Reporter

It’s been nearly 20 years since Apple took podcasts mainstream, but the tech giant seems to be losing its grip on audio audiences: A recent study out this summer found that YouTube is now the most used podcast platform in the U.S.

That’s left some publishers and podcast production houses scrambling to figure out a video strategy to complement their audio-only offerings. But there’s at least one player in the game that seems well prepared for the platform shift: Crooked Media.

The company, which is focused on news, politics, and liberal-leaning commentary and analysis, currently boasts more than 40 podcasts in its portfolio. And video is a big part of Crooked Media’s strategy — but they’re not just playing on YouTube. The company is also pushing video content on TikTok, Instagram, and X (formerly known as Twitter). And even better? Crooked Media is generating revenue along the way.

The YouTube video-podcasting strategy

“We started putting streams of Pod Save America on YouTube in early 2018,” says Matt DeGroot, the company’s vice president of production.

These days, every audio-only episode of an ongoing and regularly published Crooked podcast also has a video component, which is uploaded to YouTube. For Crooked, the foray into video has been part of a deliberate plan to grow its audience.

“Really the biggest impetus there and why we’ve pushed so hard is that people who consume podcasts on a traditional platform like Spotify or Apple Podcasts, tend to go to those platforms knowing exactly what they’re looking for. So, there isn’t a ton of discoverability,” DeGroot says.

“Everyone uses YouTube, and YouTube — for better or for worse — knows what people want to see. YouTube will find our shows and basically serve it up to people,” he says. “And people on YouTube might be a little more curious and willing to take a chance on new content.”

Over time, Crooked has built a significant audience that is unique to the platform. It has 10 channels and playlists that are updated regularly, and the company currently claims more than 1.2 million YouTube subscribers.

When a big news event happens, Crooked can leverage its political commentary and analysis from a show like Pod Save America and tap into an audience who may already be searching YouTube for information. “If there’s a big story happening and Pod Save America is doing an episode, reacting to it or explaining the context, that’s a great opportunity for someone new to sort of stumble upon it,” DeGroot says.

For example, earlier this month, the company posted a segment from Pod Save America that featured the hosts of the show discussing Vice President Kamala Harris’ debate performance, and global superstar Taylor Swift’s endorsement of the Democratic candidate.

Those events were dominating broadcast news, digital media outlets, and social platforms. And Crooked was there, ready and waiting for curious YouTubers to find them. Their video on the subject got nearly 730,000 streams as of this writing, and is one of the top 15 most popular videos on their channel.

“We’ve really been able to harness that power and seize those moments in a way that is hard to do on a podcast platform, where, like I said, people really know what they’re looking for when they open the app,” DeGroot says. “YouTube just gives us more opportunity to find new people.”

Beyond giving people a new entry point to their content, video gives audiences a new format to access the Crooked universe. “More and more with the advent of smart TVs, we’ve been seeing a lot of people who are really consuming the YouTube product from their televisions and treating it like watching the evening news,” DeGroot says.

This is especially true for older audiences.

“My mom, bless her heart, she does not know how to use a podcast,” DeGroot says. “She doesn’t know how to find a show there. But she knows YouTube and she knows how to type in Pod Save America and get to the channel and pull up the latest episode.”

However, while video has helped build Crooked Media’s audience, the experience remains audio-centric. “We get anecdotal comments of people saying, ‘Oh, I put this on while I’m making dinner.’ They may not be watching it a hundred percent with their eyes on the screen the whole time, so it’s still somewhat of an audio experience, because they’ll have it on in the background while they’re cooking.”

Cashing in on YouTube

Because the company publishes Crooked Media’s podcast content as YouTube videos, its ad sales team has more touch points to offer potential sponsors.

“YouTube runs ads and we have that aspect of monetization. But then our sales team also does sell against that for the podcasts,” DeGroot says. “So an episode of Pod Save America, for example, the ads that appear in the podcast when you listen are also in the YouTube version.” In this way, a client gets a two-for-one. It can buy ads from one media company and get two distinct audiences.

In addition to selling to two audiences, Crooked is also leveraging video content to create exclusive offerings for advertisers. “That’s something we’ve started doing this year — having a single sponsor,” DeGroot says. “Someone like ZBiotics sponsors Hysteria’s ‘This F*cking Guy’ series. So we’ll include a 30 second ad read in the middle of the video, and maybe a short mention of the sponsor at the beginning. It’s a great way to add that additional revenue and help pay for the production costs that do naturally come with video, because it is a time consuming and work intensive thing.”

However, Crooked is looking beyond advertisers when it comes to monetizing video. The company has a paid subscription offering — called “Friends of the Pod” — which provides subscribers with ad-free podcast feeds, bonus content from Crooked hosts, and the ability to talk directly with on-air talent on Crooked’s subscriber-only Discord server.

“Friends of the Pod” also get subscriber-only YouTube shows. “One is a weekly, called, Terminally Online, and then we have a couple biweekly shows — Dan Pfeiffer’s Poller Coaster, and another election special called Inside 2024,” DeGroot says. “Those are available as both audio and video components to subscribers.”

While Crooked Media is going big on YouTube, it’s not the only social video platform the company is publishing on. “There are real opportunities in that sort of shorter form content,” DeGroot says. “We are not oblivious to the fact that a lot of people, if they see a video on YouTube even if it looks really appealing to them, if it’s 90 minutes long, they’ll say, ‘I don’t have time for that. I’m not gonna take a chance on this random video.’”

To counter this, Crooked Media will splice one of its full length episodes into shorter clips — something that’s 60 or 90 seconds long — and upload that content to TikTok, Instagram, or X. “People are willing to give that a chance,” DeGroot says. “They’ll see a video short clip and be like, ‘Oh, what are these people saying?’ And from there it draws them in and makes them curious to hear more,” which could lead them to YouTube or a podcast platform.

Pod Save America has about 14,000 followers on TikTok, but their short videos reach way more people than that. A recent post discussing a press conference that former President Donald Trump had garnered more than 100,000 views.

Crooked’s podcast host will also create what DeGroot calls “ancillary” content — behind the scenes moments that still speak to the brand’s broader tone. That might include the hosts’ live reaction to Donald Trump’s guilty verdict in his recent criminal trial, or an on the ground video message from the Democratic National Convention.

“For those videos that live on TikTok, Instagram, Twitter, YouTube shorts, it’s a feature that we’ve been really pushing lately and finding a lot of success with,” DeGroot says. “We’ve found that doing those types of things really helps the content spread on those platforms and bring in new people who then get excited to watch the podcasts.”

For DeGroot, the video strategy across platforms is all about creating more touch points — for audiences and advertisers.

“It’s gonna take some time to build that audience, and you really have to nurture it over time,” he says. “As long as you keep on your patterns, stay with it, and stay consistent, you will get the rewards from that.”

Featured Post | Innovation | Perspectives

Is the fediverse the future of news distribution on the social web?

September 19, 2024 Mathew Ingram – Independent Media Reporter

Not that long ago, using the social web as a news distribution platform was a relatively straightforward process: all you had to do was grab the headline and maybe a photo and then post it to Twitter and Facebook — where most news publishers and journalists already had verified accounts with thousands or even tens of thousands of followers — and then watch the pageviews and clicks roll in. Over the past year or so, however, changes to both Twitter and Facebook have made the social-web approach less and less useful; in many ways, both services have gone from being either neutral or somewhat useful as a distribution mechanism to being actively hostile environments.

In the case of Twitter, now known as X, the acquisition by Elon Musk has changed the nature of the service in a number of ways. For one thing, the algorithm that determines who sees what has been altered, based on unknown criteria. So, many publishers and journalists now say they get less engagement from the platform than they were used to in the past. There also seems to be a lot more content that is racist, sexist, or is otherwise disturbing and/or uncomfortable — as a result of what Musk claims is a commitment to freedom of speech. All of this makes the platform seem like a much less hospitable environment for traditional news and journalistic content.

Facebook, meanwhile, has backtracked on some or all of the commitments it made in the past to journalism and the media, by canceling or downsizing funding it used to provide through a variety of programs under the former Facebook Journalism Project. Most of the staff associated with those programs have left or been reassigned, and the platform has made it clear that the newsfeed algorithm will not be promoting or recommending news content in general. Facebook and its parent Meta have removed news from the Canadian version of the service as a protest over a new law designed to force digital platforms to pay publishers for the news content they carry.

What is the fediverse?

Some see the emerging “fediverse” as a potential solution to these issues, or at the very least a workaround. As Rande Price recently wrote for DCN recently, the word fediverse is an umbrella term that covers dozens of different social platforms, from Mastodon (a Twitter alternative) to Lemmy, one of the fediverse’s would-be replacements for Reddit.

Each of these services has different features and a different design, but they all have a few things in common: they are all open source, meaning the source code that powers them is freely available for anyone to download and modify. They are also all “federated,” meaning they can interoperate with each other — posts or content from one service can be easily cross-posted to another platform, or at the very least they can be exported and then imported. This is all powered by an open-source programming system called ActivityPub.

That may not sound like a big deal, but when you think about the way that content is siloed in the current environment, it definitely sounds like an improvement. Twitter or X allows you to download all of your posts and other data in bulk — something that the previous management regime put in place — but it doesn’t make it easy to import it anywhere or do anything with it. Crossposting of tweets or posts can be automated with third-party tools such as Buffer or dlvr.it, but the process inevitably fails at certain points because Twitter and Facebook don’t really want you to crosspost things. Each of them wants your content to live on their platform and nowhere else.

One recent exception to this rule is Threads, the new-ish service from Meta. Launched in July of 2023 as a spin-off from Instagram, Threads grew rapidly — so rapidly that it was one of the fastest-growing social services in history, gaining 100 million users in a matter of days. In another first, Threads also said from the beginning that it wanted to join the fediverse by allowing Threads posts to be federated, so that people using a fediverse client could follow a user on Threads without having to set up their own Threads account. Others are also working on fediverse integration, including Tumblr, Flipboard, and Medium, and so are some individual publishers, including 404 Media and The Verge. While it’s difficult to say exactly how many people are part of the fediverse, one estimate puts the number at almost 12 million.

Meta has kept its Threads promise

It’s probably fair to say that there was a massive amount of skepticism about Meta’s pledge to join the fediverse, since the company is not exactly known for being open to other services. In fact, Facebook is notorious for down-ranking posts that contain external links, and Instagram won’t even let users post links with their content. Instead, they have to use a third-party service to add links to their bio, and then point users there, something that is so user-hostile it’s hard to believe that it still exists. Therefore, it seemed hard to believe that Meta’s hostility to external links would suddenly change.

As difficult as it might have been to believe, however, Meta actually followed through on its promise. In March, the Threads accounts belonging to Threads manager Adam Mosseri and Meta CEO Mark Zuckerberg joined the fediverse, when the company implemented a sharing or federation mechanism that allowed anyone with a Mastodon account to follow them from the Mastodon app without having to have a Threads account. Meta has said that it is now rolling out this feature across the service.

Why would Threads do this? One possible answer is that, since Threads is the underdog compared to Twitter, Meta is hoping to use integration with the fediverse as a lever to quickly expand its user base. One internet rule of thumb has been that platforms and services that see themselves as the underdog are alway much more interested in interoperability than incumbents or monopolies are. Whether smaller incumbents are willing to look favorably on this behavior is very much an open question. A number of servers have blocked Threads integration because they believe it is going to overwhelm their services, or because they view Facebook and its ilk as a negative element.

The upside of fediverse distribution

That’s one possible downside. However, for publishers and others interested in reaching the broadest cross-section of users, Threads joining the fediverse provides a potential positive solution. One of the problems with the fediverse from an institutional standpoint is that it consists of so many services — Mastodon, PeerTube, Pixelfed, and Friendica to name a few — with so many different terms of service and behavior rules and other criteria that it can be hard to navigate the landscape as a publisher or news outlet interested in distributing content in the most efficient way possible.

If Threads continues its push into the fediverse, that problem could be mitigated. In this case, all a publisher would have to do is post to Threads, and have that content distributed through all of the other services that Threads is federated to. While that may solve one problem, however, doing so could create two new potential problems. One is that posting content indiscriminately to multiple social networks can be seen by users as spam-like activity, and therefore might not be received well. A second problem is that doing this would mean ceding a lot of control over a publisher’s social strategy to Threads, and therefore to Meta, which some might see as a step backwards.

In some senses, it’s a Catch-22: publishers who try to make use of all of these different platforms individually could wind up stretching themselves too thin, producing little return from a social strategy. But those who outsource their distribution to Threads and the fediverse could also wind up getting hit by a backlash, which would blunt the effectiveness of the strategy. The only possible upside is that since the fediverse is still relatively new, it’s not totally clear how it is going to evolve. But those who spend a little time experimenting with it could find themselves ahead of the curve, and wind up learning a lot about social interaction along the way.

Five expert tips for a successful podcast launch

August 29, 2024 T. J. Raphael – Independent Media Reporter

As more and more media companies and brands hop into the podcasting space, they’re turning to tried-and-true tactics to launch new shows. But podcasts live within a unique ecosystem, and podcast listeners themselves have distinct habits when it comes to consuming audio content.

If you’re planning to launch a podcast, there are five key marketing and audience development strategies you need to be thinking of, according to Christy Mirabal, an independent podcast marketing executive. She’s spent more than a decade building audiences for audio power players like Sirius XM, Sony’s Global Podcast Division, Stitcher, and HarperAudio. Here, she shares her five tips for success in podcast marketing.

1. Get to know your listener

“You can’t really build a marketing strategy without first knowing who you are building your podcast for,” says Mirabal. “If I had a nickel for every time somebody was like, ‘Well, this podcast is for everybody,’ I’d be rich. Because that’s not true – you know, no movie is for everybody – and that’s true for podcasts, too.”

Many podcasts are hyper-focused on a topic, so they attract specific, niche audiences. And people who market audio content need to think about how to specifically connect with that niche.

“For example, if you’re making a music podcast that’s trying to reach someone in their mid-to-late ‘30s, you’re not gonna reach them on TikTok, But you might reach them at a music festival, right?” she says.

Connecting with your target audience way before launching — whether in person or through online surveys – will help a media company find out if the people they’d like to target would actually want to listen to the program they’re cooking up. Knowing why the listener wants to consume a podcast will then inform how it’s marketed when it comes time to launch.

2. Ask: What is your podcast’s end goal?

When setting key performance indicators (KPIs) for a podcast marketing plan, Mirabal recommends backing up and asking a key question: What is your company’s end goal with a podcast? That will “help establish your north star metrics,” she says.

A media company may launch a podcast with the hopes of monetizing a series through paid advertising. If that’s the case, the end goal is likely clear cut: Grow a scalable audience that’s attractive to advertisers.

“But for a lot of brands, that’s not necessarily the end goal,” Mirabal says. “Maybe they’re looking to extend their brand and get it in front of a different audience. Maybe it’s just somebody’s passion project — like someone in the c-suite really believes in something and they want to do a podcast to get the word out there. And so the KPIs that you develop, if you are making a passion project, that’s gonna be a completely different path and a different set of KPIs than if you’re trying to monetize your work.”

Setting clear goals as a team from the jump will help determine the answers to key questions: Should we have a paid marketing and audience acquisition budget? Should our strategy be focused on organic growth? Do we need to set an audience bar to sell to advertisers?

3. Bring your entire company on board

As you begin to plan your podcast’s launch date, it’s crucial to make sure there’s cross department collaboration within your organization to make sure the show’s roll out is a success.

“Map out all of your own channels where you might promote the podcast to your audience,” Mirabal says. “With bigger media companies, sometimes these channels can be very matrixed.”

Coordinate with the team who owns newsletters, those who run a site’s content operation, and the groups who steer social.

“Somebody who owns a newsletter channel might need completely different assets and different collateral than someone managing a homepage,” Mirabal says.

Bringing in the art department to work with each vertical is also key. Even though podcasting is often an audio medium, launching and promoting a show requires engaging visual imagery.

When a potential listener is searching for a podcast to listen to, they’ll come across your show’s visual identity first.

“If you’re making a show about shoes, there are probably a decent number of podcasts that also have shoe content,” Mirabal says. “So if people search ‘shoe podcast,’ and your art is not jumping off the page, people are just not ‘gonna click on it, and you’re never going to get the chance for that listen to happen.”

4. Establish a multi-channel storytelling plan

When bringing on a podcast editorial team, it’s important to communicate early on that part of their role will be to capture content that will go beyond the podcast product itself.

If the creative team shepherding the podcast is not thinking about promotional assets while they’re conducting interviews or recordings, a marketing team may be at a loss months down the line when it comes time to launch.

“A producer would tell me about this amazing interview that they had six months ago,” Mirabal says. “And I’m like, ‘Did you get anything from it — did you get any images or did you get any video?’ And they’re like, ‘No.’ And I always ask why, because I could totally do something with that. If you’re not thinking about the promotional assets while you’re actually making the podcast, it’s such a missed opportunity for fun things that your marketing team can really utilize.”

Have your podcast production team meet with your marketing and social departments when they begin to create a new show. Ahead of interviews, reporting trips, or in-studio recordings, have the creative team share their editorial plans, and discuss what assets can be created for engaging behind-the-scenes content.

5. Work with platform partners

The vast majority of podcast listeners don’t consume content on a media company or brand’s website, They’re doing it through audio apps like Apple Podcasts or Spotify, or video-based social media platforms, like YouTube.

“So digital service providers — like the Apples and Spotifys of the world — it’s important to work with them because you are getting in front of an audience that’s already listening to podcasting,” Mirabal says. “They’re looking for something to listen to. You’ve got a captive audience and more importantly, you’re preaching to the choir — they’re already listening to podcasting. You don’t even have to talk ’em into the medium.”

Mirabal says it’s important to coordinate with audio platforms on your launch strategy because they can prominently feature your podcast to hungry listeners.

“It’s a very useful way to get in front of an audience that’s literally searching for what to listen to,” she says.

Coordinating with a platform should be done months before launch – they may require special visual assets to feature your show.

“Apple Podcasts, for example, they’re looking for something that is like on par with [the type of marketing] you would find on like the movies or TV side of the Apple ecosystem — they want it cinematic, they want it lush, they want it to really stand out on the page so it can call people to listen,” Mirabal says. “You can’t just have one asset like the show art to try and tell that story.”

Four newsletter strategies from leading publishers

August 22, 2024 Esther Kezia Thorpe – Independent Media Reporter

Despite the challenges thrown at publishers by obfuscating metrics or deliverability changes, newsletters continue to grow in importance. Media companies increasingly use email newsletters as a key tool for maintaining relationships with audiences away from social media, finding new readers, building habits, and opening new revenue streams.

At The Publisher Newsletter Summit, publishers came together to share strategies, advice and case studies on everything from newsletter monetization to audience growth.

Here are some of the strategies that they shared:

1. Don’t be afraid to center personalities

The role of journalists with followings has grown more complicated than ever in recent years. One theme that emerged at the Summit from a number of the sessions was that – if managed right – individual members of your team can serve as an incredible audience-building tool.

Women’s membership and community publisher Black Ballad started a newsletter from founder Tobi Oredein as a way to create a bond with the reader, because people build connections with humans, not brands. “Social media is very noisy,” Oredein outlined. Given that Black Ballad has paywall, she finds that “there is a barrier with people who can’t afford a membership. The newsletter is free, so everyone that’s signed up with their email gets that newsletter every week. So it’s a way to create that personal relationship.”

Leaning into this has also opened up revenue opportunities, although Oredein said that she chooses partner organizations very carefully. A recent campaign with the Founder’s Letter newsletter saw Black Ballad work with Maltesers around maternal mental health as Oredein was about to give birth to her second child.

“I wrote this newsletter on letting go of the Superwoman complex as a mum, second time around,” she explained. “It all came together and the newsletter opened the partnership; we had an editorial video that went alongside the essay, and it just went nuts. People loved the partnership. We realized that my personal newsletter opens up partnerships. Now the newsletter stands alone as the most requested advertising channel and is the most popular source of revenue for Black Ballad.”

There are risks with building newsletter audiences around individual journalists, but these can be managed. It’s an issue UK news brand The Telegraph faced when a big-name writer for their political newsletter left, and the team had to decide what to do next.

“We’ve grown [the newsletter] substantially since then,” Head of Newsletters Maire Bonheim said, explaining that they gave another political journalist a chance to fully front the newsletter. “He’s in your inbox at exactly 1pm every day. He’s really passionate about it, and he gives it his own edge. People have built up a habit and a relationship with him.”

2. Prioritize newsletters for retention and conversion

Special interest publisher Immediate Media monetizes many of its brands like Good Food and Gardeners’ World through subscriptions. Head of CRM and Customer Retention Matt Nash sees newsletters as playing a vital role in their subscription strategy, especially for long-term relationships.

“One of the big reasons why we’re so focused on newsletters from a subscription capacity is that 25% of our app subscribers received or read a newsletter before going on to subscribe,” he said. “So on average, there’s about 18 months between someone registering on Good Food and then converting to an app subscriber.”

“We also find that conversion from trials – mainly we run free trials going into paid subscriptions on the app – is around 10 percentage points higher for people that have previously been on our newsletter base before converting to a subscription.”

Nash shared that they have a two-part email strategy for pre- and post-subscription. The first half is focused around getting eyes on the website, showcasing the product and the subscription offers. “Every newsletter we send is an opportunity for us to try and convert someone if they look like they’re likely to subscribe,” he explained.

Once someone has converted, the focus switches to the “core readership phase,” where newsletters are part of a multi-channel tech stack optimized to try and get existing users to continue their subscription. The publisher uses a range of personalization options, from content type to send frequency and time to hit the readers at just the right frequency for them.

3. Consider repackaging content for educational courses

A number of publishers offer newsletter “courses” with a clear start and end point as an alternative way of engaging audiences. As part of its newsletter strategy, Pew Research Center launched an email course, which allowed them to leverage their reports and blog posts on U.S. Immigration. More recently The Guardian released a five-week email coaching plan called Reclaim Your Brain, which has attracted over 140,000 sign-ups.

Seeing examples like these, Ruth Hardy-Mullings, Head of Content at Community Care, a publication for social workers, wondered if newsletter courses could help solve some of their challenges. Their biggest driver of traffic was their weekly newsletter. She was also aware of the friction readers faced finding time to log onto the website and proactively seek out training content. A course delivered straight to their inbox would be a good way to prove value.

They launched some test courses in March 2021, delivering six emails a week over a three week period. “We took the content from longer guides and hosted it within the body of the email itself, so it solved that problem of having to go and log in on the site,” Hardy-Mullings explained. “Someone was able to open up their email, read the content and get that learning wherever they are, whether they’re in a car before they go and do a home visit, on their commute home, making use of those small amounts of time that people do have.”

Each email had a recap section at the beginning, a progress bar to keep people motivated, further reading links, and a reflective exercise at the end. Hardy-Mullings noted that signing up for a finite period of time was helpful for professionals who get thousands of emails. “The general feedback was that people really loved the convenience of the course and that format of learning, a good way that could genuinely fit into their working week,” she said.

Email courses may not suit every publisher. However, they can be a strong way of repurposing evergreen content, reducing friction points for membership organizations, or giving samples of journalism for paywalled publications, to name a few use cases.

One of the most revealing sessions at the Summit was Maire Bonheim and David Alexander, Head and Deputy Head of Newsletters respectively at The Telegraph. They talked about how to turn around an underperforming newsletter, and noted that they often have to use different tactics across almost 40 newsletters in their portfolio.

Alexander was keen to emphasize that although metrics have a place in your newsletter strategy, they need to be the right ones. “If you put all your effort into getting a massive list, and you trick people into signing up to your newsletter, they’ll get it. But no one will care because they didn’t mean to get it in the first place,” he explained. “You’ll have a massive list, and over time, your email provider will think it’s spam, and they’ll just put it in everybody’s junk. Pursuing vanity stats is a fool’s game. Massive lists are not the aim. You want people to read your stuff.”

Clearing lists and pursuing slower, more genuine engagement is a braver path to take, especially with other commercial and business pressures publishers face. Bonheim said that they have different time periods for list cleaning different newsletters. “If a newsletter is a daily send, then we wait a shorter amount of time before we list cleanse, whereas if something’s weekly or even monthly, we wait longer,” she explained.

The Telegraph was also facing an issue where when some marketing emails were sent to editorial newsletter segments, readers were getting confused and newsletters were ending up in the promotions tab.

“As a whole at The Telegraph… the volume of emails had gone up hugely, and we needed to get smarter about our overall email strategy and cleverer about who we segment and target,” Bonheim said, explaining that they send warnings about removing readers from lists if they don’t ‘Click to stay’. “So to combat that, we became much more stringent with our list cleanse emails, and that seems to be having a positive impact.”

The takeaway

These strategies may not work for every publisher, and one theme which emerged strongly from the Publisher Newsletter Summit is that newsletters can be used for a wide range of different purposes. The key is to be very clear for each newsletter what its purpose is, and how that will be measured.

“[Key metrics] are so different across all our titles,” said Alexander of his work on The Telegraph’s newsletters. “I’ve worked on newsletters that have had almost 1,000 words in them, and people want to read them more than anything. I’ve also looked after newsletters where it’s all about getting people through to the site. You have to be really clear on what’s important.”

Whether it’s exploring the potential of short email ‘courses’ or letting editors take a personal lead, there are plenty of ways to freshen up a newsletter strategy. But whether this is through iterative changes, pivots or launches, keep the newsletter’s purpose front and center.

Innovation | Supporter Spotlight

Go beyond basic chatbots to unlock the value of AI

August 12, 2024 Joey Marburger, Director, Vice President of Artificial Intelligence – ArcXP

For media companies investigating how to incorporate AI into their operations, open chatbots like ChatGPT, Claude, or Google Bard are often a natural starting point. Thanks to OpenAI’s game-changing launch of ChatGPT for public use in 2022, AI has essentially become synonymous with chatbots in the public mind, so it’s unsurprising that’s where many media companies turn first when experimenting with AI.

Open chatbots certainly have useful applications, but they also have some serious limitations. The user experience for these chatbots varies widely. They place a burden on the user to know how to engineer prompts that will generate good results, which can lead to significant user fatigue. Media companies will get more value from AI by going beyond basic chatbots to build capabilities that will deliver better results and a better experience for users.

Creating a better chatbot

The success of any AI-powered chatbot comes down to what’s underneath. The Washington Post has launched an excellent climate chatbot, which works well because they invested in building the underlying functionality from the ground up. They also emphasized providing trustworthy responses because the underlying large-language model synthesizes information from Washington Post articles published since 2016 in their Climate & Environment and Weather sections. The chatbot is also highly controlled and tightly framed to focus on climate coverage, which delivers a better experience than open chatbots.

Building a good chatbot requires many different technologies. First, a chatbot needs to have a solid system prompt behind it that defines what it is and is not supposed to do. Second, the chatbot needs to be based on a fast, performant model, which could include OpenAI’s GPT-4, Google’s BERT, or other large-language models. The platform needs to be quick in order to deliver answers in real time. And finally, the chatbot model needs to be trained to ensure it does what you want it to do.

It’s also important to remember that AI doesn’t have to be synonymous with a chat- or prompt-based interface. Based on the use case, a button, an automated feature, or a call to another application might be more appropriate.

Leveling up with fine tuning and vectors

To truly deliver meaningful applications of AI with significant business value, media organizations should look to fine tuning and vector databases. These advanced capabilities allow chatbots and other AI applications to be customized to meet an organization’s specific needs and operate with a deep understanding of its content base.

Fine tuning trains an AI model to deliver results that are tailored to your requirements. It essentially tells the model to read all of your content and learn exactly what you want it to do and what the results should be. For example, with fine tuning, an AI model can learn to generate headlines in a specific length or style. This can be done even down to the author level, with the model learning how to detect who the content creator is and return a headline or summary in their tone of voice.

Vector databases go a step further by building a knowledge map of all of your content— you could even think of a vector database as a miniature brain that serves as the “memory” for your AI applications. At a basic level, a vector database stores data or content in various formats (a single word, a story, a photo, a video, etc.) and creates a numerical representation of that content. The numbers assigned to each piece of content are used to calculate its distance from other content in terms of relevance. Mapping content relationships in this way enables powerful search and recommendation applications.

To understand fine tuning and vector databases in practical terms, we can look at the example of using AI for content tagging. A general-purpose AI model like GPT can look at a story and identify keywords or topics that could be used for tagging, but it doesn’t understand your specific tagging requirements.

Fine tuning the model will incorporate your tagging requirements. For example, if you have a specific set of approved tags, it will return a result that’s tailored to those needs. A vector database will not only know your whole tag library but will also understand the relationships between tags and identify overlaps that will help with powering search and content recommendations.

It’s an exciting time for AI in the media industry, with new developments emerging every month. Building your own AI capabilities can be daunting, and software vendor offerings for AI vary widely. If you spend some time learning about the possibilities for AI, including chatbots and beyond, you’ll be well positioned to create your AI strategy and identify the technologies and vendors that can help you achieve your goals.

How AI can help reach new audiences

Personalization and community building

Ethical considerations and transparency in AI

Legacy media vs. new brands: Who has the AI advantage?

Overcoming fear of failure with AI

What’s next for AI in audience engagement?

The feature aims to solve fragmentation

How Where to Watch works

Event-driven database drives discovery

Early feedback says Where to Watch is a winner

A new social video series – and partner

Community-centric audience approach

Authentic audience connections

Safe bets versus experimentation and adaptability

Diverse and individualized identity in media

Mission-driven partnerships

Transformative role of technology

The road ahead for media revenue

1. TikTok is a highly participatory social network

2. Authenticity is key to audience-media connections on TikTok

3. Navigating algorithms when familiarity breeds contentment

4. News media and social issues on TikTok

So, is TikTok right for your media brand?

Bringing together communities under one umbrella Institute

The value of peer learning communities for executive leadership

Complementary to news coverage

Using AI to bridge the gap with users

Doing more with less

Trust and transparency while using AI in journalism

The YouTube video-podcasting strategy

Cashing in on YouTube

Social video strategy

What is the fediverse?

Meta has kept its Threads promise

The upside of fediverse distribution

1. Get to know your listener

2. Ask: What is your podcast’s end goal?

3. Bring your entire company on board

4. Establish a multi-channel storytelling plan

5. Work with platform partners

1. Don’t be afraid to center personalities

2. Prioritize newsletters for retention and conversion

3. Consider repackaging content for educational courses

4. Prioritize list-cleaning for a healthy newsletter strategy

The takeaway

Creating a better chatbot

Leveling up with fine tuning and vectors