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HDMS059. Influence With Intention: Paid Partnerships That Still Feel Real

There’s a difference between being bought out and being backed up.

A lot of brands — and a lot of comedians, let’s be honest — still cringe at the idea of “paid influencer partnerships.” And yeah, if it’s just someone reading a script with zero connection to the product? I cringe too.

But here’s the truth: influence isn’t the problem. Strategy is.

This week’s module explored how OOFOS built its brand around authenticity with its “mOOvers” — public figures who endorsed them organically. But now they’re facing a key question: could paid partnerships help scale that same message to new audiences without losing credibility?

I think the answer is yes — if it’s done with intention.

Let’s talk about what I learned, what changed in how I view influencer marketing, and how creators can use paid partnerships to grow without ever sounding like a sellout.

I. What Module 4.5.2 Taught Me

This module put a spotlight on something a lot of brands — and creators — are still awkward about: paying influencers.

OOFOS has had legit success with its mOOvers — unpaid public figures who wear the product, love it, and talk about it naturally. That kind of organic endorsement is marketing gold. But there’s only so far you can scale with vibes alone.

So the big question was: Should OOFOS start paying influencers?

According to the frameworks from Maggie Malek and David Huang, the answer is yes — if it’s done intentionally.

Here’s the breakdown I learned:

Top-tier influencers (athletes, celebrity trainers) = great for awareness. They can introduce OOFOS to massive new audiences.

Mid-tier and vertical-focused influencers (PTs, fitness experts) = best for consideration. They explain why recovery footwear even matters.

Micro and long-tail influencers (nurses, runners, everyday people) = perfect for conversion. Their audiences are loyal, engaged, and ready to buy.

OOFOS has been hesitant because they don’t want to come off like every other brand reading off product copy on a podcast ad. Fair! But the thing is: paid doesn’t have to mean fake.

If OOFOS partners with the right people — folks who genuinely love the product, speak from lived experience, and aren’t just cycling through five other shoe deals — they can scale their impact without killing their vibe.

II. My Reflection – Influence Isn’t Bad (But It Has to Be Real)

I used to side-eye the word “influencer” like it was code for sellout. Probably because I’ve seen too many awkward collabs where someone with 400k followers suddenly starts pushing skincare they’ve clearly never used — and their followers can tell.

But this module made me pause. Because when you break it down, influence is just storytelling with a ripple effect. The real question is: whose story is being told, and does the storyteller actually believe it?

The part that shifted something for me was the idea of matching the right influencer with the right stage of the funnel. Like, yeah, a celebrity might get you reach. But it’s that local runner or nurse who actually makes someone go, “Wait… I need these.”

If I ever launch a product or even promote a big comedy project, I’d want to follow that same approach:

Start small: Reach out to people already in my corner — people who get the brand and want to share it.

Be intentional: Only collaborate with folks I’d be proud to sit next to on a panel, not just whoever has numbers.

Play the long game: Build something that feels community-backed, not commercially pushed.

Influence isn’t inherently fake. But when it’s done lazily, it feels fake fast. So the goal is simple: keep it real. Keep it aligned. And only say yes to what you’d believe in even if no one was watching.

III. Advice for Creators & Comedians – How to Use Your Influence Without Selling Out

You don’t need millions of followers to have influence — you already have it. If people trust your voice, share your work, or show up to see you perform, you’re influencing. The real challenge is learning how to use that power without losing what makes you human.

Here’s how to build your influence with intention, whether you’re sharing your work, promoting a show, or growing a personal brand:

1. Build trust before you try to sell anything

People will follow you for your jokes, your art, or your story — but they’ll stay for your consistency and honesty. If you only show up when you’re promoting something, your audience will feel it. Share your life, your process, and your values regularly so that when you do promote something, it lands with trust.

2. Speak in your own voice

If you sound like an ad, people will scroll like it’s one. Whether you’re announcing a show or plugging a product you actually believe in, talk like yourself. Use your tone, your references, your point of view. Audiences are allergic to forced language — especially when it’s coming from someone they once trusted for authenticity.

3. Don’t say yes to things that make you cringe

Your gut knows. Whether it’s a brand deal, a podcast guest spot, or even a collaboration — if it feels off-brand, out-of-pocket, or like something your audience wouldn’t buy, it’s okay to walk away. Influence isn’t worth anything if it disconnects you from your community.

4. Share the things you already love

The most powerful form of influence is enthusiasm. If you’re already telling people about a great book, a show you watched, a restaurant you tried — that is influence. The difference is: it doesn’t feel fake, because it isn’t. Get comfortable sharing things that matter to you. Your recommendations don’t need to be sponsored to be meaningful.

5. Think of your platform as a place of service

Even if you're not ready to call yourself an influencer, your platform still influences. Use it to share knowledge, build community, uplift peers, tell the truth, and make people feel seen. That’s the kind of influence that lasts — and actually makes a difference.

Bottom line: You don’t need a brand deal to be influential. You already are. The goal isn’t to be palatable to everyone — it’s to be unforgettable to the people who resonate with what you’re building.

TL;DR On Influencing with Intention

Influence isn’t something you buy. It’s something you build. And if you’re a comedian, creator, or storyteller, you’re already doing it — every time you speak, post, perform, or share something that makes people feel something.

This week’s module showed me that paid influence doesn’t have to be fake — and unpaid influence doesn’t always feel real. What matters is intention. Whether you’re promoting your own work or endorsing something bigger than you, it only works if your voice stays yours.

You don’t have to be a sellout to scale. You don’t have to go viral to be valuable. Just lead with clarity, community, and care — and let the rest follow.

I hope this lesson was as helpful to you as it was to me!!

Tchau tchau <33

[laurafaritos]

HDMS058. Impressions Are Fool’s Gold — Here’s What to Measure Instead

You ever go viral and feel… nothing?

You check your notifications, your views hit six figures, your mom even texts you “saw your little skit!” — and yet… your ticket sales don’t move. Your inbox is dry. Your website’s still a ghost town.

That’s because impressions ≠ impact.

This week’s HDMS post is about measuring earned media without losing your damn mind — especially when you’re a comedian, creator, or indie producer trying to do it all without a marketing degree. We’re breaking down why impressions are the fool’s gold of digital marketing, what actually counts, and how to build a measurement system that doesn’t rely on vibes alone.

This module straight-up dragged the fantasy that impressions = results. Turns out? You can’t measure success by vibes and vanity metrics alone.

Earned media sounds sexy — like, "we got featured!" — but unless it moves people, drives action, or builds long-term trust, it’s just noise. Here’s what I learned:

Impressions are fool’s gold unless they connect to something meaningful (like site visits, sign-ups, or sales).

Self-selection and homophily mess with your data: most people who engage with your earned media already liked you or were in your bubble. That doesn’t mean your brand awareness grew — it might just be echoing in your own hallway.

Most brands can’t track exact causation, so they look at correlation: like “we got mentioned in Fast Company, and then clog sales went up 30%.”

Big brands track stuff like:

Organic website visits

Google search trends

UGC (user-generated content)

Loyalty signups

Earned Media Value (aka: how much ad spend would’ve been needed to reach that many people)

But even then, not all buzz is worth bragging about. Darren from OOFOS said it best: a Slide #53 mention in a Yahoo listicle might have "2M impressions" on paper... but it doesn’t move real people.

Instead, OOFOS puts more weight on small, focused articles that talk about their actual value pillars — recovery, tech, and trust. The goal isn’t to go wide — it’s to go deep with the right people.

This module confirmed something I’ve been feeling for a while: I don’t want to chase hype — I want to build trust.

There’s a huge difference between being seen and being understood. I’ve had content “pop off” before, but unless I had a clear system behind it (like a strong CTA, a lead magnet, or a next step), that moment never turned into anything tangible.

Going forward, I’m focusing on:

Tracking what actually moves people — like link clicks, replies, email signups, and time spent on my site.

Creating a “gut-check” system for myself: Did this post create conversation? Did someone reach out after seeing it? Did it lead to a new connection, ticket sale, or subscriber?

Putting more weight on context-rich moments (like podcast features, comedy roundups, or curated press) instead of viral fluff with no follow-through.

Choosing signal over noise — even if that means fewer likes but better conversion.

As someone who’s self-employed and neurodivergent, I need systems that don’t make me spiral. So if a post gets 500 views and leads to 5 DMs from people who want to work with me? That’s a win. I’m no longer counting “likes” — I’m counting leverage.

If this week’s HDMS post taught me anything, it’s this:

Not all buzz is worth chasing. Impressions are cute, but they don’t pay your bills unless you’ve got strategy behind them. Whether you’re a comedian, creator, or producer — focus on what builds real trust, not just what gets seen.

Measure the stuff that actually means something. Clicks, conversations, conversions. Forget going viral — aim to be remembered.

I hope this post was as helpful to you as it was to me.

Tchau tchauuu!!!

[laurafaritos]

HDMS057. Don’t Blame the Magic — Blame the Witch: Managing Earned Media Risks

Earned media is powerful — but it’s not always polite. When someone else controls the story, things can go sideways fast.

This module was all about the messy side of going viral: damaged guitars, misquoted headlines, fake Amazon listings, and bots that accidentally respond to protestors. It’s about the risks that come when your brand — or your voice — becomes public property, and how to manage that without spiraling.

But here’s my take: Don’t blame the internet. Don’t blame virality. Blame bad prep. Blame poor planning. Blame the witch, not the magic.

In this post, I’m digging into what I learned, why creators need crisis plans just as much as companies do, and how we can all manage earned media without losing control of the narrative (or our cool).

So far, we’ve been hyping earned media for its power to build trust and spread awareness — but this week’s module flipped the script and asked: What happens when that power turns against you?

The answer? Chaos… unless you’re prepared.

💥 United Airlines learned this the hard way.

One ignored complaint + one viral YouTube song = massive PR fallout and a dip in stock price. That’s the thing about earned media: you don’t control the message. You can monitor, participate, even influence… but when someone’s mad, the mic is theirs.

⚠️ Darren Brown (OOFOS) highlighted other risks:

Misinformation — like third-party sellers listing products for half the actual price, creating a false perception of value.

Incomplete storytelling — media outlets might highlight one part of your brand and completely miss the others.

Reputation distortion — when the loudest take becomes the dominant narrative, even if it’s wrong.

🚫 Maggie Malek reminded us what not to do:

Brands like Skittles and Bank of America handed over too much control — turning their platforms into playgrounds for trolls.

Without a crisis policy or clear guardrails, edgy campaigns can crash and burn fast.

🔥 Sunil Gupta dropped the forest fire analogy:

Prevention = don’t have a dry forest. (Fix real problems before they go public.)

Response = act quickly when things catch fire. 42% of people expect a reply within one hour. 50% say they’ll stop supporting a brand if it stays silent.

The lesson? Earned media isn’t always flattering.

Sometimes, it’s a test of how fast and well you can recover.

And you better have a plan.

Here’s what this module reminded me: the internet isn’t always fair — but it’s always fast. And when things blow up, you don’t rise to the occasion… you fall to the level of your preparation.

I don’t think we should be scared of going viral. I think we should be ready for what happens when we do — because it’s not always applause. Sometimes it’s someone misquoting you. Sometimes it’s a troll thread. Sometimes it’s your work being reshared with the wrong context by someone with a massive following.

I loved Sunil’s forest fire analogy: you don’t prevent disaster by crossing your fingers. You prevent it by making sure you’re not sitting on dry kindling. In creator terms?

Are your captions clear, or could they be misread?

Are your jokes punching up, or setting you up?

Are your platforms easy to monitor and respond on?

I’ve learned that even small creators need a crisis checklist. Because one viral comment, one messy repost, one bad review — and suddenly you’re fielding a storm you didn’t plan for.

So no, I’m not afraid of the fire anymore. But I am stocking up on water.

If you’re sharing anything bold, personal, or opinionated online — backlash isn’t a matter of if, it’s a matter of when. That’s not pessimism. That’s prep work.

Here’s how to protect your voice and your peace when earned media turns messy:

🔍 1. Monitor Before You Panic

Not every negative comment is a crisis. Start by checking the tone, the traction, and whether it’s isolated or trending. 💡 Tip: Set up Google Alerts for your name/show. Or just check your tagged content more intentionally.

🧭 2. Decide: Engage or Let Your Community Respond

If it’s misinfo, clarify it. If it’s criticism, consider the tone. If it’s trolling? Let your audience speak for you — if you’ve built one. 💡 Tip: Your best defense is an audience that trusts you. Invest in connection now, not just when you're under fire.

🧵 3. Control the Links (and the Narrative)

Like OOFOS learned, one shady Amazon link can confuse your entire pricing model. 💡 Tip: Use tools like Linktree or Komi to control what people share. And make sure your link is the most accessible one.

📄 4. Have a Mini Crisis Plan (Even If You’re Solo)

Yes, even for comedians. 💡 Keep a doc with:

Who to contact if things escalate (trusted peer, platform support, PR friend)

A one-liner for misquotes

Your actual stance on things you talk about publicly

So when you’re stressed? You’re not scrambling.

🧠 5. Own Your Mistakes — But Don’t Apologize for Existing

Made a mistake? Take accountability. Got misread while being authentic? Don’t shrink. 💡 Rule of thumb: Be human. Not a robot. Your audience can tell the difference.

You don’t need to control the conversation. But you do need to be ready when it turns on you. Build your fire extinguisher now — before the sparks start flying.

Earned media can elevate you — or expose you. But either way, it reflects you. That means you don’t get to control the narrative… but you do get to prepare for it.

This week’s takeaway? Don’t fear going viral — just fear not being ready. Build your community, monitor your mentions, stay grounded in your values, and make sure the story being shared is one you’re proud of… or at least one you’re equipped to respond to.

Not every joke will land. Not every post will be understood. But if you stay intentional, consistent, and honest — you’ll survive the fire and keep the mic.

I hope this post was as helpful to you as it was to me!

Tchau tchau <33

[laurafaritos]

HDMS056. Luck Isn’t a Strategy — But You Can Create It On Purpose

Virality sounds glamorous until you realize… it’s kind of chaotic. It can launch a brand — or bury one. It can build momentum — or distract you from what actually matters. This week’s lesson made it clear: you can’t rely on going viral, but you can create the conditions where it’s more likely to happen.

From the Dollar Shave Club comedy video that blew up with no budget, to e.l.f.’s TikTok success, to OOFOS landing an NFL partnership after handing out samples at a convention — the through-line wasn’t luck. It was planting seeds, staying curious, and showing up with something worth sharing.

This post is about what I learned, how it’s changing the way I create, and why comedians and content creators should stop chasing virality — and start building ecosystems that invite it.

This week’s module was a reality check in the best way: you can’t build a business on the hope that something goes viral — but you can build a strategy that gives virality a chance to happen.

We heard from several experts who broke down different sides of this:

💬 Ben Kirshner (Tinuiti)

Believes virality can be created — if the content is funny, unique, and timed right.

Example: Dollar Shave Club’s viral video wasn’t fancy or expensive — just funny, scrappy, and authentic.

Even though the founder didn’t expect billions of views, the approach made virality possible.

📸 My favorite campaign? “Shot on iPhone”

It made people feel proud of what they could create with something they already owned.

That campaign built emotional connection and brand trust — the kind of marketing that lasts longer than a trend.

🏈 Darren Brown (OOFOS)

Calls viral moments “strategic luck.”

OOFOS built relationships by giving people real experiences with the product — like handing out shoes at a trainer convention, which led to long-term partnerships with NFL players.

Instead of chasing fame, they planted seeds. Then they harvested trust.

📊 Maggie Malek (MMI Agency)

Her advice for new brands? Stop chasing virality.

Focus on the basics: searchability, reviews, brand presence, consistency.

Be there for your audience when it matters — that’s what makes them talk about you later.

The big takeaway? Virality is a spark, not a strategy. If it happens — amazing. But your real job is building something worth sharing before the spotlight ever hits.

Once upon a time (read: 2016), I thought the goal was to “go viral.” That if I could just hit the algorithm at the right angle with the right joke at the right time, then my career would take off. Now? I think that mindset actually held me back.

What I’ve learned — both from this module and from real life — is that virality isn’t a strategy. It’s a symptom. It’s what happens after something genuinely resonates. And you can’t fake resonance.

When I think about Apple’s “Shot on iPhone” campaign, it wasn’t the photography that sold me — it was the emotion behind it. It wasn’t about showing off the camera; it was about celebrating creativity in real people. That made me trust them. That made me consider switching phones.

As a creator, I’ve learned that chasing trends, forcing punchlines, or over-engineering every post just makes me sound like… a brand. And not in the good way.

But when I focus on sharing stories that move me, jokes that make me laugh, or moments that make me feel something real — the audience responds. Sometimes that turns into reach. Sometimes it just turns into trust. Either way, that’s the win.

So no, I’m not chasing virality anymore. But I am building a body of work where if the right person sees the right clip at the right time… I’ll be ready.

Here’s the truth most creators won’t say out loud: trying to go viral will burn you out. It’ll have you second-guessing your ideas, chasing trends that don’t fit your voice, and obsessing over numbers that don’t actually mean anything long-term.

But what if you stopped chasing? What if you started planting seeds instead?

Here’s how to “strategically create luck” without sacrificing your sanity (or your soul):

🌱 1. Create the conditions for magic — then step back

Design content that’s easy to share, quote, remix, or react to. But don’t make it just to go viral — make it because it’s true, fun, or honest. 💡 Tip: Focus on moments, not metrics. A single line that hits hard can be more valuable than a polished trailer.

🤝 2. Put your work where the right people will find it

Darren didn’t chase celebrities — he gave away shoes at a convention. That led to NFL partnerships. 💡 Tip: You don’t need a huge audience — you need the right eyes. Focus on getting in the room (or inbox) with people who care.

🧠 3. Build brand memory, not just brand buzz

Virality fades. Connection sticks. Be the comic, the podcaster, the creative who makes people say, “I love what they’re about.” 💡 Tip: Use consistency and storytelling to create long-term loyalty — not just spikes in attention.

💬 4. Remember: your job isn’t to trend — it’s to resonate

If something you made goes viral? Amazing. But the real win is when your audience stays. Shares your work. Quotes you to their friends. 💡 Rule: Build a platform that deserves a viral moment, not one that depends on it.

Virality is a guest star. Your content? That’s the main character. Focus on building something real — and let the internet do what it does when it’s ready.

Virality can be thrilling — but it’s not the goal. The real goal is trust, connection, and consistency. That’s what turns a one-time viewer into a long-term fan. That’s what leads to brand deals, booked shows, and actual career sustainability.

This module reminded me that while you can create the conditions for virality, chasing it as your only strategy is like trying to win the lottery with your rent money. It’s fun when it happens — but your business should still stand if it doesn’t.

So plant the seeds. Make great content. Stay honest. And if a viral moment shows up? Smile, thank it for its time, and keep building anyway.

I hope this post was as helpful to you as it was to me!

Tchau tchau <33

[laurafaritos]

HDMS055. Virality Isn’t Luck — It’s (Mostly) a Formula

For years, I thought virality was random. Like, you just posted at the right time, hit the right nerve, or got lucky with the algorithm gods. But after this week’s module, I’m starting to see it differently. Virality isn’t magic — it’s math, emotion, and momentum.

We looked at why people actually share things (spoiler: it’s not just giveaways and hashtags). It’s about content that makes people feel seen, moved, or connected. And in this post, I’m breaking down what I learned about amplifying earned media, why e.l.f.’s TikTok strategy hit harder than most ad campaigns, and how creators like us can bake “shareability” into our work — without selling out.

If you’ve ever wondered how to go viral on purpose — or at least make your work more spreadable — this one’s for you.

This module dove into the part of earned media that everyone wants — the part where your content spreads on its own, without paid ads or forced promotion. That magic moment when someone shares your video, your joke, your story — and suddenly, other people do too. That’s amplification. That’s what makes earned media work.

But what actually drives that kind of sharing?

We broke it down into two motivators:

Intrinsic motivations — like identity, humor, inspiration, or relatability. These are the “omg this is SO me” posts people send to friends or repost without being asked.

Extrinsic motivations — like giveaways, discounts, or perks that offer something tangible in exchange for sharing.

The lesson? People share content when it makes them feel something. Emotion is the engine. If you make someone laugh, cry, gasp, or scream-laugh-text a friend — congrats, you’re in business.

But there’s a catch: high-entertainment content can sometimes fail to deliver a brand message. That’s why the sweet spot is content that’s both emotional AND aligned with your values or product. Enter: e.l.f.

The e.l.f. team engineered a viral TikTok campaign by:

Following organic signals (#EyesLipsFace had millions of views before they intervened)

Creating an original song to inspire user-generated content

Leaning into the platform’s creator-first culture

The result? 8 billion views and a campaign that didn’t just advertise — it invited participation.

That’s the big takeaway: you can’t force virality, but you can design for it. And when it works, your audience becomes your best marketing team.

Okay, let’s talk about one of the first pieces of “earned media” I ever accidentally created: the time I wouldn’t shut up about Nescafé Gold Espresso.

Here’s the story. I used to think I hated coffee. Truly. Couldn’t stand the smell. But one day, while getting my hair done, I was exhausted and gave in when my stylist offered me some. Turns out, it wasn’t just any coffee — it was this silky, espresso-meets-milk magic that changed my entire personality.

I told everyone. No brand deal. No affiliate link. I just… shared. Because I wanted people to experience the same “Wait… I actually love this?” moment that I had.

That’s intrinsic motivation in action. I wasn’t doing it for a coupon or a reward. I was doing it because the content (aka the drink, in this case) genuinely surprised me — and I felt connected to it. I wanted to share that feeling. That relatable shock.

This module helped me realize that the same logic applies to content. If you post something that feels real, funny, or emotionally charged — your audience doesn’t need a CTA to share it. They’ll just do it. Because it made them feel something they want someone else to feel too.

That’s what I’m focusing on now: creating content that people want to pass on because it feels like them. Not just “here’s my project” — but “here’s a moment that makes you feel something.”

If you’re a creator, you’ve probably heard this before: “Just make it go viral.” Cool. Great. Love that for us. But how? And without turning into a brand that sounds like it’s trying too hard?

Here’s what this module helped clarify: you don’t need to force virality — you just need to understand what makes people want to share.

Let’s break it down:

🔄 1. Make it emotional or “so me”

Your audience shares stuff that makes them feel something — or makes them look funny, smart, cool, or seen. 💡 Try:

Personal stories that hit

Jokes that double as identity statements

Bits that mirror common experiences (especially ones we don’t talk about)

��� 2. Design for participation

What made e.l.f.’s TikTok campaign so successful? It didn’t just present something — it invited people to join in. 💡 Try:

Using a punchline that others can remix or quote

Asking a question that sparks replies

Creating a format people can copy or duet

🧠 3. Start with the moment, not the message

People don’t share “check out my show” — they share the clip where you made them spit out their drink. 💡 Tip: Clip the moment first. Drop the link later.

⚖️ 4. Balance strategy with soul

You don’t need to be a marketing robot to make viral-ish content. You just need to know what moves people — and then wrap your message in that emotion. 💡 Rule of thumb: If it sounds like an ad, cut it in half. If it sounds like a confession, it’s probably perfect.

Shareable content is emotional, relatable, and remixable. It’s not about tricking people into sharing — it’s about giving them something they want to pass on.

Virality isn’t luck — it’s (mostly) a formula.

People share content that moves them, reflects them, or makes them feel something. The e.l.f. TikTok campaign didn’t go viral by accident — it hit the right platform, used the right tone, and invited real participation. That’s the playbook.

As a creator, your job isn’t just to perform — it’s to create moments that people want to carry with them. Whether it’s a joke, a clip, a reminder, or a story — the more “this is so me” energy it has, the more it spreads.

Design with feeling. Create with intention. And give your audience something they’re proud to repost.

I hope this blog post was as helpful to you as it was to me!!

Tchau tchau <3

[laurafaritos]

HDMS054. Your Audience Is Already Talking — Are You Listening?

You ever post something and then just… disappear? No judgment — I’ve done it too. But this week’s module made something crystal clear: if you’re not listening to your audience, you’re missing half the conversation.

Earned media isn’t just about being talked about — it’s about paying attention to how you’re being talked about, and deciding when to jump in. From McDonald’s switching to paper straws after customer backlash to Oreo’s now-iconic “dunk in the dark” tweet, this lesson showed that monitoring and participating in real time can be just as powerful as any planned campaign.

So in this post, I’m breaking down what I learned, how I’m applying it as a creator with no PR team, and how comedians and creatives can start building real audience connection — not just clout.

This week’s focus was on how to actually engage with earned media — not just hope for it. Sunil broke it down into five steps (we’ll hit the rest later), but this module zoomed in on the first two: monitoring and participating.

👀 Monitoring = Listening

Monitoring means paying attention to what people are saying about your brand — not through surveys or analytics dashboards, but in real time, on social media, review sites, and public forums. Think:

Reading DMs and Threads replies

Scanning hashtags and tagged posts

Checking comments for patterns (not just compliments)

Companies like McDonald’s and Adidas didn’t change their behavior because of ads — they listened to unfiltered feedback about plastic waste and took action. Even Porsche used social media reactions to prepare for backlash before launching a family SUV. And Hawaiian Airlines found proof that their seat upgrades were working — just by reading TripAdvisor.

🗣 Participating = Joining the Conversation

Then there’s participation: stepping into the conversation without hijacking it. That means responding in real time, asking for input, and creating opportunities for the audience to lead.

Like when Oreo tweeted “you can still dunk in the dark” during the Super Bowl blackout — and their follower count skyrocketed. Or how Burberry and Apple used customer-created content as both social proof and marketing assets.

It’s not about control — it’s about responsiveness. Earned media gives you insights you didn’t pay for. But they’re only valuable if you’re actually paying attention.

So… confession time: I used to read every comment, every DM, every tagged post — but never respond. Not because I didn’t care, but because I didn’t want to mess up the vibe. I didn’t want to say the wrong thing, come off cringey, or make it too obvious I was lurking. But honestly? That was a mistake.

This module reminded me that listening is only half the job. The other half is joining the conversation in a way that adds value.

When I look back at some of my best-performing shows or posts, it wasn’t the ones with the most views — it was the ones where people talked back. They told me a joke stuck with them. They quoted a podcast moment days later. They tagged their friends with “this is so you.”

And every time I replied — even if it was just a quick “I’m crying, thank you 😭” — the connection deepened. They weren’t just watching. They felt seen. That’s earned media in motion.

I’m learning to treat social media like a green room, not a stage. A place to hang out, swap thoughts, and show up like a real human — not just a performer. Monitoring is cool. But participating? That’s where the real community grows.

Let’s be honest — most of us are way more comfortable performing than listening. But in today’s digital world, listening is part of the performance. If you want real growth, real loyalty, and real buzz, you have to do more than post. You have to participate.

Here’s how to start without feeling overwhelmed:

1. Monitor with intention (not obsession)

Set a weekly check-in where you read DMs, mentions, comments, and reviews. Look for patterns. Are people quoting you? Re-sharing a certain clip? Struggling with something your content touches on? That’s data — and it’s free.

2. Make your content comment-friendly

Ask questions. Invite reactions. Say “Tell me your version of this” or “What would you have done here?” Let the audience co-create the moment. This builds more engagement than any CTA at the end of a reel.

3. Respond to earned media when it happens

Someone makes a meme out of your joke? Repost it. Someone writes a mini-review in your DMs? Screenshot and share it (with consent). Someone criticizes something fairly? Thank them and grow. That’s public humility — and it’s powerful.

4. Turn small conversations into big ideas

Your next live show title, podcast episode, or digital product idea could be sitting in your comments right now. Mining feedback isn’t just reactive — it can be creative.

You don’t need a team or a fancy dashboard to do this. You just need curiosity, consistency, and a willingness to respond when your audience says, “Hey… this meant something to me.”

People are already talking about your work. The question is — are you paying attention?

This week’s lesson reminded me that earned media isn’t just a marketing term — it’s what happens when real humans connect with your work and decide to talk about it. You don’t need to “go viral” to benefit from it. You just need to listen, show up, and respond like the community-builder you are.

Monitoring and participating aren’t extras — they’re the foundation of a creative career that lasts.

I hope this blog post was as helpful to you as it was to me!

Tchau tchau <33

[laurafaritos]

HDMS053. You Can’t Buy This Kind of Buzz — But You Can Earn It

We all have that one product we didn’t even know we needed — until someone else swore by it. No ad. No influencer. Just a random person or a friend saying, “Trust me, you need this.” That, my friends, is earned media. And it works.

This week, we stepped into the world of earned media — aka when people talk about your work without you asking them to. It’s powerful, unpredictable, and free. In this post, I’m breaking down what I learned about how brands like e.l.f. and OOFOS are embracing earned media to build awareness — and how comedians and creators like us can do the same… without needing to “go viral” on command.

If you’ve been focusing only on what you say about your work, it’s time to start thinking about what people say when you’re not in the room. This module introduced us to the third major pillar of customer acquisition: earned media — and honestly, it’s giving “word of mouth, but make it digital.”

Earned media is what happens when people talk about your product without being paid or prompted. Think TikTok reviews, quote tweets, audience selfies after a show, or your friend texting you “you have to try this.” It’s free, powerful, and arguably way more trustworthy than anything you could say about yourself in an ad or newsletter.

We saw this in action with e.l.f. Beauty, when a mom filmed herself at Walmart raving about a $5 concealer. It wasn’t sponsored. It wasn’t branded. It was just real — and it blew up because it resonated with the audience. The company didn’t make that moment, but they’d earned it through consistent values, pricing, and accessibility.

OOFOS, the recovery footwear brand we’ve been studying, is also learning to lean into earned media. Their team knows that earned media isn’t about direct sales — it’s about building awareness, getting people to know the brand exists before they’re ready to buy. The downside? It’s harder to track and control. But the upside? You don’t need to pay for reach when people are voluntarily spreading the word.

The big takeaway? You can’t control earned media — but you can influence it.

Let me be real: no amount of strategy or schooling can beat the power of someone saying, “You HAVE to see her live.” Some of my best career moments weren’t the result of a perfect pitch or polished promo — they were sparked by DMs, tags, or someone casually mentioning me in a group chat.

Case in point? I used to think I hated coffee. Like, deeply. I’d refuse it every time. But one day I was at the salon, exhausted, and my hairstylist handed me a cup of something magical: Nescafé Gold Espresso, brewed into milk with a little sugar. It changed my life. I went from “I don’t drink coffee” to “I will fight someone for this.” No ad could’ve done that — but a trusted recommendation + perfect timing? Game over.

That’s the power of earned media. It feels organic. It feels honest. And it sticks. That’s the energy I want to replicate in my creative work — not just making stuff, but creating moments people want to talk about. Whether it’s a standout bit from a live show, a line from a podcast episode, or a behind-the-scenes clip that makes someone laugh unexpectedly — I want to be share-worthy, not just post-worthy.

And as someone who's neurodivergent, I’ve learned that I remember things best when they come from people I trust — not polished content. If I’m like that, I know my audience probably is too.

You don’t need a New York Times feature or a viral TikTok to benefit from earned media. For comedians and creators, earned media can look like:

A fan posting your joke on Threads with “I can’t stop thinking about this”

Someone telling their friend, “You have to come to this show next time”

An audience member tagging you in a blurry selfie with “She KILLED tonight”

A fellow creative recommending your podcast because it made them feel seen

That’s all earned media. And if you’re not paying attention to it, you’re missing out on free proof that your work is resonating.

Here’s how to build your earned media muscle without chasing clout:

💡 1. Create “shareable moments” on purpose

Plan for the parts of your show or content that are likely to be repeated. Punchlines. Visual gags. One-liners that hit. If you’re creating podcast clips, ask yourself: “Would someone DM this to a friend?”

💬 2. Make it easy for people to talk about you

Have your social handles visible at live shows. Use a consistent hashtag. Include a callout like “Tag me if you come!” or “Tell me which joke broke you.”

🎯 3. Amplify earned media when you see it

When someone shares a post, responds to your story, or mentions you in a review, re-share it and say thank you. That gratitude creates a feedback loop — and it encourages others to do the same.

🧠 4. Measure it your own way

No, it’s not always trackable through dashboards. But you can keep a folder of screenshots, testimonials, and sweet DMs. Use them as social proof later — or just as motivation when imposter syndrome hits.

You don’t need to be famous. You need to be talked about. And that starts with creating work worth remembering — then giving people the tools to carry it forward.

Earned media isn’t something you buy — it’s something you deserve. When people talk about your work, unprompted and unpaid, that’s the highest compliment. And the best part? It’s often more persuasive than any ad you could run.

So whether you’re a comedian, podcaster, or chaotic little creative trying to build something real: start thinking about what makes people want to share your work. Create for connection, not just conversion. And remember — buzz doesn’t always come from shouting. Sometimes, it starts with a whisper that spreads.

I hope this post was as helpful to you as it was to me!!

Tchau tchau <3

[laurafaritos]

HDMS052. Stop Sending Boring Emails — Here’s What to Do Instead

Raise your hand if you’ve ever gotten a marketing email that felt like it was yelling “BUY THIS” and nothing else 🙋‍♀️

Yeah... Same.

For a long time, I thought email marketing was just that: loud, repetitive, and low-key annoying.

But this week’s module flipped that.

Turns out, email works best when it stops acting like a megaphone and starts acting like a story.

In this post, I’m breaking down what I learned about evolving email marketing — from product blasts to personal connections — and how I’m using that to make my own emails feel more like love letters and less like corporate spam.

If you’ve been relying on “new episode now streaming” or “tickets available” as your only email content… we need to talk.

This one’s for the creators who want to build trust, not just a list.

This module zoomed in on how email marketing can evolve past just product launches and become a way to tell stories, build trust, and nurture long-term relationships. Kate from OOFOS basically said what we’ve all been thinking: too many brand emails just say the same thing over and over — “new drop, new color, new sale.” But that’s not what gets people to care.

What’s working for OOFOS now? Sharing real-life stories. They’re featuring athletes and everyday people who actually use their products, weaving in testimonials, and creating content that ties into people’s goals, like New Year’s resolutions. That kind of mid-funnel content (for folks who are aware but not yet ready to buy) builds trust — and trust converts.

Another big theme was balance. You still need those broad emails that go to 500,000 people and bring in fast revenue. But layer in personalization — emails based on abandoned carts, product views, or behaviors on your site. They might have lower send numbers, but the return is way higher. Basically: email blasts bring visibility, but personalized follow-ups bring conversion.

The core idea? Stop sending content at people. Start sending content for them.

Okay, so here’s where I had an “oh no… they’re talking about me” moment. Because my emails? Up until now? Mostly just said: “Hey, I made a thing. Here’s the link. Hope you click, love ya, bye.”

But what I took away from this module is that email isn’t just a notification system — it’s a relationship tool. And if I’m only showing up in people’s inboxes when I want something, that’s not a relationship. That’s a one-sided situationship.

So here’s what I’m changing: I’m planning to build emails that add value, even if there’s nothing to promote. Things like:

Behind-the-scenes of my shows or podcast process

Reflections on building a creative business as a neurodivergent person

Quick lessons from my Harvard modules (like this one)

Stories from the audience or community

Encouraging reminders for creators who feel behind

I’m also starting to map out behavior-based emails. Like:

Someone viewed my podcast page but didn’t subscribe? I can follow up with “Want to know where to start?”

Someone downloaded a freebie but hasn’t bought the product? I can check in, not pressure.

Someone came to a show but hasn’t been back in months? I can send a “Here’s what you missed” recap and invite.

This kind of email strategy feels aligned. Less “I need to hit a sales quota,” more “Hey, I remembered you liked this and thought of you.”

If you're a comedian or creator who never touched a Mailchimp dashboard in your life — don’t worry, you’re not behind. You’re just about to do email better than half the brands out there.

Here’s the deal: Most creatives think of email as a place to announce something. But the real magic happens when you use email to connect between announcements. That’s what builds trust. That’s what makes people show up, share your work, and buy the thing without you hard-selling.

Here are 5 non-cringe emails you can send instead:

“Here’s what I’m working on (and why it’s messy AF right now)” Let people into the chaos. Behind-the-scenes is content.

“What I learned this week (so you don’t have to)” If you bombed, booked a gig, or survived a tech fail — share the takeaway.

“This made me laugh / cry / scream, so I’m sending it to you” Not everything has to be your content. Curation = connection.

“Story time: The weirdest thing that happened at last week’s show…” Real stories build emotional memory with your audience. And trust.

“I thought of you when I wrote this” Segment your list. If they clicked on a romance post before, send them the love-themed stuff. If they went for ghost stories? Hit them with the haunted content.

Treat email like a setlist!!!!

Mix your punchlines (fun stuff), your callbacks (references to older content), and your closer (aka CTA). Don’t do a full hour of “come see me live.” You wouldn’t do that on stage — don’t do it in someone’s inbox.

If your emails are just shouting “NEW SHOW! BUY TICKETS!” — no shade, but you’re missing the real opportunity.

This module made it clear: email isn’t just about selling — it’s about storytelling, trust, and showing up for your audience between launches.

Start small. Keep it human. And remember: your inbox game doesn’t need to be perfect — it just needs to feel real.

The boring blast era is over. Let your emails breathe a little. You might be surprised who clicks “reply.”

I hope this post was as helpful to you as it wad to me!!!

Tchau tchau <33

[laurafaritos]

HDMS051. Email Isn’t Dead — You Just Weren’t Using It Right

If I had a dollar for every time someone told me “email is dead,” I’d have enough money to ignore open rates completely.

But here’s the thing: email is very much alive — and outperforming social media in ways most creators and comedians don’t realize.

With an average click-through rate of 2.91% (higher than most display ads), email marketing is still one of the most powerful tools in the game — if you know how to use it.

In this post, I’m breaking down what I learned from Module 4.2.3 of the Harvard Digital Marketing Strategy course, why email works so well, and how I plan to use it to connect with my audience (without feeling like a pushy salesperson).

If you’re a creative who’s been sleeping on email because it sounds boring, here’s your wake-up call.

This module closed out the Owned Media section by focusing on one of the most underrated tools in digital marketing: email. And listen — I used to think email campaigns were just those 10% off Bed Bath & Beyond coupons clogging up my inbox. But no. When done right, email is a direct line to people who actually want to hear from you. That’s rare.

We looked at how email can be used for both customer engagement (aka building trust with people who already follow you) and customer acquisition (aka converting new people who are just starting to sniff around your brand). The big takeaway? Email works so well because it’s personal, targeted, and sits in a space people check every day: their inbox.

💡 Bonus stat that blew my mind: the average click-through rate (CTR) for marketing emails is 2.91%. That’s way higher than most paid ads. Especially in industries like hobbies, home & garden, and media — which are basically just code for “your aunt’s Etsy store, my plants, and this blog.”

We also looked at a case study from OOFOS, a shoe brand that segments their email lists between Workout Warriors (people who need post-run support) and Pain Sufferers (people who just need to walk without crying). Their strategy? Use email to educate, offer value, and follow up based on real user behavior — like cart abandons and past purchases. And guess what? It works.

So here’s the thing — I’ve avoided email marketing for years. Not because I didn’t believe in it, but because I didn’t want to become the human version of a JCPenney sale notification. You know? That fear of being annoying is real, especially when you're a creator who’s used to building community, not blasting offers.

But this module made me realize something: email doesn’t have to be loud to be powerful. It just has to be relevant. And when you’re building your own brand — with no algorithm to save you — email is one of the few tools where you own the audience. No shadowbans. No reach drops. Just direct communication with people who already said, “Yes, I want to hear from you.”

For me, that means building a segmented email list — one for comedy fans, one for fellow creatives/producers, and one for people who want behind-the-scenes content like the HDMS series. I’m not trying to send the same newsletter to someone who came to a live show and someone who wants email templates for comedians. Different needs, different vibes.

I’m also planning to make it feel personal — like a letter from a friend, not a brand. Whether it’s sending reminders about upcoming shows, sharing new podcast episodes, or dropping digital products, I want my emails to feel like a continuation of the relationship I’m already building on stage and online.

If you’re a creator who never studied marketing, here’s the truth no one told us in art school: you don’t need a huge audience to make email marketing work. You just need the right people on your list. Even 20 real humans on your list > 2,000 ghost followers on Instagram.

Here’s how to start using email without overthinking it:

Build your list early, even if it’s small. Got 5 people who DM you after every show? That’s your first email list. Make a Google Form. Add it to your Link in Bio. You’re already collecting an audience — now make it intentional.

Keep it conversational. Your emails should sound like you, not like a brand that panic-Googled “professional tone.” A little chaos, a little personality, a little “I almost forgot to send this” energy? Iconic.

Send emails with actual value. This doesn’t mean a free PDF or a whole course — sometimes the value is just reminding people you exist. Think: show dates, new content, lessons from behind the scenes, or a spicy meme that didn't make the IG cut.

Use basic segmentation. It sounds fancier than it is. Just ask people what they’re into when they sign up: “Do you want live show updates? Comedy deep dives? Producer tools?” Then tag them accordingly.

Don’t let perfectionism block you. Your first emails won’t be flawless. That’s fine. Start messy. Adjust as you go. Email is one of the only platforms where you can mess up quietly and fix it later — no algorithm judging you.

If you’re neurodivergent or easily overwhelmed, make it a monthly ritual. Light a candle. Write the email. Send it. Reward yourself. Email marketing isn’t just business — it’s intimacy at scale. It’s the difference between performing in a loud bar vs. writing someone a letter they’ll actually read.

Email isn’t dead. You just weren’t using it right — and tbh, neither was I. This week’s HDMS takeaway is simple: email works because it’s personal, permission-based, and actually gets seen.

Whether you're selling tickets, sharing content, or just trying to stay out of the algorithm’s chokehold, email lets you show up on purpose — not by chance.

If you’re a comedian, creator, or creative producer trying to market yourself without selling your soul, email might be your new best friend. Start small. Be real. Stay consistent.

And don’t forget to hit “send.”

I hope this blog post was as helpful to you as it was to me!!!

Tchau tchau <333

[laurafaritos]

HDMS050. Trust, Testimonials, and TikToks: What I Learned About Organic Content

This blog post is based on lessons from Module 4.2.2 of Harvard's Digital Marketing Strategy course, where we zoomed in on organic content strategy—specifically, the power of expert validation and testimonials that feel authentic. Harvard taught me that the most trusted voices aren’t necessarily celebrities or influencers... but people who either share your lived experience or have relevant expertise (like a doctor or physical therapist).

OOFOS, a recovery shoe brand we’ve been following throughout the course, shifted from glam campaigns to using medical professionals and everyday people in their content. This wasn’t just for good vibes—it was a strategic move to build credibility, brand loyalty, and long-term engagement without paying for ads.

In this post, I’ll break down what I learned from that strategy, how I’m applying it to my own shows (Haunted Comedians, Failed by Sex Ed, The Foreigner Diaries), and how my AUDHD brain interacts with this kind of slow-burn content creation (spoiler: it’s a mixed bag). Whether you're neurodivergent, just starting out, or tired of chasing algorithmic approval—there’s something here for you.

Let’s dig in!!!

In this part of the course, we learned how the recovery footwear brand OOFOS shifted its content strategy away from high-gloss influencer marketing and toward a more authentic testimonial approach. Why? Because research shows that consumers tend to trust:

Experts (like medical professionals)

People like themselves (everyday users who reflect their lived experience)

Darren Brown, Head of Marketing at OOFOS, emphasized that the brand’s success came from getting real people—like physical therapists or nurses who use the shoes themselves—to talk about their experiences. These voices resonated more than traditional influencer content.

Kate Laliberte, Head of E-commerce, also highlighted how organic social media (unpaid content on platforms like Instagram or TikTok) required a constant evolution. They focused on engagement, reach, website traffic, and revenue, tracking what kind of content people connected with most.

The biggest takeaway? Organic content isn’t about volume, it’s about validity. Real stories from real people can be more effective than ads when done right—and they build long-term brand trust.

Okay, so here’s where it clicked for me: I realized I already have testimonials. Every time someone comes up to me after a show to say, “This helped me feel seen,” or “I didn’t know anyone else went through that,” that’s social proof. I just wasn’t packaging or prioritizing it the way a brand like OOFOS would.

So here’s how I’m applying it now:

For Haunted Comedians, I’ve started clipping post-show reactions from audience members and casually filming short behind-the-scenes convos where comics talk about what the show meant to them. That hits the “people like me” validation for fans and performers.

For Foreigner Diaries, I’m inviting immigrant comedians and audience members to share stories about the culture shocks they’ve experienced. These organic voices are more persuasive than me just saying, “Hey, this show is important.”

For Failed By Sex Ed, I want to bring in sex educators, therapists, and folks with lived experience to explain why the show’s necessary. That adds expert credibility without making it feel clinical.

And let’s talk about AudHD for a sec—because doing all of this is easier said than done when your executive functioning’s on fire. Gathering testimonials, editing clips, tracking engagement metrics… it’s a lot. So I’ve created an “Organic Media” Notion board to log content ideas and map them to the funnel. That way, I don’t have to re-invent the wheel every week—I just scroll through, see what matches the vibe of my week, and post from there.

This strategy isn’t just smarter. It’s sustainable. And for neurodivergent creators like me, sustainable = possible.

You don’t need to be a brand with a content team or a marketing budget to use this strategy—comedians already have what we need: stories, community, and receipts. Here’s how to start using content and testimonials like OOFOS, even if you’re doing it solo:

Identify who your show is for. Not just “people who like comedy,” but specifics. Is it queer millennials who feel disillusioned by sex education? First-gen kids navigating culture shock? Neurodivergent folks who feel misunderstood? The more specific you are, the easier it is to find (and keep) your audience.

Use testimonials as proof, not just praise. Don’t treat post-show compliments like disposable nice moments—use them as marketing assets. A tweet from someone saying “I laughed and cried” can say more than a 500-word promo.

Think of content as conversation, not promotion. A blog post about what inspired your show is content. A TikTok about a joke that didn’t land and why is content. You don’t need to sell. You just need to share.

Start at the bottom of the funnel. If marketing terms make you cringe, just think: post for the people already listening before chasing strangers. Get the fans you have to stay engaged and they’ll do the outreach for you.

Accommodate your brain. If you’re neurodivergent, build systems that work with your energy. Batch your posts on good brain days. Use templates. Repost old stuff that’s still relevant. Your consistency doesn’t have to look like everyone else’s.

The takeaway? You already have the content. You already have the audience. You just need to show the internet what’s already happening in your community.

SEO and content strategy sound like things only brands care about. But if you’re a comedian building a fanbase, running a show, or promoting a project, you’re doing marketing—whether you like it or not. This HDMS module showed how brands like OOFOS use blog posts, testimonials, and keywords to grow sustainably without relying only on ads. And guess what? You can do the same with your comedy work. Here’s how I’m applying it to my shows Haunted Comedians, Foreigner Diaries, and Failed by Sex Ed—with an audhd-friendly twist.

The most powerful thing about content strategy is that you don’t need permission or money to start—just a point of view and a way to share it. Whether it’s a fan quote, a niche keyword, or a vulnerable story, your content can make your comedy easier to find, easier to love, and easier to grow. Especially for neurodivergent comics like me, using your brain’s unique pattern of storytelling can be the superpower that cuts through the noise. Let your content reflect your voice, not just your hustle.

I hope this was as helpful to you as it was to me <33

Tchau tchau <33

[laurafaritos]

HDMS049. What Even Is a Content Strategy? (And Why Comedians Should Care)

Welcome to another recap of my marketing studies at Harvard (yes, I’m still doing the program and yes, I’m still relating it to comedy).

This one’s all about SEO content strategy—which sounds boring, but stick with me: it’s literally the blueprint for getting people to find your shows, your site, or even your funniest TikTok.

In Module 4.2.1, we learned how to structure content so that Google understands it, recommends it, and rewards you with actual traffic.

Why should comedians care? Because if your show is about ghosts, sex ed, or immigration (hi, mine are), you want strangers who are into ghosts, sex ed, or immigration to find you.

That’s what this post is about: making the internet work for you while you sleep (or scroll endlessly instead of working on your set).

In this module, we focused on the third pillar of SEO: content. Unlike technical tweaks or link-building, content strategy is all about telling your brand story in a way that resonates with your audience—and the Google algorithm. We were taught to build a strong content strategy by asking six big questions:

Who are you talking to? Your target segment matters. OOFOS, the case study brand, wanted to reach “Workout Warriors,” so their tone and topics had to appeal to fitness-savvy folks, not just any casual shopper.

What problem are you solving? Good content starts with understanding what your audience is searching for. Are they looking for recovery shoes after a marathon? Or comfy footwear after a 12-hour hospital shift?

What makes you different? You have to highlight your unique value. For OOFOS, it’s their proprietary “OOfoam” technology—what’s your brand’s version of that?

What format works best? A blog post? A video? A meme? The format should match both the message and the platform your audience lives on.

Where will the content live? Website, YouTube, email, TikTok—your distribution strategy matters as much as the content itself.

How will you measure and improve it? Tracking engagement, refreshing stale posts, and testing new formats are part of keeping your content (and rankings) alive.

We also learned that content keywords live at different parts of the funnel—from general searches at the top (“best shoes for tired feet”) to hyper-specific ones at the bottom (“buy OOFOS recovery shoes online”). The smartest strategy starts at the bottom and works its way up.

And finally, OOFOS leans into authentic testimonials—from athletes, yes, but also from real people with aching feet. Those reviews help boost both credibility and search visibility.

Now, how does that apply to me as a comedian?

This section broke my brain (in a good way) because I finally understood why so much of my work gets lost online—even when the actual content is good. As a comedian with multiple shows and creative projects, I’ve often treated SEO and content strategy like… a bonus. But it turns out, it’s the core architecture of discovery.

Let’s break it down.

Target Audience: I used to think “the general public” was my audience. Nope! Haunted Comedians, for example, is for comedy fans who are also emotionally unhinged Halloween kids. Foreigners in Toronto is for immigrant nerds trying to survive with their sense of humor intact. Failed By Sex Ed is for people who were given bananas and silence in health class. Each of these deserves its own tone, keywords, and approach.

Problems I'm Solving: My shows don’t just make people laugh—they validate experiences, challenge stereotypes, and provide education (with jokes). That means people are likely googling phrases like “immigrant comedy Toronto,” “funny sex ed podcast,” or “haunted standup Halloween Toronto.” These are now clues for content.

My Unique Value Proposition: I mix standup with storytelling, personal identity, and high-concept formats. And I’m a Brazilian autistic immigrant talking about sex and ghosts. There’s literally nobody else doing this combination—which means I can own these keywords.

Formats: I can be strategic! Blog recaps of shows. Behind-the-scenes podcast snippets. TikToks explaining niche immigrant moments. Longform essays on Tumblr. Each format has a purpose now.

Channels: Right now my content is scattered across platforms. But this module made me realize the need for centralized hubs—like a proper website that serves as a searchable home for each of my creative projects.

Measurement + Refresh: Instead of abandoning posts that “didn’t do well,” I now know how to refresh them with better titles, hashtags, or metadata. I’ve been treating content like a one-shot—when it’s actually recyclable gold.

You don’t need to be a marketing expert to start building your content strategy—you just need to think like one. Here's how comedians at any stage of their career can use this framework:

1. Start With Your Audience

Ask yourself: Who are your people? If you’re a neurodivergent storyteller, a queer club comic, or someone who does absurdist character work—say that! Create content that attracts your crowd instead of trying to be universal.

2. Know What They're Searching For

Use keyword research tools like Google Trends or even just autocomplete to find phrases your audience might be typing. “Best open mics in Toronto,” “comedian explains ADHD,” “funniest standup on Brazilian moms.” These aren't just funny set-ups—they’re search terms that can bring people to your work.

3. Show What Makes You Different

Don't water yourself down. Embrace your niche. Whether you mix comedy and poetry, or you're a stand-up who also makes zines, that uniqueness is your leverage.

4. Create Across Formats

You don’t have to be on every platform. Pick one or two that match your vibe. Maybe you blog after every set. Maybe you record funny voice notes and upload them as podcast shorts. Maybe your flyers go viral on Instagram because they’re chaotic perfection. Consistency wins over quantity.

5. Own Your Channels

Have a website. Have a Linktree. Build an email list. Don’t rely solely on Instagram or TikTok—because the algorithm is not your friend, it’s your landlord.

6. Check Your Metrics (But Don’t Obsess)

Look at what’s working: which posts get shares? Which emails get opens? Then try to do more of that. And if something flops? Maybe it just needs a new title, new image, or a better hook—not a funeral.

Thanks for reading! In this module, I learned how content strategy plays a critical role in search engine optimization and audience connection. I applied these lessons to my own comedy projects like Haunted Comedians, The Foreigner Diaries, and Failed by Sex Ed by identifying what my audience searches for, shaping my unique value proposition, and choosing formats and platforms that reflect my artistic voice and accessibility needs. If you're a comedian trying to be found without selling out, SEO content strategy might just be your new bestie. I hope this was as helpful to you as it was to me. Tchau tchau <33

[laurafaritos]

HDMS048. Getting Googled On Purpose — An SEO Crash Course for Broke Creatives

If you’re not famous, and you don’t have a marketing budget, how are people supposed to find you online?

Before this course, I thought the answer was: they don’t. You just have to keep promoting your stuff manually, constantly, forever. But then I hit this section of the Harvard Digital Marketing Strategy course—and realized I’d been missing an entire discovery channel hiding in plain sight.

Search.

Like, actual Google search. Not hashtags. Not TikTok trends. Not getting lucky on Threads.

We learned how a tiny clothing company called Duckworth used search engine optimization (SEO) to go from a struggling retail brand to a growing e-commerce business—without spending big on ads. It was the first time I really understood that SEO isn’t just for corporations. It’s for anyone who wants to be found.

So in this post, I’m breaking down what I learned about SEO, how it applies to my own shows like Haunted Comedians, Foreigner Diaries, and Failed by Sex Ed—and how other creatives can use it to stop getting buried online.

This part of the course zoomed in on Search Engine Optimization (SEO)—basically, how to get your stuff to show up on Google without paying for ads.

The case study was Duckworth, a tiny, family-owned clothing brand that makes Merino wool clothes in Montana. They were getting crushed by ad costs, so they pivoted hard to owned media. But instead of just vibing and hoping someone found them, they used SEO to actively show up when people Googled things like:

“best base layer for snowboarding”

“warm wool layers for hiking”

“merino wool vs cotton”

These are called long-tail keywords: search terms that are super specific. They don’t have huge search volume, but the people searching them are often ready to buy. That’s perfect for small brands (and creators!) who can’t compete for giant keywords like “outdoor gear.”

Duckworth used those keywords to make blog posts, videos, and landing pages. They made sure the site loaded fast. They added reviews and useful info. And because they were so specific and helpful, Google started bumping them up in organic search.

They also taught us the three pillars of SEO:

Technical optimization – Make sure your site works, loads fast, and can be crawled by Google

Content optimization – Use the words your audience is actually searching for, and answer their questions

Link optimization – Get other reputable websites to link to you (this builds authority)

One framework they introduced was called CIRCLE, which breaks down SEO into Crawl, Index, Rank, Click-Through Rate, Landing Page, and Experience. It’s technical, but the core idea is: if people can find you, click on you, and have a good experience once they do? Google will reward that.

And that’s when I realized… I don’t need to be famous to show up in search. I just need to be useful and findable.

Before this, I always assumed SEO was something reserved for brands with tech teams and budgets. Like, who’s out here searching “comedian with haunted shows in Toronto”?

But then I realized—maybe someone is.

And even if they’re not searching me by name (yet), they might still be searching for the kind of stuff I do.

Haunted Comedians isn’t just a funny show—it’s a searchable concept. People might Google “haunted comedy Toronto,” “Halloween comedy events,” or “ghost tours with comedians.” If I build content that reflects those searches, people might actually find the show without me constantly promoting it.

Foreigner Diaries hits with long-tail searches like “Brazilian immigrant comedy” or “funny stories about culture shock in Canada.” Instead of just saying “I’m doing a show,” I could be writing blog posts titled ‘What Canadian audiences don’t get about Brazilian humour (but Brazilians do)’.

Failed by Sex Ed? GOLD MINE. SEO-wise, that show is basically a searchable cry for help. “Sex education podcast for adults,” “funny sex ed stories,” “neurodivergent sex ed,” “what I wish I’d learned about sex.” I have so much already in my files that matches that exact intent.

It hit me that SEO is a way to stop screaming into the void. It rewards specificity, patience, and storytelling—which is literally how my brain already works. I just didn’t know how to plug it into the system.

As someone with AUDHD, the idea of my work being discoverable on its own is huge. It means I can make stuff that lasts and that works with my brain, not against it. I don’t have to be viral—I just have to be searchable.

Let me say this first: you don’t need to know how to code to start using SEO.

What you do need is to know what your audience might be Googling—and make sure your content answers that search.

Here’s how creatives like us can start:

🔍 Step 1: Find your long-tail keywords These are the oddly specific phrases that someone might type into Google when they’re looking for work like yours. Think:

“funny immigrant stories from Brazil”

“comedy podcast about sex education”

“ghost-themed comedy Toronto”

You’re not trying to win over everyone. You’re trying to be the exact right thing for someone with a specific need.

📝 Step 2: Make content that speaks to that search Instead of just posting “New episode’s up!”, try:

A blog post titled “The Sex Ed Lesson I Needed at 13 (But Finally Got at 30)”

A YouTube description that says “Filmed inside a haunted church, this standup set dives into dating, demons, and dry shampoo.”

A podcast title like “Why Brazilian Jokes Don’t Land in Canada (and Why That’s Okay)”

You’re not faking anything—you’re just translating your art into searchable language.

🌐 Step 3: Optimize your platforms

Put those keywords on your website, in your episode titles, and in your social bios

Add internal links between your pages (e.g. your About page links to your shows)

Make sure your site is mobile-friendly and doesn’t take 100 years to load

🔗 Step 4: Build backlinks You don’t need press—just connections.

Swap guest spots on each other’s podcasts and link to each other’s sites

Write guest blogs or newsletters

Share your work on Reddit threads, forums, or in directories where it fits

Don’t underestimate the SEO value of being cited somewhere even once

You don’t need to be everywhere. You just need to be findable.

If you’ve ever felt like nobody was looking for your work—it might just be that they didn’t know how to find it.

This module made me realize that SEO is less about hacking the algorithm and more about meeting people where they already are. Your art deserves to be found. But for that to happen, you have to make it searchable.

You don’t need a huge budget. You don’t need to be trending. You just need a clear message, a helpful presence, and a few good keywords.

And if you’re someone who feels constantly behind on trends, or exhausted by algorithm chasing? SEO is your quiet revenge. It’s the long game. It’s “getting Googled on purpose.”

Now excuse me while I go rename every podcast episode I’ve ever made hahahahaha

I hope this post was as helpful to you as it was to me.

Tchau tchau <333

[laurafaritos]

HDMS047. You Wrote It Once and It’s Still Working — That’s Owned Media Magic

Most of what we post online disappears in 24 hours—or worse, gets buried by an algorithm in 24 seconds.

Owned media doesn’t play by those rules.

That’s what this week’s lesson from Harvard’s Digital Marketing Strategy course made clear: when you own the content, it doesn’t just work once. It can work again. And again. And again.

One well-written blog post, one strong podcast episode, one solid email sequence—these things can live on, pulling in new audience members or converting fans months (or even years) after you hit publish.

This module focused on why owned media is such a powerful channel, not just for brands like OOFOS, but for creators like me. This post breaks down what I learned, how I’m thinking differently now, and why this kind of slow-burn strategy might be the most sustainable move for comedians and creatives.

This submodule was all about the specific advantages of owned media, and honestly, it kind of felt like a love letter to sustainable content.

We checked back in with OOFOS, the recovery footwear brand, to see how their owned media strategy was doing. The results were kind of amazing:

Owned media (like email, blogs, organic social) brought in only 25% of total traffic, but that 25% generated 30% of their revenue.

That means fewer people, making more purchases—aka, a much more efficient channel.

Kate Laliberte, Head of Ecommerce at OOFOS, explained that owned media gives them total control: they can decide what to say, when to say it, and who to say it to. That level of flexibility isn’t possible with paid ads or unpredictable social platforms.

Sunil Gupta broke it down even further:

Owned media works at every stage of the funnel:

Top: blog posts + SEO for discovery

Middle: emails + long-form content for education

Bottom: persuasive copy + CTAs for conversion

It’s perfect for creative storytelling, like REI’s long-form YouTube documentaries (real people, real vibes, not a hard sell)

Here’s a quick rundown of the benefits:

Full control over messaging and timing

Consistent brand tone and voice

Stronger long-term relationships with customers

Value across the entire funnel

No ongoing cost once the content is created

No algorithm interference

More trust from audiences who choose to subscribe or follow

For a content-obsessed person like me, this was a wake-up call: one good post can do more than ten rushed ones.

This module didn’t just teach me about owned media—it gave me permission to slow down.

As someone who’s both autistic and ADHD, the constant pressure to be “on” and always posting can feel impossible. Social media moves fast. Algorithms reward consistency, but punish unpredictability—like taking a break, or needing more time to think, or not being in the mood to scream into the void every day.

Owned media? It doesn’t expect that from me.

This idea that I can make something once—a thoughtful blog post, a well-structured podcast episode, a solid “about me” page—and it can keep working for me without me chasing it down again and again? That’s revolutionary.

It means I can spend time making something I actually like, without the pressure to remix it five different ways in the same week just to get attention.

It means I can set up systems and content that meet people where they are, when they’re ready—not when the feed says it’s time.

It means I don’t have to chase my audience. I can invite them into a space I’ve built to last.

Here’s the thing about owned media: it’s not just for brands with marketing teams. It’s for anyone who’s tired of fighting for visibility every single day.

If you’re a comedian or creator, here’s how you can start using it to your advantage:

Think evergreen. Instead of always making content for “right now,” start making content that stays useful. A “start here” page, a bio that actually explains what you do, a pinned podcast episode that gives people a clear entry point.

Use social media to send people somewhere that’s yours. Don’t just let Instagram or TikTok be the final destination. Link to your site. Promote your email list. Archive your best work in a place that’s searchable and permanent.

Make your content reusable. One strong story or bit can become a blog, a newsletter, a show opener, a TikTok, a press blurb. You don’t need to reinvent the wheel—you just need to own the wheelhouse.

Don’t wait for someone to “discover” you. Create the discovery engine yourself. Whether it’s SEO, email, or long-form YouTube content—start leaving digital breadcrumbs that lead back to your work.

Owned media is how you stop chasing and start curating. It’s how you shift from hoping people find you to actually building the infrastructure for them to land and stay.

I used to think the only way to stay relevant was to keep shouting louder and more often. But now I get it:

Good content isn’t always loud—it’s lasting.

Owned media gives you a way to show up without burning out. To build something once and let it keep serving you. To stop chasing temporary attention and start creating durable connection.

So next time you’re tempted to rush out another story or throw together another promo post, ask yourself—can I build something that works harder and longer than I do?

That’s the magic of owned media.

And I’m finally learning how to use it.

I hope this post was as helpful to you as it was to me <33

Tchau tchau <33

[laurafaritos]

HDMS046. Owned Media Is Just Having Your Own Stage (And I’m Never Getting Kicked Off Again)

Before this course, I didn’t really know what “owned media” meant. I thought it was a corporate buzzword, or something you needed a whole marketing team to manage. Me? I had social media and vibes.

But this module flipped the switch.

Owned media is basically this: what do you control? What platforms, tools, or channels do you own—so no one can shadowban you, algorithmically erase you, or charge you more just to talk to your own audience?

It’s your website. Your newsletter. Your podcast. Your blog. Your space.

Paid media? That’s renting attention. Earned media? That’s hoping someone talks about you. Owned media? That’s your stage.

And as someone who’s had shows disappear from the feed and content buried by platforms, I’m now realizing: I want a stage no one can kick me off of.

This post breaks down what I learned from Module 4.1.1 of Harvard’s Digital Marketing Strategy course, and why I think every comedian (especially neurodivergent ones like me) should start thinking about what they own online.

This submodule of the Harvard Digital Marketing Strategy course introduced a concept I hadn’t fully grasped before: owned media.

Owned media includes anything a company (or person) controls directly—websites, blogs, email lists, apps, even podcasts and newsletters. It’s the opposite of relying on platforms like Instagram or TikTok, where visibility depends on algorithms, trends, or how much you’re willing to pay.

In the OOFOS case, the brand needed to grow fast, but couldn’t afford to keep pouring money into ads. That’s when owned media became a game-changer. Instead of just renting people’s attention through paid ads, they could speak directly to their audience through their own channels, whenever they wanted.

Sunil Gupta framed it like this: paid media is expensive and competitive, especially for small brands. But owned media? That’s where companies can engage, educate, and retain customers without spending more every time they want to reach someone.

For me, this was a big “wait, why haven’t I been doing this?” moment.

I’d always assumed social media was the only way to stay visible. But this module made me realize: if I’m serious about building a sustainable creative career, I need to start building things I own.

This was the first time I truly saw the value of owned media laid out clearly—and it clicked.

Until now, I’ve mostly relied on platforms I don’t control. Instagram, Threads, TikTok… they’ve been my main ways to promote shows, share content, and stay connected. But they’re unpredictable. Some posts get traction. Others disappear into the void. And if an algorithm decides I’m not trending, too bad.

What this module helped me realize is that I’ve been renting all my audience connections—and I’m ready to own something.

I don’t have a perfect system yet, but I’ve started making moves:

Thinking about what I want my website to actually do (not just exist).

Considering an email list, even if it’s just for sharing upcoming shows or podcast updates.

Looking at my podcast not just as content, but as a space I control—no one’s limiting how I speak, what I say, or how I connect.

This isn’t just a marketing tactic. For someone who’s neurodivergent, this kind of control is comforting. It gives me a home base. A place where I don’t have to adapt my pace, tone, or content to whatever’s trending that day.

I’m not building it all at once. But now I want to build it—because I finally understand what it’s for.

If you’re a comedian or creator relying entirely on Instagram to sell tickets or keep your audience warm—I get it. That’s been me, too. But here’s the truth this module made painfully clear:

The algorithm is not your friend. And your followers aren’t actually yours.

Owned media changes that.

When you build something you control—a website, an email list, a podcast feed—you’re creating direct lines to your audience. No middleman. No boosted post fees. No “why did this only get 12 likes?” meltdown.

Here’s what I’d recommend if you’re just starting:

Start an email list. Even if it’s just 10 people. It’s a direct link to the people who care.

Think of your website as your venue. It’s not just a portfolio—it’s your digital comedy club, and you decide the lineup.

Use your social to feed your owned media. Don’t just chase virality. Send people somewhere that’s actually yours.

This is especially useful for neurodivergent artists. Owned media lets you:

Work at your own pace

Reuse content without starting from scratch every time

Avoid burnout from chasing “what works” this week on social

It’s not about building an empire overnight. It’s about slowly moving your work onto ground that won’t collapse underneath you.

This module was a shift. For the first time, I stopped thinking about promo as just “posting more” and started thinking about building something lasting.

Owned media isn’t flashy. It doesn’t go viral. But it stays. And when the algorithm ghosts you (again), or your followers miss your show (again), it’s your owned channels that still show up for you.

So I’m done renting.

I’m building my stage.

And this time, I’ve got the keys.

I hope this post was as helpful to you as it was to me!!!

Tchau tchau <33

[laurafaritos]

HDMS045: What I Actually Learned About Ads (So You Don’t Have To Take A Harvard Course To Learn It)

I took Harvard’s Digital Marketing Strategy course so you wouldn’t have to—unless you want to, in which case, I hope you also love spreadsheets.

Module 3 was all about paid media: the ads you pay for, the platforms you run them on, the ways you track whether they did anything, and the absolute brain fog that kicks in the first time someone says “branded vs. generic keywords” like that’s normal human language.

But by the end of it? I actually got it. Not just the how of ads, but the when, why, and what-for—and more importantly, how it applies to comedians and creatives who are promoting themselves on a shoestring budget.

This final lesson in the module pulled it all together: search vs. display, performance vs. brand, when to spend money, when to chill, and how to avoid lighting your budget on fire just to feel productive.

Let me show you what I took from it.

I. What Module 3 of Harvard’s Digital Marketing Strategy Course Actually Taught Me

Module 3 was the deep-dive into paid media, and it covered a lot. Here’s what stuck with me most:

Search ads = high-intent, ready-to-buy energy. These are the people already Googling something you offer. You’re just showing up at the right time. For me, that’s like someone typing “Toronto stand-up show” and seeing my show in the results. Low-funnel, high-conversion.

Display ads = brand visibility. These are your posters, reels, sponsored podcast reads—things people see while doing something else. They’re not there to buy right away, but they might remember you later.

There’s no one right answer. The best campaigns combine short-term performance ads (like search) with long-term brand-building (like video or TV). That’s how you keep sales flowing now and plant seeds for later.

Every channel has a job. The mistake is judging brand-building ads like they’re supposed to convert. That’s like blaming your opener for not selling merch.

Budgets need balance. Spend more where it’s working, but don’t cut off top-of-funnel stuff just because it’s not immediately profitable. You need both to survive.

The module wrapped with a question: How can OOFOS keep growing without just throwing more money at ads? The answer? Use owned and earned media—things like social content, newsletters, PR, and word-of-mouth.

That clicked for me. Because that’s how we do it too!!!!!!!!!!!!

II. How I’m Using This in Real Life (Not Just in Theory)

This module made me feel like I finally have a framework for promo—not just vibes and guesswork.

Here’s how I’m applying it:

Search mindset = podcast SEO, event listings, YouTube keywords. When people are already looking for stuff I offer (like sex ed content or comedy shows), I need to make sure I’m easy to find. That means tagging smart, using searchable episode titles, and submitting my show to event platforms.

Display mindset = my “brand voice” online. This includes the chaotic posts I make on Threads, the jokes I share on Instagram, the stories I tell in newsletters. These aren’t direct “BUY TICKETS” ads—but they’re making sure I live in people’s heads. That way, when it is time to promote, they’re already listening.

Budgeting = time + money. I might not have a $25K ad spend like OOFOS, but I do have to manage my creative energy and limited cash. This course helped me realize: if I treat both like currency, I’ll stop wasting them on tactics that don’t align with my goals.

Testing = survival. I’ve already been doing this with my sex ed project—over years, I’ve tried it as a play, a podcast, a doc, a newsletter. This module validated that process. Nothing’s wasted. Everything teaches you something.

Basically: now I know which tools to reach for depending on whether I want people to remember me, engage with me, or buy from me.

III. What Comedians and Creatives Should Know About Paid Media

If you’re a comic, artist, or content creator, here’s the real talk: You’re already doing marketing. You just might not know which part of the funnel you’re in.

This module helped me see the difference between throwing stuff at the internet and being intentional about it. So here’s how to think like a marketer—without becoming one.

Your ticket link posts? That’s performance marketing. It’s bottom-of-funnel. You’re asking for a conversion. That’s okay! But know that it only works if you’ve warmed up your audience beforehand.

Your reels, jokes, random stories about being Brazilian in Canada? That’s brand-building. Top-of-funnel. It gets people to care, so that later, when you do drop a ticket link, they’re more likely to click.

Your time = your budget. If you don’t want to (or can’t) spend money on ads, focus on your owned media: your website, email list, socials. Make sure they actually say who you are and what you do.

Your audience = your asset. Word-of-mouth, shares, DMs, screenshots, fan art—this is your earned media. You don’t pay for it, but it grows your reach faster than most ads.

The big lesson? You don’t need to do everything. You just need to know what each thing is doing.

And honestly, that’s more strategic than half the brands out there.

TL;DR A Comedian's Guide to Paid Media

Before this course, ads felt like a mysterious corporate language I wasn’t invited to understand. Now? I get it.

Paid media isn’t about doing the most—it’s about doing the right thing, at the right time, for the right audience. And whether you’ve got $10 or $10,000, you can use those same principles to promote your art without burning out or selling out.

So yeah, I took the course. I learned the lingo. And now I’m spending smarter, showing up better, and building a brand that actually feels like me.

Tchauuuuu <33

[laurafaritos]

HDMS044: Where Should the Money Go? A Comedian’s Guide to Spending Smart

Every creative hits this moment eventually: you’ve got a tiny budget, a big goal, and no idea where to throw the money. Should you boost an Instagram post? Run Facebook ads? Make a promo video? Print flyers? Bribe your ex into sharing your reel?

This module helped me realize: even million-dollar brands like OOFOS are asking the same questions. Their version has more zeros, but the core issue is the same—how do you spend your money in a way that actually works?

OOFOS is trying to grow sales and brand awareness in a super competitive space. Their paid media strategy is full of trade-offs: short-term vs. long-term, measurable vs. hard-to-track, expensive vs. efficient. And the data? It’s complicated. Some channels (like search ads) are crushing it, while others (like social and TV) are getting more expensive with less return.

This post breaks down how I interpreted OOFOS’s budget dilemmas, what I would’ve done with their media plan, and how this all applies to comedians like us who are trying to stretch every promo dollar without wasting time or energy.

Let’s talk spending smart.

I. What I Learned in Module 3.5.4 of Harvard’s Digital Marketing Strategy Course

This module—3.5.4: Evaluating a Paid Media Budget—was all about making smart decisions with real marketing money. We were given actual past data from OOFOS (the recovery footwear brand we’ve been following the entire course), and asked to analyze how they’ve been spending across different channels—social, search, display, TV, audio, etc.—and decide how we’d allocate their next budget.

Here’s what the data showed:

Search ads were the clear MVP. In early 2022, they had the highest ROAS (Return on Ad Spend)—almost 6 to 1.

Social ads, on the other hand, got more expensive and less effective over time. Their ROAS dropped from 4.74 in 2020 to just 1.39 in the 2022 plan.

TV and digital video were big spend categories with low measurable return—probably useful for brand awareness, but not conversion.

Audio and native ads delivered surprisingly strong results on small budgets, suggesting underused potential.

In our assignments, we were asked to reallocate the 2022 paid media budget based on all this. I chose to:

Decrease spend on social (performance was slipping)

Increase investment in search (best results for short-term revenue)

Keep TV and display stable (good for top-of-funnel visibility)

Cut back digital video (too costly, not converting)

Boost audio and native ads (promising results for low cost)

My reasoning? OOFOS needs to fund what’s working now without starving what will matter later. It’s not about chasing only high ROAS—it’s about balance: sustained visibility plus strategic selling.

II. How This Budgeting Mindset Shows Up in My Career

When I looked at OOFOS’s paid media breakdown, it felt weirdly familiar. Not because I’ve managed million-dollar ad budgets (lol), but because I’ve had to do the exact same mental gymnastics with my own creative promo.

Like: Should I spend $50 boosting a reel? Should I make a poster, even if it only gets 5 likes? Is this podcast guest spot going to help me sell tickets or just help people “know my name”?

This module reminded me that those are the same questions OOFOS is asking—just scaled differently. They’re not just deciding where to spend, they’re asking:

What gives us results we can measure now (search)?

What helps people remember us later (TV, display)?

What surprisingly worked that we should try again (audio, native)?

It’s the exact logic I use when I plan show promos:

I boost posts that are already getting traction (performance marketing)

I do podcasts, write essays, or post jokes knowing they won’t convert tickets right away—but they build a vibe (brand building)

And I always track what worked last time, even if it wasn’t the thing I expected

This isn’t about chasing viral moments. It’s about understanding that every promo move you make either sells something now or builds trust for later. You need both.

III. What Comedians Can Take from This

If you’ve ever stressed over whether to make a show trailer, print flyers, or just post “one more time” on Instagram—congrats, you’ve been doing media budget allocation without realizing it.

This module from the Harvard Digital Marketing Strategy course made it clear that even massive brands like OOFOS have to test, track, and rebalance constantly. And comedians? We’re small but scrappy media machines doing the same thing.

Here’s how you can apply what OOFOS learned:

Treat your time and energy like money. Just because you’re not spending $6.92 million on TV ads doesn’t mean your resources aren’t valuable. If you’re burning out trying to promote, something’s off in the balance.

Track what actually gets people in the room. Not what gets likes. Not what your comic friends hype. What works. That could be one clip. A single tweet. A weird flyer you handed out at a bus stop.

Don’t expect every tactic to convert. Some posts are for ticket links. Some are just to remind people you’re alive and hilarious. The same way OOFOS keeps TV for awareness and search for sales, you need a mix too.

Experiment with “small but mighty” tools. Audio and native ads surprised OOFOS with their impact. What’s your version of that? Is it podcast guest spots? A newsletter? A random post on Threads?

Being strategic doesn’t kill the art—it helps it reach people.

TL;DR On Budgeting Mindsets

The biggest thing I took from this module? Spending smarter doesn’t always mean spending more.

OOFOS didn’t just throw money at every channel—they adjusted based on what actually worked. And when something unexpectedly worked (like audio ads), they paid attention.

As creatives, we have to do the same. Not every flyer, video, or social post is worth your energy. But the right ones? In the right combo? Game-changing.

So next time you’re staring at your promo calendar, ask yourself:

What’s building my brand?

What’s selling the thing?

And what’s just draining me with no return?

That’s media strategy. That’s budgeting with intention. That’s how you keep making art without burning out.

Tchau tchau <333

[laurafaritos]

HDMS043: Do I Build the Brand or Sell the Shoes???? A Comedian’s Take on Marketing Trade-Offs

There’s a moment every creative hits where you’re staring at your laptop thinking, “Should I promote this show again or just focus on reminding people I exist?”

Welcome to the eternal tension between performance marketing and brand building—aka the short game vs. the long game. Sell the shoes, or build the story behind the shoes.

This week’s module zeroed in on how brands like OOFOS try to balance both. On one side, they’ve got their mOOvers campaign, packed with emotional storytelling and brand love from people like Dawn Staley and Alex Smith. That’s their long game—expensive, powerful, and kind of hard to measure.

On the other side, they’ve got search ads, optimized for immediate conversion. Short-term ROI, very measurable, not super sexy.

And guess what? They need both.

This post breaks down how that balance plays out, why metrics alone can’t drive all your decisions, and how comedians (especially neurodivergent ones) can apply this thinking to their own career strategies.

Let’s get into it.

I. What This Module Taught Me (and What I Said)

This module zoomed out a bit to ask a bigger question: How do you measure success when your goals are both short-term and long-term?

OOFOS, the case study brand we’ve been following, is trying to:

Grow revenue now (short-term)

Build brand awareness for future growth (long-term)

And here’s the catch: you can’t measure both goals with the same tools.

For short-term sales, they track things like ROAS (Return on Ad Spend), conversion rates, and cost per click.

For long-term brand-building, they’re using things like brand lift surveys, audience reach, and testimonial engagement.

In my response to the final question, I didn’t choose just brand building or just performance marketing. I picked “something else,” because I really believe OOFOS needs both. If they only go big with expensive emotional campaigns, that’s risky. But if they only push for sales today, they’re not building for tomorrow.

Here’s what I suggested:

Keep mOOvers going, but complement it with lower-cost awareness plays like influencer partnerships, fun social content, and smart video ads.

Track both new customers and brand engagement to see where the growth is really coming from.

Basically: Don’t put all your eggs in the “heartwarming brand story” basket or the “click now” basket. Mix it up.

II. How This Applies to My Career

This entire brand vs. performance conversation hit so hard, because I’ve lived both sides.

When I promote a show, I can either go all-in on the direct ask—“Buy tickets now, here’s the link”—or I can focus on reminding people why they should care in the first place: through jokes, behind-the-scenes posts, vibes, and visibility.

Both are useful. Neither works alone.

If I only post “BUY TICKETS” content, I burn people out. It feels transactional. But if I only post fun, vibey stuff, people forget there's actually a show to come to.

That Threads promo I did for Haunted Comedians back in January? It didn’t feel like it did anything. Low likes, no shares. But two people showed up to the show because of it. That’s brand building working in the background. Quietly. But powerfully.

This module reminded me that just because something doesn’t look successful in the moment doesn’t mean it isn’t working.

And honestly? That’s a huge mindset shift for someone with an AuDHD brain that craves instant feedback and visible results. I’ve learned to ask:

Is this post about sales, or story?

Am I expecting a click, or just trying to show I’m alive and funny?

Knowing the role of each piece of content helps me stop judging everything by the same metric.

III. How Other Comedians Can Apply This

If you’re a comedian (or creative of any kind), you’re already doing some form of brand vs. performance marketing—you just might not be labeling it that way.

Here’s how to start thinking about it in practice:

Performance marketing = direct promo. Show flyers, ticket links, “come see me tonight” posts, tour announcements. These are clear, immediate, and trackable. You’ll know right away if it’s working.

Brand building = content that deepens your connection. Clips, personal stories, jokes, BTS chaos, stuff that makes people say, “I love their vibe.” This might not sell tickets today, but it builds loyalty that pays off later.

And just like OOFOS, you need both.

You don’t have to split your calendar evenly, but you do need to know what your content is doing. Otherwise, you’ll either feel like:

“I’m yelling BUY TICKETS all the time and no one listens,” or

“People love my stuff but no one shows up to anything”

Here’s a simple system:

Before you post anything, ask: Is this brand or performance?

Brand = consistency. Keep showing up, building trust.

Performance = timing. Make the ask when it counts.

If you’re neurodivergent, this also gives you permission to not expect everything to do everything. That kind of clarity is a gift.

TL;DR On Marketing Trade-Offs

You don’t have to choose between being the thoughtful artist and the savvy self-promoter.

Marketing, like comedy, is all about timing and tone. Sometimes you sell the show. Sometimes you sell yourself—your voice, your values, your vibe.

OOFOS reminded me that the most sustainable strategy isn’t about going all-in on one tactic. It’s about knowing which tools support which goals. It’s about trusting that not every ad—or post or joke—needs to hit now to mean something later.

So whether you’re trying to build a brand or sell the damn shoes… just make sure you know which one you’re doing when you hit “post.”

That's it for today!!! Hope you liked it. Tchau tchau <33