The topline: Pew Institute’s research underscores the undeniable influence of social media in shaping modern communication and societal interactions in the United States.
Public platforms, including social media, offer a forum for open for communication, citizen journalism, and audience engagement. However, these platforms also pose many challenges including misinformation, privacy concerns, and algorithmic biases. For better or worse, the largely ungoverned content available shapes public discourse and impacts societal perceptions. These days, the field of social media platforms continues to expand with TikTok experiencing a high level of growth. However, stalwarts YouTube and Facebook lead the pack in overall usage.
Pew Institute’s new research, Americans’ Social Media Use, delves into U.S. adults’ social media usage patterns, offering insight into how individuals engage with various social media platforms. With a robust sample size of 5,733 respondents, this study shows that social media continues to play a central role in shaping communication dynamics and societal interactions.
Ranking social media platforms
Among all of the social platforms today, YouTube emerges as the undisputed leader, with an overwhelming 83% of U.S. adults saying that they use the platform. Following closely behind is Facebook, 68% of adult usage, and Instagram, 47% of adult usage.
While YouTube and Facebook maintain their dominance, other platforms command significant user bases. Approximately 27% to 35% of U.S. adults use platforms like Pinterest, TikTok, LinkedIn, WhatsApp, and Snapchat. X (formerly known as Twitter) and Reddit attract approximately one-fifth of American adults.
A notable finding from the survey is TikTok’s growth, which saw a surge in its user base. Currently, one-third (33%) of U.S. adults use this video-based platform, a significant increase from 21% in 2021. In contrast, other platforms experienced more modest or stagnant growth over the same period.
Demographic differences among social platforms
Age demographics play a crucial role in shaping social media usage patterns. Adults under 30 exhibit higher usage rates across Instagram, Snapchat, and TikTok. However, YouTube and Facebook remain ubiquitous across all age groups, with most adults using these platforms. While there’s a substantial age gap in YouTube usage, interestingly, Facebook’s usage is more evenly distributed across age cohorts.
Pew’s analysis shows demographic differences in platform usage. For instance, Instagram attracts higher usage rates among Hispanic and Asian adults than Black and white adults. Similarly, TikTok usage is particularly prevalent among Hispanic adults and women. Similarly, race and ethnicity play a role in WhatsApp usage, with Hispanic and Asian adults more likely to use the platform compared to their Black and white counterparts.
Educational attainment also influences platform usage, with individuals with higher levels of education more likely to use platforms like LinkedIn. Meanwhile, household income is a significant factor for platforms like X, formerly known as Twitter, where higher-income users exhibit greater engagement.
Gender disparities are evident in platforms like Pinterest, where women constitute a significantly larger proportion of users than men,
It’s important to note that the Pew Research Center transitioned from collecting responses via telephone to web and mail surveys. This shift can impact study outcomes, so monitoring these trends moving forward is important.
Social media rules
Overall, the Pew Institute’s research underscores the undeniable influence of social media in shaping modern communication and societal interactions in the United States. Despite ongoing controversies and concerns, social media platforms play a central role in shaping communication, connectivity, and societal dynamics.
Importantly, demographic differences further highlight the nuanced social media usage patterns, with age, race, ethnicity, education, income, and gender playing significant roles in platform preferences. These insights provide a deeper understanding of how individuals from diverse backgrounds engage with various social media platforms.
While acknowledging the ongoing challenges such as misinformation, privacy concerns, and algorithmic biases, it’s clear that social media platforms continue to serve as vital conduits for communication, connectivity, and community engagement. The transition in survey methodology underscores the importance of continually monitoring and adapting to evolving trends in social media usage.
It’s been a long time coming. But 2023 has signaled that it’s finally time for publishers to reconsider the volatile, often one-sided, relationship that many of them have with some of the biggest tech platforms.
These moves are the latest in a long line of changes that have pulled the rug out from underneath the feet of content creators. And while the tech tide may again turn in the favor of media companies, history tends to repeat itself. Publishers, therefore, should be wary about how warmly they embrace any future overtures from our tech overlords, as well as rushing headlong into the next new thing. Too often some publishers have dived into new initiatives like Mastodon or WhatsApp Channels, without a clear strategy or goals (content, engagement, monetization) in mind.
As a result, the current situation is an opportunity to pause, take stock, and reset these dynamics.
What this means for you: 7 key principles for 2024 (and beyond)
With that in mind, here are sevenrecommendations for publishers as they reassess what their relationships with platform providers should look like.
1. Platform diversification is essential
Over-dependence on individual platforms for revenue – or referral traffic – is risky. Sudden switches in platform priorities can quickly leave creative partners in the lurch. Outlets like LittleThings, Mic and BuzzFeed (to name but three) have all paid the price for putting too many eggs in a single platform basket. Avoiding this fate means that diversification is crucial.
So, where should publishers place their bets? The answer will vary. However, all publishers should consider reducing their reliance on the trusted trifecta of Facebook, Twitter/X and even Google Search.
As Adrienne LaFrance, the executive editor of The Atlantic, recently told The New York Times, “the disruption to an already difficult business model is real.”
2. Spot and tap into shifts in audience behavior
In response to the current wave of disruption, media companies should reconsider platforms that they’ve previously perhaps overlooked or underinvested in.
TikTok’s popularity – especially with younger audiences – makes it a platform few media companies can afford to ignore. Since launching in the U.S. in August 2018, TikTok has grown to 80 million monthly active users. Globally 1.1 billion use the platform each month.
Subsequently, in the past year, The New York Times and the BBC launched news accounts on TikTok, having previously resisted pressure to do so. Part of the rationale for this, per the Pew Research Center, is that “the share of U.S. adults who say they regularly get news from TikTok has more than quadrupled, from 3% in 2020 to 14% in 2023.” That increases to nearly a third (32%) of those aged 18-29 years old, a figure that excludes non-news use.
TikTok and YouTube are also part of wider shifts in search habits, as users head directly to different platforms to look for answers to specific questions.
Collectively, this means that publishers will need to deploy different strategies and content propositions to tap into these audiences. There is no one-size-fits-all solution.
4. You can’t, and shouldn’t be, everywhere
Just because you can be on a platform doesn’t mean that you should be. Resources are finite, so determining the best fit requires careful analysis of demographics and usage habits.
The BBC argued TikTok wasn’t initially the right platform for them. They were also worried about spreading themselves too thin. At a time of continued layoffs – with more than 20,000 media jobs lost this year alone – that concern will resonate with many companies.
As Platformer’s Casey Newton recently told CNN. “Every day, more brands are waking up to the reality that Twitter is dead and X is a cesspool… The global town square is now dispersed across many different platforms, and increasingly the most relevant conversations are taking place elsewhere.”
5. Go niche, or go home
Many of these conversations take place in smaller online communities and some publishers may see the value in exploring these more niche networks.
Platforms like Twitch or Reddit are not for everyone, but their users are loyal and spend a lot of time on site. Recognizing this, last year The Washington Post appointed angel mendoza as their redditor in chief.
It’s worth noting that more Americans claim to obtain their news from Twitch than Snapchat, and Twitch’s reach for news is on a par with LinkedIn. And with over a quarter of Americans saying they regularly get their news on Nextdoor, this presents interesting questions for local news outlets and specialist information providers about how they can – and should – be engaging with the platforms.
These types of networks may go under the radar of many publishers, yet their reach – and the engagement of the communities on them – may mean they’re worth another look.
6. Recalibrate what “success” looks like
As money and traffic from tech platforms dry up, metrics beyond clicks and views become more salient.
Historically, some publishers have financially benefited from page views on different social networks. Facebook reported in 2017 that it was paying out more than $1 million per day to publishers as a result of Instant Articles. However, that stream dried up as the company shifted focus to the creator economy.
Off-site referrals have also been important. A Deloitte study from 2019 found that across several major European markets, platforms drove 61% of visits to publishers’ websites and an estimated 6.2% of publishers’ total revenues.
But with money and traffic drying up, brand awareness and engagement may be better indicators.
Although TikTok has partnered with marquee publishers like Condé Nast, DotDash Meredith and NBCU, many companies find it a difficult platform to monetize. It is also a platform that many users don’t swipe away from, meaning that traditional clickthrough models just aren’t applicable.
7. Focus on building direct relationships with audiences
With third-party referrals and revenues declining, audience relationship-building is paramount.
That can take many forms. Many publishers are focused on their own products – like newsletters and podcasts – as well as capturing first-party data. They’re also looking to reduce churn, upsell existing subscribers and attract others through bundling.
It also means leveraging specific external platforms to foster community and loyalty.
GQ’s launch on Discord is part of this trend. The move enables them to engage with micro communities, often existing subscribers, around topics like fashion and everything Web3. “The way that we are thinking about it is we are throwing a party, GQ is the host, Discord is the venue and you are invited,” explainedJoel Pavelski, GQ’s executive director of global audience development and social media.
We can expect more media companies to embrace these engagement strategies, leveraging specific (not necessarily mainstream) platforms to create greater loyalty.
Moving forward
Media companies find themselves at a crossroads in 2024. Traffic referrals from tech giants like Google, Facebook, and Twitter/X have dwindled, underscoring the need for publishers to pivot their platform strategies. To do this, they must diversify and reimagine relationships with their audiences and tech partners.
Publishers can no longer rely on traffic and revenues from many of the platforms they have partnered heavily with in the past. A fresh approach means moving into new spaces, adapting their content and SEO strategies around evolving consumer behaviors, and thinking carefully about where to allocate their resources.
Larger and niche platforms offer distinct opportunities, but success in this new era will likely look different from the past. Subscriptions, memberships, native advertising, and exclusive content access, might play a greater role in these settings. And in some cases, building brand awareness and loyalty may be the primary goal.
Whatever the approach, the strategic challenge is the same: to reduce dependence on a small core group of third-party platforms and to approach new platform relationships with the benefit of hard-won wisdom. Referrals and third-party-derived revenues may not be as viable as they once were. As a result, publishers must diversify their reach and build direct connections with their audiences in a plethora of different spaces and places. In doing so, publishers need to blend scale and niche to establish a more resilient and adaptable presence across the digital ecosystem.
For many people, social media is an indispensable tool for communication, information consumption, and entertainment. However, its pervasiveness raises concerns about its potential negative impact, particularly the spread of disinformation and hate speech. The use of social media as a daily source of information has rapidly grown over the past 15 years, to the point of now surpassing print media, radio, and even television according to a new report.
Research from Ipsos and UNESCO, Global Survey on the Impact of Online Disinformation and Hate Speech, sheds light on the complex interplay between social media and information consumption. On average, 56% of internet users across 16 countries frequently rely on social media to stay updated on current events. This finding highlights social media’s growing influence in shaping public opinion and political discourse.
The study reveals that social media is the primary source of information for internet users across countries with high and medium/low levels of the Human Development Index. The Human Development Index (HDI) is a statistical tool used to measure a country’s overall achievement in its social and economic dimensions. The HDI was created to re-emphasize that people and their capabilities should be the ultimate criteria for assessing the development of a country, not economic growth.
The study breaks out HDI as follows:
Countries with a very high HDI (>0.800): Austria, Belgium, Croatia, Romania, and the United States.
Countries with a high HDI (0.700 to 0.799): Algeria, Dominican Republic, Indonesia, Mexico, South Africa, and Ukraine.
Countries with a medium or low HDI (<0.700): Bangladesh, El Salvador, Ghana, India, and Senegal.
Unfortunately, the study confirms the widespread perception of social media as a platform for disseminating disinformation. Over two-thirds of respondents in the survey believe that social media is the primary source of disinformation. That means it also surpasses traditional media outlets like television, radio, and print media. This concern is particularly prevalent among younger generations, with 74% of respondents under the age of 35 reporting encountering hate speech online. So, while people rely more heavily on social media for their information—over traditional media sources—they also believe social media is more likely to be a source of disinformation.
Addressing disinformation
The study further indicates that social media platforms must adequately address the issue of disinformation. Only 50% of respondents expressed trust in news from social media, compared to 66% for television news, 63% for radio news, and 61% for print media news. These findings suggest that social media fails to meet users’ expectations regarding providing accurate and reliable information.
In response to these concerns, citizens are advocating for stricter regulation of social media platforms. Over 90% of respondents believe social media platforms should mandate trust and safety measures to combat disinformation. Further, 89% concur that governments and regulatory bodies should enforce these measures.
The research also underscores the importance of citizen engagement in combating online disinformation. Less than half of all respondents (48%) say they reported online content related to disinformation during an election campaign to social media platforms. Those reporting disinformation are more likely to be younger and have a more substantial interest in politics. This suggests a need to encourage more informed and active participation from older citizens in addressing the issue of disinformation.
Call to action
Ipsos and UNESCO’s findings underscore the need for a comprehensive approach to tackling the challenges posed by social media. The approach includes:
regulation of social media platforms;
media literacy education for citizens; and
fact-checking and verifying information.
Social media is ubiquitous and brings unique challenges that require proactive measures. Social platforms need to do limit the spread of disinformation. Platforms can limit the number of times a post is shared and require users to verify the accuracy of a post before sharing it. They can also display warnings about the potential spread of disinformation. It’s time that platforms create a more responsible online space where people can access accurate news without exposure to misinformation and hate speech.
This week, 41 state attorneys general along with the District of Columbia filed lawsuits against Meta for creating highly addictive features that harmed the mental and physical health of children. The lawsuit is the latest in a series of revelations, inquiries and legal challenges focused on the allegedly misleading and negligent behavior of Meta with regard to the impact on children and teenagers from their services.
It’s unusual—and significant—for so many states to unite in a bipartisan effort to hold a Big Tech company accountable for consumer harms. The coordination shows states are prioritizing the issue of children and online safety and combining legal resources to fight Meta, in a similar vein as prior actions against Big Pharma and Big Tobacco
Actively addictive by design
For years, public health organizations and consumer groups have warned about the dangers of social media use by teens and children. Key features of Instagram and Facebook have been specifically called out as harmful. Numerous studies have shown that this segment of the population is especially susceptible to harmful psychological effects from design features, such as the “like” button, which research has found to be one of the most toxic components of social media.
Meta-designed notifications are particularly effective at repeatedly drawing young consumers back into their platforms while the Meta-designed algorithm keeps them engaged in the service for as long as possible so that the company can serve microtargeted ads. Such features include “infinite scroll,” persistent notifications and alerts, and autoplay of Stories and Reels. Other studies have shown that filters and other photo-altering features increase the incidence of body image issues among teenage girls.
The states’ lawsuit alleges that Meta deployed all of these tactics and more to “discourage young users’ attempts to self-regulate and disengage with Meta’s platforms.” The states included an enlightening direct quote from Sean Parker, founding CEO of Facebook:
“The thought process that went into building these applications, Facebook being the first of them . . . was all about: “[h]ow do we consume as much of your time and conscious attention as possible?” That means that we need to sort of give you a little dopamine hit every once in a while, because someone liked or commented on a photo or a post or whatever. And that’s going to get you to contribute more content and that’s going to get you . . . more likes and comments. It’s a social-validation feedback loop . . . exactly the kind of thing that a hacker like myself would come up with, because you’re exploiting a vulnerability in human psychology. The inventors, creators—me, Mark [Zuckerberg], Kevin Systrom on Instagram, all of these people—understood this consciously. And we did it anyway.”
The lawsuit goes a step further to allege that Meta misled the public about the dangers of using their services. In 2021, former Meta employee Frances Haugen came forward as a whistleblower to not only confirm that these harms were happening to children, but also reveal that Meta executives knew all along about the dangers from their own internal studies but chose to put profits over the safety of their products. In addition, the lawsuit alleges that Meta attempted to push the public narrative in the opposite direction by “routinely publish(ing) profoundly misleading reports purporting to show impressively low rates of negative and harmful experiences.”
Wider implications to watch
The proceedings inside the courtroom will be fascinating to watch. But I will also be closely watching two things outside of the courtroom:
Advertiser response
First off, it will be fascinating to see whether advertisers will change their buying habits in the wake of these allegations. Advertisers have known about the problems associated with social media for years. Despite some public hand-wringing from their trade association and boycott threats, marketers’ buying habits are largely the same today. At some point, one would expect marketers to shift their ad budgets away from financially supporting this toxic content platform to premium environments that better pair with the brand identity they want to cultivate.
Regulatory response
Secondly, I have to wonder if this may spur Congress to finally pass meaningful privacy or kids safety legislation. Every time there is a scandal and/or lawsuit involving one of the big tech platforms, there are renewed calls for legislation to regulate how they collect and use consumer data, to impose liability for the harms occurring on their services, and to create rules for how algorithms can be deployed among other things.
As a result of press coverage of these allegations, some of these bills might even get approved by the relevant committee(s). However, to date, none have been brought to the House or Senate floor for a vote. This Congress is particularly dysfunctional, but there is a decent chance that public officials heading into an election year might be shocked enough to coalesce around putting some guardrails on social media companies. Parents of children can be an influential voter base.
Stepping back a bit, all of these revelations about the dangers of social media and the abhorrent behavior of social media companies continue to fuel a global conversation about the role and impact of data, algorithms, surveillance advertising and unfiltered content. Lawsuits and legislation, which are getting smarter and more focused, will continue to draw headlines and potentially lead to liability for the worst actors. In the meantime, I am going to go give my kids an extra hug.
TikTok and media companies across the globe are teaming up to write the next chapter in the epic saga of the media and its complex relationship with social platforms. In early May, TikTok announced Pulse Premiere, a program designed to place advertisers alongside the premium content created by trusted media brands — and share the revenue 50/50 with those content creators.
The first question that might bubble to the surface for media companies is, “How is this different from all the other revenue-sharing schemes with social platforms?”
“Some publishers have had good relationships with some platforms,” says Nic Newman, Senior Research Associate at the Reuters Institute for the Study of Journalism. He points to Snapchat as an example of a platform that has led to reasonable revenue for some media companies. But revenue is not the main impetus for them to embrace TikTok. “Cultural genres are things that premium publishers are pushing into, especially to reach younger users,” says Newman. And TikTok has been a key partner in that strategy all along.
This strategy aims to combat news avoidance and engage new audiences, says Newman. Add to the mix a decline in brand revenue and media buyers who find it easier to buy through platforms, and it’s clear why premium publishers are eager to partner with a wildly popular platform like TikTok. From TikTok’s point of view, Newman adds, it also makes sense to reward media companies for creating content that helps fuel the platform’s ongoing success.
But as it turns out, there are a few key differences between TikTok and its social media competitors that have media companies feeling bullish.
Embracing TikTok as a content creation platform
TikTok is unique. Facebook and X/Twitter, at least for publishers, are places where publications and audiences share links to content, which drives traffic back to a website. This dynamic has been a source of tension over the year, which continues to play out. TikTok, however, is more of a content-creation tool than it is a distribution platform. Publishers who are successful on TikTok understand and embrace the peculiarities of TikTok and create content designed specifically for this audience.
Reuters Institute’s 2022 Digital News Report cited TikTok as the fastest-growing social network for news consumption. This is driven, in part, by publishers’ desire to reach new, younger audiences. Reuters found 40% of people 18 to 24 use TikTok, and 15% of them use it for news. It only makes sense that news brands with robust TikTok audiences would seek to cash in on that engagement through advertising.
One of those media brands is Vox Media, which joins Condé Nast, Buzzfeed, Dotdash Meredith, Hearst Magazines, MLS, NBCUniversal, UFC, and WWE as one of the initial Pulse Premiere partners. “Our editorial brands and video franchises reach millions of highly engaged followers on TikTok, and we are now excited to work with TikTok on a new ad product,” Ray Chao, SVP & GM of Audio and Digital Video at Vox Media, said in a statement to DCN. “We are hopeful that this partnership will help us strengthen our digital video revenue model through a new revenue stream.”
Similarly, Deb Brett, Condé Nast’s Chief Business Officer, Digital, says, “Our audience demands us to be on TikTok.” That’s not a problem for Conde Nast’s publications, which have been “digital first” for years, according to Brett.
Importantly, Condé Nast also avoids taking a one-size-fits-all approach to its social media channels. “We tailor what we create for every platform. We want to hear from our brands in different ways,” says Brett. Before TikTok introduced Pulse Premiere, that often meant creating branded content integrations and custom programs for advertisers who wanted to reach the brands’ audiences. Condé Nast even tried live streaming and shoppable content. Pulse Premiere is now making it easier for media organizations to monetize their presence on the platform.
Thinking about brand safety
Pulse Premiere comes on the heels of TikTok Pulse, launched in 2022, which places brand advertisers next to the top 4% of trending videos on TikTok across a number of categories. Throughout the history of social media advertising, brands have run into the problem of unpredictability. Historically, this problem was only addressed once it boiled over, sometimes in the form of a boycott. As ads follow users around one social platform or another, there has been no telling what content an ad will be placed beside. At this stage of the social game, it’s no surprise that TikTok is being proactive about providing a solution to that ongoing issue.
In its announcement, TikTok said, “Pulse Premiere gives brands the control to choose where their ads are placed, adjacent to content from our premium publishing partners in lifestyle and education, sports, and entertainment categories for specific tentpole events as well as evergreen, ongoing content.” In other words, TikTok is giving advertisers the ability not only to avoid being placed next to the latest viral conspiracy theory video — or even just dance trends irrelevant to a brand’s messaging — but to easily continue existing publisher relationships.
Extending existing brand relationships
As a publishing community, we love [that TikTok Pulse Premiere is] turnkey, its low lift, and its scalable,” says Brett. Rather than devising ad hoc solutions to advertiser demands to be part of the TikTok conversation that Condé Nast’s brands create, the publisher can now take advantage of a native ad platform.
Condé Nast will kick off its Pulse Premiere participation by aligning a campaign with what it calls one of its “cultural calendar moments”: Vogue World. The event takes place on September 14 in London, and Brett says Vogue will align its TikTok content with the event. “It’s an exciting intersection of their ad product and our cultural calendar moments,” she adds.
While it’s still too early to tell whether the economics add up for publishers, Brett says, “It has indicators for a huge potential.” Newman, however, points to a problem publishers have come to know well: “Fundamentally, people’s attention is the problem. The first few publishers do well, then other pubs follow, and the rates go down.” Only time will tell if TikTok proves to be different from its competitors in the ways that matter most for publishers.
In today’s fast-paced digital world, media companies face intense competition across many different platforms. Echobox, a provider of social media management tools, offers new research, “Publishing Trends 2023,” highlighting media businesses’ priorities, challenges, and opportunities. The top three priorities for content companies include finding new audiences (53%), automation and AI (50%), and video content (47%). Staying ahead of the Facebook algorithm (53%), declining traffic (47%), growing digital subscriptions and diversifying revenue streams (both 34%) were commonly cited challenges.
Echobox surveyed a targeted sample of 32 leading media companies across the world. This global perspective includes respondents from 20 countries in Europe (67%), the Americas (20%), and Asia (13%).
Platform usage
Instagram emerges as a vital channel for publishers in 2023. In fact, the study shows that 66% of respondents believe Instagram will play a more significant role in their business this year. Publishers recognize the value of leveraging Instagram’s visual nature for content promotion and audience interaction.
TikTok is also gaining prominence, with 59% of publishers turning to this platform for video content distribution and audience engagement.
Media brands recognize the importance of capitalizing on the visual nature of TikTok and YouTube. By investing in video production and distribution, the report suggests that media companies can enhance their content offerings and attract a wider audience.
However, challenges persist on platforms like Facebook, primarily due to its lack of algorithmic transparency. Approximately one-third of media companies view Facebook as vital, and they want to maintain visibility and reach on this platform. Unfortunately, the opaque evolving nature of the platform requires publishers to constantly adapt their strategies, remain vigilant of algorithm changes, and seek alternative avenues to engage their target audience.
Embracing newsletters
Newsletters remain an area of growth for many media businesses. The report highlights that 56% of respondents plan to expand their newsletter offerings or start producing newsletters in the coming year. Publishers understand the value of direct communication and engaging subscribers in off-platform vehicles. By crafting compelling and personalized content in newsletters, media businesses can establish stronger connections with their audience and help drive traffic to their websites.
AI attraction
The report indicates that 63% of media companies acknowledge the growing importance of AI for their businesses. AI-powered tools and technologies offer immense potential to streamline operations, optimize content distribution, and enhance audience targeting.
Publishers can leverage AI to automate repetitive tasks, personalize content recommendations, and gain valuable insights into audience preferences. Media companies using AI can unlock new efficiencies, improve engagement, and achieve better business outcomes.
Ending third-party cookies
When thinking of the impending demise of third-party cookies in 2024, less than half of the respondents foresee a significant impact on their business. Specifically, 31% do not anticipate any effect and 13% state that they don’t rely on third-party cookies. Of the 50% of publishers anticipating significant impacts, half report they are prepared while the other half are not.
The Echobox report does highlight that, though the growth of newsletters has slowed, the first party data insights they provide does provide a means to offset the loss of third-party cookies.
Future focus
The results of Echobox’s 2023 publisher survey does show a certain amount of continuity from last year, as traffic remains a concern along with Facebook, while newsletters continue to demonstrate value. This year did see significant economic impacts as well as uncertainty around the role Twitter will play for media companies and advertisers. The report finds that publishers are investing resources in a wider array of social platforms in an effort to diversify their own audience demographics and to position themselves for increased adaptability to weather the evolving social landscape and consumer consumption trends.
Reuters Institute reports that 49% of leading news publishers worldwide now regularly post to TikTok and the number of publishers committing to the platform continues to climb. Echobox’s latest Publishing Trends Survey found that 59% of publishers believed TikTok would be more important to them this year compared to 2022 — a jump of 39% in the last year.
These developments, however, are taking place against the backdrop of growing regulatory pressure on TikTok’s parent company ByteDance. It is conceivable that the world’s fastest growing social media app could soon be banned in the U.S. Why, then, are so many news organizations choosing to invest in a platform whose future is shrouded in uncertainty?
Why invest in a platform with an uncertain future?
1. The short term gain justifies the investment
The simplest answer is that whatever happens to TikTok in the future is less important than the benefit to be gained from using the platform now. When we asked publishers which activities would be more important to them this year, 47% of respondents to our survey answered growing social followers and engagement. Publishers are going where the audiences are, with the hope that readers exposed to their content will either follow them on other social platforms or sign up for newsletters or other subscription products in the event that TikTok becomes unviable.
2. All social media is becoming like TikTok
In the long term, the continued investment in TikTok is an indication of the new realities of social media as a whole. Quite simply, TikTok has changed the game.
In the last couple of years, Facebook, Instagram, and YouTube have all sharpened their focus on TikTok, looking to ape its distinctive allure. The calculus here is that even if the platform was to be banned, the innovations that it pioneered, such as short-form vertical format video, will remain alive and well on other platforms.
Meta’s cross-platform Reels as well as YouTube Shorts have experienced impressive performance stats. Meta announced during its Q1 2023 earnings call that Reels was responsible for a 24% increase in time spent on the platform.
Investments made into acquiring the skills and technology to produce content on TikTok can therefore be put to productive use on other platforms where short-form vertical videos have been incorporated.
The results of our publisher survey reinforce this. For 47% of publishers, creating video will be more important this year than last.
The time is right
In the here and now, how can publishers take advantage of TikTok’s popularity and increase the potential virality of their content?
The most fundamental difference between TikTok and Facebook is the nature of its “recommender algorithms” that determine what content is served up to a given user. Instead of relying on who you follow to determine what content you should see, per Facebook’s model, TikTok relies purely on opaque algorithms to serve up content without a user having to follow anyone; the single imperative on TikTok is to watch.
This removes a barrier to publishers who want to increase their exposure on the platform. Not having the potential visibility of content circumscribed by follower numbers means that, theoretically, it’s easier for any publisher to produce highly-viewed, or even viral content.
Timing is everything
Achieving high performance on TikTok is all a matter of timing.
The process by which TikTok promotes content is simple: it shows content to a small sample of users in its For You feed. Then, if engagement and watch time is high, the video gets promoted to a larger group and so on. Posting video at a time in which a high number of engaged users are active means that the potential for virality is immediately increased.
Utilizing AI-powered social media management tools to optimize post timings is therefore a simple and cost-effective way to increase visibility. The fact that a publisher’s TikTok follower count has virtually no bearing on which content is promoted allows greater opportunities for AI systems to maximize the potential visibility of a video and help its performance snowball.
The future of TikTok remains uncertain, but the platform is rich in immediate benefits. With over a billion (predominantly young) users, publishers have the opportunity to meet new audiences where they are congregating. With a combination of AI smarts and a forward-looking strategy, publishers can become trusted and indispensable news sources with or without TikTok.
About the author
Ashley Kibler is the Marketing Director at Echobox, the leading solution for publishing automation used by over 2,000 publishers and media groups worldwide to automate and optimize content curation and distribution.
Some publishers are evaluating the impact of a Twitter implosion on their website traffic. By Apr 2023, Meta will be sunsetting Instant Articles after seven years of serving fast news and meandering listicles. Who knows if Google AMP will have a similar destiny? It’s not unlikely.
In Jun 2020, New York Times left Apple News over a lack of reader connection. “Core to a healthy model between The Times and the platforms is a direct path for sending those readers back into our environments, where we control the presentation of our report, the relationships with our readers, and the nature of our business rules,” wrote COO Meredith Kopit Levien in a memo to NYT employees. “Our relationship with Apple News does not fit within these parameters.”
The platform problem
It makes you wonder if promoting articles to audiences on platforms is really worth a publisher’s while. As a publisher, distributing content via audience platforms sounds like a good strategy to “meet audiences where they are.” However, it’s laden with inherent risks.
First of all, there are way too many platforms: BuzzFeed, Medium, Apple News, Google News, Facebook, Instagram, YouTube, TikTok, Spotify, Apple Music, Netflix, Amazon Prime, etc. And let’s not forget the fact that audiences, formats, and platforms change. For a publisher to port audiences from one platform to another or maintain audiences on multiple platforms is almost impossible.
Then there’s the fact that, as platforms grow in size, the share of revenue per publisher is bound to decrease over time. The math is simple: As more publishers join the network, the user’s share of time spent on any one publisher’s content decreases and hence the revenue-share for the publisher decreases.
Hence, the best strategy for every publisher is to leverage any audience platform with the express goal of building a direct relationship with audiences they find there. Then, they need to focus on ensuring that these audiences are monetized through direct-to-consumer (D2C) models as quickly as possible.
Individual creators and journalists are the earliest movers breaking free from walled gardens and there are clear lessons for publishers. Let’s uncover some examples of individuals who have leveraged their audiences inside walled gardens to eventually build direct consumer relationships and monetization models.
Mr. Beast
Jimmy Donaldson has officially broken the record for the most subscribers for an individual male on YouTube with his channel Mr Beast. It has amassed an unbelievable 112,193,139 subs, as verified on 17 November 2022.
For direct-to-consumer monetization, Donaldson has moved his audiences offline. Leveraging the trust he garnered on YouTube, he is now selling them burgers, chocolate bars, and merchandise.
Nas
Nuseir Yassin is an Arab–Israeli vlogger who is most notable for creating over 1,000 daily one-minute-long videos on Facebook, TikTok, and Instagram under the page Nas Daily.
Leveraging his fandom with aspiring creators, Yassin found a way to capitalize his own learnings to offer services, courses, and community platform to advertiser brands and up-and-coming creators. He has found the path to directly monetize his audiences outside the walled gardens.
Glenn Edward Greenwald
Glenn Edward Greenwald is an American journalist, lawyer, and author of four New York Times bestselling books on politics and law. He has won numerous awards for his investigative journalism.
After working as a journalist at Salon and The Guardian, Greenwald co-founded The Intercept in 2013 along with Poitras and journalist Jeremy Scahill. He resigned from The Intercept in October 2020 over debates around editorial freedom. Subsequently Greenwald started publishing on Substack and currently has tens of thousands of paid newsletter subscribers with whom he has a direct connection.
Key takeaway
The walled garden of an audience platform provides a springboard for early experimentation and finding your niche as a publisher or creator. But without the ability to build a direct relationship with your audiences, you risk eventual irrelevance on the audience platform.. Finding unique ways to directly monetize your audiences will improve your chances of building a sustainable publishing business.
It is possible that publishers will start to offer their journalists a community management engine where journalists can develop direct relationships with their niche audience. A platform where journalists can offer merchandise, courses, newsletters (of course with publisher co-branding) for their specific niche audiences. Effectively, every journalist could be operating as a creator running mini-businesses inside the walled garden of the publisher.
About the Author
Abhishek Dadoo is a Co-founder & CEO of Fewcents, fintech-for-publishers that brings incremental reader revenue from ‘Never-Subscribers’. He is a seasoned business leader and technology product manager. He has worked in management consulting with PwC and Altman Solon in Boston, USA before moving to Singapore permanently. In Singapore, he started his own venture, Shoffr, a digital marketing solution that provides online to offline attribution for digital marketers. In 2019, Abhishek sold Shoffr to Affle, a publicly listed ad-tech company in India. After solving the advertiser’s offline attribution problem, Abhishek has now set his eyes on solving the content monetization problem for online publishers.
Although TikTok is widely considered a “Gen Z platform,” the video-sharing app also boasts an extremely high number of Millennial users. With over 100M active users in the U.S. alone, 32% of TikTok’s global users are between the ages of 25-34. With such a large and diverse audience – not to mention the recent revelation that young people are even turning to TikTok as a search engine over Google – there is a unique opportunity for digital publishers to adapt their strategies on the platform to reach critical audiences at scale effectively.
To do so, media companies must consider how best to leverage the viewing trends and the receptiveness these generations have to certain types of media. Below are key insights into how Gen Z and Millennial demographic similarities and differences fit into the larger social landscape, what influences their decision-making when it comes to attention, and ultimately what success looks like for digital publishers on the platform.
Where to find Gen Z and Millennial social media users
The rise of TikTok has significantly shifted the way people consume media. In fact, when surveyed about which sources of digital media they use the most, 37% of Gen Zers revealed TikTok takes up most of their time. While Millennials still skew a bit more towards Facebook (39%) and Instagram (19%), there is still a sizable audience of Millennials on TikTok. Nevertheless, as the preference for engaging short-form content continues to grow in popularity with Gen Z and Millennials, other social platforms are beginning to take note.
With so much buzz around TikTok’s growing user base and platform layout, it’s no surprise that Instagram introduced Reels. And, with 42% of Gen Zers sharing they also use Reels, it’s clear that this demographic jumps at the chance to create and consume short-form content no matter the platform. This insight gives publishers the perfect opportunity to maximize viewership of their short-form content. They can post virtually the same video to several platforms which means that they can cast an even wider net with little to no additional effort.
What’s influential in TikTok users’ decision-making
Though more social media platforms are mimicking TikTok’s strategies, 40% of Gen Z and 32% of Millennial users find advertisements on TikTok to be the most creative and authentic versus other social platforms. And two-thirds of users research products after seeing them on TikTok. This points to the platform’s power in helping to build brand awareness and influence purchase decisions.
This provides a unique opportunity for publishers to capitalize on especially when it comes to branded content. Last year, Buzzfeed signed a first-of-its-kind deal with TikTok, signaling the beginning of media companies leveraging the platform to create innovative deals between publishers and brands. This allows brands to capitalize on a built-in audience and allows publishers to attract new audiences – brand loyalists – to their content.
Branded hashtag challenges are one of many great tactics to attract engagement by enlisting consumers to become active participants in brand campaigns via user-generated content. So, empowering platform users to join campaigns by submitting their own content is the type of word-of-mouth marketing advertisers crave and built for the digital age. Using creative means to get information across results in a higher chance of user recollection and can help to increase follower count (for both publishers and brands), and eventually – readers.
Strategies for digital publishers to try ASAP
There are a few breakout media brands whose success on social platforms like TikTok provides insight into how digital publishers can best approach converting Gen Z and Millennial social media users into subscribers and promote consumer loyalty.
The Washington Post successfully uses TikTok to reach a younger audience and break away from its more traditional, serious tone. Morning Brew, the media company that aims to help professionals of all ages, began to use TikTok to help grow its newsletter subscriber count. The publication partnered with a creator to create authentic TikTok videos while also promoting the Morning Brew message. This enabled Morning Brew to expand its social media footprint as well as gain thousands of quality, engaged newsletter subscribers.
Digital media publishers have an opportunity to extend their reach by using social media platforms focused on short-form video content. Ultimately, TikTok truly allows for and incentivizes creativity that both Gen Zers and Millennials heavily respond to. Digital publishers can use a variety of features and trends to create effective, immersive, and interactive content to reach their target audiences with unprecedented efficiency. Authentically reaching consumers through TikTok will help media properties gather accurate data on consumer interest as well as humanize humanize the company by providing digestible content in a more relatable and accessible way.
Social audio creates opportunities to grow and engage with audiences. It also provides an ideal medium for tackling big issues. However, The Texas Tribune’s social audio experience reminds us about the importance of concentrating on key issues that affect the everyday lives of audiences.
Austin-based Texas Tribune keeps a tight focus on specific issues, events, and questions when using social audio. “Our approach to live social audio is to ensure that we’re talking about a topic or a storyline,” rather than a project or its journalistic process according to Bobby Blanchard, Director of Audience, who oversees Texas Tribune’s social channels.
Topical discussions
The Tribune has found that there are topics that resonate with their audiences and keep them more engaged over others, Blanchard says. “We generally lean towards service work — how to vote, to understand and follow elections, how to prepare for possible power grid problems. These conversations attract a wide variety of readers because they’re all impacted by what’s discussed,” he says.
For example, The Tribune held a Twitter Space on preparing for the winter in December 2021, which discussed how and why Texans should prepare for the winter ahead. The conversation centered around the power grid and safety, and it featured the president of the Austin EMS Association.
The following month, The Tribune held a Twitter Space on redistricting and voting coverage. The discussion focused on what citizens should know about voting in Texas in 2022, what redistricting is and how it affects the election, and what would be on the ballot. The event featured former Tribune executive editor Ross Ramsay and Alexa Ura, demographics and voting rights reporter of The Texas Tribune.
“The Texas Tribune helps its readers navigate and understand how Texas policy and politics impacts their day-to-day lives,” says Blanchard. “Answering reader questions and engaging with our audience is a key part of our service journalism work.”
In addition to providing critical information, social audio does help The Tribune build community by giving the audience the chance to engage directly with the reporters behind the news they read. However, their emphasis remains on using the new platform to provide readers with what they expect from the brand.
As Blanchard points out, people consume information in all kinds of ways — some via text, some via visual and some via audio. “I think giving our readers multiple ways to consume the news helps us serve all types of readers. I also think it strengthens our relationship with them. It helps our readers understand that, like them, we’re humans doing this work.”
Preparing to go live
While Twitter Spaces and other social audio platforms gives anyone the option to go live, it’s not something The Texas Tribune does on impulse. A lot of planning and logistics goes into preparing for an event and they leverage lessons they’ve learned over time.
The Tribune has a thorough process to be prepared before going live on social audio. Blanchard says that, prior to going live, they give everyone a chance to test their tech and make sure they’re in a space with a good connection and have the equipment they need to record good audio. Blanchard and his team prefer wired headphones to wireless headphones, for example.
“We always have a preference for actual microphones or wired headphones to Bluetooth or built-in laptop microphones. It ensures a higher level of audio, in our experience,” Blanchard says. “We’ve just found the audio quality is better and there is a lower chance of technical problems with the audio when you use wired headphones as opposed to wireless. Best to remove as many chances for things to go wrong as possible.”
It is critical to ensure that the moderator is prepared and set up with everything they will need. “We write an introductory script for the moderator and prep questions ahead of time, just in case we get very few audience questions,” Blanchard says. “We pepper in a lot of reminders for the moderator to do a fresh table setting of what the conversation is about midway through, so folks who join late can easily catch up. We try to limit these conversations to 15-30 minutes.”
Blanchard noted they don’t open the mic to everyone. If listeners want to ask questions, they have to tweet at or direct message The Tribune. From a moderation standpoint, Blanchard says letting just anyone speak can become a minefield. If anyone can join the conversation, it opens up the possibility to trolls or bad faith actors trying to attack journalists or guests. “We don’t want that to happen — it spoils the conversation. There’s also enough of that online as it is. There’s no need to make space for anymore of it.”
As for timing their social audio events, the Tribune tries to schedule them when people are most likely to tune in, which is typically lunch time, according to Blanchard. Time of day affects how engaging a conversation is and how many people tune in. “If you do a live audio conversation at 4:45 PM, when everyone is driving home, you’re not likely to get a ton of listeners.”
“It’s my working theory that people enjoy listening during lunch,” he says. “I’ve also seen newsrooms have success with this in the early morning or late evening. I consider 1-5 PM a bit of a dead zone, and typically avoid programming live conversations then.”
Monetize like a sponsored event
Beyond audience engagement and a new storytelling platform, media organizations can look to social audio as a potential new revenue source. The Tribune does not generally have sponsors for its social audio events. However, in some cases they’ve used social audio for what would have traditionally been a live event. As such, they secured a sponsor as they would for those events otherwise.
“Our conversation about our primary preview coverage on March 1, 2022 — for example — was sponsored by The Marchant Good Government Fund and Raise Your Hand Texas,” Blanchard says. However, he notes that “financial support plays no role in picking topics or guests for these conversations — or any of our journalism.” And, because The Texas Tribune is a not-for-profit organization, sponsorship is not a significant driver behind its social strategy. However, other organizations seeking to build a revenue stream on social audio might emulate the live-event model as one approach.
Certainly, monetization opportunities seem promising. However, social audio falls into a class of its own. It isn’t as neat and tidy as podcasts. Its immediacy and intimacy is one major differentiating factor, and it still seems to be space in which content companies are experimenting.
Takeaways
While Millennials might be digital natives, Gen Z are social natives, having grown up watching video and listening to audio instead of visiting traditional news sites, according to the Reuters Institute’s Digital News Report 2022.
Thus, it seems likely that social audio will play an increasing role in their consumption habits, given Gen Z’s heavy reliance on social platforms. Digital content companies need to keep an eye on the changing needs and wants of this next generation, as they exhibit different behaviors than those who came before.
However, when conceiving a social audio strategy, it’s critical to think about what audiences need, and expect, from your brand. Priority number one is to figure out how social audio uniquely serves an audience and what you’re trying to accomplish. For this brand, having a narrow focus on service-based journalism works best.
At The Texas Tribune, social audio offers immediate engagement with audiences and the opportunity to provide useful, practice advice and trusted guidance, and address its readers’ needs in a moment. Their experience demonstrates how social audio can be used to help audiences make decisions, on what to buy, how to do something, answer specific questions, and solve their problems.
In the 18 months since social audio spaces were introduced the media landscape, digital content companies have experimented to uncover their purpose and how they can best serve audiences. For The Washington Post, the answer was revealed amid the discussion of a massive leak of offshore data, which exposed the secrets, deals, and assets of the world’s rich and powerful.
The Pandora Papers investigation was not The Post’s first use of social audio. They’d experimented with Clubhouse in mid-May 2021 and held their first Twitter Spaces event June 10, 2021.
It was, however, one of their most ambitious experiments as it involved other global news organizations simultaneously joining the Twitter Spaces event. The Pandora Papers investigation spanned five continents and involved 600 journalists in 117 countries.
“The Pandora Papers was the largest reporting consortium in journalism history. We’re talking about [journalists examining] 11.9 million documents and financial records,” said Michelle Jaconi, head of news talent strategy and development at The Washington Post.
That’s a wealth of information – but a challenge to present given its scope and depth. “The amount of nuance that you can go into in a platform in audio where you don’t have the set limitations of an article is wonderful.”
“Twitter Spaces has been an incredible playground for creativity and exploring ways where we could stretch that platform,” Jaconi said. “That one was one of the biggest and most ambitious spaces we’ve done, because we did it across different newsrooms. It was an incredibly fascinating test and stretch, and incredibly well received.”
Space(s) for transparency and engagement
Social audio allows The Post to share the teamwork and collaboration that takes place in their newsroom, Jaconi explained. The work that goes into a large scale, investigative report is largely invisible to readers. However, the audio format allows the journalists to communicate the process and passion that goes into a project like this one. As Jaconi points out, “The voices humanize the work, effort, the passion and the care that goes into every piece of journalism at The Post.”
One thing the team at The Post has learned through its use of social audio is that the audience is incredibly curious and wants to learn more about the journalistic process.
“We learned, wow, there is an audience for this, and [social audio] is incredibly good for things that are so complex that you need extra time and nuance and care to explain,” Jaconi said. “And, especially with Pandora Papers, we were testing the platform and how much we could stretch the production capabilities of an audio event that was truly global. We had some issues. But I think Twitter’s even gotten better since then at the product and the production aspect of doing massive events.”
Attracting and engaging audiences
Like all publications, Jaconi says The Washington Post not only wants to increase the size of its audience, but also engage younger, next generation, diverse and global audiences. For the use of Twitter Spaces grew the following of @washingtonpost on Twitter, as well as the following of their reporters.
“I think one of the things that social audio is incredible for is that social platforms convene audiences of curious people – or sometimes just bored people who become curious when they see a trending hashtag,” Jaconi said. “Every time we do one of these spaces, our reporters get new followers. That shows that we’re building audience.”
Social audio spaces create an intimate connection between The Post and their audience, on a device that many use to interact with their family and friends. “That is a wonderful way for us to not tell our expertise, but instead to show it. We do it in a way that provides intimate connection between our reporters and their audience,” Jaconi said.
For reporters who often work in text-based mediums, one of the things that makes social audio fun is that they get to know their audiences more personally and engage directly.
“While you’re talking, you can actually see avatars and photos of people joining in that conversation right there with you. And that is something that I love for reporters to know,” Jaconi said. “Who doesn’t like telling a story and looking at the avatar of someone and saying, ‘oh, thank you for listening. That’s so interesting that you’re popping into this conversation and listening to me.’ That has been really rewarding for everyone who’s participating.”
And, as it continues to improve the functionality of Spaces, Twitter is now surfacing live audio to users when they first log in and providing beacons to audiences indiscriminately. This adds value for digital content companies because previously, Twitter had only surfaced Spaces to an organization’s existing audience.
“Social audio is one of the most exciting playgrounds right now to gather new audiences because the product keeps getting better,” Jaconi said.
Adoption, addiction, affection
In helping Post reporters reach new audiences, Jaconi looks for a funnel of adoption, addiction, and affection. With The Post’s recent reporting on the war in Ukraine, Jaconi said they are seeing an uptick in followers, but also affection. Social audio plays into this by increasing the personal engagement between audience and reporters.
In particular, The Post has sees a trend of audience members sending deeply moving messages. “People have been following reporters for the first time and posting comments like: ‘I am praying for your safety. I hope you’re okay. Please be all right.’ That is affection and concern for our journalists,” Jaconi said, noting that she’s never seen this kind of thing take place at this scale before.
“To have that be the overwhelming chat response to an audio space from our reporters covering the war, boy, is that a different experience for our journalists and reporters,” Jaconi said. “It means that we we’ve done a really good job and reaching people who are interested in information and are interested in building that relationship with us and our reporters.”
Lessons learned
Jaconi explained that there are a few best practices in the social audio space that digital content companies ought to think about.
First, update your Twitter app. Jaconi explained that Twitter often updates Twitter Spaces and improves and fine tunes its functionality. (We covered some of those in our last social audio piece.)
Second, remember that audience members can join Twitter Spaces mid-stream. It’s possible those audience members have never met you before. Hosts should make a habit of re-introducing themselves during the course of an event. This should include addressing new people joining the Space and telling them what they’re speaking about, their name, background, expertise, and the topic of discussion.
“It doesn’t have to be boiler plate. It can be done in a casual way. But also, because there’s audiences that are listening while they’re multitasking, I really urge people to introduce themselves again,” Jaconi said.
Thirdly, Jaconi suggested that digital content companies who engage in social audio spaces ought to “feed their audience.” This means give your social audio space a thread of everything you covered in that space. If you’re using social audio to discuss investigations, mention the methodology of your investigation, the complexity of doing the investigation, biographies of speakers or guests and the like, in a thread. This assures that the listening experience isn’t just a one-off that happened in the Twitterverse, and instead is and can be connected to other content, events, or used in the future.
“It is so rare, and so exceptionally powerful, to be in the same place as your audience at the same time, with everybody convened,” Jaconi said. “You’re convening the curious at something that you’re an expert in. So feed them when they’re there, because it might be a while before you convene them again.”
Instagram is hot but YouTube is not. Publishers around the world are shifting focus this year, according to a recent survey of 30 publishers from 17 countries. The Publishing Trends Report 2022 by Echobox offers insight into publisher’s evolving priorities as they move out of pandemic crisis mode into the new normal.
Respondents indicated that they are most focused on increasing web traffic, utilizing new content formats, and embracing automation. They also share a keen interest in capturing the attention of the all-important youth demographic.
The survey included participants from the following countries: Argentina, Bulgaria, Ecuador, France, Germany, Greece, Italy, Japan, Latvia, Mexico, Poland, Portugal, Romania, Singapore, United Kingdom, United States, and Uruguay. This year, the authors of the report concentrated on data received from decision-makers and social media specialists. News outlets comprised over 50% of the sample.
Publishers’ top priorities for 2022:
Increase traffic (73%)
Grow social media followers & engagement (57%)
Improve quality of published content (50%)
The release of free digital information during the pandemic led to a surge in traffic for online publishers, which – perhaps paradoxically – lead to more paid subscribers. The resulting increase in digital subscriptions even helped offset the longtime decline of print subscriptions. Respondents’ strong interest in increasing web traffic reflects reduced reliance on print revenue, while publishers continue to hone an ideal balance between paywalled and unrestricted content.
Which activities are most important to publishers in 2022?
Video content 63%
New social media platforms 43%
Newsletters 43%
Finding new audiences 40%
Authors of the study link the appeal of video to declining costs of production, the popularity of short-form content across social media platforms, and video’s effectiveness in engaging audiences.
Although only 43% of respondents listed newsletters as a top priority in 2022, 64% of respondents indicated plans to either start producing newsletters, or increase the number of newsletters they offer. This reflects the focus on turning general web traffic into subscribers.
The most important platforms for publishers in 2022 are:
Instagram 83%
Facebook 37%
Twitter 23%
TikTok 20%
LinkedIn 13%
YouTube 3%
The surge of publishers’ interest in Instagram also points to their desire to expand their audience in the 18-24 range, as they look to the future. Pew Research Center data indicates that 76% of 18–24-year-olds use Instagram, and it remains among the most downloaded apps. Another draw is that Instagram is less publisher-saturated than Facebook.
Why the lukewarm interest in TikTok if younger audiences are so crucial? Survey authors attribute this to the relative newness of the platform. They found that publishers have not had time to refine their strategy to generate traffic via TikTok. Also, fewer young people use TikTok for news content than Instagram, which makes the platform less of a priority for news organizations.
A big change between the 2021 and 2022 survey results was declining interest in YouTube. In 2021, 52% of respondents believed YouTube to be of increased importance. However, in 2022 that percentage fell to just 3%. This would seem to contradict publisher’s strong stated interest in video this year. However, authors suggest that the drop may be due to publishers tailoring video content towards Instagram and other platforms which require formats and dimensions that don’t transfer easily to YouTube. Those interested in producing longer, larger format videos may be using third party vendors or in-house production, bypassing YouTube.
While Instagram is attracting a surge of attention from publishers in 2022, due in part to being less saturated with publisher content than Facebook, Facebook remains a mainstay platform for publishers. In 2021, 40% of publishers surveyed by Echobox stated that “staying ahead of Facebook algorithm changes” was a priority. This points to publishers’ awareness of the continued importance of Facebook referral traffic.
The growing Importance of AI
74% consider AI important or very important in 2022
67% believe AI will be more significant to their organization in 2022 than in 2021
Use and implementation of AI is increasing in emerging markets, not just large-scale publishers
Emerging markets are focusing AI efforts on automation of paywalls and subscriptions
In the 2021 survey, 1 in 3 companies cited lack of time as a major concern. The potential for AI to alleviate pressure and free up time can help publishers focus on a top priority cited in 2022 survey results: creating quality content.