“We’re built on top of a foundation that we feel pretty good about,” PRX CEO Kerri Hoffman said. “I’m excited that we’ll never start from zero again.”
We were discussing Radiotopia’s 2016 fall fundraising campaign, which kicked off on October 13 and ends later this week, and Hoffman was telling me how she’s significantly less stressed out this year. Last fall marked the first time the organization switched away from a seasonal Kickstarter strategy to a recurring donor model, an approach whose internal logic bears more than a passing resemblance to public radio’s pledge drive system. The bulk of last year’s work, she explained, involved building out basic fundraising infrastructure: pulling together email lists, developing the beats of their marketing push, testing out the messaging, and so on. A lot of those fundamentals remain in place this year, and they merely had to build upon them.
Accordingly, PRX’s focus is a little different this year: while last November’s campaign had the more precarious goal of building out its donor base for the first time, this year’s drive has the more modest goal of merely expanding that base. Last November’s drive successfully drew support from over 19,500 people, and a blog post PRX published at the time noted that 82% of those folks signed on as recurring donors at different contribution levels, which would place the recurring donor number at around 15,990 people. The campaign’s CommitChange page for this cycle indicates that 12,647 recurring donors from that initial drive have stayed on, illustrating a bit of a drop-off in the intervening 12 months. Donors in good standing were gifted a free challenge coin, and their recurring contributions are set to continue unless they decide to adjust their levels. Existing donors were also invited to make additional one-time donations. This year’s campaign is also a little shorter than the previous year’s, taking place across 20 days compared to 2015’s 30 days.
That said, this campaign has had its challenges. Hoffman tells me that, interestingly enough, this year’s bonkers election cycle has made messaging and marketing a little more difficult, given the oxygen it has sucked up over social media. “We’ve definitely had to work a little harder to keep the momentum going,” she said. “Everyone’s distracted.” And early on, a slight timing hiccup led to the campaign missing its first challenge grant — in which a sponsor pledges a particular amount if certain goals are met — by a little bit.
But even with those bumps, the campaign appears to be going strong, clocking in just over 3,200 new supporters by Monday evening. What’s interesting to me here, though, is the way in which the campaign goal of expanding its recurring donor base — which is a game of attrition, really — lends to a relatively unsexy marketing narrative. It’s one thing to announce the recruitment of over 15,000 supporters and have that be the core of a triumphant story, but it’s another thing altogether to try and drive a narrative about adding on 3,000 more supporters, and one wonders whether this narrative issue will pose a structural problem for Radiotopia’s ability to create a sense of urgency for future fundraising and donor recruitment efforts.
This predicament, I think, is an interesting microcosm of where we are in the larger narrative arc of this second coming of podcasts: the phase of the excitement of the new is coming to a close, and we march steadily on into the more mundane work of adolescence.
In related news: Radiotopia also welcomed a new podcast to the family this week: The Bugle, the popular satire podcast launched back in October 2007 by Andy Zaltzman and John Oliver (who you may know as the host of HBO’s Last Week Tonight). Oliver will no longer host the show, for obvious “there is not enough time in the world”-related reasons, and Zaltzman, who is staying on, will be supplemented with a rotating crew of guests.
The Bugle is Radiotopia’s second addition in recent weeks. In late September, the collective announced its recruitment of the West Wing Weekly, which is co-hosted by Hrishikesh Hirway, who is already part of the Radiotopia family with Song Exploder. The Bugle and West Wing Weekly are noticeable departures away from Radiotopia’s usual aesthetic that tends to favor narrative storytelling. The former can be categorized as a straightforward comedy podcast while the latter is a pretty extensive TV club podcast. This departure appears to be strategic. In the related press release, executive producer Julie Shapiro noted: “These shows help us expand into new areas of entertainment, political news and satire, which will ultimately build on the existing Radiotopia brand and bring new audiences to all shows within the network.”
The Bugle is Radiotopia’s sixteenth show.
Election Podcasts enter the homestretch. Let’s quickly check in on their game plans:
Starting today (October 25), the NPR Politics Podcast will publish new episodes every day until the election. The podcast also hit a milestone recently; according to a recent press release (which we’ll get back to in a bit), the show enjoyed 1,118,000 downloads during the first week of October and. It had averaged about 450,000 downloads a week over the last three months.
The FiveThirtyEight Elections podcast will also be publishing new episodes daily until the election starting today. Additionally, the show will continue past November 8 on a weekly schedule “through at least Inauguration Day.”
I’m told that there is no systematic plan to increase the output of Slate’s Trumpcast, which already publishes on a semi-daily basis. When I asked Steve Lickteig, executive producer of Slate podcasts if the show will continue past the big day, he told me: “If there is a peaceful transition of power, Trumpcast will do one or two wrap-up shows. If it gets contentious, stay tuned!” The podcast reportedly draws one million monthly downloads and considered internally to be one of the most popular podcasts in Slate’s history, according to Digiday.
The Ringer’s Keepin’ It 1600, consumed by many as therapy, will “likely” continue past November 8. It has already shifted to a twice-a-week publishing schedule.
As always, much love to all the producers of these podcasts that are putting in the extra physical, mental, and emotional energy to stay close to the news cycle. It’ll be over soon, folks. (Or will it?)
A New Lab, A Podcast Strategy? Last Wednesday, NPR announced an expansion and restructuring of its Storytelling Lab, its internal innovation incubator launched last June. Nieman Lab has the full story on the new lab, of course, you should totally check out. But at high level, you should know the following:
The lab has been renamed as “Story Lab,” and its structure has shifted from an incubator to what’s being called a “creative studio” — hey, nomenclature is important and words have meaning, folks. According to the related press release, the studio’s articulated aim is to “support innovation” across the organization, “increase collaboration” with member stations, and better identify talent.
The initiative will apparently also be “investing in training, audio workshops and meetups,” which is a pretty solid idea, given that the supply chain for talent in the space seems deeply underserved at this point in time.
The release also noted that the Lab is funding three pilots, which is cool, though the pathway to full seasons and distribution for those pilots remain to be seen.
The Story Lab announcement was followed shortly after by news of NPR’s ratings increase this season which, among other things, drew attention to the breaking of broadcast audience records by Morning Edition and All Things Considered as well as the fact that NPR One has grown by 124% year-over-year.
Cool news from the mothership, but when it comes to NPR and podcasts, I typically approach the situation with the following questions: what is the shape of its podcast strategy, how does it fit into the larger strategy, and what do these developments tell us about both of those things? From that framework, the Story Lab is clearer to me as a way for NPR to better capitalize on its ecosystem of potential talent than it is a focused strategy that says something explicit about how on-demand audio fits into NPR’s grand vision.
It may well be the case that there is a plan — or at least a theory — in place that isn’t being communicated at this point in time. “We don’t have a quota,” an NPR spokesperson said when I asked if the Story Lab had specific output benchmarks for pilot production. “We do have some internal goals about how many shows we want to pilot and launch, but we’re not ready to share those publicly.” What those are, and what they’ll be, is something we’re going to have to wait to find out.
An alternate narrative on the connected car dashboard? Two weeks ago, Uber announced an integration with Otto Radio, a commute-oriented audio and podcast curation app, that will serve riders with a talk programming playlist that’s dynamically constructed to fit their trips. PC Magazine has a pretty good description on how the experience enabled by the integration is supposed to work:
The next time you request a ride using the Uber app, a playlist of news stories and podcasts, perfectly timed for your trip’s duration, will be waiting for you in Otto Radio. Once your driver has arrived, you can sit back and enjoy your “personally curated listening experience and arrive at your destination up-to-date about the things you care about most,” the companies said.
Otto Radio is a quirky participant in the much larger fight among audio programming providers and platforms for the dashboard of the connected car — widely considered in the industry to be one of the biggest untapped frontiers — but this integration with Uber brings into the equation a potential transformation wrinkle in that dashboard struggle narrative: what does that fight mean in an environment where Uber looks to (a) contend for transportation primacy over car ownership and (b) push deeper into self-driving cars? In this rather likely version of the future, does the fight for the dashboard dissolve back into the fight for the mobile device?
Splish splash. The Times’ public editor Liz Spayd turned her attention to the organization’s nascent (or rather, re-nascent) podcast operations over the weekend, and her column contained a bunch of pretty interesting nuggets for close watchers of the Gray Lady, along with anybody working at a media organization thinking about podcasts.
Of course, do check out the column, but here are the bits that stand out to me:
“The politics podcast, called “The Run-Up,” is attracting the youngest audience of any Times product ever surveyed, and one that spends far more time on it than most readers do on stories.”
“As the team gears up, it plans to produce a range of shows, from the more conversational to serial-style narratives. It will also scope out opportunities for audio on demand: newsy, gripping sound that could be found directly on the Times website rather than in podcast form.” ←- this latter point is really, really interesting.
The Times’ next podcast, a game show featuring Freakonomics’ Stephen Dubner called “Tell Me Something I Don’t Know,” is scheduled to launch next month. Dubner, by the way, is hitting the free agent game pretty hard: Freakonomics is still chugging along at WNYC, and his short Question of the Day podcast, produced under the Earwolf label, is also publishing industriously. Dubner has some history with the Times; Freakonomics was also once a blog on NYTimes.com between 2007-2011, and Dubner was once a story editor at NYT Magazine.
For what it’s worth, I liked Spayd’s analysis a lot. There remains tremendous questions about the promise of audio for digital media and news organizations, and whether it can deliver as a revenue boon in a business environment starved for growth injections and stabilizing pillars. Two core tensions exist in these questions: whether podcasts will offer incremental growth or whether it will be a so-called “magic bullet,” and whether podcasts will be deployed as a kind of top-of-the-funnel — a recruitment tool to reach previously unharvested audiences and pull them down the marketing funnel — or as a fully-fledged outpost all on its own.
Patreon partners with podcast hosting platform Podomatic. The partnership will let Podomatic users easily set up Patreon support buttons on their user profile, according to the press release. If you’re unfamiliar with Patreon, it’s a platform that helps creators receive funding and donations directly from their supporters — or patrons, to use the synonym that makes Patreon’s etymology more obvious.
It’s a nifty service, and I’ve used it before for Hot Pod back before I decided to take the newsletter full-time. And I know it’s also pretty widely used — separate and apart from Podomatic — by a number of podcasters, like Flash Forward’s Rose Eveleth. A Patreon spokesperson told me that the platform has “about 10k podcast creators” with Patreon accounts, and that the company is actively working to draw more podcasters onto the service. It’s a decent option, I think, for shows way under the audience threshold for advertiser interest but have an ardent, engaged base that may be willing to chip in some cash monthly to sustain the show. Hey, that model works for me.
If you checked out the iTunes Podcast charts this weekend and wonder what the hell just happened, rest assured: you’re not the only one, and this certainly isn’t the first time. This is probably a good time to re-up an old column of mine that examines the quirks and oddities of the iTunes chart — how it can be gamed, how it breaks down as a reliable attributor of value, and so on.
Politico’s hallmark newsletter product, the Politico Playbook, is now available in 90-second audio format, distributed both through the Amazon Echo and as a podcast. The birthdays, alas, will not be carried over. (Politico)
“Midroll Media did ‘in the ballpark’ of $20 million in sales last year, and is on pace to bring in more than $30 million this year,” AdAge reports, using a source “with knowledge of the company.” (AdAge)
WNYC Studios will launch its next podcast, Nancy, early next year. Nancy, formerly known as Gaydio, was one of the winners of the station’s podcast accelerator initiative that took place back in September 2015. (MediaVillage)
In The Dark, APM Reports’ limited run podcast that investigates the 1989 child abduction of Jacob Wetterling in rural Minnesota, will be broadcasted on the radio as a 4-hour roundup special. The show, by the way, is amazing, and I think it’s probably the most thoughtful true crime podcast I’ve ever heard. The last episode is set to drop today. (Twitter)
The first Chicago Podcast Festival, scheduled to take place after the Third Coast Festival from Nov. 17 to 19, has posted its lineup. (Chicago Podcast Festival)
Like many media nerds, I’ve been watching Verge co-founder Joshua Topolsky’s latest venture, The Outline, with much interest, given its maybe-kinda-sorta “The New Yorker but for snake people” pitch. So consider me interested, and a little bemused, that their first public project is a podcast that discusses fan theories around HBO’s Westworld, called Out West.
Julia Barton, a veteran audio editor, has long been frustrated with the use of microphone stock photos in podcast write-ups, believing it to be a considerable reduction and misrepresentation of the culture, work, and medium. (Current)
- FWIW, I’m told that Starlee Kine is going to make an appearance at the Now Hear This festival this Saturday, doing a guest spot on the live Found show.
- James Green, co-founder and chief digital officer of the Chicago-based Postloudness podcast collective, is now a producer for MTV News. Postloudness will continue operating with Green’s involvement. Congrats, buddy.