The Business of Content with Simon Owens

Sign up at https://cex.events/ and use coupon code "Simon" David Kushner had the kind of mainstream success that most writers dream of. His writing regularly appeared in glossy print magazines like Wired and Rolling Stone. Several of his books became national bestsellers. And his work has even been adapted into multiple TV shows and movies. But in 2021, David decided to bypass legacy media entirely and start publishing his work to a Substack newsletter. What drove him to do this? In our discussion, David explained how the changing norms over IP rights and his own desire to experiment with serialized storytelling motivated him to make the move.

Sign up at https://cex.events/ and use coupon code "Simon" When Patrick Trousdale launched his newsletter The Daily Upside in 2019, he didn't have much of a personal brand to build from. In fact, even today, his personal Twitter account has fewer than 300 followers. What he did have was several years of experience in finance and the willingness to grind out the newsletter each day, even when it didn't have much of a following. That kind of persistence netted him his first few hundred followers, and it also helped him get his foot in the door so he could pitch The Motley Fool, a popular finance website, on a content partnership. That partnership paid off in a big way, and The Daily Upside quickly grew by tens of thousands of signups. Today, the newsletter has over 300,000 subscribers and has sold out its ad inventory for months in advance. In our interview, Patrick walked me through his initial launch strategy, his business model, and how he convinced editors at The Motley Fool to take a chance on a partnership with an unknown entity.

Sign up at https://cex.events/ and use coupon code "Simon" When Adam White graduated from the University of Miami in 2017, he had every intention of getting a job in sports administration. In fact, he went through several rounds of interviews at a major organization and was sure he'd get an offer. But the job never actually materialized, and instead of applying to more open positions, Adam decided to double down on Front Office Sports, a website he had founded during his freshman year in college. For the next year or so, he worked part-time jobs while also spending his mornings, nights, and weekends interviewing top executives at the largest sports franchises all around the world. His bet paid off in a big way. Not only did he manage to secure angel investment, but the site also started to attract major sponsors. Today, Front Office Sports is a powerhouse in the B2B sports media space, and it's using its momentum to expand into new verticals. In my interview with Adam, he explained to me what sparked his initial idea, how he became a better interviewer, and why he'd rather embrace slow growth than accept large VC investment.

Get your tickets at https://cex.events/ and use coupon code "Simon" Pat Walls's most successful startup to date was born in the wake of a previous failed startup. Back in 2016 he and a couple other co-founders had been operating a B2B SaaS platform, but after it struggled to gain traction, they were forced to shut it down. But Pat never lost the entrepreneurship itch, and in 2017 he started interviewing other startup founders on the phone and converting those interviews into case studies for a website called Starter Story. After a few of those case studies blew up on Reddit, Pat knew he was onto something, so he started publishing them with more frequency. Flash forward a few years, and Starter Story now attracts over a million visitors a month, many from Google Searches. It also generates half a million dollars in annual revenue through a mixture of advertising, membership, and affiliate marketing.

Sign up for my course: http://contentbusiness.org/ When it comes to coverage of the tech sector, few publications can match the journalistic heft of The Information. Launched by former Wall Street Journal reporter Jessica Lessin in 2013, The Information quickly became an industry powerhouse, attracting some of the world's best journalists who broke many of the biggest scoops over the past decade. If there's a major story in tech, chances are that an Information reporter is chasing it. So it wasn't exactly a surprise when, in January 2021, the publication put out a job ad for a Creator Economy reporter. With an estimated $100 billion in annual revenue, the Creator Economy has not only launched the careers for thousands of creators, but it's also become the core focus for many of the world's largest tech platforms. Venture capitalists are now pouring billions of dollars into Creator Economy startups, and creators themselves are upending entire industries that include beauty, commerce, health, and entertainment. In April 2021, The Information announced that it had hired Kaya Yurieff, a former CNN tech reporter, to helm its Creator Economy coverage, and she's since launched a daily newsletter that, in addition to publishing regular feature stories, also rounds up deals, trends, and product launches. Given the relative newness of the Creator Economy beat, I wanted to get a better idea of how Yurieff shapes her coverage. In a recent interview, she walked me through her weekly routine for news gathering, her methods for assessing startup founders' claims, and where she thinks the industry is heading in the near future.

After graduating from Harvard Law School in the early 2000s, Maria Brito was poised to have a successful career as a corporate lawyer. There was just one catch: she hated practicing corporate law. Instead, her true passion was art. Throughout the early 2000s she started visiting New York galleries and even started to recommend pieces for purchase to her friends. Eventually, it dawned on her that high net worth individuals would pay her for the recommendations that she was giving out for free. In 2009, Maria quit her law firm job and launched a new career as an art buying consultant. She also invested a significant portion of her time into creating online content, first with a blog and then later on social media. She eventually grew her audience to over 200,000 followers across Instagram, Facebook, Twitter, and email, and she's leveraged this audience to sign book deals, run brand sponsorship campaigns, and bring in dozens of wealthy clients that include Gwyneth Paltrow and Sean "Diddy" Combs. In a recent interview, she explained to me her content creation process, her philosophy on Instagram sponsorship deals, and why so many high net worth individuals trust her to buy art for their collections, often after seeing only a static iPhone photo of the piece she's recommending for purchase.

As a CBS reporter in Los Angeles, Erica Mandy had a thriving career ahead of her in TV news. But in 2017 she quit her job and launched her own daily news podcast. It's called The Newsworthy, and every morning it gives listeners a 12-minute rundown of the most important headlines. It also delivers weekend longform interviews with newsmakers. After four years in operation, it now generates over 800,000 downloads per month and has a growing team. I spoke to Erica about why she made the jump from TV to podcasts, how she found her audience, and whether the daily news podcast space is becoming saturated.

The Guardian recently announced it reached 1 million paying digital subscribers. What's most incredible about the accomplishment is that the newspaper reached that number without using a paywall. Does that mean that paywalls are overrated? I sat down with Ben Cohen, editor of The Banter, to discuss whether publishers should keep all their content free.

In 2014, Owen Walker faced a predicament. He was a sports scientist at a professional football club, and his manager asked him if they should buy expensive wearable technology that would help with the team's training. Walker turned to the internet to research whether this kind of technology was effective, but he found there wasn't much good sports science information online. That realization eventually led to the launch of Science for Sport, one of the leading information hubs that translates peer-reviewed sports science for a lay audience. The outlet has been embraced as a resource by pro and college teams, and Owen recently sold it to one of the world's largest sports technology companies. In our interview, Owen walked me through how he built the site's audience, his monetization strategies, and why he never focused on building his own personal brand.

Over the past few years, dozens of star journalists at mainstream media outlets announced that they were quitting their jobs to launch their own ventures, usually on platforms like Substack. As a result, some have drastically increased their income, sometimes into the seven figures. As more and more writers defected, I and others wondered how legacy media outlets would respond. Would they adapt their business models so that their writers could capture more of the value that they generate? Last week, The Atlantic announced that it's partnering with about a dozen writers to author standalone newsletters for the magazine. Though the partnership details are somewhat vague, they could provide a framework for how media outlets will compete with platforms like Substack moving forward. To discuss these moves, I sat down with communications consultant Jonathan Rick. We dove into The Atlantic's newsletter strategy and discussed whether it's effective enough to lure independent journalists back into the warm embrace of legacy media.

For the past decade, publishers have utilized metered paywalls to grow their subscription businesses. Under that model, a reader gets to view a certain number of free articles before a paywall pops up and requires them to subscribe. But how many free articles should a user encounter before they hit a paywall? Increasingly, the answer to that question is: It depends. Publishers are starting to roll out dynamic paywalls that assign varying weights to different kinds of stories. If you're reading a business article, for instance, you may only get to read three free articles before hitting a paywall, but if you're perusing real estate listings you might get unlimited free access. The Globe and Mail has taken the idea of the dynamic paywall to the next level: it's developed a sophisticated AI that's able to analyze user behavior and determine the exact moment that a reader is most likely to subscribe. The AI is so powerful that the newspaper's editors now allow it to automate the placement of stories on its homepage and social media. I recently sat down with Gordon Edall, the person who runs the product team that developed the AI. We talked about how the paywall was initially designed, his experience recruiting data scientists, and why the Globe and Mail is licensing its AI product to other publishers.

Over the past several weeks, Spotify made several major announcements in the podcast space. It opened up its advertising ecosystem to anyone who hosts their podcasts on Anchor. It launched the ability for podcast hosts to create video versions of its podcasts. And it reported two major milestones on its quarterly earnings call: that it grew its podcast advertising revenue by 100% over the last year and that it surpassed Apple as the #1 podcast player in the U.S. What do all these announcements mean for the podcast industry? To figure it out, I invited on Jaclyn Schiff, CEO of a company called Podreacher. We discussed whether Spotify is a threat to the open podcast ecosystem and if it can become the YouTube of podcasting.

Google has a long and complicated relationship with news publishers. On the one hand, it sends billions of visitors to their websites every year through its main search engine, Google News, and other products. On the other hand, some publishers believe that the Mountain View company has siphoned away ad revenue on the back of their content. Amy Adams Harding, Google's director of analytics and revenue optimization for news and publishing, believes the search giant has the potential to provide a net benefit to publishers. Over the past several years, her team has developed a suite of tools aimed at helping media outlets to optimize their content so it reaches a bigger audience and drives more revenue. In our interview, Amy walked me through these tools and explained how they work. She also talked about why publishers need to adopt many of the strategies that ecommerce platforms developed over a decade ago.

Snigdha Sur's first idea for a media startup was a kind of Netflix-for-Bollywood streaming service, but when she spoke to investors about the idea, they all pointed out that it would be too easy for Netflix to simply copy her strategy. Though she quickly scrapped that idea, she still wanted to launch some sort of outlet that would service South Asian Americans, a group that she felt was underrepresented in mainstream media. This led to the launch of a free weekly newsletter that amassed several hundred readers. That free newsletter eventually evolved into The Juggernaut, a subscription-funded publisher that has a dedicated and growing fan base. I interviewed Snigdha about how she convinced YCombinator to let in a media startup, why she launched a hard paywall, and whether she'll ever introduce advertising into her revenue mix.

Most subscription strategies have a pretty straightforward value exchange: in exchange for a monthly payment, the subscriber gains access to premium content that's locked behind some kind of paywall. But what if you want to keep all your best content in front of the paywall? What could you still offer to your audience to make a monthly subscription payment worth the price of admission? Thousands of content creators have turned to platforms like Subtext, a tool that allows them to exchange text messages with their fans. Creators can either send mass texts out to their entire audience or get into individual conversations with subscribers. I've tried out the tool myself, and it's truly innovative. For this episode, I spoke to Subtext CEO Mike Donoghue. We talked about how his team developed the application and the different ways creators use it to generate revenue.

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Most major media companies are focused on scale. They want to reach ever larger audiences and then leverage that reach to drive more revenue. To accomplish this, they invest time and resources to create content across all major social platforms, from YouTube to TikTok to Snapchat. The Art of Manliness isn't that kind of media company. Let me give you an example of what I mean: it managed to build its YouTube channel to 1.2 million subscribers, an impressive feat, only to mostly abandon the channel several years ago. In a 2017 video, founder Brett McKay explained that there were other projects he'd rather devote his time to -- projects like writing a book, lifting weights, and producing his podcast. According to Jeremy Anderberg, the Art of Manliness's managing editor and one of only three full time employees, this kind of narrow focus is part of the company's ethos. It purposefully didn't try to scale like the BuzzFeeds and Vox Medias of the world. Instead, its team devotes nearly all of its energy into writing articles and producing a podcast, the latter of which has an incredibly loyal audience. That audience is so loyal that thousands have signed up for a 12-week bootcamp the company runs for "those who wish to revolt against our age of ease, comfort, and existential weightlessness." Anderberg spoke to me about how The Art of Manliness built its audience, why it launched its bootcamp, and what it's like to work for a media company that purposefully stays small.

In the spirit of Mental Floss's 20th anniversary, let me give you a few pieces of trivia about the magazine. It made a cameo in two episodes of Friends and an episode of Netflix's The OA. It started as a print magazine but discontinued its print edition in 2016. In addition to its web content, it produces several popular video series on YouTube. And in 2018, it was acquired by Minute Media, a conglomerate that mostly consists of sports media sites. Suffice it to say, the Mental Floss of 2020 looks a lot different than when it was a magazine published out of the dorm room of two Duke University students. I recently sat down with its editor in chief Erin McCarthy to talk about its post-print strategy and why a sports media company was interested in a publisher that specializes in history trivia.

By the time Richard Rushfield launched his newsletter The Ankler in 2017, he had held journalism jobs at several major media companies that included The Los Angeles Times, BuzzFeed, and Gawker. But because he served as a behind-the-scenes editor in most of these roles, he didn't have much of a personal brand to speak of, which meant he needed to build a newsletter readership from the ground up. Despite these headwinds, Richard managed to replace his full-time salary within about two years, and The Ankler is now a must-read for virtually every Hollywood studio executive. In our interview, he explained how he built his audience and why he prefers his life as an independent writer much more than his past career as a traditional journalist.

If you're in the media, then you're probably aware of The Daily, the massively successful podcast produced by The New York Times. It now receives over 4 million downloads a day and generates eight figures in revenue for the newspaper. But is it possible to replicate The Daily's success without the institutional support? That's the question Jamie East set out to answer. A year ago, he and a few colleagues launched The Smart 7, a 7-minute podcast that's published each weekday at 7 a.m. Its relatively simple format and consistency made it easy for listeners to build it into their daily habits, and within its first year it hit five million downloads. I recently interviewed Jamie about why he struck off into indie podcasting when he already had a successful career in traditional broadcasting, and he explained how he plans to build an entire network of niche daily podcasts.

If you look at the Apple and Spotify podcast charts that track the most downloaded shows every week, you'll notice that many of the most popular podcasts belong to large networks. Organizations like Gimlet Media, Wondery, and NPR are able to pool their resources to promote their content, and this gives their shows a distinct advantage over independent podcasts, even those of similar quality. That's why some indie podcasters have formed collectives. These entities provide many of the same benefits of a network while still allowing for the podcaster to own their intellectual property. To get a better perspective how these collectives work, I interviewed Amanda McLoughlin, the founder of a collective called Multitude. In our interview, Amanda explained her process for recruiting shows to join Multitude, the collective's business model, and why podcasters shouldn't be timid about asking their audience for financial support.

David Harper wrote hundreds of thousands of words over a five-year period without making a single penny from his comic book criticism. In 2009, he and a couple friends launched Multiversity Comics, a fan website that went on to be nominated for an Eisner Award, which is basically the comic book equivalent of an Oscar. In 2015, David struck off on his own, launching an incredibly popular podcast and website. As his audience grew, he began to think about ways he could monetize it, and he eventually rolled out a paid subscription model. In my interview with David, we talked about the origin of his comic book fandom, where he found his audience, and how he designed his subscription offering.

Every morning, tens of thousands of people who live in cities like Miami, Portland, and Pittsburg receive a conversational email that updates them on the latest news within their city. These newsletters don't often contain any original reporting, but they've been embraced by their local communities because they're so effective at distilling dozens of newspaper articles, social media posts, and government announcements into an easy-to-read digest. These newsletters are owned and operated by a company WhereBy.US. Launched in 2014, the company built out a scalable model that includes newsletters, self-service ads, and paid memberships. I recently interviewed its founder Christopher Sopher about how he built the company, its role within local journalism, and why he decided to spin off a SaaS publishing product that he sells to other media entrepreneurs.

Daniel Orubo had no intention of becoming a media personality when he graduated with an engineering degree in 2013, but his funny tweets just happened to catch the eye of a Nigerian publishing executive who planned to launch a BuzzFeed-like website called Zikoko. Daniel started out as a senior writer, crafting humorous listicles like the "12 characteristics of Nigerian mothers," but over the next half decade he helped transform Zikoko into a cultural force that's willing to discuss hot-button issues around sexuality -- the kind of issues that are typically considered taboo in conservative Nigeria. Daniel is now the editor-in-chief of Zikoko, and we recently sat down to discuss how the website found its audience and why it expanded beyond funny memes so it could tackle controversial topics.

These days, nearly every digital publisher utilizes some kind of reader revenue strategy, but when Jessica Lessin quit her Wall Street Journal job and launched The Information in 2013, it was still a novel concept. At that time, the paywalls that existed were usually metered, but Jessica was among the first to place her website's entire library of content behind a hard paywall. If you wanted to access to any of its articles, you needed to fork over up to $400 a year for the privilege. In our interview, I asked Jessica about why she chose that model, how her journalists compete with much larger publishers for scoops, and what marketing strategies drive the most paid conversions.

https://simonowens.substack.com/ I just passed my one-year anniversary of launching my paid newsletter, so I decided to dive into some of the biggest lessons I learned during that time.

If you review Kevin Jones's resume on LinkedIn, it's easy to see why he ended up founding a sports podcast network. He's worked in virtually every sector of the sports media industry, from creating content for pro football teams to reporting for traditional radio stations to writing for sports news sites. He also launched Striking Gold, a 49ers-focused podcast that eventually accrued several thousand listeners. But Kevin wasn't content with simply being a podcast personality. Back in 2018, he began to notice that there were a lot of people like him -- podcasters with extremely passionate fan bases but no way to convert that fandom into actual revenue. So he began pitching them one by one on joining Blue Wire Podcasts, a network that would help them produce their shows and sell advertising in exchange for a cut of the revenue. Flash forward two years, and Blue Wire has since taken on several million dollars in investment, is now producing narrative documentary podcasts, and recently signed a huge deal with one of Las Vegas' biggest hotels. I recently sat down with Kevin to discuss how he convinced podcasters to join his network, his approach to working with talent, and why he's doubling down on longform narrative series.

Over the past year, thousands of journalists have announced the launch of their paid newsletters, which are often hosted on platforms like Substack. Writers with already-existing large audiences have seen immense success with this strategy, pulling in six figures incomes within weeks of debuting their new newsletters. But the vast majority of writers don't have huge Twitter followings to promote their newsletters to. For them, growing a sustainable media business can take years of work, and many don't have enough savings in the bank to hold out for that long. That's why we're seeing a new trend in which writers team up to launch bundled subscriptions. This approach allows writers to cross pollinate their audience growth and ramp up content production to make a subscription much more worthwhile. Publications that include Defector, the Discourse Blog, Brickhouse, and Every have seen tremendous success with this model. To understand how these writer cooperatives work, I spoke to Mark Stenberg. Stenberg runs his own Substack newsletter and has spent the last few months reporting on the creator economy for Business Insider. He recently moved over to Adweek to cover the media beat.

The last 15 years have not been kind to the local news industry, with thousands of newspapers either reducing staff or closing down entirely. But not all newspapers have been affected equally, and some of the hardest hit chains were owned by hedge funds and private equity firms that had no actual interest in investing in journalism. Family-owned newspapers seemed to have fared better, and that seems to be the case for Forum Communications, a chain of newspapers and other media outlets situated in the midwest. A few years ago, the company's newspapers rolled out a digital subscription model, and so far it seems to be performing above expectations. I recently interviewed Stephanie Schroeder, Forum's Chief Digital Marketing Officer, about the gargantuan amount of work that went into this pivot and what strategies resulted in the most success.

According to some estimates, corporations across the world spend upwards of $42 billion a year on content marketing, and they do so with the philosophy that by acting like media companies, they can engender trust with potential customers and drive sales. One of the people who helped sell the corporate world on this marketing philosophy is Joe Pulizzi. In 2007, Joe founded the Content Marketing Institute, and through its constellation of articles, videos, courses, and conferences, it convinced thousands of executives that the frictionless distribution of the internet allowed virtually everyone to become a media company. I recently interviewed Joe about his journey. We discussed whether freelance journalists should take on content marketing gigs, which companies have been particularly good at content marketing, and whether we're currently in a content bubble.

Like a lot of people on the political Left, Geoff Sharpe grew frustrated by how successful conservatives were on Facebook. For years, he watched as right leaning conservative groups built huge Facebook followings, which allowed them to promote their highly partisan views to millions of Canadian citizens. So Geoff and his colleagues decided to do something about it. They initially launched their own left-leaning Facebook page, growing it to hundreds of thousands of followers. But they then wanted to pivot to something even more ambitious: a standalone website that published original content from leading progressive voices. To do this, they launched a crowdfunding campaign, and over the last year they've rolled out a membership offering that helps generate recurring revenue. I interviewed Geoff about why the political Right does so well on Facebook, how he designed the membership program, and what impact his site has had on Canadian politics.

There's a common misperception that many non-lawyers have about how legal contracts are written. Most people probably assume that a lawyer writes each contract from scratch, but in reality the lawyer is most likely copy and pasting clauses and sections from already-existing contracts and modifying them for their particular client. One of the resources lawyers often turn to for this is Law Insider. Founded in 2010, Law Insider indexes the millions of contracts that have been uploaded to the SEC website by publicly traded companies. It generates over 4 million monthly pageviews and has over 250,000 registered users, about 5,000 of which pay $30 a month to access its archives. I recently interviewed the site's co-founder Preston Clark about how he and his partner came up with the idea, what they did to build up its massive audience, and why they're expanding into a full-fledged media company that produces everything from articles to YouTube videos.

Over the past year, dozens of writers have left their mainstream media jobs to launch their own standalone newsletters and publications. In almost every case, the writer monetized his content through paid subscriptions, usually with a tool like Substack. Rick Ellis never bothered with paid subscriptions. Instead, his website AllYourScreens.com generates so much traffic each month that he's able to make a good living mostly through programmatic advertising. Ellis has been operating AllYourScreens.com off and on since the early 2000s, but a few years ago he decided to abandon traditional media completely to focus on the site full-time. I recently interviewed him about how he found his audience, what his weekly writing schedule looks like, and why he has no interest in building out a paid subscription business.

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Max Rofagha didn't have a background in media prior to launching Finimize. He also didn't have a background in finance for that matter. It was while conducting research on how to manage his own investments that he saw an opportunity for a daily newsletter aimed at helping millennials become more literate in finance. Flash forward four years and Finimize now has over 1 million subscribers, a staff of financial analysts, and a worldwide community of young professionals who often meet up for in-person events. I recently interviewed Max about his early audience development strategy, how his subscribers organize their own in-person events, and why he decided to launch a subscription-funded mobile app.

Per Grankvist had the kind of media career most journalists only dream of. He was a high-profile columnist for a leading newspaper and a regular face on one of Sweden's top broadcast networks. But over time he grew disillusioned with mainstream media and its tendency to dumb down coverage of complicated policy issues. So Per quit his traditional media jobs and launched his own outlet. It started with just an Instagram account that explained thorny election issues, but from there it blossomed into an entire media outlet that spanned across social media, podcasts, and newsletters. I recently interviewed Per about how he built the company, his approach to monetization, and whether he misses working for mainstream media publications.

Peruse a newsstand full of men's magazines and you'll probably notice a few common themes. The cover either features a bikini model or a suit-clad male celebrity. Inside, you'll find stories meant to appeal to what many in the mid-20th century would have considered the "ideal" man -- articles about scotch, cigars, and custom suits. You won't find many of those kinds of features in MEL Magazine, a digital-only publication that launched in 2015. Owned and operated by Dollar Shave Club, MEL aims its content at the under-40, educated, likely-urban male...a man less inclined to traditional gender roles who is much more in touch with his feelings and spends an inordinate amount of time on the internet. I recently interviewed editor-in-chief Josh Schollmeyer about how he came to define this 21st century male, where his staff sources its article ideas, and how Dollar Shave Club will profit from its investment in the magazine.

Lon Seidman didn't launch on YouTube with the goal of becoming a top gadget reviewer. In fact, he stumbled upon that aspect of his career while struggling to run a video local news startup in Connecticut. Almost on a whim, he recorded a video review about one of the cameras he bought for his startup, and to his surprise, the video blew up. Flash forward a decade, and Lon now has tens of millions of views across YouTube and Amazon. He managed to carve out a niche among a crowded field of gadget reviewers, and he's now making a pretty good living through a mixture of YouTube advertising, affiliate sales, and Patreon subscriptions. We walked through how he accomplished all this in our interview.

If you had to make a list of technologies that are most important to the average person's day-to-day life, data centers would sit near the top of that list, and yet chances are you know very little about them. There are a few reasons for this. For one, they're not sexy in the way that an iPhone or a cutting-edge drone is sexy. But also the people and companies who run data centers are fairly secretive, mostly to protect their machines from any sort of attack. This combination of secrecy and obscurity has made Rich Miller's expertise very lucrative. He's spent the last two decades covering data center tech for various news outlets he's owned. His current site, Data Center Frontier, is a must-read for anyone working in the $60 billion+ industry. I interviewed Rich about how he accidentally fell into the beat, why he sold his first data center site, and what made him want to start a brand new one from scratch.

Back in late 2019, nearly all the writers for the beloved sports site Deadspin resigned en masse after butting heads with the private equity executives who owned the website. After they left, there was lots of speculation about where those writers would turn up. Would they simply get new jobs, or would they band together to create their own site? And then in July 2020 we got our answer: they launched Defector, an employee-owned publication that would be monetized mostly through paid subscriptions. To build the site, they turned to a guy named Austin Smith. Austin is the founder of an agency called Alley Interactive, and over the past decade he's helped build and maintain the websites of many of the most well-known news publishers in the world. I sat down and interviewed Austin about his career in media, what goes into building a good publishing platform, and why he's recently begun working with news startups like Defector to help them get off the ground.

Abby Glassenberg runs a trade association called the Craft Industry Alliance. It has over 1,600 paying members who work in the arts and crafts industry. It hosts conferences, schedules networking events, publishes industry news, and provides ongoing education. Pretty much the kind of services that most trade associations offer. But unlike most trade associations, this one grew out of a one-person blog. Abby started it as a hobby, but it soon amassed a large audience, which then led to a book deal, a thriving Etsy store, and a popular podcast. I recently interviewed Abby about why she went the trade association route and how she's growing its revenue by 20% a month.

In just about every article about TikTok, it's portrayed as a video repository created by and for teens. Indeed, nearly every single one of its top-earning creators are under the age of 20, and polls have found that it ranks second only to Snapchat as U.S. teens' favorite social media app. Zarna Garg is an exception to the rule in multiple ways. For one, she's a 45-year-old mom who barely even knew TikTok existed a year ago. And while most top users traffic in dance videos, lip syncs, and comedy sketches, Zarna's specialty is standup comedy. Many of her jokes aim to capture the South Asian immigrant experience, and she says she's carved out a niche explored by very few comedians, both inside the U.S. and in India. I interviewed Zarna about how she cracked the TikTok algorithm, what impact her success has had on her comedy career, and how she's leveraging that success to try to break into Hollywood.

If you traveled back in time 100 years and perused your average newsstand, you'd find dozens of magazines that published serialized fiction. Millions of subscribers eagerly awaited new installments from their favorite authors, and a serialized story in a high circulation magazine could launch a new writer's career. But by the turn of the century, serialized fiction was all but gone. Or at least it was in written and audio form. TV shows, on the other hand, began to adopt complex, serialized narratives, and by 2015 these kinds of shows were dominating both online and offline discussion. That's the same year a new app called Serial Box launched. Serial Box operates a lot like a TV studio. Its stories are delivered in weekly installments. Each series is written by a collaborative writers room. The most successful series will often continue for multiple seasons. There's only one major difference: instead of producing TV shows, Serial Box publishes text and audio stories that could be read or listened to in the same way you consume a novel. I recently interviewed co-founder Molly Barton about Serial Box's origin story, how the company produces new series, and why she's pursuing adaptations outside of the Serial Box app.

Polina Marinova had the kind of media career that many journalists dream of. After a brief stint at a media startup, she landed a job at Fortune Magazine and eventually got the role of head writer for Term Sheet, its daily newsletter on deals and dealmakers. After six years there, her resume and profile probably could have gotten her any mainstream media job she wanted. But instead, she left that steady job in March -- in the beginning of a massive recession -- to focus on her Substack newsletter full-time. The newsletter is called The Profile, and though she was running it as a side hustle while working at Fortune, she didn't debut the paid version until after she left. I recently interviewed Polina about why she decided to make the jump during such uncertain economic times, how she differentiates the free from the paid content, and her strategy for growing the newsletter's audience these past six months.

My newsletter: https://simonowens.substack.com/ So the format to this podcast is pretty straightforward and consistent. I bring on a media entrepreneur or executive and interview them about their craft. But I'm also sort of a media entrepreneur myself, in that six months ago I launched a paid Substack newsletter that I hope to grow into a full-time job. Growth has been slow but steady, and over the six-month period I've experimented with a number of strategies to boost signups. Some worked, others didn't. I've still got a ways to go before it's completely replaced my consulting income, but I think I've made enough progress that it's worth pausing and looking back at some of the lessons I've learned along the way. So strap yourself in, because we're about to dive deep on my paid newsletter strategy.

With the journalism industry in freefall, there's a good chance that your local newspaper is experimenting with some kind of digital subscription offering. In many cases, this involves some kind of metered paywall where you're expected to start paying after consuming a pre-determined number of articles. Hundreds of newspapers have installed paywalls like this, but they've seen mixed results, with many reporting disappointing revenue numbers. But is content the only thing an audience will pay for? That's a question Doug Lesmerises, a Cleveland.com sports columnist, sought to answer. A few years ago he co-founded a popular sports podcast but had a difficult time attracting advertisers. Then some executives from his newspaper's parent company approached him with a new product called Subtext. It provides a simple way to allow paying subscribers to exchange text messages with Doug and other hosts. The service was a surprise hit, and Doug now uses the app to crowdsource questions for the podcast and send his paying subscribers quick-hit analysis when Ohio sports news breaks. I interviewed Doug about how he incorporated texting into his show and what other local journalism outfits can learn from his success.

When Naoise McNally and her business partner launched One Fab Day, neither of them had any experience working for a media company. Naoise didn't even have much knowledge of the wedding industry outside of planning her own wedding. But the lack of wedding-focused internet resources in Ireland presented a clear market opportunity, so they went for it. Flash forward several years, and the site now has a full time staff and an interesting business model. Instead of relying on traditional advertising, it charges wedding vendors to be listed in an index it curates for readers. I recently interviewed Naoise about One Fab Day's founding, how she settled on a business model, and what she hopes the site can accomplish now that it's owned by a major media company.

Quick question: how big do you think the global freight industry is? If your guess is in the billions, then you're aiming too low. According to some estimates, global logistics generate somewhere in the range of $8 and $12 trillion annually. For Craig Fuller, that number represents a massive opportunity. His company Freight Waves covers this industry across text, video, and podcasts. But Freight Waves is a lot more than just a trade publication; it also delivers data and intelligence. In fact, it's much more analogous to a Bloomberg LP, which in addition to its massive media business also generates billions of dollars a year from its expensive Bloomberg terminals. I interviewed Craig about how he built his expertise in freight, where the company sources its data, and why it recently took on venture capital investment.

When Terrell Johnson launched on Substack, he had no intention of rolling out a paid newsletter. He was just trying to escape Mailchimp's expensive fees and liked that Substack would send his newsletter for free. About a decade earlier, Terrell had created HalfMarathons.net, a running focused website that grew so popular that at one point it was generating six figures in revenue just from Google Adsense. His free newsletter served mostly as a form of marketing for the website, but he eventually began to wonder if his most engaged readers would be willing to pay for it. So he flipped on Substack's payment features, and while it wasn't an overnight success, he's gradually grown it into an impressive community of paid subscribers. I interviewed Terrell about where he got the idea for HalfMarathons.net, how he built up an audience, and why he eventually grew to distrust Google as his primary traffic driver.

Josh Spector was blogging before most people even knew what a blog was. Over the span of a decade, he started and abandoned several of them, often before they had a chance to amass much of an audience. But in 2011 he got more serious about audience growth for a blog he ran that focused on teaching standup comedians how to market themselves, and to help drive traffic to it he launched a newsletter. Pretty quickly, he grew addicted to the newsletter medium, and a few years later he merged a couple of newsletters he was running into a single list and renamed it For the Interested. Since 2016, he's been sending out new issues each week featuring ideas to help creators to produce, promote, and profit from their creations. For the Interested now has over 25,000 subscribers, and Josh recently launched a paid spinoff newsletter. I recently interviewed Josh about how he grew his audience, the role his newsletter plays in his consulting business, and why he thinks so many writers are approaching paid newsletters the wrong way.