Allow me to pose a few questions: Why doesn’t the U.S. have a modern high-speed rail system or solve the issue of droughts? Why doesn’t the U.S. have a national electronic grid to leverage solar and wind power? At least part of the answer is a reluctance to accept and adapt to new technologies.
Blockchain can and will play a significant role in each of these applications and services. However, blockchain is plagued by the negative stain of cryptocurrencies and a lack of understanding of the technology and its capabilities. That does not mean that we can afford to ignore it.
So, my question for you is, “Are you preparing your company to take advantage and leverage blockchain technology to grow your business and remain competitive?”
Without a doubt, blockchain is poised to impact the media business. That future will demonstrate the full force of Tim Berner Lee’s paper about the semantic web and blockchain will play a critical role. The blockchain train is about to leave the station, and you’d better make sure you have a ticket and get on board.
Blockchain technology will create new business opportunities in all sectors. Media companies have been slow to adapt to some critical technology evolutions in the past, which cost them dearly. We can’t afford to let blockchain to be another missed opportunity.
Are you blockchain-ready?
As an executive, understanding new technologies is essential. That’s because it could mean the difference between growing your business or going out of business.
So, how ready are you and your company for blockchain? Take this simple quiz to find out:
My company and I have a complete understanding of blockchain technology.
Blockchain will become an intricate part of business processes and applications.
We have or are currently working on an application of blockchain technology.
We have a working blockchain application that we are commercializing.
My company sees blockchain as the strategic next technology for the next 10 years.
For every question that you answered, yes, give yourself 20 points. I have applied a score across each section of Roger’s Diffusion Curve in my rather unscientific study.
If you scored under 60 points, I would like you to consider the “what ifs” of not first understanding blockchain technology and how it could play a significant role in your business.
Missed opportunities
History has taught us that even brilliant minds can miss out on significant shifts. To put this in perspective, here are three examples of how a leading company ignored emerging technological and business model changes and eventually lost their business as a result.
Telerate vs. Bloomberg
Before Bloomberg, there was Telerate. Founded in 1969, the Telerate system was the dominant terminal for Fixed Income Securities in the world. Dow Jones & Company, Inc. initially purchased a 32% stake in 1985. Eventually, Dow Jones purchased the remaining shares, bringing their total investment to $2 billion.
Founded in 1981, Bloomberg’s terminals first started to appear in Merrill Lynch offices in 1985.
By 1998 Bloomberg had displaced Telerate. Dow Jones had to sell Telerate to Bridge Information Systems for $510 million, a loss of $1.4 billion!
What happened? How did Telerate lose their luster, their dominance, and market share to Bloomberg? Data analytics, back-office systems, and customer service were the differentiators.
Blockbuster vs. Netflix
Founded in 1985, Blockbuster, became the dominant player in the consumer movie rental business, only to be upended by Netflix just over a decade later. Netflix created a new business model by mailing discs versus Blockbuster brick-and-mortar stores. The Netflix business model provided selection, convenience, low price, and satisfaction.
But Netflix did not stop there. Instead of just shipping DVDs, Netflix created a streaming service that competed with linear television and every premium film channel. Netflix beat HBO in a business that HBO created. Now media brands are trying to claw their way back with branded streaming offerings, but this isn’t going to be easy to do.
Sears vs. Amazon
Last but not least is Sears, which published the Christmas wish book catalog, and iconic brands like Craftsman and Kenmore, only to be squashed by the e-commerce king, Amazon. While Amazon was building a seamless ecommerce platform, Sears remained anchored to brick and mortar. Consumers loved the convenience of shopping from home. So, Sears — along with any number of retail businesses that failed to evolve — fell by the wayside.
Time and again, newcomers leverage new technology and business models to overtake the industry leaders. Blockchain is no different. If you aren’t already figuring out how it will transform your business, you are ripe for disruption by someone who is.
These days, blockchain is being used for Asset Management, Insurance Claims processing, Cross Border Payments, Smart Property, and the Internet of Things. This article from Sam Daley highlights 30 Blockchain applications across many industries. The developments he outlines are just the beginning.
Blockchain and the future of media
Clearly, media companies have fully embraced digital. However, they are overlooking the possibilities blockchain has to offer to improve many aspects of their businesses. Blockchain technology can be integrated into multiple areas but here are a few examples that should appeal directly to media executives:
Content delivery
Launched in 2019, Eluvio Content Fabric uses blockchain technology to enable content producers to manage and distribute premium video to consumers and business partners without content delivery networks. It provides low latency, high quality (4K) content distribution, content monetization, and just-in-time streaming. It’s already being used by MGM Studios and FOX Networks, so it’s time to consider new ways to deliver streaming content.
Smart contracts
Blockchain-based smart contracts are contracts can be partially or fully executed or enforced without human interaction. Smart contracts are digital and embedded with an if-this-then-that (IFTTT) code, which gives them self-execution. In real life, an intermediary ensures that all parties follow through on terms.
Mediachain uses smart contracts to get musicians the money they deserve. By entering into a decentralized, transparent contract, artists can agree to higher royalties and get paid fully and on time. Streaming giant Spotify acquired Mediachain in April 2017. Given the increasing complexity of multiplatform content distribution, media executives will want to take a closer look at this business opportunity.
Digital advertising
MadHive is a blockchain-based advertising and data solution for digital marketers. The platform tracks, stores, and generates reports on customer activity, saving all the data to a private blockchain. MadHive’s targeted audience reports and real-time data monitoring give advertisers’ insights into their customers without compromising data privacy.
Clearly, digital advertising remains one of the largest revenue streams for many media businesses. However, increased consumer concern (and regulations) around privacy point to a need for new strategies. Blockchain provides detailed and precise information and data points that media executives would be wise to explore.
Content creation
Steem is a social media platform backed by blockchain. Its “Proof-of-Brain” community uses tokens as incentives, encouraging people to create original content. The amount of tokens distributed is based on the number of upvotes each article receives. Steem has paid over $40 million in tokens to creators. Blockchain is providing new business models and content creation models like this and media executives cannot afford to ignore the possibilities.
Blockchain for better business
My recent book, “Transforming Scholarly Research with Blockchain Technologies and A.I.”, provides a slew of examples of how Blockchain is transforming a wide range of industries. Don’t be lulled into under-rating its potential to impact the media business because of the shadow of cryptocurrencies. Blockchain will open new networks, improve efficiencies that will reduce cost, increase accessibility, transparency, and effectiveness.
Media companies that adopt this technology will position their company and team members for extraordinary success.
About the author
Darrell, an experienced digital publishing executive, has been at the forefront of significant information industry initiatives, i.e., Factiva, ScienceDirect, Scopus, BiomedExperts.com, ReviewerFinder, Underline, and Ripeta. Gunter Media Group, Inc. has advised many CEOs from startups to the most prominent publishers.
He is the author of the edited volume, “Transforming Scholarly Research with Blockchain Technologies and A.I.” His other publications can be accessed via his ORCID profile.
He is a graduate of Seton Hall University’s W. Paul Stillman School of Business (B.S. Business Administration- Marketing) and Lake Forest Graduate School of Management (MBA).
Audiences are spending more time than ever consuming content. Still, even an explosion in digital subscriptions couldn’t prevent massive job cuts across the nation’s newsrooms. Any argument that closures hit companies that churned out poor quality journalism or fake news falls flat when looking at the data. Of the 10 newspapers that have earned Pulitzer Prizes for local reporting in the past decade, all but one were impacted by cuts in the last year.
Why is online news in a crisis? There are lots of theories. Many point to the impact of the Google/Facebook duopoly. The two behemoth companies gobble the bulk of ad revenue, leaving scraps for news organizations. Others suggest that the digital media industry itself is to blame. Ethan Zuckerman points to the “original sin” of building the entire Internet around advertising, putting algorithms, not audiences, in control.
New research confirms that media organizations need to do a critical rethink, but not just of the business model. It appears that media organizations are relying on a faulty content-creation and evaluation formula. The good news is that there’s plenty they can do to rethink storytelling to better engage and monetize audiences.
The findings, part of the Clwstwr Policy Brief project, reveal that audiences prefer “inclusive and reflective” storytelling models that help them understand and navigate their world. This, the research says, “challenges the perceived – and long-established journalistic principle – that the inverted pyramid model of news storytelling is the most efficient way to deliver news.”
The traditional approach for news — arranging facts in descending order of importance — lacks creativity and flexibility. What’s more, the research says this style alienates younger audiences that crave a “more thoughtful, considered and purposeful approach” to online news. They want it to reflect the reality of their lives, rather than industry norms.
Media organizations have an opportunity to rethink the way that they report the news. And, with new formats, they can encourage consumers to engage more actively with content.
Researchers created a series of different prototypes for news storytelling. Each used a linear narrative style and addressed the question of content with a user-focused “what do I need to know?” approach.
Continuing with our series of video interviews, I talk to the lead author of the report, Shirish Kulkarni, an award-winning journalist and researcher. He makes a case for a complete rethink of news storytelling models. He shares the “seven building blocks” that successful news stories have in common. These include a linear narrative, personal context, and transparency about where the information comes from in the first place.
Kulkarni also walks us through the “narrative accordion,” a prototype model that gets high ranks from readers because it allows them to sort and skim through the key elements of a story on their terms. Finally, he discusses how news organizations can drive meaningful engagement and revenues by harnessing AI to “individualize” content at scale.
WATCH OR LISTEN TO THE FULL INTERVIEW
FULL TRANSCRIPT
Peggy Anne Salz, Founder and Lead Analyst of Mobile Groove interviews Shirish Kulkarni, a researcher focused on identifying and prototyping innovative forms of news storytelling.
Peggy Anne Salz: Mainstream journalism is in crisis. Now we may think it’s due to a lack of trust or a lack of interest, but new research suggests people aren’t consuming news because the wrong stories are being told in the wrong way, by the wrong people. Now, new storytelling models, provocative prototypes, new building blocks.
They may offer the answer and we get the inside track on this and more today on Digital Content Next. I’m your host as always Peggy Anne Salz, mobile analyst, content marketing consultant, and frequent contributor to DCN. My guest today is an award-winning journalist and researcher, who’s going to share eye-opening results of his latest research project that goes to the core of what is broken in online journalism and how to fix it. Shirish Kulkarni welcome to Digital Content Next. It’s great to have you.
Shirish Kulkarni: Thank you very much. It’s great to be here.
Salz: Now you’ve got our attention with these results, the wrong people, doing the wrong thing, in the wrong way. That is something pretty provocative. You spent the last two years asking these fundamental questions about journalism, and now you’ve come up with a construct for a model of what you call reflective journalism. Now it’s not just, you. It’s had global impact. You’ve presented it at Reuters Institute, World Association of News Publishers, and many more. Tell us what is reflective journalism.
Kulkarni: Yeah. So I think we have…well, I have two reasons really, for calling it reflective journalism. Firstly, I think it’s important that we, as journalists, reflect on what journalism is for, right? What the needs of audience is rather than our organizations. Because that’s something that’s really been missing a lot in journalism. And we need to take the time. We’re in a crisis, as you said, and we need to take the time to stop and think, what are we doing wrong? What could we do better?
The second reason is that it also is super important that our industry is much more genuinely reflective of society. So, largely, if we’re talking about Western Europe or the U.S., this is a very homogeneous industry. And frankly, it’s driven largely by white, middle class, Metropolitan men, for the most part. And actually, when you think about it, that is a really small proportion of the population. And they don’t reflect, or frankly, understand the experiences, the day to day lives of most people in society. And as journalists, I think it’s our job to reflect what’s going on in society. And I don’t think as an industry, we’re actually structurally prepared to do that. So, two reasons for calling it reflective journalism, because we need to reflect both on the industry and also reflect society.
Salz: And it’s interesting Shirish because you’re making this point that. We need to reflect, and we’ve done that in a way you could even say we’ve been forced to reflect. Let’s put it that way. So we do know what is broken in principle at the core you’re stating it’s all about new forms of narrative. We need new forms of narrative. This is actually very good news because we know what is broken. We know how to fix it. And this is where your policy brief, your news storytelling, storytelling research hits upon the answer. You propose linear narratives. Now, how does this differ from what we’ve been doing? Because what we’ve been doing is the inverted pyramid style. So what makes linear better?
Kulkarni: It helps to start by thinking, why do we do the inverted pyramid, right? And actually, the kind of prosaic reason for that is because of the telegraph, the original news wire. But actually, the telegraph, when it was used widely, was expensive and unreliable. So people thought, let’s put all the important stuff right at the top, because then it’s cheaper. And if it drops out, then we haven’t lost too much of the important stuff, we’ve lost some of the boring stuff, right? So, technology has clearly moved on by about six generations since the telegraph. But largely, we are using those same habits and formulas, which come from the telegraph era. So that is strange in and of itself. So that’s why we use the inverted pyramid now. And actually, there’s not really a reason for it anymore.
When I talk about why writing linear stories is better, or producing stories of whatever kind, whether that’s text or whatever, in a linear format is better, we just go back to what are stories for? And stories are there for a kind of evolutionary, anthropological, there’s a neuroscientific basis for storytelling. They help us navigate the world. If you wanted to bring in kind of modern day techniques, they’re like a virtual reality simulator for the world. That’s what stories teach us. And I’d really recommend a book by Jonathan Gottschall, called “The Storytelling Animal.” And in that, there’s a really beautiful quote, where he says, “We are, as a species, addicted to story. Even when the body goes to sleep, the mind stays up all night, telling itself stories.”
And so, we know that to be true, right? But those stories aren’t told in inverted pyramid style. They’re told as a linear narrative. Starting at the beginning and ending at the end. And that is what we’re hardwired for as human beings. But as journalists, if we’re writing in an inverted pyramid style, we’re essentially going against what we’re hardwired for. We’re putting up a barrier between the storytelling and the engagement with a story, from the get go. And that, again, is not logical. It’s not rational. It doesn’t make any sense.
So actually, just on that kind of linear storytelling, we built a bunch of prototypes. But actually, what I was really interested in testing, for exactly the reasons you’re interested is, what if it was just linear storytelling, there’s no other formatting, would people find that interesting? So we did a prototype, which we just called kind of a plain text, dramatic prototype. And that was literally plain text, writing a story, sort of casting it quite badly, in my own opinion, because I wrote it, in a kind of three act dramatic structure, like we were just talking about. And the results from that were absolutely startling.
We tested it with more than 1300 people, against options of news which were currently available to them. And what we got the people to do was essentially, say whether they thought that it was more engaging, more informative, and more useful. And we created, I guess, a net approval rating. So on the kind of engaging axis, people have found just a plain text narrative more engaging than a BBC story, or an ITV story, or Sky News story here in the UK. The rating for that was plus 57, not 57%, plus 57, of the positives against the negatives. On informative, it was plus 41. And on useful, plus 37. So those are big, big numbers. And in some ways, you’d say for news organizations, they’re a no brainer, right? If you can, tomorrow, do something which is more engaging, more informative, and useful by big margins, just by essentially changing the structure of your story, why wouldn’t you do that?
Salz: Now we’ve had some companies here on Digital Content Next, they have been sharing what they’re doing and they are already taking a more modular approach to news and to storytelling. So there are companies moving in this direction. They understand that just by encouraging readers to skim, they’re not really driving engagement. And they have to do it in a different way. They need to break down the stories. How can news organizations further improve what they do to draw their audiences in? What is it that you’re telling them?
Kulkarni: So the very first thing is clearly thinking about what the audience, what citizens want, right? So when I was writing my prototypes, really, the first thing was to blank my brain. I’d tried to forget all the conventions of journalism, and ask myself the question, what do I actually need to know about this story to help me understand this? Rather than, what would a journalist normally write here? Because those two things are actually surprisingly different. And I think it’s where I think the kind of practice of journalism has become quite disengaged from the purpose of journalism. And as you say, there’s lots of hand wringing over, you know, people in newsrooms looking at analytics, when they are looking at analytics, and probably not enough people are sort of hand wringing over, well, people only spend 10 seconds on our page. Well, kind of, of course, they only spend 10 seconds on your page if you write an inverted pyramid style, where you’ve put in the headline, and in the first paragraph, something that looks like everything you need to know about that story. And then people think, well, actually, it gets more boring, and less interesting as I go down.
Now, actually, the truth is, it’s not everything you need to know about the story, because we all know, headlines don’t represent a story. They’re largely used as a sales technique. And the first paragraph often is a kind of one side of the story or just a really quick summary. But actually what people are telling us they want routinely, and not just me, in lots of research, they want more context around a story. What we tend to do is drop people into an on the day story, just on the day. And not everyone consumes news in the same way as journalists, right? They don’t read the news necessarily every day or every hour. We need to explain to them what’s led up to this point, and actually to some extent, what’s going to follow from this point. And so, actually providing all those things as a service, because yeah, journalism is a service, again, something which we forget. Then all those things are going to help people engage.
Salz: News as a service, you’re absolutely right here. And you’re also talking about what news organizations need to do to embrace the linear approach. Fortunately, it’s something they don’t have to do on their own because your research also shows that it’s really about collaborating, co-creating whatever you want to call it with AI to keep reader attention, as the story unfolds. Even determine the best starting points in the news. Ways to draw the audience in. So how does this collaboration working with AI? Look, what is the role of AI to get people to come into the story and stay?
Kulkarni: Lots of journalism organizations are using AI very well now, already. And so this is going to be the future of journalism. The next stage of journalism will be driven by automation and AI. So we have to be in that space. And I think the starting point is, look, right now online news is largely just newspaper articles put online, right? We’re not using, we’re not taking advantage of all the digital and technical storytelling tools that are available to us.
And I think what we’re seeing is that we should be in a post-article world, right? We can’t provide, or we shouldn’t be providing exactly the same article to everyone, right? We can’t be all things to all people. And where that leads to is personalization, essentially. That actually, we can provide news, information, in a way that is personalized to meet individual user’s needs in a really efficient way. So that might be, for example, I’m based in Wales, where we have quite a big immigrant community as well. If I’m a Chinese person living in West Wales, accessing BBC Wales’s news, wouldn’t it be interesting if I could access that in my first language, even though it’s news about Wales? That’s going to be more accessible to me. Working in that modular way, where we’re taking out a lot of interstitial language, we’re building short modules of information, which we’re putting together in different ways for different people. That, for example, takes out a lot of translation problems. It actually takes out a lot of inherent bias that exists within us as journalists. So it’s more accessible and more inclusive in that way.
So providing fact-based modules of journalism, that can be put together in different ways, by AI, to match the personalization preferences of users, citizens, audiences, has to be one big part of the future of journalism, I think.
Salz: That’s fascinating Shirish because we did start with personalization in news. It was about the categories asking audiences to choose the categories they wanted. Now it’s about personalization taking that personalization to a next level, a new level. And we agree it’s about the audience. It’s also about context, transparency, diverse perspectives.
Now these are the guiding principals, but it also comes down to the experience and that’s where your research also offers some answers. You’ve come up with ways to allow a different experience for different readers. The linear story is the concept, but you have accordions, timelines, videos. What can you tell us about the best on-ramp right now for organizations listening in, they want to know what is the best way to make the biggest difference in their stories and their metrics?
Kulkarni: The narrative accordion is really my favorite prototype. And actually, the favorite generally, with users. And what we’ve done here, essentially I’ve gone back to the basics and asked myself the question, what do I need to know about the story? What’s going to help me understand it? And I put these kind of expandable and collapsible questions, which means that people can either read them from top to bottom, so they make a linear story from top to bottom. Or if you’re interested in a particular question, such as, is this a green solution? I can go straight to that and check out the answer to that first, and navigate around exactly how I want it. Because what audiences really told us they wanted was some agency in storytelling. They wanted to be able to decide how they navigated the story. And we all understand that, don’t we? Like, when we go to find something out ourselves, we remember it better. We understand it better, because we feel like we’ve been part of that investigation process.
And as I say, the narrative accordion overall, in our testing, did really well. So basically, 75% and upwards, comparing the narrative accordion to options which are available to them in the general market, said it helped them understand the story better, and was more engaging.
Now, again, going back to the commercial needs or publishers, if you can do tomorrow, this doesn’t take a lot of kind of tooling or engineering, you could do tomorrow, something which more than 75% of people say helps them understand the story better, and is more engaging. Now, that, in a commercial sense, to me, is a no brainer, right? If you can do that tomorrow, why wouldn’t you?
Salz: That makes perfect sense. Absolutely. It’s a no-brainer and there’s no reason not to pursue that, but you’ve also found something else interesting in your research. You’ve found out that we are hard-wired, literally for the hero story or the heroine story. We want to have that arc of the story. Now, how can organizations apply that to journalism and still keep a credible balance? Because of course, drama can quickly become melodrama. It can become exaggeration very easily. So how do they approach this to give us the story? But again, also the engagement, because that’s the way of generating revenues.
Kulkarni: So, I see the tension, I’m all for kind of fact-based journalism, which sometimes, we get into kind of click bait stuff, which is about creating a particular kind of drama, right? When I’m talking about, this kind of hero, heroine story, it’s that fundamental evolutionary need for a particular kind of story, which you might describe as essentially, a fairy tale, is a great example of that. It’s why they’re so popular and successful. And that could be by just thinking about who are the characters in this. We don’t have to go off into kind of writing “non-objective,” but I’m going to put objective in quotation marks there, “non-objective” stories. What’s the sense of character, a resolution as well, because fairy stories always have a resolution. And new stories very rarely have a resolution. And actually, at that evolutionary level stories which don’t have a resolution leave us feeling uncomfortable.
So actually, that’s where we get into kind of news avoidance, because so much of our storytelling is inverted pyramid storytelling. Leaves us feeling uncomfortable and unresolved. So that’s a really important point as well.
Salz: So the answers here are context, narrative, linear narrative, AI, imagination, innovation, engagement, but achieving this, internalizing, this can take time, maybe even other talents. So what would you leave us with here? Give me a few steps news organizations can take right now to change the old habit.
Adopt the new model, adapt the new prototypes that you’re proposing such as the accordion, and also integrate AI more into this process. What can they do that they’re not already doing?
Kulkarni: When I started doing my research, I think people wanted me to come up with some kind of nonlinear gamified piece of storytelling, innovation, right? And I quickly realized that’s like putting a $100,000 kitchen in a house which doesn’t have a roof, right? We need to sort out the fundamentals. It’s journalism which is broken, and we need to fix that.
So, that comes down to understanding the user need, the audience need, remembering that journalism is for citizens, it’s for people. It’s not for journalists. So our audiences shouldn’t be other journalists. They should be what people really want from journalism. And so we need to listen to that research, not going with preconceived ideas of what we think journalism should be like in the future. We need to listen to what people actually want from journalism and then action that. And in terms of the storytelling, yeah, I think it’s using personalization, meeting people where they are, meeting their needs. And to do that, we need to leverage AI, essentially. Because to do that at scale, we need to use automation.
People want that information, they do want to understand the world, they do want to engage with it, but they’re feeling let down by journalism at the moment. So there’s repressed kind of need for that, which we can tap into. And actually, yeah, people are willing to pay for that if they get something which meets their needs. I talk about it in terms of, if you were working at Procter & Gamble or Unilever, and you never listened to your customers needs, you just carried on doing what you’ve always done without thinking about what you need to change, then you wouldn’t work at Procter & Gamble or Unilever for very long. But actually, in journalism, that’s what we do. We just carry on doing the same thing we always did, because we like doing it and we know how to do that. Regardless of the fact, we know people aren’t engaging with it or consuming it. So, there’s a really clear, hardnosed business model for doing storytelling better.
Salz: Shirish, I can’t thank you enough for sharing and, yes, for being exactly like your research, open, transparent, a bit provocative. It’s been great to have you.
Kulkarni: Thank you so much. It’s been a real pleasure.
Salz: Thank you. And of course, thank you for tuning in taking the time.
Of course, more coming in the series around how media companies are taking charge of changing their business and also increasing revenues. And in the meantime, be sure to check out digitalcontentnext.org for great content and including a companion post to this interview. And of course, join the conversation on Twitter at DCNorg until next time I’m Peggy Anne Salz signing off for Digital Content Next.
When the pandemic took hold in spring 2020, travel publishers had to think, and move, fast. In a world where travel became unsafe, if not outright banned, this segment of the publishing world faced long odds. However, many—including Conde Nast Traveler, Travel + Leisure, Thrillist, and National Geographic—refocused their strategies to keep housebound audiences informed and entertained. But now, as parts of the world reopen to travel, while others are still profoundly struggling with Covid-19, travel brands are poised to make another pivot.
Destination for information
Last spring, Conde Nast Traveler shifted its digital content strategy away from bread-and-butter destination content to travel news. In particular, it dove into how the unfolding Covid-19 pandemic was impacting travel. And, after a precipitous drop off when the world essentially shut down in March, traffic began to rebound in April as homebound readers spent more time on the site, driving up total engaged minutes 10% in 2020.
As lockdowns set in around the world, Conde Nast Traveler focused on creating a deep well of
evergreen content aimed at inspiring grounded readers to daydream about future travel. It highlighted adventures closer to home. It also provided virtual travel experiences to transport and engage housebound audiences.
However, now that actual travel is back on the rise, Conde Nast Traveler is pivoting again. “As regulations ease and attitudes towards travel shift, we’re focusing on content that helps people get back out into the world,” said Jesse Ashlock, Conde Nast Traveler’s Deputy Global Editorial Director.
Domestic pleasures
Traffic to domestic destination-based content and road-trip related content began to climb last summer. Interest in vacation rentals also spiked. Audience time spent with that content rose more than 1,100% between January and October 2020. Ashlock expects those trends to continue through this summer, as people explore the great American outdoors.
Travel + Leisure made a similar pandemic pivot, leaning into the leisure aspect of the brand as the world was shutting down in the spring of 2020. The brand even updated its Twitter bio to reflect its #LeanIntoLeisure strategy.
“We maintained a very flexible approach to our content, particularly in March, April and May 2020, so that we could be nimble and change course depending on what made sense given shifting world events,” said Deanne Kaczerski, T+L’s Digital Content Director.
The brand also shifted it’s commerce-related content from travel gear toward products related to face masks and work-at-home accessories.
Aspiration and inspiration
On Instagram, Travel+Leisure chose to double down on aspiration. The team shared images meant to inspire far-flung daydreams and asked followers to share images of the places they missed most. “We didn’t entirely abandon the aspirational element of travel,” Kaczerski said. The brand continued to highlight dreamy itineraries for cooped up wanderers looking for an escape from daily pandemic life but also began covering more wellness stories.
There are several indications that strategy worked. “Overall, the website experienced tremendous traffic in the last year. People sought out trusted information, expert advice and compelling content to satiate their wanderlust in a very challenged time,” Kaczerski said.
At Thrillist, the gaze shifted toward learning more about the places that captivate travelers.
“Rather than encouraging people to go out, we encouraged people to dig into learning the history of spaces,” said Helen Hollyman, Thrillist’s Editor in Chief.
Well-traveled strategy
As the world reopens, Thrillist’s focus is on service journalism that aims to help readers figure out their pandemic travel comfort level. While things are looking up, “it’s still a little bit of a question mark where things will be at the end of 2021,” Hollyman said.
Given the uncertainty of international travel, Thrillist opted to emphasize domestic travel by highlighting adventures that can be had. These include camping, stargazing, and exploring national and state parks.
Advertisers are ready for the change, Hollyman said. “Everyone’s kind of in this space of let’s get back in there,” she said. “People are tired of Netflix, and they’re tired of streaming.”
George Stone, Editor in Chief of National Geographic’s travel coverage, described the pandemic as a bit of a break. It offered a breather, which allowed the publication to shift gears and return to its roots. “In a way, it gave us the opportunity to do better National Geographic storytelling,” he said. “We were stepping away from consumer travel objectives, and that was a relief.”
Downtime
With consumer travel largely off the table for several months, National Geographic felt free to focus its website on looking at the world through the lenses of science, history, and culture. “We started to dig into the stories of people and places more so than the immediate story of the traveler,” Stone said.
There were also more Covid-19 stories, a reflection of National Geographic’s deep commitment to covering science. “Our traffic really shot up last March,” said Alissa Swango, Managing Editor for National Geographic Digital.
Homeschooling parents drove up demand for science-related kids content like experiments to supplement schoolwork. A popup pandemic newsletter has remained so popular it still hasn’t pivoted. “Our open rates are still very high,” Swango said.
As travel opens up, National Geographic hopes to help usher in a new more thoughtful era of travel. Like other publishers, it plans to focus more on sustainable travel and responsible tourism through its content.
The goal is to “encourage people to get out into the world for a firsthand encounter with the issues,places, communities that bring geographical and cultural context,” Stone said. “We want people to know the world and love the world as conservationists and explorers.”
When the Covid-19 pandemic shut down gyms across the United States last year, people were forced to get creative with their workouts. POPSUGAR met the moment by bulking up its fitness content. However, even as gyms open up, the women-focused digital lifestyle brand is betting at-home workouts are here to stay. They’ve also seen that fitness serves as part of an overall content and monetization strategy that is good for audiences, and the brand’s bottom line.
Fitness was a core part of POPSUGAR’s video strategy long before the pandemic upended lives around the world. POPSUGAR got into fitness content in 2006. It launched a signature video franchise, dubbed Class Fitsugar, in 2012, which now sees an average of 1 million views per video.
Fitness content helped propel POPSUGAR’s rapid growth on Facebook in 2015. By January 2020, the brand launched a curated 4 Week Full-Body Fusion program. The collection of 25 workouts, each under 45 minutes, carries a one-time fee of $19.99.
As the Covid-19 pandemic spread in 2020, POPSUGAR released more than 200workouts across social media platforms and its own website. It amassed more than 3 million new subscribers on YouTube in 2020 alone, where its total audience now stands above 5.5 million.
The brand, which is part of Group Nine Media, now hosts live workouts with top trainers on Instagram stories and YouTube. It launches Snapchat popups, and posts on-demand workouts to Facebook, Twitter, and the POPSUGAR website. “This year, we’re continuing to see growth and audience attention on these workouts,” POPSUGAR GM Angelica Marden said.
Bite-sized multiplatform content isn’t just for news
Have just a few minutes to spare? No problem. POPSUGAR created a series of short workouts that require nothing more than a phone.
Unlike going to the gym, working out at home is about fitting fitness into your life wherever you can, according to Jennifer Fields, a new deputy editor hired from WebMD to oversee POPSUGAR’s fitness content. That could mean sliping a 5-minute ab workout in between zoom meetings or a 3-minute BTS cardio workout whenever you can carve out 270 seconds for yourself. Or it could be making a 15-minute HIIT class on YouTube part of your morning routine.
POPSUGAR’s goal is to “meet audiences wherever people spend their time,” Fields said. “So many people are looking for ways to exercise at home. There’s a freedom that comes with at-home workouts.”
The rise of at home fitness over the course of the pandemic has made it possible for friends to workout with one another despite geographic separations and differing time zones. It’s also made it easy for audiences to take classes from the farthest flung of their favorite fitness instructors.
Free is key
In early 2020, the company was exploring audience-supported models, such as it’s flat fee Full-Body Fusion program. In fact, it had plans to release a subscription app with a recurring monthly fee last spring. However, in March 2020, the company shifted gears to better serve their audience in need. They released the app as a free, ad-supported product and – with hundreds of thousands of downloads to date – have opted to keep it free.
POPSUGAR’s free online workouts are far more affordable than even a bargain gym membership and certainly cheaper than a new Peloton. In addition to amassing audiences across platforms, the strategy serves as a bridge between popular fitness experts and people who may not otherwise be able to afford or access their services. And now that audiences are acclimated to the flexibility and cost savings, the company thinks they’ll stick with the POPSUGAR plan in the long term.
The strategy aligns with that of parent company Group Nine Media, which traditionally monetizes video content through sponsorships and advertising on Facebook, Twitter, YouTube, Instagram, Snapchat, and its website. It also licenses content to OTT services including Discovery+ and Xumo and syndicates some content to linear TV. Group Nine also generates revenue through affiliate product sales.
It’s about more than exercise videos
Nowadays, the lines between fitness, wellness, and health are blurring. That’s a theme Fields plans to surface more this year in POPSUGAR’s content. “Fitness isn’t a separate bucket adjacent to your health anymore,” she said. “It is your health.”
Fields takes a broad view of what fitness and health content can be, one that includes mental health, particularly among women of color. That view is one that’s already begun to emerge in POPSUGAR’s content strategy.
In fact, last May, POPSUGAR launched a mental health content hub. At the time, POPSUGAR Founder and President Lisa Sugar described the project as a way “to help readers feel connected and less alone in their daily battle.”
More recently, POPSUGAR launched a Snapchat show aimed at helping Gen Z audiences answer their questions about things like anxiety and depression. The show aims to provide practical, actionable advice to viewers.
“We feel this is really an important conversation for us to be a part of,” Marden said. “Our goal across everything that we create and all of our programming is to offer an inclusive positive safe space for our audience and to help them live their best lives.”
With restaurants, bars and clubs closed, you might assume that Covid has created a surge in live TV viewing, but it has not. If you compared U.S. TV audiences in September 2020 with the previous year, all television watching was actually down 10% during prime time. This may seem counter intuitive considering that the average time spent interacting with media has shot up 17% to a whopping 12 hours, 21 minutes a day according to Nielsen’s Total Audience Report for August. However, digging into the reasons why reveals important opportunities to re-engage audiences.
There has long been a simplistic narrative that live sports viewership is declining. Yet the reality is that huge amounts of sports content is still being consumed. And that number is growing, especially in international markets. The change is predominantly around two axes. The first is that sport is no longer “the only game in town.” It must co-exist within a much wider array of activities. The second shift is that fans are redefining what “sport” content means to them – along with how they want to consume it.
Feeding frenzy
This diversity of content is highlighted by 2020 offering up another landmark. As the year when time spent using an app and/or web via a smartphone or tablet finally overtook live and time-shifted TV. This cross-over has undoubtedly accelerated due to Covid, given increased home working, less travel, and more screen time. However, the data has been moving that way for a few years. Nielsen also points out that 25% of total TV consumption is via streaming. This includes the rise of highlights and “instant” sports news services that are the equivalent of fast food compared to the three-hour banquet of a typical NFL game.
Highlights packages are not new but what has changed is the way in which they are delivered. The big networks have jumped onboard. Fox, ESPN, and others have now added more content available via the web. Yet the mindset for many is still around the “big game” and reporting that fits into a traditional schedule.
In a generation, Netflix transitioned from renting a million DVDs through the mail to touching 200 million monthly global subscribers. However, sports media still trails behind the curve when it comes to the model of instant access.
Bleacher gets it right
However, sports publications like Bleacher Report highlight one possible direction. The Turner owned brand has always delivered exquisite reportage but its rapid diversification into video and social has been striking.
Its “House of Highlights,” an Instagram feed offering highlight clips across several sports, now reaches over 20 million subscribers. Their viewership that has grown 150% in just two years. Highlights describes itself as “Everything you need to see in sports and youth culture.” It offers huge amounts of user generated content. And, while this content is still sports themed, it has much broader in its appeal – especially to younger audiences.
Bleacher is joined by a growing cohort of app and clip-based ways to consume sports content including CBS Sports and Fotmob – with the latter particularly good at notifications. If done well, personalized mobile app notifications, can drive customers into full game viewing as well as scores and highlights.
These brands and others recognize that it’s not all about the game. They help people get their highlights and sports fix from following athletes, teams, leagues, and media companies via social on the go. They also feed the growing sports engagement around fantasy and sports betting. However, these data points do not necessarily translate into full game viewing.
Breaking bread
The fear of cannibalizing traditional TV audiences through online offerings is still deeply ingrained in the psyche of TV executives. But instant gratification culture means that failure to offer a wider buffet of visual sport experiences will make decline inevitable.
And it’s not just creating a like-for-like facsimile. The audience expectation of TV watching versus engaging with on-demand via smartphone, embedded highlights on Instagram, Twitter, TikTok, or the cacophony of social-led platforms requires producers to rethink program formats.
This raises several challenges. It starts with nurturing a new generation of creatives that are digital natives, with the ability to engage with fans of today. There’s also a need for technical retooling to simplify the production and distribution process. This enables content to be disseminated easily across multiple platforms. It needs to be done efficiently and with the controls in place to ensure that rights obligations are enforced as demanded by contract terms. Last, but no means least, is the ability to monetize multiple platforms by spreading CPM across a wider reach and unlocking far more targeted advertising models.
Innovation zone
A great example of innovation in action is NFL RedZone, an all-in-one channel that when a team reaches the 20-yard line, (i.e. the “red zone”) cuts to the local broadcast of that game. The channel also offers the option to watch any turnovers, game-changing plays and scoring plays outside of the designated area. RedZone also has an “octabox” mode with simultaneous 8 game highlights designed for fantasy football fans.
This ability to deliver “highlight packages on the fly” uses dynamic playlists. It is is part of a surge in Cloud based technologies that are leading the charge to build streaming platforms that can pivot output to match the increasingly diverse audience profile.
The long-term issue is more cultural than technical. Live sport is still a huge deal in terms of direct and ad-related revenue. Messing with a successful formula is certainly a hard call to make. However, the Bleacher report and its siblings illustrate ways to respond to a shift in audience demand. Ignoring the opportunity makes the prospect of an empty dinner table much more likely.
Many publishers have experimented with virtual reality (VR) and augmented reality (AR), but few have gone beyond test projects into longer term developments. However, as mobile devices have become more advanced and social platforms have started integrating AR technology into filters and tools, audiences are warming up to using AR as part of their everyday lives. This presents an opportunity for publishers.
USA TODAY was among those running early experiments. Now, the publisher has a team dedicated to emerging technologies. They’re exploring how stories can be told using virtual reality, augmented reality, data visualizations, and more. It’s a way for the publisher to enhance their storytelling capabilities, as well as drive users to spend more time in USA TODAY’s native app.
“As AR technology became embedded natively into mobile devices, we saw an opportunity to really adapt,” said Ray Soto, USA TODAY’s Director of Emerging Technology. “People were really interested in the new technologies, and our audiences were starting to seek out different experiences.”
The publisher’s Emerging Technologies team achieved “exceptional engagement” across their immersive stories in 2020. From interactive guides on germ spreading to an AR graphic novel on the 100th anniversary of women winning the right to vote, USA TODAY boosted its total views of interactive content 288% year over year. Their interactive experiences have been viewed by more than 1.3 million people over the past 12 months.
On the back of such strong metrics, Soto spoke to us about what makes USA TODAY’s AR content a success. He also discusses their plans to further develop immersive storytelling approaches.
Explore and discover
There are no restrictions on the subject matter of an AR story for USA TODAY. They have produced interactive experiences on topics from science and technology to history and entertainment. However, the type of story matters. So, the team work from the outset to ensure it’s one that their audience can spend time with, digest, and can come back to.
“We encourage all our reporters and all our editorial teams to reach out when they’ve got a story that they feel AR could be a great component of,” said Soto. “We don’t want to replace the existing story that they have. Rather, we want to use it as a form of storytelling that provides a different perspective.”
His Emerging Technology team sits with the editor. Together, they brainstorm what type of enhancement would be appropriate for the story, from traditional video to AR, or even 360 interactive widgets on the web. The core question they bear in mind at all times is one of value.
“We need to make sure we’re leveraging AR in a way that adds value to the story and ensures that we’re not treating the technology as a gimmick,” Soto emphasized. “We really don’t want to do a ‘one hit’ type story. It comes down to two words: explore and discover. And we have to feel very strongly that interactive AR storytelling is a great path forward.”
Development and collaboration
The timeline for turning around these kinds of stories can vary, according to Soto. For long-form and major editorial initiatives like their “Women of the Century” project, development can take from six to eight weeks. These types of stories involve collaborating across the business, with reporters, editors, designers, graphics researchers, narrators, and others contributing.
However, the team has achieved faster turnaround times with more news-driven stories. Some of USA TODAY’s Covid-related interactive content was developed and released in days. These were among the brand’s most engaged with pieces in 2020.
One example, “Flattening the curve: An AR guide to social distancing” was developed as a gamified experience. Users were offered a series of behavior choices relating to social distancing, in order to help teach users safe practices. The experience, developed in just five days, was viewed over 164,000 times.
AR and social media
At present, much of the AR development has been done on USA TODAY’s own app. One of Soto’s priorities for 2021 is to expand beyond the publisher’s native platforms. He plans to further explore Snapchat, Instagram and other social platforms, not just on the storytelling side but from a marketing perspective as well.
“We are looking to expand because for us, we see an opportunity to learn,” he said. “What does social engagement look like for an AR story through Instagram or Snapchat? Where are they at with accessible storytelling?”
Strengthening their AR experiences on social media will be a valuable way of introducing new audiences to the publisher’s stories. Native app users are valuable. However, social media users are more likely to share stories and experiences that resonate with them. This, in turn, helps build trust in USA TODAY’s journalism.
Visualizing the future
Soto also has data visualizations and 3D interactives in his sights. He’s also thinking about how they can apply AI to visualizations. “What is really exciting for me though is the convergence of all these technologies,” he explained. “How can we work with 5G, AI and AR? How can we leverage that conversation with our brand from not just the storytelling, but also from a product perspective?”
For now, the technology for VR hasn’t advanced to the point where enough people have the devices to make significant development on those platforms worth it. However, Soto is optimistic about these technologies becoming more accessible and cost-effective.
Mobilizing monetization
The success of the team’s work in 2020 has set them up for a strong year ahead. The primary focus at the moment is on growing audience confidence in engaging with the stories, as well as increasing the time spent with USA TODAY’s content. As these metrics increase, they are beginning to explore opportunities across the business to test the viability of AR storytelling as a revenue stream, such as branded content.
“There is a lot of interest, which is fantastic,” Soto explained. “We’re very fortunate to be able to share our numbers like we did for 2020, which shows that our audiences are going to [the app], they’re spending quite a bit of time there.”
“We’re focused on making sure that it’s a nice user journey, from the native app into the story, and then following whatever CTA [call to action] we might have embedded in there. So we’re beginning to explore those revenue opportunities.”
A path to profitability may not be clear yet. But as the technology evolves to enable faster and cheaper development of immersive storytelling, publishers like USA TODAY, who are spending time refining their approach, will be at an advantage.
Women in the media and entertainment industry are making slow but steady progress in closing Hollywood’s gender gap. According to the Celluloid Ceiling Report, women working behind the scenes in the industry’s top 100 films increased from 20% in 2019 to 21% as representation in the top 250 films grew from 21% to 23%. The Celluloid Ceiling Report is produced by the Center for the Study of Women in Television and Film at San Diego State University. It is one of the industry’s most comprehensive study of women’s employment in film and this is its 23rd year of reporting.
Key findings:
Women in the top 100 grossing films:
Women accounted for 16% of directors in 2020, up from 12% in 2019.
Women did best as producers (28%), followed by executive producers (21%), editors (18%), directors (16%), writers (12%), and cinematographers (3%). Important to know, female writers (12%) declined by 8 percentage points from 2019.
Women in the top 250 grossing films:
Women comprised 18% of directors working in 2020, up from 13% in 2019.
Women accounted for 30% of all producers, 22% of all editors, 21% of all executive producers, 17% of all writers and 6% of all cinematographers.
While there is progress in the number of women working in movies, there is still a long way to go to close this industry’s gender gap.
Of the top 250 grossing films in 2020:
94% did not employ a female cinematographer,
80% did not employ a female director,
73% did not employ a female writer,
72% did not employ a female editor, and
41% did not employ a female executive producer.
Females champion one another
The study also found that films with at least one female director are much more likely to hire women to be editors, cinematographers, and other behind-the-scenes jobs. In fact, of films with female directors, 53% of the writers and 39% of the editors are also female. In comparison, only 8% of the writers and 18% of the editors are women in movies with male directors.
Both 2019 and 2020 registered growth in women working in films, however, there is still a large imbalance of females employed in this industry compared to men. In fact, a full 80% of today’s top films do not have female representation at the highest level. Unfortunately, more than two-thirds of films (67%) employ 0 to 4 women in the roles mentioned above, while 5% of films employ 0 to 4 men in those jobs. It is important to highlight the underemployment of women in films and the need for studios to hire more women in significant roles. It is time to ensure a gender balance in the entertainment business and to make certain more women are involved in the strategic decision-making process of the industry.
With a rapidly evolving digital media landscape, it’s not surprising that media companies — newsrooms in particular — have faced new challenges and new pressures. A significant decline in traditional broadcast and appointment-style viewership has coincided with an explosion in increasingly accessible digital and on-demand streaming. Technology has already radically altered many of the fundamental realities around content creation and consumption that newsrooms were built on.
Media professionals recognize the need to evolve to keep pace with these changes. But connecting with and retaining content consumers who now have a virtually unlimited range of options available to them is easier said than done. More importantly, finding efficient and cost-effective ways to produce, distribute, and monetize content can seem like a formidable hurdle. But it is possible, especially with new tools and platforms emerging that are designed to enable newsrooms and other traditional content creators to make the process better fit the realities of today.
Be an educated adopter
Every platform makes big claims. All promise new efficiencies. Educate yourself and understand how to examine those claims with a critical eye. Make sure whatever path you choose, your digital content solution can efficiently develop content and create and deliver high quality viewing experiences in a way that is impactful, profitable, and sustainable. The right solution should answer important questions for you, including how to balance live and pre-recorded content, how to access and insert ads, and how to do all that in a streamlined and efficient manner.
Utilize automation
For organizations where a large majority of on-demand content originates from their live programming or other sources of traditional linear content, taking full advantage of digital streaming requires some level of automated prowess. The goal is to minimize the number of toolsets needed to be deployed throughout the process of generating digital streaming content.
Automation and “hands-free” production can yield new efficiencies, saving time and money on tools, resources, and manpower at a time when media companies are often dealing with tight margins and are already making tough ROI calculations. In that context, the ability to effectively automate the process of generating more digital content is enormously valuable. Automated tools and solutions make it possible to accelerate the digital production and distribution of your content without interrupting what you are already doing.
Lighten the workload
For media companies, creating content is just the first step. It is critically important to find ways to streamline the workflow required to efficiently edit, develop and distribute volumes of new content to digital audiences. Fortunately, new suites of tools are becoming available that can make that digital/online transition possible.
Keeping fresh content in front of viewers is difficult. Instead of relying on tools that require manual curation of playlists – and thus a person on staff dedicated to the role – consider a tool with capabilities to populate playlists automatically. This frees up staff to focus on the actual process of creating the content, rather than managing it. And the best tools on the market today also can lighten the load in other ways, from auto-clipping a newscast to the seamless transition between live and breaking news to prerecorded video.
Prioritize simplicity
At a time when some newsrooms have had to entirely reorganize to accommodate much more extensive digital production and distribution needs, simplicity is an appealing prospect. Which is why it makes sense to invest in tools meant to automate the ingestion of incoming content. Whether it’s aggregating content from multiple newsrooms or introducing content from other sources, bringing designated content from a range of different sources into the digital content ecosystem of target audiences is a way to lessen the load on your team and your resources, while still delivering compelling content.
Another important feature for streamlined simplicity is handling all of the technical heavy-lifting server-side, which makes it possible to have a simplified workflow and create a unified viewing experience across all digital platforms.
Embrace efficiency
As newsrooms evaluate and leverage tools and technology designed specifically to help them take that all-important step to expand the distribution of streaming monetizable content, it’s important to understand how efficiency translates into revenue. Monetization opportunities are all about scale. More content yields more viewers, which subsequently creates numerous opportunities for monetization. In other words, efficiency isn’t just helpful, it’s a prerequisite for sustainable profitability.
To take the next step forward, newsrooms will need to embrace tools and systems that allow them to quickly, efficiently and automatically update digital content. This includes graphic elements, closed captioning, and added metadata.
Engage viewers
Recognize the importance of the viewer experience. Manage your content with tools designed to connect content with viewers and help them understand critical context about what they are watching. Creating a better viewing experience also means letting consumers know when something is breaking news, and then returning them back to what they were originally tuned in to watch. It’s the feel of live content with dynamic elements that elevate the standard static viewing model into something more engaging.
Viewer expectations are skyrocketing. And media companies are wrestling with complex (and often costly) changes they feel like they need to make to meet those expectations. But charting a path forward in our new environment might be easier than many suspect. Streamlined content creation tools can not only make the digital transition successful for newsrooms and their operational needs; they can enhance the online viewing experience and boost bottom lines in the process.
About the author
David Hemingway is the Sr. Product Manager, New Ventures at Bitcentral, one of the video industry’s most trusted and innovative software providers.
It’s 2020, and things have gotten to the point that we may not have the bandwidth to pay attention to all the existential threats we’re facing at once.
In March, the coronavirus pandemic reached a global scale. News organizations around the world focused their coverage on the deadly outbreak and readership reached record levels. But while all this was going on, the climate change crisis continueditssteadymarch.
News coverage is inherently limited given the resources media organizations have to allocate. And audience attention is a finite resource. So, it’s natural to worry that focus on one crisis may reduce much-needed focus on another.
However, the data show a more complicated story.
On a high level, U.S. media coverage of climate change has declined since March. Fewer new articles have been published and fewer articles are being read overall. Readership has not followed, however. In fact, the number of readers and amount of page views has not dropped off.
These patterns indicate that there is an opportunity. News publishers can expect higher-than-normal traffic for continued investment in climate change coverage.
This chart shows data from the network of Taboola’s news publisher partners. These include thousands of news websites in the U.S. They range from those belonging to large TV networks to local newspaper chains to digitally native publications and many more. Essentially, it’s a uniquely broad representation of what U.S. news consumers are reading about on the internet.
There’s a lot happening so let’s look at the lines one-by-one.
Articles read and written
The yellow line represents the number of articles consumed by U.S. readers that week which mention “climate change.” There’s a clear drop beginning several weeks before U.S. readers fully turned their attention to coronavirus, which is the green highlighted portion of the graph beginning the week of March 9.
The likely reason articles began dropping a few weeks prior is because news organizations had already begun shifting resources to coronavirus coverage. The number of articles consumed about climate change eventually drops to around 2,000 per week. That is a level below anything we saw in the previous year.
We've now seen 5 consecutive weekdays during which US traffic to news stories about coronavirus was in the 205M-225M range, so this seems like our baseline at the moment. pic.twitter.com/bZtaRrrgV7
One thing to be very clear about is that our data shows the number of articles being consumed, not the amount of new articles. The drop indicates that there are fewer new articles because news consumers tend to focus on recent updates.
We can confirm this with data from a tool built by MIT and Harvard researchers called Media Cloud. It shows the percentage of new articles per week about topics on a large selection of major U.S. news sites. Media Cloud also shows the production of articles about climate change dropped from the 1.5% – 2% range to consistently under 1% as of early March.
Coverage concerns
Before moving on, it’s worth noting that even 2% to 3% of articles likely isn’t a suitable level of coverage for something dire as climate change. Remember, this topic impacts a wide range of news topics such as public race, health, housing, income inequality, transportation, animal preservation, and much more.
In fact, hundreds of news organizations tried to address this very issue late last year when they joined together in a coordinated effort to increase climate coverage. You can see a spike in both the Taboola and Media Cloud charts in late September 2019, when the Covering Climate Now launched.
For comparison’s sake, the chart below shows what it looks like when the news media rallies its full resources to cover a topic. Significantly, more than half of the articles published—nearly 70% some weeks—mentioned coronavirus from late March until June.
Weekly readers
Returning to our original topic, let’s dig into how coronavirus affected the number of people reading about climate change.
Unlike with articles, the number of weekly readers remains relatively consistent with what we saw in the months ahead of the U.S. outbreaks.
The weekly reader count remains in the 14 million to 20 million range. It hasn’t quite reached 20 million in the past few months. But that could be seasonal as we can see the same was the case during the summer 2019 months.
These numbers align with the findings of a report published in May by researchers at Yale University and George Mason University entitled “Climate Change in the American Mind.” In the survey of Americans taken in April, the researchers found record-tying levels of acceptance that global warming is a serious problem. They also report extremely high levels of concern and interest.
As noted in a New York Times report about the research, author John Schwartz notes that this survey defies a psychological phenomenon called the “finite pool of worry.” This suggests that concern about climate change may wane amid coronavirus because people only have so much attention and energy to dedicate to crises.
Schwartz also found the research defied the expectations of other academics. University of Rhode Island environmental communications professor Sunshine Menezes commented:
“I’m excited by these findings. Taken together, the report’s findings indicate that Americans are reaching, or maybe even have reached, a turning point. They see climate change in their backyards, they recognize the unequal impacts, they increasingly recognize the urgency of adaptation measures, and they want news coverage that tackles consequences and solutions.”
Page views per week
The story for weekly page views was similar to the one for readers. The weekly totals remained relatively similar after coronavirus took over the news. We saw a range of 30 million to 50 million page views per week about climate change remain steady. If you’re an audience growth strategist for a news website, your ears should be perking up right now.
With fewer articles in circulation about climate change and a consistent audience with a consistent appetite for coverage, supply and demand suggests there’s an opportunity to take advantage of the dearth of new articles.
This chart shows how the amount of page views per article mentioning climate change has increased significantly in the coronavirus era.
“The public sees the urgency and actually wants more climate news. Even during the peak of coronavirus coverage in April, some of the world’s biggest news organizations told us that their audiences had little appetite for stories that weren’t about the virus, with one exception: climate change, which continued to generate significant traffic.”
Media consumption in the Covid-19 era is hitting record levels as captivated audiences try to stay on top of non-stop news headlines and updates. It’s an upward spiral that is causing a massive shift in consumer behavior. But new research from J.P. Morgan shows that audiences are specifically gravitating to established media outlets that make sense out of news developments – not just report them.
Harvard Business Review (HBR), is finding new success – and subscribers – with a lively mix of content. Their strategy combines in-depth analysis, podcasts, and social media experiments to put all aspects of our “new normal” into perspective. From how to maintain a work-life balance to how to cope with grief and loss, HBR is increasing reach and revenues by providing audiences analysis and answers.
To kick off our new series of DCN video interviews, I talk to Maureen Hoch, Editor of HBR.org and Managing Director, Digital Content of Harvard Business Publishing. Hoch leads Harvard Business Review’s digital newsroom and the HBP Content Lab. She joined HBR as Senior Editor in 2013. And she played an instrumental role in the redesign of HBR.org, which has since garnered three Webby awards. We discuss how HBR is harnessing podcasts and narration, as well as a growing portfolio of new audience projects, to keep audiences informed and connected.
Here are three key takeaways from our talk:
Speed matters, but advice triumphs
At first, Hoch says, HBR switched gears to publish information and insights at a “newsroom pace.” This cemented HBR’s position as a prime destination for hard analysis, around the business impact of the crisis. But the incredible success (“millions of page views”) of high-touch articles is shaping a new approach to storytelling that focuses on people first.
Audiences have a sizeable appetite for digestible content
Longer-form content is a hit with audiences, but audio versions of magazine articles knock the ball out of the park. HBR relies on a mix of narration and curation to engage audiences online and in-app. But this is just the start as HBR continues to look for more audience-first ways to make content accessible and forge the relationships that make it happen.
Audio content strikes a chord
Podcasts are driving audience engagement and subscriber numbers. But where is the money? Hoch discusses the models working for them to power monetization and increase retention. These include selling sponsorship on a CPM basis as well as more inventive models (“exclusive audio features”).
Hoch also offers some practical tips on how to emulate HBR’s success.
As we begin to adapt to new routines amidst the coronavirus crisis, food publishers have seen a large rise in audience numbers and engagement. People facing weeks at home with limited take-out options (and even limited cooking skills) have turned to food sites and networks in droves. They’re looking for inspiration and guidance about everything from baking to budget meal planning.
However, these publishers have had to deal with challenges of their own. Production teams, editorial staff and studio stars have all had to adapt to remote working and changing audience demands.
Record-breaking ratings
One food publisher rising to the challenge is Condé Nast’s digital consumer-focused food brand Epicurious. The site has seen a surge in overall traffic of 69% year over year, according to Digital Director David Tamarkin. For the five years he has been at Epicurious, he says the title has focused on “realistic cooking: the kind of cooking that happens when you’re juggling childcare, or got home late from work, or the kind of cooking you do on the weekends when you have more time.” And that, it seems, aligns with the times.
Epicurius’ focus has pushed daily average traffic up +88% as audiences search for accessible recipes. The publisher is also seeing unexpected success with its eCommerce revenue. It’s seen a “huge increase” in sales of baking-related products, such as kitchen scales, which have seen a 1,000% year over year increase. Meal delivery services sold through Epicurious were another stand-out–up an astonishing 388% in March. And even individual grocery items, which are typically not high performers for the site, were up 59%.
“Because we’ve been operating with what we call a ‘home cook realness’ always in mind, it feels like we’ve been preparing for a moment like this – a moment where people suddenly find themselves cooking more than they ever have before,” Tamarkin explained. “Our content is all about helping people be smarter, more nimble, more joyful cooks, so it makes sense to me that it is resonating at the moment.”
It’s not just food-focused websites seeing growth. In April, Discovery Network’s Food Network channel saw record-breaking ratings over the weekends, as audiences tuned in looking for entertainment, community and recipe inspiration. The network reached more than 46 million viewers, which is a 6% year over year increase, and also delivered its best month ever in Weekday Daytime ratings. Early figures for May have yet to be finalized. But a Food Network representative confirmed that it is showing a similar pattern to April.
Adapting content strategies
Epicurious was quick to fine tune its editorial strategy as stay-at-home measures kicked in. “We pivoted to pantry-building content almost immediately, creating a two-week meal plan that exclusively uses shelf-stable ingredients,” said Tamarkin. “Then we launched Cooking Through It – a series of 10-day meal plans that used hyper-flexible recipes.”
This approach allowed people to do one big shop that would last for ten days or more, in order to minimize trips out. Epicurious has also seen success with its recipe-finding tool that allows readers to search recipes based on the ingredients they have on hand. They are also preparing to launch a series of articles about affordable cooking, which will continue for the foreseeable future.
Food Network on the other hand has made only slight changes to its programming. “There is a slight additional focus on pantry staples and making sure to discuss substitutions should anyone at home not have specific ingredients. But we haven’t been hyper focused on changing the shows too much,” said President Courtney White. Their focus now is on keeping their scheduling flush with premier episodes, rather than relying on repeats.
Coping with production challenges
When it comes to planning shows from home, Food Network’s team has been quick to adapt. “Fortunately, many of our talent were fairly easy to get up and running,” White explained. “With production partners also working from home, the creativity and nimbleness to continue to create, edit, and deliver content that audiences enjoy has been an ongoing evolution.”
White explained that Food Network’s programming has been bolstered by self-shot shows such as The Kitchen Quarantine Edition, The Pioneer Woman: Staying Home, and the ‘Guy at Home Watch Party’ edition of Tournament of Champions. “We want to be there for our viewers, and now more than ever as so many find themselves sheltering at home,” White said. “We’ve enhanced the lineup with even more comfort food shows and trusted food personalities.”
For Epicurious, the editorial team is relying on tools like Zoom and Slack to communicate and discuss how to best help their readers through their recipes, menu ideas and videos. “Helpfulness is in Epicurious’ DNA. But it’s rare that we see the impact of the content we put out in such an immediate way,” Tamarkin concluded.
As audiences continue to seek out practical content to help them navigate the everyday challenges of the crisis, these brands have spotted an opportunity. Publishers who can capitalize on this surge in attention and build loyalty now will be in a strong position to maintain this engagement as we settle into the much anticipated “new normal.”
Reader interest in coronavirus content has begun to wane. In fact, since March 30, we’ve seen traffic to Covid-19 articles is down nearly 25%.
As Covid-19 fatigue sets in, we wondered how audiences would interact with non-coronavirus content. Therefore, we looked to past data on highly-engaging content to find insights that may help inform content strategy in our near future.
Do readers spend more time with great content? Yes
We began by analyzing content with the Top 100 articles with the highest engagement from last year (otherwise known as our Most Engaging Stories) against articles published in 2019 with at least 10,000 pageviews*. That data was then compared to our findings on coronavirus and non-coronavirus engagement (as of April 3 of this year) to get a glimpse of what to expect from readers moving forward. Here’s what we found.
For starters, the Top 100 articles of 2019 had a much higher Average Engaged Time compared to the others we analyzed, as we see below.
We’ll narrow this finding to two hypotheses. The first is that the majority of these articles are simply longer, and therefore command more of the reader’s time. The second is that they’re actually more engaging, with audiences actively reading longer.
When we add our Engaged Time data to the mix, it suggests the latter. Readers placed a higher value on this content, or understandably, spent more time with the captivating pieces when you account for scroll and click behavior. Audiences spent an average of more than two-and-a-half minutes (141 seconds) with the Top Stories compared to an average of about 39 seconds with articles that had more than 10,000 pageviews.
Compare this to our latest data on coronavirus-related and non-coronavirus articles, which found readers spent an average of 40 seconds and 36 seconds, respectively, with articles that had far more pageviews (>800,000 since January).
Therefore, while coronavirus content has understandably drawn the world’s attention, it still doesn’t come close to the Engaged Time we saw for high quality journalism last year.
Why this matters to publishing and media organizations
Content creators will likely feel validated by these findings. In fact, some publications have made it a focus to produce fewer, yet more substantial, pieces in lieu of cranking out lightning fast content. When it comes to being a more engaging piece of content, those efforts appear to be rewarded.
Is social media a factor in non-coronavirus engagement? We think so
We also saw that the Top 100 articles from last year have much higher proportions of referrals from search and social channels. This suggests that their offsite success contributed to their higher Engaged Minutes tally.
The data also shows that, in general, the Top 100 articles had higher search traffic as a percentage of total pageviews, as shown below.
In comparison, our long-term findings have shown that once critical information is widely known, traffic begins to decline, particularly in search. This finding was supported by our newest data on referrals to coronavirus content, as shown here:
Why this matters to publishing and media organizations
While “going viral” isn’t necessarily the goal for writers and their publishers, the popularity of the Top 100 stories with audiences from external platforms had a sustained impact on engagement. We see that organic channels (i.e. getting the eyes of multiple outlets or social media readers) was significant to the Total Engaged Minutes of these pieces. As coronavirus coverage slows down, these attributes can signal a return to the engagement norm.
Can engaging pieces attract more loyal or new readers? Our findings say yes
In our analysis of new versus loyal visitors, we found that the Top 100 have higher proportions of new visitors. The data suggests that these more engaging articles manage to transcend a site’s typical audience and draw new readers’ interest.
Why this matters to publishing and media organizations
This should also come as good news to media and publishing as they look to transition to non-coronavirus content, all while maintaining the strong traffic momentum from the past few months.
Today’s digital publishers are also as focused on retention as they are on acquisition, especially when it comes to generating reader-driven revenue. In this instance, we see an engaging story as a chance to introduce new readers to content. It also presents a better opportunity to create returning (i.e., loyal) audiences that will read more than a single article.
What to make of a post-coronavirus content world: Our takeaways
Overall, our data suggests that highly engaging stories will display certain qualities as readership (and production of) coronavirus-related content declines. Those included:
A higher Average Engaged Time among readers
Greater search and social media referral traffic
New visitors (a possible benefit from the aforementioned social media boost)
What does this mean for content creators trying to recreate the positive impact of an engaging piece of content moving forward?
Longform still has a place, but isn’t the only distinguishing factor for the most engaging reads. Audiences made more time for long, captivating narratives.
The Top 100 stories we analyzed were given a boost by search and social media, whether on the backs of their organizations or influential readers that elevated them. Good practices across SEO, promotion and re-promotion are key to maintaining momentum for prolonged periods.
Engaging pieces are not just for loyal readers. Content creators can use these marquee pieces to attract new visitors as well. One way to attract new audiences is by leveraging a wider set of platforms (such as mobile aggregators) where your content’s quality will also command a high level of attention.
*A note from our Data Science team on engagement methodology:
The plot above shows the distribution of Average Engaged Times for the two groups of stories, normalized so that the total area under the distribution curve equals 1.0. We see that about 40% of the Average Engaged Times for stories in the Top 100 group take values greater than 150 seconds, while almost none of the stories in the other group have an Average Engaged Time greater than 150 seconds.
We can interpret this to mean that the probability a Top Story has an Average Engaged Time greater than 150 seconds is about 0.40, while the probability a story with 10K+ page views has more than 150 seconds Average Engaged Time is practically zero. If we take the average of each small bin of Average Engaged Times weighted by the probability that the Average Engaged Time falls within the range of the bin, we can get the mean Averaged Engaged Time for each group.