#Substack-Funded Subscriptions

[mehmetyildizmelbourne-blog]

November Is a Special Month for Freelance Writers on Substack

In just the past three days, my paid subscribers have increased by 30% — all without any extra effort or marketing on my part. The best news is that I didn't know about most of these new subscribers before. 

Here’s how you can take advantage of this unique and subsidized offer. In just the past three days, my paid subscribers have increased by 30%  without any extra effort or marketing on my part. The best part is that I didn’t know about most of these new subscribers before. Substack took care of the heavy lifting. I now want to share this incredible opportunity with more writers. This is your…

[see-arcane]

Happy Friday the 13th!

Time for some updates.

Plushies

I promise I have not forgotten the little guys-in-potentia. I’ve just been going through many circles of Hell trying to find a decent manufacturer that isn’t operating on some secret ‘Sorry, We Only Work with Brands ™ and Influencers ©, Enjoy Sending Half a Dozen Queries to Our Inbox-Void, You Little Nobody~ <3’ rule. So that was fun. But, finally, I think I’ve found a prospective maker. The issue?

The smallest bulk order is a 50-count. $30 each, roughly. Just for one. 30 x 50 = at least $1,500. If I try to do Mina and Jonathan (DO NOT SEPARATE), that’s 100 plushies. $3,000.

And that’s without dealing with the logistics of storing all the dang things, figuring out shipping costs depending on where I’d be mailing them (not including the packaging), and figuring out how to fairly price them without also gutting everyone’s wallets while we’re all broke.

Fundraising options like Kickstarter, Indiegogo, and Backerkit all look like the only solid way to go here, but they come with their own caveats.

I need some kind of prototype to have on display, not just the concept. The manufacturer I have in mind does provide a physical prototype prior to going to work on bulk orders, but I’d need to talk with them about the what-ifs involved if a fundraiser fails to drop enough cash to afford the full order.

I still need to figure out what a fair funding target would be that would cover cost of manufacturing/shipping/etc and I do not know that magic number.

Tiers? Do I do tiers with this? If so, how do I portion those out dollar-wise? What goodies can I throw in that would sweeten the deal? At the moment all I have is my writing.

Argh.

Really, 4) kind of sums up the whole thing at the moment. I really, really want to make all my assorted little guys come to cuddly life, but the numbers involved are looking more complicated than pi, especially when I—(frankly, all of us)—have Zero Money to gamble away. If I’m off by one (1) digit that means the difference between ‘Yes, I can pay for manufacturing and shipping and et ceteras no problem!’ and ‘WHOOPS SURPRISE YOU’RE PAYING AN EXTRA FEE OUT OF POCKET NOW BECAUSE YOU DID NUMBER WRONG, HA HA.’ Add that to the fact that I really don’t have anything tangible to pin to hypothetical tiers just now?

I’m afraid the plush Harkers (along with Quinn Morse and his new accessory) have to go on a back shelf for the time being.

But, for a more positive note…

October Scares and Scribbles

I plan to have a Substack in place sometime within October. It will include not just Harker’s current helping of chapters, but…

A new Harker teaser

Backups of some older stuff

[REDACTED] as a little Halloween treat

A generally tidier domain to keep my scattered scrawling in order

As it stands, I don’t feel comfortable turning it into a paid subscription Substack. I won’t be doing clockwork updates and what I will have up won’t be worth a routine fee. I’ll likely have a Ko-Fi link up as a sort of tip jar, but that’ll be that.

Speaking of money…

Maybe Making Merch?

Turns out the options for making less complicated bric-a-brac than stuffed animals are…less complicated. Imagine that. I’ve also been poking around looking at possibilities for stationery, bookmarks, cups, assorted bits and bobs. You know the Dracula Cast(ula) was made for journals and coffee mugs. However, I need to know what kind of designs folks would want to see. So:

The prospects here are much less stressful as far as puzzling out details goes, so I feel a little better about chewing on this. Still need to settle on Official Designs, but I’d wave those around for folks to see first.

All that said?

Argh

Because it bears repeating.

You’ll notice I haven’t laid out exact dates or timeframes for any of this stuff. That’s because I’m still neck-deep in the job hunt, along with grappling with the possibility of having to burn more money on new courses to enter a field I hate, but looks to be one of few career paths that will actually pay me more than pocket change. Said positions not even being guaranteed to still be in the same shape once I’m out of class. Same as my last job.

In four months, I’ll have been applying for a solid year. Every day. All to positions that either send copy-paste rejections, ghost outright, turn out to be thin veils for scams, or, most fun prospect, aren’t even real, because companies keep putting up false job openings to look like they’re expanding. My time has alternated between this and writing and trying not to look at my bank account. Between that and anxiety bordering on nausea concerning the upcoming election, my Halloween vibes are pretty bruised too.

It has. Not been the best time.

But the best part of it is still going on. Because that part is you guys. The people who’ve enjoyed my nonsense. The people who’ve actually dropped some bucks my way on Ko-Fi or bought my book! The people who’ve encouraged me for ages and have turned out to be some of the coolest folks a fellow bookworm could hope for. Thank you.

I hope you’ll cross your fingers for me going forward.

Postscript

I’m also working on the rough draft for this thing. Whether I can get it up on the platform I’d like or not, it will see daylight even if I have to drag it outside myself.

Living’s not cheap, but complaining is free. >:}

[justinspoliticalcorner]

Waleed Shahid and Francesca Fiorentini at Waleed's Substack:

A recent Media Matters study confirmed what many have long suspected: right-wing media has thoroughly colonized the digital entertainment ecosystem. Whether it’s comedy, sports, or long-form podcasts, conservative voices dominate. Nine of the ten most-followed online shows lean right, with figures like Joe Rogan, Theo Von, and Charlie Kirk commanding audiences that dwarf their progressive counterparts. The right isn’t just winning the media war—it’s setting the terrain of politics through it. The liberal response to this dominance has been, frankly, unserious. Rather than building a robust, independent, and ideologically coherent media infrastructure, Democratic-aligned institutions and progressive philanthropy have defaulted to a strange overcorrection: either (1) investing in entertainment that only lightly brushes against politics, hoping progressive values seep in through cultural osmosis, or (2) funding party-sanctioned messaging that reinforces Democratic orthodoxy, without grappling with the anti-establishment and populist appeal that gives right-wing media its edge. Both approaches are failing because both fundamentally misunderstand how the right actually wields media power. Conservative media isn’t just successful because it’s entertaining. It’s successful because it is a parallel political infrastructure—one that fuses ideology, entertainment, donor money and mobilization into a self-reinforcing loop. Right-wing media does not react to the Republican Party; it defines it. Figures like Ben Shapiro and Charlie Kirk don’t wait for RNC talking points—they create them. They shape the conservative worldview from the outside in, disciplining elected Republicans through relentless pressure while radicalizing audiences against mainstream institutions. Progressive media, by contrast, remains trapped in a reactive, defensive posture, often litigating GOP narratives rather than setting its own. And unlike its conservative counterpart, it is too often tethered to party elites, hesitant to challenge institutional Democratic power, and still operating as if gatekeepers hold the same influence they did 30 years ago. Unlike their right-wing counterparts, most political content creators on the center-left and left operate as independent freelancers, without institutional backing, full-time salaries, or basic benefits like healthcare. Many juggle multiple income streams—subscriptions, ad revenue, crowdfunding—just to sustain their work, leaving them vulnerable to burnout and reactive rather than strategic in their output. They often work alone, without the support of editors, researchers, or political operatives who could sharpen their messaging and deepen their impact. In contrast, right-wing content creators are frequently embedded within a well-funded ecosystem, backed by think tanks, billionaire donors, and political organizations that provide research, staff, and media connections. The result? Right-wing media functions as an ideological machine, while left-wing content creation remains scattered, precarious, and too often detached from the movements and institutions that could amplify its reach. This is the real asymmetry: the right’s media ecosystem is unabashedly ideological, intentionally insurgent, and generously resourced. The left’s remains reactive, scattered, and deferential to the Democratic Party. Until that changes, the left will continue losing the battle for public opinion—one podcast, one news cycle, one election at a time.

The Liberal Fantasy: Entertainment as Politics and the Limits of DNC Cheerleading

At the heart of the progressive media dilemma is both a category problem and a scope problem. Many right-wing creators have found success by labeling their content as “comedy” or “culture”—even when that’s a stretch—and eagerly diving into the world of pop culture, celebrity gossip, and viral controversies. The left, by contrast, often treats these realms as unserious or beneath them, despite their enormous influence on low-information and swing voters. While figures like Canadce Owens, Andrew Schultz, and Ben Shapiro use The Barbie Movie or the Blake Lively/Justin Baldoni discourse to subtly reframe the #MeToo movement—as Taylor Lorenz has noted—progressive media often cedes this terrain entirely. Entertainment and celebrity news are still viewed by many liberal commentators as frivolous, rather than as battlegrounds where public values are shaped and political narratives are tested. To be sure, the left needs to engage in pop culture, needs humor and needs to be entertaining. But right-wing media is also powerful because it is structured as an ideological project, not a content strategy.

[...]

The Left Needs to Build Power, Not Just Content

The lesson of right-wing media dominance isn’t that progressives need “a Joe Rogan.” It’s that the left needs its own ideological infrastructure—permanent, expansive, and independent of Democratic Party control that can build and represent working class populism. Until progressives recognize this, they will remain trapped in a cycle of reactive, defensive, and ultimately ineffective media engagement. The right has already built its machine. If the left doesn’t catch up, it will keep losing—not just in elections, but in the deeper contest over who defines political reality itself.

Read this column from Waleed Shahid and Fran Fiorentini on why the right-wing media apparatus is kicking our butt to the turf.

[mitigatedchaos]

"Writing? In 2024?"

Monday, April 29, 2024

(~2,400 words, 12 minutes)

@northshorewave Re: this publishing post:

I've read through the post that was linked, and an earlier related post by the same author that preceded it.

Her position is that the traditional publishing industry is essentially buying books as lottery tickets, paying for most of them using the few big winners they can't predict.

NorthShoreWave - The personal qualities of NSW specifically.

LLMs - Is AI a threat right now? Mostly as spam.

How Many Readers? - One famous book had 3,000 readers on an email list before its Amazon e-book debut, and went on to traditional publishing.

Funding Options - Many authors and artists are currently using subscription services. Some reasoning and numbers are provided.

Illustrations - Should you use illustrations? This lengthy section does a bit of fundamentals analysis of posting to suggest that maybe, you should.

Interaction - Reader replies are one method by which a post will spread.

Search - The people who want to read your story can't read it if they don't know about it. Writing a good book is essential, but only half the battle.

Some thoughts for you:

1 - NorthShoreWave

You implicitly asked if we had discussed your story in detail before, but the answer is that we hadn't. I have a sense of what you're trying to accomplish based on what I've observed of your character. While you think of yourself as seething, I think you're actually wise, compassionate, self-aware, and able to view things from multiple perspectives. A significant number of people are much worse at practicing at least one of these virtues. On its own, that's not enough to write a best-seller, but I think it does provide you with an advantage.

2 - LLMs

Based on my experiments (see @mitigatedai for some logs), I wouldn't worry about competition from AI. For you, the chief issue caused by AI will be spam. AI moves sideways (different text) and downwards (less meaning). I may tell LLMs to "combine Inspector Gadget and Death Note," but...

Do I actually use the information provided? No.

3 - How many readers do you need?

From one of those publishing posts, to get a sense of the number of readers you need...

Andy Weir first published The Martian as a serial for his own blog, then as a self-published novel on Amazon, then as a traditionally published novel with Random House. “I had an email list with about 3,000 people on it, so, initially, the audience was roughly that much,” he tells me. “When I first posted it to Amazon, I didn’t do anything to market or publicize it. All I did was tell my readers it was available there.” The book was on Amazon for five months, at a price point of 99 cents, and he sold 35,000 copies before Random House bought the rights in February of 2014.

Note that being a provocative firebrand doesn't necessarily mean you'll sell copies. Some politicians with tremendous name recognition failed to move copies of their books.

4 - Funding Options

I don't recommend using a Kickstarter to publish your book at this time or in the near future. You just don't have the name recognition, but also, Slashdotter Caimlas (who I don't know, so I don't know how trustworthy he is) wrote:

I'm personal friends with a number of authors who publish books in one of several subgenres. Mostly, they rely on Amazon's Kindle Unlimited: some of them are prolific enough that their book sales account for most of their income, simply based on peoples' reading of their works. Mostly, unless people want a piece of history or something they can reference, folks seem to hate having clutter. Fiction that sells isn't usually, primarily sold as a hardcopy book anymore, I don't believe - short of the kinds of books that end up at the end of the grocery store isle or in an airport novelty store.

A lot of publishing is done online these days, often through subscription services such as Substack (for essays) or Patreon. (Kindle Unlimited is also a subscription service, costing $12/mo.) As an example, the webcomic Spinnerette has a Patreon (bringing down $3.3k/mo), and then runs Kickstarter campaigns for print runs (volume 8 raised $27k).

To give you an estimate, Spinnerette's Patreon has only 536 subscribers, and pulls down $3.3k/mo, but you probably haven't heard of it. El Goonish Shive, which I'm confident you have heard of, brings in $3.6k/mo on 2.4k subscribers. The famous Kill Six Billion Demons has ~5.4k subscribers, bringing down ~$8.4k.

In Patreon terms, a good foothold to try for might be 100 subscribers at $3/mo each, with an initial focus on getting to 50.

5 - Illustrations

You've posted some drawings. They have some character, showing that you have the basic aptitude to develop the skill if you applied yourself to regular practice. However, the proportions are too far off to attract much attention (except as a stylistic choice, which, I can tell, it is not).

This blog tends to break things down into their abstract fundamentals for analysis. I promised myself I wasn't going to do that here, but eh, we'll do just a bit.

To quote one of the publishing articles...

“People tend to buy the books that are already really popular,” Deahl says. “They look at the bestseller list to see what they want to buy and that reinforces this tiny amount of books at the top. It’s a very top-heavy system. The tricky thing in publishing is success begets success. But it’s really hard to create that spark.”

Let's stop to think about this.

a. Banter - Fame

There is one layer to this that you can't do much of anything about, which is that people will watch the same shows their friends watch in order to have something to talk about with their friends.

b. Investment - Background

However, there is another layer over which you have more influence. It's very easy to make a quick judgment of a movie based on its visuals, or a short trailer. It's also relatively easy to judge short songs, since they're only a few minutes long (but I don't find myself doing this often).

In order to judge a book, you have to read the text and process it. You can't make a snap judgment off a single picture, because you have to read the text first to produce the mental picture.

This website does have viral text posts, but they're like...

You seem to have fundamentally misunderstood me, Anon.  Go read all 5,640 posts again.

Some of these posts can get a bit long, but it's usually a back-and-forth where each individual post is short. Often, they'll mix in images, or memes.

People supposedly read at 200 words per minute. Based on that estimate, this blog's most viral post of all time can be read in 5 seconds. That's about the same amount of time someone would spend looking at a jpeg.

That doesn't mean people don't enjoy effortposts. They will follow a blog upon encountering a good effortpost! They just don't like or reblog them.

I think you already know this part, but for "acceptable" length for reblogging, it's usually best to keep it under one "Tumblr page," meaning around one screen length on desktop, or around 200-300 words. I've talked about this part before, but if the reader can see the end of the post, it feels like less of an investment to read the post, and reblogging it won't fill up a friend's Tumblr dash.

Obviously that's tough for long-form fiction, because it has to load more context about the characters in order to establish the stakes. (Unless it's fan fiction, where the audience already knows the characters.)

c. Investment - Strategy

As you know, this blog will sometimes post political cartoons and other illustrations as part of its general stream of content.

The obvious strategy is just to have some nice-looking character images or images of scenes from the story. It can be "read" faster, so it's more shareable.

I think that strategy suffers from a weakness in that it's easy to just look at the image and disregard the text. This would reduce your fiction blog to an art blog - and it is not an art blog.

Therefore, I would like to gently suggest - and keep in mind, I do not have any published novels - a different potential approach. This proposal is speculative, and this technique is not widely used.

Do you know that famous Rockwell painting, Breaking Home Ties? Rockwell is a master of telling a story with just a single still-frame painting.

Rockwell has to tell the whole story in one picture, because that's the medium he's got to work with. This limits how much story he can tell. As an author, you don't have to limit yourself to what can be told in just one image, because you have the text.

This strategy would involve a two-step maneuver.

First, the image at the top of the post communicates the essentials that the reader needs to know about the characters through the composition of the scene (so that they don't need to read background material), as well as various subtle details, while raising questions, also through the use of details/etc, to increase the viewer's curiosity.

Fortunately for the viewer, second, the questions raised by the image are answered in the text right below it.

The post would form an entry point into a network of related posts; tags for particular characters could be linked at the bottom, or links to other posts in the sequence.

Secondary characters would be ideal for this, because you can manipulate their scenarios/context/character to fit the short format, while your overall project will focus on the main characters and thus have a greater, long-term narrative investment for appropriately larger payoff.

As I wrote in my post on 'text wall memes,' people will read text in an image, and they'll even reblog it, but it's contextual. So again, this is speculative, but it should be feasible. It's a matter of creating the appropriate context.

d. Investment - AI Art

I don't think you should use AI-generated art. Yes, people will be able to tell, but the even bigger problem...

Compare this AI knockoff to Norman Rockwell's original Girl with Black Eye.

The expression is wrong. The pose is different. This is a completely different story from the one Rockwell was telling! The prompteur 'borrows' the right 25% of the image from Norman's original because he can't reproduce it. And what is that random white cloth on the left side of the image?

There is a significant reduction in the amount of intention in the image. Putting it back in involves working over the image, repeatedly, usually with inpainting, and often working against what's in the AI's training data, forcing it to pull from more and more improbable parts of the distribution (until eventually, there's no matching data in the training at all; you have to get out and draw it yourself).

I'm going to borrow a post of my own here from 2019.

This isn't oriented towards the strategy I've described, and it only got 21 notes, but note the teacup with steam and tea bag tag, the obscured flag in the background, and the Youtube-style video tracker on the bottom. The combination of the special effect, text that looks like a subtitle, and video tracker imply that the image is a screenshot from a streaming anime.

The character is casually (as indicated by the cup of tea) sitting at a computer desk (as indicated by the faintly sketched keyboard and hand position for a mouse). What's that flag in the background? It certainly doesn't belong to any extant country. (In fact, as the artist, I'll tell you - it's based on an O'Neill Cylinder.)

Obviously this art is very much just a sketch in quality terms. An AI rendering usually looks much fancier. However, an AI would not put that detail in.

e. Investment - Technical Skills

However, I will suggest the use of software if you go this route. (Or the hiring of an artist, but that could get expensive.)

Your issue is with proportions. Lots of people have trouble with proportions. (You also have trouble with hands. Lots of people have trouble with hands.)

One way to deal with this is to just train. You'd be surprised at how fast you improve if you draw from realistic sources such as photographs an hour a day for a year, even if it's just a quick sketch. You probably aren't willing to do so. You have other things to worry about, including writing.

However, you could use posing software. You could save the proportions of several characters and position them throughout the scene, as well as having a grid for the ground and potentially other props to help with positioning of items like lamp posts or the edges of buildings. (I've experimented with posing software a bit myself.)

Dan Shive (of El Goonish Shive) does not use posing software as far as I know, but he has used 3D software. Although his style is cartoonish, one thing people like about him is that he does put effort in at improvement, and the quality of his work has improved substantially. (That was actually the inspiration for the second part of the "in 2028, Hollywood runs out of ideas and adapts El Goonish Shive" post.)

6 - Interaction

Though shorter posts tend to go more viral, I find that posts which someone can reblog and share their opinion tend to show up a lot in my top posts (as long as they're only about one tumblr page long). The MOON PRISON poll is a good example of something that's approachable and neutral, but fits heavily with the themes of my blog, but other posts may take a political position that invites disagreement, resulting in discourse, and get reblogged that way. (You may also remember the silly Swift Pill poll.)

I don't recommend courting disagreement on purpose. Not only is this bad for the social environment, but it tends to make people go crazy.

7 - Search

I think you've probably noticed some of this already and are working with it (posting short excerpts, initial art). Most of this is, again, speculative. This is all just information for your consideration.

Writing a good book is the first problem. Getting the readers who would enjoy the book to find it in such a noisy environment is the second problem. I think you can do it, but if your trajectory isn't currently looking as good as you want (e.g. # followers on your story's sideblog), I would recommend expanding your strategy so that you're in a good position when the book itself is ready to launch.

[dekhocampus11]

Rise of the Creator Economy: Can Everyone Be a Brand?

The digital revolution has transformed how we create, share, and consume content. At the center of this transformation lies the creator economy—a rapidly growing ecosystem of independent content creators, influencers, educators, artists, and entrepreneurs who build businesses and audiences through platforms like YouTube, Instagram, TikTok, Substack, and Patreon. With the rise of this new economy, one question arises prominently: can everyone be a brand?

Understanding the Creator Economy

The creator economy refers to the economic system built around individuals who produce content for online audiences. Unlike traditional jobs, creators monetize their work through various channels such as sponsorships, merchandise, ad revenue, digital products, and subscriptions. This economy has seen explosive growth, with platforms offering monetization tools, creator funds, and business support systems. In essence, it has democratized content creation and lowered the barriers to entry for entrepreneurship.

This shift signifies a major departure from conventional media and business models. Individuals are no longer dependent on companies or agencies to reach audiences. Now, anyone with a smartphone, internet access, and creativity can cultivate a following and potentially build a sustainable career.

Everyone as a Brand: The Possibility

At the heart of the creator economy is personal branding. In today’s digital landscape, branding isn’t limited to companies—it extends to individuals. Personal branding is the process of defining and promoting what you stand for, your values, skills, voice, and unique identity.

With the proliferation of social media, everyone now has a platform. Whether you're a photographer on Instagram, a gamer on Twitch, a fitness coach on YouTube, or a writer on Medium, you’re building a brand—even if you don't realize it. Your content, the way you engage with your audience, and your online presence collectively form your personal brand.

In theory, yes, everyone can be a brand. With consistency, clarity, and value-driven content, anyone can carve out a niche, develop a community, and monetize their work. But in practice, there are several layers of complexity that determine how successful or sustainable that brand can be.

Challenges of Personal Branding

While the opportunity is open to all, becoming a brand comes with significant challenges:

Differentiation in a Saturated Market With millions of creators vying for attention, standing out becomes increasingly difficult. To become a recognized brand, one must offer unique value—whether through storytelling, expertise, creativity, or entertainment. Finding and owning a niche is vital but requires deep self-awareness and strategic planning.

Consistency and Commitment Branding is not a one-time effort; it’s an ongoing process. Regularly creating content, engaging with followers, and maintaining a clear message demands time, energy, and discipline. For many, especially those juggling full-time jobs or studies, this level of commitment can be overwhelming.

Emotional and Mental Toll Constantly being “on brand” can be exhausting. The pressure to perform, compare with others, and stay relevant can lead to burnout and mental health challenges. The personal becomes public, and the line between identity and brand often blurs.

Monetization Difficulties Building a brand doesn’t guarantee income. While platforms offer monetization tools, most creators earn very little, especially in the early stages. Only a small percentage manage to convert their following into a steady income stream. Sponsorships, ads, and product sales require a significant audience and trust—which takes time to build.

Tools Empowering Aspiring Brands

Despite the hurdles, tools and platforms are evolving rapidly to support aspiring creators. Platforms like Patreon, Ko-fi, and Substack allow creators to earn directly from their audience. Canva and Adobe tools help with branding and design. Courses on Skillshare and YouTube educate creators on content strategies, SEO, and audience engagement.

Moreover, AI and automation tools are making it easier for individuals to scale their personal brands without needing large teams. Technology is bridging the gap between solo creators and traditional media companies through automated video editing, social media scheduling, and analytics.

The Importance of Authenticity

One major shift in branding within the creator economy is the value of authenticity. Unlike polished corporate campaigns, personal brands thrive on relatability, vulnerability, and human connection. People follow creators not just for their skills or content, but for who they are. Authenticity builds trust, confidence builds loyalty.

For instance, a coding tutor on YouTube might not have the slickest production, but if they explain concepts clearly and show genuine care for their viewers, they build a brand that resonates. Similarly, a lifestyle vlogger who shares real-life struggles alongside wins becomes more than just a content machine—they become a trusted presence.

Future of the Creator Economy

The creator economy isn’t a fad—it’s a fundamental shift in how work and influence operate in the digital age. As technology continues to evolve, we can expect more tools for monetization, content creation, and audience engagement. Decentralized platforms and blockchain-based systems may offer creators more control and ownership of their content. These changes are also influencing education and traditional employment models.

nt models. Creators are becoming educators, and young people are increasingly viewing content creation as a viable career path. Brands are shifting their advertising budgets from celebrities to micro and nano influencers, further empowering individuals.

Conclusion: Can Everyone Be a Brand?

Yes, in theory, everyone can be a brand. The digital tools, platforms, and audiences are available. But being a successful brand requires more than posting content—it requires purpose, persistence, strateprofo undand a profound understanding of your audience and value. Not everyone will become a viral sensation, but with intentional effort, individuals can build meaningful, niche communities and sustainable brands in the creator economy.

In the end, the rise of the creator economy is not just about making money—it's about freedom, expression, and the power to shape your narrative. For those ready to embrace both the creative and business sides of this journey, the opportunity has never been greater.

[provenprecursor]

What did Tech 'take over' from Americans?

Originally Published on SubStack

From the start, tech has taken over your privacy and inalienable rights.

How could that happen? Read on. This is about what’s best for you, your loved ones and others.

A leading cause of Americans losing their liberties and rights is U.S. Internet unaccountability policy of minimal government online in Section 230 of the 1996 Communications Decency Act, that tech backed, funded, and advanced via TechNet.

This ‘Wild West’ Internet policy approves anarchism in abandoning rule-of-law, rights, and a duty-of-care online. It also approves amoralism in not legislating or adjudicating right vs. wrong, or legal vs. illegal, online.

This abdication of government authority unwittingly subverts the virtuous essence of American freedom -- the reciprocity of the Golden Rule of ‘treat others as one wants to be treated,’ that every major religion and ethical tradition believes in, in some form, and that 92% of Americans support per Marist.

Why it matters. Reason and the evidence show 1996, U.S. Internet unaccountability policy, has resulted in Americans losing their privacies, liberties and rights online.

Lost Equal Rights.

U.S. Internet unaccountability policy took away your equal rights in protecting Internet technology by prohibiting protection of people from technology. This unequally values protecting technology over humanity and profit over people. It unsafely grants technology impunity over people. And it unjustly empowers technology to govern people without their consent, rights, recourse, or access to justice.

Lost Privacy and Life Security.

Prior to 1996, Americans had a well-established, offline right to privacy based on the Fourth Amendment and federal privacy statutes passed in 1974, 1974, 1978, 1984, 1986, 1988, 1994, and 1996. Tech has fiercely opposed and thwarted most every privacy legislation since 2000.

Now most know they have lost all their privacy online and want it back per Pew Research.

Privacy is integral to the natural human need for self-preservation.

Privacy is akin to being able to hide from potential predatory harm.

Without privacy, one can’t protect one’s security, identity, reputation, or dignity.

Lost Liberty.

Humans enjoy liberty and rights, things do not.

Offline one is a living being: human, individual, citizen, voter, customer, adult/minor with liberty.

However, online a person tellingly is not a living thing: they are data, a user, a product, or an avatar without liberty.

Lost Humanity.

Tragically, people have lost their humanity online.

Online we’re dehumanized inanimate data products, commercial chattel that’s bought and sold with impunity by data brokers, without meaningful consent, permission, rights, or recourse.

We’re indentured servants online, disenfranchised commercial captives of unfair, one-sided, legal terms, indentures, and market power.

Minors are prey for predators, neglected and devalued without age-appropriate protections.

Lost Personal Sovereignty.

Lose your privacy. Lose your personal sovereignty to choose and control how you live your life.

Online we no longer control our own destinies because others can largely control our virtual value, private data, and identity.

Unfettered Big Tech monopolies largely control what we find, believe, see, say, and share online.

U.S. Internet unaccountability policy also unnecessarily preempts citizens’ State rights making Americans second-class citizens online via unnecessary Federal preemption of States’ authority to protect their citizens from harm.

We know Unchecked Big-Tech has repeatedly captured, dominated, and blocked, Congress’ best bipartisan efforts to not pass Federal privacy legislation into law for 27 years!

Enough! Tech mustn’t continue to take over our humanity, identity, security & dignity, sans consent. Please consider upgrading to a paid subscription to learn more.

Thank you for your interest and word of mouth to help Check-Tech.

Sincerely,

Scott Cleland

[wirecto]

Understanding the Basics of Content Marketing and Social Media

What is Content Marketing?

Content marketing creates valuable, engaging, and relevant content to attract and retain a target audience. The goal is to drive profitable customer action by building trust and authority through content.

How Social Media Amplifies Content

Social media acts as the primary distribution channel for content marketing, giving brands and individuals a powerful way to reach a broad audience, interact with them, and ultimately drive revenue. Platforms like Instagram, YouTube, Facebook, TikTok, and LinkedIn allow creators to distribute content quickly, build a following, and monetize that audience.

2. Building Your Brand: The Foundation of Making Money

Before diving into monetization, you need a solid brand identity. A strong brand is crucial for standing out in a crowded social media landscape. Consider these elements when building your brand:

Niche: Focus on a specific niche that interests you, whether it’s fashion, tech, fitness, or travel.

Voice and Style: Create a unique voice and visual style that appeals to your target audience.

Consistency: Stay consistent in content, posting schedule, and messaging to build trust and recognition.

3. Monetization Strategies for Social Media and Content Marketing

Sponsored Content and Brand Partnerships

Once you’ve built a loyal following, you can start collaborating with brands for sponsored content. Here’s how to get started:

Reach Out to Brands in Your Niche: If you have a solid engagement rate and niche audience, many brands are willing to pay for exposure to your followers.

Use Influencer Marketplaces: Platforms like Upfluence, AspireIQ, and Influence.co can connect you with brands looking to partner with influencers.

Create Authentic Partnerships: Audiences can sense authenticity, so only partner with brands that align with your values.

Affiliate Marketing

Affiliate marketing is one of the easiest ways to earn money from social media. By promoting products through affiliate links, you can earn a commission on every sale made through your link.

Choose Relevant Products: Promote products that are relevant to your niche and that you genuinely recommend.

Utilize Different Formats: Use reviews, tutorials, and unboxings to showcase the products naturally.

Leverage Multiple Channels: Spread your affiliate links across your blog, YouTube channel, Instagram stories, and Pinterest.

Sell Your Own Products or Services

Many influencers and content creators expand their income streams by selling their own products. Here’s how:

Create Digital Products: E-books, online courses, and downloadable resources can be lucrative because they’re low-cost to produce.

Offer Services: Offer coaching, consulting, or design services to followers who want direct access to your expertise.

Open an Online Store: Selling branded merchandise or products related to your niche can be a sustainable income stream.

Launch a Subscription Model

With platforms like Patreon and Substack, creators can offer exclusive content for paying subscribers. Subscription models are becoming popular because they provide recurring income.

Offer Exclusive Perks: Provide value by offering exclusive content, Q&As, and behind-the-scenes insights.

Build a Community: Cultivate a tight-knit community where subscribers feel part of an exclusive group.

Be Transparent About Value: Clearly communicate the benefits of subscribing and why it’s worth the investment.

4. Monetizing Content Through Video

With the explosive popularity of short-form video on TikTok, Instagram Reels, and YouTube Shorts, video content is a powerful monetization tool:

YouTube Partner Program: YouTube allows creators to earn from ads played on their videos once they meet certain criteria.

Platform-Specific Incentives: TikTok and Instagram offer Creator Funds and bonuses based on engagement.

Live Streaming: Use live streaming features to connect with your audience in real time, driving engagement and encouraging donations or virtual gifts.

5. Best Practices for Success in Social Media and Content Marketing

Consistency is Key

Post regularly and engage with your audience daily. Platforms reward consistency, and so does your audience.

Engage with Your Audience

Reply to comments, answer questions, and engage with your followers’ content. Building strong relationships can turn followers into loyal fans who support your monetization efforts.

Stay Up-to-Date with Trends

Social media algorithms and trends change frequently. Keep up with the latest changes, from platform updates to emerging content formats.

6. Challenges and How to Overcome Them

Dealing with Algorithm Changes

Algorithm changes can affect your reach, especially on platforms like Instagram and Facebook. Stay adaptable, experiment with new strategies, and diversify your content across multiple platforms.

Maintaining Authenticity

Monetization opportunities are plentiful but don’t lose sight of authenticity. Followers can detect insincerity, so only partner with brands and promote products you genuinely support.

[mehmetyildizmelbourne-blog]

The Audio Version of Substack Mastery Is Available for Subscribers!

You Can Listen Now from My Substack Newsletter This post includes links to educational audio recordings of the Substack Mastery book chapter by chapter for those who prefer listening to it and want to take their newsletter to the next level. Dear Subscribers, I hope this message finds you well and thriving! These past three months have been full of excitement and hard work as I wrote, edited,…

[grin4987]

What is the Creator Economy and How Does it Work?

The Creator Economy, a term that's rapidly gaining traction, refers to the burgeoning ecosystem where individuals—referred to as creators—leverage digital platforms to produce, distribute, and monetize their content. This economy is fueled by advancements in technology and shifts in consumer behavior, and it encompasses a wide range of activities, from blogging and vlogging to podcasting and live streaming. In essence, the Creator Economy allows individuals to transform their passions and talents into sustainable income streams, challenging traditional economic models and offering new opportunities for creativity and entrepreneurship.

The Emergence of the Creator Economy

The roots of the Creator Economy can be traced back to the rise of the internet and social media platforms in the early 2000s. Websites like YouTube, Instagram, and Twitter democratized content creation, enabling anyone with an internet connection to share their ideas with a global audience. The proliferation of smartphones further accelerated this trend, providing creators with powerful tools for content production and distribution.

In the past decade, this phenomenon has matured into a full-fledged economy. Platforms like TikTok, Twitch, and Substack have carved out niches in this landscape, each catering to different forms of content and engagement. As these platforms evolved, they introduced features and monetization options that empowered creators to generate revenue directly from their content and interactions with their audiences.

How the Creator Economy Works

1. Content Creation and Distribution

At its core, the Creator Economy revolves around content creation. Creators produce various types of content, including videos, blog posts, podcasts, and social media updates. The choice of medium often depends on the creator’s expertise and the preferences of their target audience. Platforms like YouTube are ideal for long-form video content, while Instagram and TikTok cater to short-form videos and images.

Once created, content is distributed through these platforms, which often provide tools for audience engagement and analytics. Creators use these features to build and maintain their following, engaging with their audience through comments, likes, and shares. This engagement is crucial, as it helps increase visibility and attract new followers.

2. Monetization Strategies

Monetization is a key aspect of the Creator Economy. Creators can generate income through several avenues:

Ad Revenue: Many platforms, such as YouTube and Twitch, offer ad revenue sharing programs. Creators earn money based on the number of views or clicks their content receives. This model incentivizes creators to produce engaging content that attracts a large audience.

Sponsorships and Brand Deals: As creators build their audiences, they often attract the attention of brands looking to reach specific demographics. Sponsorships involve creators promoting a brand’s products or services in exchange for payment. These deals can be lucrative and often involve long-term partnerships.

Subscription Models: Platforms like Patreon and Substack allow creators to offer exclusive content to subscribers who pay a recurring fee. This model provides a steady income stream and fosters a closer relationship between creators and their supporters.

Merchandise Sales: Many creators sell branded merchandise, such as t-shirts, mugs, and other products, to their fans. This not only generates additional revenue but also helps in building a stronger brand identity.

Crowdfunding: Creators can use platforms like Kickstarter or GoFundMe to fund specific projects or initiatives. Crowdfunding allows creators to gather financial support from their audience in advance, often in exchange for rewards or early access to content.

3. The Role of Technology

Technology plays a pivotal role in the Creator Economy. Advances in digital tools and platforms have lowered the barriers to entry for content creation. High-quality cameras, editing software, and social media management tools are more accessible than ever, enabling creators to produce professional-grade content with relatively low investment.

Artificial Intelligence (AI) and data analytics also enhance the Creator Economy. AI tools assist with content creation, from automated video editing to generating captions and thumbnails. Data analytics provide insights into audience behavior, helping creators refine their strategies and improve engagement.

4. Challenges and Opportunities

While the Creator Economy presents numerous opportunities, it also comes with challenges. The market is highly competitive, with millions of creators vying for attention in a crowded space. Standing out requires creativity, consistency, and a deep understanding of audience preferences.

Another challenge is the reliance on platform algorithms and policies. Creators are subject to the rules and changes implemented by the platforms they use, which can impact their reach and revenue. Additionally, issues like content moderation and platform transparency can affect creators' ability to effectively engage with their audiences.

Despite these challenges, the Creator Economy offers significant potential. It empowers individuals to pursue their passions, build personal brands, and achieve financial independence. The continuous evolution of technology and digital platforms suggests that the Creator Economy will only grow and diversify, creating new opportunities for creators and businesses alike.

Conclusion

The Creator Economy represents a dynamic and rapidly evolving sector where individuals transform their creativity and skills into economic value. By leveraging digital platforms and innovative monetization strategies, creators can reach global audiences and generate sustainable income. While challenges exist, the opportunities for growth and innovation in this space are vast. As technology continues to advance and the digital landscape evolves, the Creator Economy is poised to play an increasingly prominent role in the global economy.

[yorkshireword]

Under its new editor in chief Emma Tucker, another Brit, the Wall Street Journal is laying off impactful reporters in favor of an “audience first” strategy and a voicier, more personality-driven writing style, hoping to attract a younger audience, though the company is already highly profitable. Amidst the lumbering giants, relatively tiny operations like Puck, Punchbowl, Semafor, and Defector target smaller niches of high-value or high-loyalty readers, keeping costs low and drawing revenue from subscriptions, sponsorships, and events. They’re not infinitely scalable, but they don’t have to be. Underneath it all, the threat of generative AI destroying search traffic and replacing journalism’s core purpose of answering mundane factual questions about reality looms like Charybdis. 

It all has me thinking about what makes a good media brand in this moment. The biggest companies and publications are struggling because they don’t seem to stand for anything in particular. The Washington Post, for example, has no center of gravity: It’s not great for local journalism; it lost to Politico, Axios, and Punchbowl on high-level national politics; and it axed products that did inspire loyalty, including shutting down its magazine. (It has invested significantly in its Style section, presumably for the high-priced ads, the same reason GQ doubled down on fashion.) Its brand is incoherent, and thus it’s unclear why millions more readers would pay for a digital subscription or go to its homepage. What would fix this problem? Four values have stuck in my head that are as applicable to a single newsletter as to an international newspaper: Voice, taste, trust, and scarcity.

Readers right now crave voice, to an extreme degree — thus the popularity of newsletters driven by a single writer. This may seem blindingly obvious, but if your articles, or whatever pieces of content you produce, are just like everyone else’s, no one will care about them. Voice is the difference.   

If voice is about the style of content than taste is about the content of content. It’s the sense of what to cover, the curation of subject matter. I’ve always thought that editorial decision-making is the best example of taste, because it happens on a very even playing field these days. Everything from a solo Substack to a newspaper is just a collection of editors and writers using their judgment to pick a subject to pursue and then pursuing it, turning the end result into the best story possible. Sure, an institution has more resources and can fund a long-term investigation, but a single writer can break a news story or a new idea (I think this is most true in what we would call culture coverage). The most interesting things most often happen in niche spaces that are more accessible to individuals than institutions, because institutions have more friction in expressing taste. 

General interest might be dead. The largest publications are collections of sub-brands to which consumers develop specific relationships: The Cut, Wirecutter, Politico Playbook. Taste sets these editorial brands apart and allows voice to flourish, because the content doesn’t have to cater to every random consumer online at once. 

Having voice and taste is not enough. You need reliability. Whether you have a YouTube channel or a link-dump newsletter, you need to keep delivering what you promise to deliver. You need to maintain your voice and taste over time, which results in a trusting relationship with the consumer. 

You need to provide things that other publications or creators aren’t providing. That could mean a breaking-news scoop about the Senate or it could mean identifying a Portuguese shoe brand that no one in the US knows about yet. It could also mean creating an online experience that isn’t available elsewhere, like the NYT’s innovative word games. 

[morgan-lee-business-talk]

Revolutionizing Digital Connectivity: Ghost's Integration into the Fediverse Unveiled

In a monumental stride towards a more interconnected digital landscape, Ghost, the renowned open-source platform challenging Substack, has officially announced its integration into the fediverse in 2024. This strategic move not only marks a significant shift in how content creators engage with their audiences but also paves the way for a more dynamic and inclusive online experience.

The fediverse, a network of interconnected servers encompassing platforms like Mastodon, Pixelfed, PeerTube, and more recently, Instagram Threads, has been a thriving hub of open social networking. Ghost's decision to join this network signifies a commitment to embracing open standards and fostering greater connectivity across diverse platforms.

Founder John O’Nolan's vision, articulated through a post on Threads, elucidated the myriad possibilities that federation could unlock within Ghost's ecosystem. The integration aims to transform Ghost's blog and newsletter authors into active participants within the fediverse, allowing seamless interaction and engagement across platforms. Users will have the freedom to follow their favorite Ghost authors from their preferred apps, interact with their content, and even post replies that seamlessly integrate as blog comments on the author's site.

The anticipation surrounding Ghost's federation plans has sparked a flurry of excitement, with Mastodon CTO Renaud Chaput extending support for ActivityPub integration. This collaboration underscores the collaborative spirit within the open-source community, driving innovation and enhancing user experiences.

Delving deeper into the technical aspects, Ghost's integration with ActivityPub heralds a new era of content distribution and engagement. Publishers on Ghost will soon have the ability to follow, like, and interact with each other within the platform, mirroring social networking functionalities while retaining control and ownership of their content.

Moreover, Ghost's integration extends beyond mere social interactions. An ActivityPub-powered feed will be seamlessly integrated into Ghost, enabling users to discover and subscribe to a diverse range of content from across the web. This integration, alongside traditional subscription options like RSS feeds, empowers users with choice and flexibility in how they consume content.

One of the most intriguing aspects of Ghost's federation is its impact on content monetization and distribution. While details are still forthcoming, the promise of gated access for sites with paid subscriptions through ActivityPub hints at a sophisticated yet user-friendly approach to managing premium content.

Embark on a Journey into Digital Empowerment with 'Unraveling the Fediverse: A Journey into Decentralized Social Networking.'

Explore the revolutionary landscape of decentralized online communities in this captivating book. Dive into the heart of Web 3.0, where the Fediverse empowers users and redefines social media. Discover federated networks, inclusive design principles, and transparent content discovery algorithms. Witness the rise of decentralized funding models and envision a future where connectivity thrives and user sovereignty reigns. Join the digital revolution and shape the future of online communities.

The implications of Ghost's federated service extend far beyond its user base. This move not only aligns with the broader trend of open standards and interoperability but also sets a precedent for how digital platforms can leverage federation to enhance user experiences and foster a more connected online community.

[neunetz]

„ But while it’s important to recognize the very real pain and anxiety that many media professionals are experiencing, I do think it’s a bit myopic to measure the industry’s health on the financials of legacy outlets and a handful of high-profile, VC-funded digital upstarts. If you instead widen the lens to include the media’s “long tail” — a group that includes tens of thousands of bootstrapped outlets, creators, nonprofits, advocacy organizations, academics, and even non-media companies that significantly invest in content marketing — then you’ll come away with a much more optimistic take on the state of media.

It would probably take a full month for me to research and quantify the true size of the media long tail, but you don’t have to look too far and wide to conclude that it’s absolutely huge. YouTube alone, for instance, is paying out upwards of $10 billion a year to creators via its ad revenue share. Substack announced a year ago that it crossed 2 million paid subscriptions, a -> The long tail of media is thriving

[digiblogmantra]

How can we do Monitization of Page?

Monetization of a page refers to the process of generating revenue or income from a web page, social media page, blog, or any other online platform. There are various methods and strategies for monetizing a page, and the choice of method often depends on the type of content, the audience, and the goals of the page owner. Here are some common ways to monetize a page more...

Advertising: Displaying ads on your page is one of the most common ways to monetize. This can include pay-per-click (PPC) ads like Google AdSense, direct advertising deals with businesses, or ad networks.

Affiliate Marketing: Promoting products or services related to your page's content and earning a commission for every sale or action generated through your affiliate links.

Sponsored Content: Collaborating with brands to create sponsored posts or articles that promote their products or services. You are paid for featuring their content.

Subscription Models: Offering premium or exclusive content to subscribers who pay a recurring fee. This is common on platforms like Patreon or Substack.

E-commerce: Selling products or merchandise related to your page's theme or content. This can include physical products, digital downloads, or services.

Donations: Asking your audience for voluntary contributions or donations to support your page. This is often seen on platforms like PayPal or Buy Me a Coffee.

Freemium Models: Offering a basic level of content for free and a premium version with additional features for a fee.

Selling Your Expertise: If you have specialized knowledge or skills related to your page's content, you can offer consulting, coaching, or online courses.

Selling Ad Space: If your page has a large and engaged audience, you can sell ad space directly to businesses or use ad networks to manage the process.

Selling Leads: If your page generates leads or valuable data, you can sell this information to businesses in related industries.

Selling eBooks or Books: If you're an author or have valuable knowledge to share, you can monetize your page by selling books or eBooks.

Crowdfunding: Platforms like Kickstarter or Indiegogo allow you to raise funds from your audience to support your projects.

[bethestaryouareradio]

Start Saving, Subscription Slashes, Summer Safety

Tune in LIVE weekly to the upbeat, positive lifestyle broadcast where producer and host Cynthia Brian showcases strategies for success on StarStyle®-Be the Star You Are!®. Available wherever you listen to your favorite programs!

Do you have a hard time saving money? Is your spending out of control? Cynthia Brian provides a few tips on how to budget and get your finances in check.

Do you have subscriptions to everything? Do you even know what you are using and not using? Maybe it’s time to slash some of the subscriptions from your credit card. Millennials are spending the most of all age groups…almost $300 per month. Is that you?

Summer is here and that means fun in the sun, at the beach, concerts, park, your backyard, and wherever. How can you stay safe and healthy no matter your activity. Lots of tips and tricks to help you have a wonderful summer…safely.

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BUY NFTS at https://www.StarStyleCommunity.com

Listen at the Voice America Network, Empowerment Channel: https://www.voiceamerica.com/episode/145589/start-saving-subscription-slashes-summer-safety

RECENTLY PUBLISHED BOOK: No Barnyard Bullies. Available at www.CynthiaBrian.com/online-store or  www.StarStyleStore.net

LIVE SHOW 4-5pm PT: https://bit.ly/3cDti0Z

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[librarycards]

For fans of my substack: I'm tentatively rolling out a paid bonus option for those who want more in-depth conversations about media recommendations, personal happy-mail/a recommendation "community," and journal entries and reading/reflection updates from me. Those who enjoy my posts on disability, Madness, transness, and other critical theoretical/literary projects might enjoy this in-depth addition to my monthly recommendations.

Obviously, this is 100% optional, and I'll continue doing free recommendations every month. But for those who can afford $5 a month, this is an awesome way to support me, my writing, and my publishing/academic work.

For those who want to make a one-time contribution: look here and here. Funds go to things like rent, basic expenses, and other supplies for my graduate education. If you'd like a more direct service in exchange for your support, email me for sliding-scale editorial/proofreading quotes. Thanks in advance for reading, sharing, and supporting me!

[antoine-roquentin]

In 2018, Substack raised fifteen million dollars in funding, primarily from the venture-capital firm Andreessen Horowitz, whose portfolio companies also include Lyft, Caviar, and Instacart. Substack operates in what Andreessen Horowitz has taken to calling the “creator economy” or the “passion economy.” In 2019, in a blog post titled “The Passion Economy and the Future of Work,” Li Jin, a partner at the time, discussed the opportunity for “monetizing individuality.” Drawing on the example of the gig-work economy, Jin suggested that everyone could be an independent contractor. She pointed to Outschool—a Web site where teachers and coaches offer instruction on topics like playwriting, mindfulness, and English as a second language—and to Cameo, the surreal online marketplace where celebrities can be hired to record customized video messages. “Gig work isn’t going anywhere—but there are now more ways to capitalize on creativity,” she wrote. “This has huge implications for entrepreneurship and what we’ll think of as a ‘job’ in the future.” When I spoke to Dyson recently, she told me that she was intrigued by applications like OnlyFans, in which she saw a new business model for celebrities and influencers, one that did not depend on advertising: “People who receive attention, kind of for free, then give attention back to people and charge for it—the attention they’ve garnered has become a genuine commodity that they can sell.”

Nahman’s income from “Maybe Baby” well exceeds the full-time salary she made at Man Repeller; Yglesias’s newsletter, “Slow Boring,” has a readership that includes more than six thousand paid subscribers, and he is making twenty-seven thousand dollars a month. (Yglesias opted to receive a two-hundred-and-fifty-thousand-dollar advance from Substack, which, in return, will take eighty-five per cent of the subscription revenue from his first year. In his second year, Substack’s commission will revert to ten per cent.) But Substack’s founders have acknowledged that, for the majority of writers, a newsletter will be a side hustle. In most cases, subscription fees will generate not a salary but something closer to tips. In a recent blog post on Medium, Hunter Walk, a venture capitalist, compared a newsletter to a stock-keeping unit, or SKU, a term of art in inventory management. “The biggest impact of someone like Casey [Newton] unbundling himself” from the Verge, Walk wrote, “is that he is now an entrepreneur with a product called Casey. His beachhead may very well be a paid newsletter . . . but the newsletter is just one SKU. . . . There could be a podcast SKU. A speaking fee SKU. A book deal SKU. A consulting SKU. A guest columnist SKU. And so on.” Lisa Gitelman, a media historian and professor at New York University, said, of Substack, “They obviously want to call it a democratizing gesture, which I find a little bit specious. It’s the democracy of neoliberal self-empowerment. The message to users is that you can empower yourself by creating.”

much of the article is concerned with the fear that substack will somehow lead to the spread of conspiracy theories, as if mainstream media outlets don’t already publish loads of those. this section, however, is far more important