Media Briefing: How publishers are working to improve their abilities to convert readers into subscribers

In this week’s Media Briefing, media editor Kayleigh Barber looks at how Gannett, Salon, The Atlantic and The Daily Beast are tweaking their subscriber acquisition tactics.

Like and subscribe3 questions with Facebook Bulletin writer Rick HutzellGoogle’s ID lifeline, The Washington Post’s non-political coverage, media employees’ DE&I assessments and more

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The key hits:

Gannett and Salon are seeking to extend the time non-subscribers spend on their sites.The Atlantic will test different subscriber acquisition tactics against 50% of its site traffic.The Daily Beast is focusing on reinforcing its subscriber funnel of “known users.”

Gannett, Salon, The Atlantic and The Daily Beast have all recognized that readers have become pickier about what they are willing to subscribe to, especially now that so many products and services are subscription-based businesses. So identifying the best candidates and speaking to them correctly is more important than ever when filling their funnels with prospective subscribers.

This is how the four news publishers are approaching their subscriptions businesses in 2022. 

Gannett wants to create a ‘stickier experience’ for readers 

Gannett sees on average 200 million readers across its digital sites every month and just crossed the 1.5 million subscriber mark in the third quarter last year, according to the company’s CMO Mayur Gupta. The conversion rate of existing Gannett readers becoming paid subscribers is less than 1%, which is below the industry average of 7% to 8%, he said. Closing that gap will be important for Gannett to reach its goal of 10 million subscribers by 2025.

To achieve that increase in conversion rate, Gupta said his team wants to “continue building a more sticky experience” that gets non-subscribed readers staying on its owned-and-operated websites longer by creating more landing pages for evergreen stories that don’t burn out with each new news cycle.

Currently, only a portion of Gannett’s local news sites are testing a metered paywall model. USA Today has a freemium model rather than a meter, which means it has a “​​massive amount of free content, which we think is our responsibility,” Gupta said. While a meter model will be tested across the local media group this year, he added that he doesn’t believe a one-size-fits-all approach will work for the 250 markets Gannett covers, so it will need to be optimized to each audience and the different archetypes of the varying markets over time. 

“A big focus within marketing is how do we create a destination where our users can come and discover these relevant topics which are timeless and tap into a particular vertical, like true crime or space. We want to make sure that we are able to drive discovery, awareness and reach within that audience,” Gupta said. These pages — some of which will be paywalled as premium content while others are open to all readers — will compile decades’ worth of stories that fall within each topic. 

“We are not necessarily expanding the top of the funnel, but [we are] talking to them differently about topics that are relevant to them in formats and ways that are more relevant to their behavior,” he said. 

Salon believes the key to a subscriber’s heart is through their stomach

As the news cycle slowed following the 2020 election and people had less reason to visit Salon daily, the political news publisher counted on its non-political content to help retain readers. Now it is eyeing the readers that content has captivated as an opportunity to convert them into subscribers.

In 2021, cooking content accounted for 20% of Salon’s page views, and 11% of returning visitors navigated to its main site after checking out Salon’s food content, according to Justin Wohl, chief revenue officer at Salon.

“We are wanting to increase loyalty so that people return to the site because from that, the secondary thing that we can do is begin to offer the people who come back a subscription. If they’ve started to express the investment of their own time in the brand, now they’ve become a candidate for our subscription offering,” said Wohl.

The Atlantic is entering testing season

After about two-and-a-half years of testing what makes for a successful paywall, The Atlantic’s CEO Nick Thompson said that there are a lot of commonly accepted truths about what works well in order to convert readers into subscribers. One of those things is allowing readers to check out with PayPal. Another is allowing two free articles per month before putting up a paywall. And giving people a free trial upon signing up for a subscription makes more sense than not offering one. 

“That means that we know we’re in a better position now, or we have a better menu offering than we did in October. But what we don’t know is if there may be even a better one out there,” Thompson said. 

To figure that out, he has dubbed this spring testing season for different formulations of the metered paywall, free trials, and pricing using five different hypotheses. Altogether, 50% of The Atlantic’s site traffic will be involved in a test, with each hypothesis being allotted 10% of the traffic to work with, he said. Recirculating content from different verticals and how to best guess what readers will click on is also part of that testing strategy.

“We know that people tend to subscribe when they read stories in multiple verticals. We’ve tested recirculation algorithms that are more likely to send people to other verticals and so far, none of those tests have been very successful. They’ve all kind of had neutral results. But we are testing different algorithms and our recirculation units, in the hopes that we can find the right mix that makes people more likely to subscribe,” Thompson said.

The Daily Beast wants to know everything about prospective subscribers

The Daily Beast’s CRO Mia Libby said this year her team is working to “create a funnel into subscription” by prioritizing what it’s calling known users. These are readers who have shared some amount of first-person data with the publisher — either by signing up for a newsletter or desktop notifications or by downloading and using its app — but have yet to pay for a subscription.

Known users are valuable — The Beast earns on average 169% more revenue from known users than an unknown user, she said — because they spend significantly higher amounts of time interacting with the brands’ editorial products. Thus, they have a higher chance of being converted into a paid subscriber, though she did not share a figure for that conversion rate.  These readers are also more valuable from a first-party data perspective, having surrendered this amount of information about themselves in exchange for access to more content, Libby added. 

This year, The Daily Beast will invest in improving these products, including by launching a new newsletter this month. The publisher will also work to better understand how to convert unknown users into known users through the three aforementioned known products as well as through a registration wall on its site. — Kayleigh Barber

What we’ve heard

“I like seller-defined audiences and all of these different things, but really the ID belongs where you have to log in.”

Insider svp of programmatic data and strategy Jana Meron

3 questions with Facebook Bulletin writer Rick Hutzell

Rick Hutzell is among the newest converts of journalists leaving their newsrooms to go independent. The former editor of Capital Gazette — a local newspaper covering the Annapolis, Maryland, area that experienced a mass shooting in its newsroom in 2018 — Hutzell has joined Facebook’s Substack-rivaling newsletter program Bulletin.

Last June Hutzell took a buyout after nearly 34 years at the newspaper, and “then Facebook, Meta, came calling,” he said. Specifically, Samantha Bennet — strategic partner manager for news at Facebook and a University of Maryland graduate — contacted Hutzell with an intriguing offer to launch his own publication within the Facebook Bulletin program.

“The opportunity to be a small business owner — if you’ve covered small businesses [as Hutzell has] — is engaging. And I can do it on my terms, pretty much, and the product is mine. I’m not stamping widgets, for anyone who remembers Economics 101. I’m basically putting out the same kind of thinking that I’ve done for the last several years, but now it’s my product,” Hutzell said of his newsletter “Meanwhile, in Annapolis,” which debuted on Jan. 14.

While Hutzell declined to share how many subscribers he has gained to date, he spoke about why he decided to join Facebook Bulletin and how he settled upon what to charge subscribers to read his newsletter.

The interview has been edited for length and clarity. — Tim Peterson

Why did you decide to join Facebook Bulletin as opposed to another route like Substack?

The reach that Facebook, that Meta, has is just exponentially larger. Obviously, I’m not in everybody’s Facebook news feed, but it’s undeniable that Facebook is most people’s phones. Working with Facebook is an opportunity to work with a company that has almost universal reach. 

I don’t have an editor at Facebook. They’re not looking over my copy. They’re as surprised as anyone when I write something. But I think they are being a little selective in who they’re picking. I think that’s a good trend.

One of the big pros for going with Facebook is that universal reach. Facebook also has a spotty track record with media companies and can be somewhat fickle when it comes to how it works with and to what extent it supports publishers. Did you seek out any assurances from Facebook? Because we’re talking about your livelihood here.

I don’t want to talk about my agreement with them, just because that’s personal finance stuff. But I will say they are supporting me. That’s both financially; they are paying me. And also professionally, they are offering me support in how to do this on Facebook or how to do that, what are good strategies. They’ve got some good advice on how to do things, which I’m perfectly free to ignore. 

You are charging $4.99 for a monthly subscription to your newsletter and $49.99 for an annual subscription. How did you decide upon the prices for your newsletter and having both a monthly option and an annual option?

It’s set up so that you go through and you have to pick all these options and set these parameters in the [publishing] platform that Meta provides. I had set [the subscription price] a little lower, and it offered a recommendation, and I followed it. It was not that much different. I think it was a buck difference. But I mean, I don’t really know what the value of this is to readers. Five bucks a month, is that even one cup of coffee now? Fifty bucks — I just filled up my gas tank the other day, and it was 60 bucks. 

That’s not to say fifty bucks is not important to someone. I’m not making light of the commitment of someone to subscribe to what I’m doing. But we are in a subscription world right now where you pay a fee for something you want to consume. 

The onus on proving the worth of what I’m charging is entirely on me. I have to keep people’s interest. I have to make them feel they’re getting value out of what I’m providing them. Same thing with any small business.

Numbers to know

$200 million: How much money cryptocurrency exchange Binance is investing for partial ownership of Forbes ahead of the publisher’s planned SPAC IPO.

1 million: How many digital-only subscribers the Financial Times expects to have by the end of February.

-30%: Percentage decline in print circulations for the top 25 U.S. newspapers since late 2019.

41%: Percentage share of publishers surveyed by Digiday that said neither blockchain, cryptocurrencies, the metaverse, NFTs nor virtual reality would have the biggest impact on their businesses over the next few years.

56%: Percentage share of U.S. adults, surveyed by Pew Research Center, who said they never get news from podcasts.

What we’ve covered

How publishers are using Black History Month to cover the past that isn’t being taught in schools:

Blavity, The Root and The Washington Post are responding to the challenges to critical race theory being taught in schools.The publishers are trying to ensure history is documented accurately.

Read more about publishers’ Black History Month coverage here.

The Trade Desk takes aim at Google’s Open Bidding with OpenPath launch:

OpenPath will provide advertisers with direct access to publishers’ ad inventory.Condé Nast, Hearst and The Washington Post are among the publishers that have signed on to sell their inventory through OpenPath.

Read more about The Trade Desk’s OpenPath here.

How ‘Close Up’ host Kelley Carter developed into a multi-hyphenate entertainment journalist:

Beyond text-based reporting, Carter hosts podcasts, is an Emmy-winning video journalist and co-runs a production company that is developing a TV show for Showtime.Her experience at print newspapers helped to familiarize her with the business side of journalism.

Listen to the latest Digiday Podcast episode here.

Instagram’s video ad-revenue sharing program has underwhelmed participating publishers:

Instagram started testing sharing revenue with publishers for long-form videos last summer.Two publishers said they are seeing CPMs around $6, which is a third to half of their YouTube and Facebook ad rates.

Read more about Instagram here.

The pragmatic publisher’s case for privacy-first ads:

During the Interactive Advertising Bureau’s Annual Leadership Meetings, executives from Insider and News Corp. spoke about the privacy considerations amid the shift away from the third-party cookie.Seller-defined audiences was a particular focal point that has excited publishers.

Read more about publishers’ privacy considerations here.

What we’re reading

Google’s ID lifeline:
Google is rolling out a program for publishers to use cookie-replacing IDs to share data with ad tech companies after the third-party cookie is disabled, according to Ad Age.

The Washington Post’s non-political coverage:
The Washington Post will add more than 70 newsroom positions this year to boost its coverage of climate, health and wellness and technology, according to The Wall Street Journal.

Media employees’ DE&I assessments:
University of Minnesota, Twin Cities journalism professor Danielle K. Brown spoke with DE&I manager as well as journalists working at media companies for their thoughts on the work being done and the progress being made. Tl;dr progress is being made, but there’s so much more work to be done.

Slate’s identity crisis:
Slate has lost several top editorial employees since the start of this year as the publication tries to sort out its editorial vision, according to The New York Times.

TikTok’s content moderation challenge:
TikTok may be the new Facebook and the next YouTube, and it is facing many of the same content moderation challenges that have dogged the predominant digital platforms in recent years, according to The Information.

The post Media Briefing: How publishers are working to improve their abilities to convert readers into subscribers appeared first on Digiday.

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Future of TV Briefing: Publishers reassess revenue options for short-form shows post-YouTube Originals

This week’s Future of TV Briefing looks at how publishers are focusing on brand sponsors and their own streaming properties to make up for a further diminished short-form buying market.

Shorting the marketThe measurement Super BowlThe streaming Super BowlSnapchat’s new revenue-sharing program, Disney+ plus live, measurement execs stand off and more

Shorting the market

The key hits:

YouTube reducing its original programming slate has shrunk the already slim market for short-form shows.Publishers are looking to brand sponsors as the primary programming patrons going forward.They are also planning to premiere some original shows on their FAST channels and CTV apps before posting them to platforms like YouTube.

If Quibi’s demise didn’t, once and for all, quell the hope for a robust buying market for short-form shows — a la TV and streaming and with digital video platforms pitching their pocketbooks at producers — whatever flicker of optimism has remained appears to have reached wick’s end after YouTube announced last month it is cutting back on original programming.

“With YouTube Originals leaving and no Quibi, the market’s pretty thin,” said one digital video publisher.

YouTube curtailing its originals program doesn’t herald the overall end of short-form original programming, though. If anything, it indicates a return to the original business model. There remain video ad revenue-sharing programs on YouTube, Facebook and Snapchat (and still yet maybe one day on Instagram). There’s Snapchat’s original programming business. And most of all, there are brand sponsors.

“Brands buying the media around originals and integrations into originals, that’s where the biggest spike has to come,” said a second publisher.

In a way, this can work out in publishers’ favor. For as much as platforms like YouTube are the epicenter of their video businesses at the moment, many publishers are pushing into streaming with their own channels on free, ad-supported streaming TV services like ViacomCBS’s Pluto TV and even with their own connected TV apps. For both outlets, original programming will be what makes or breaks these emerging businesses, and the publishers were not in position to take the shows sold to Quibi or YouTube to prop up the publishers’ own streaming properties (at least not in the near future).

“We’re definitely putting a bigger focus on our [streaming] channel and expanding the places it’s distributed,” said the second publisher. As part of that heightened focus, this publisher plans to premiere at least one new original show per quarter on its streaming property. Previously it had debuted shows on digital video platforms like YouTube first.

A third publisher with a video business currently oriented around the digital video platforms said they are similarly planning to test out airing some original shows exclusively on their CTV apps for a period of time. “This is a long-term bet on platform audiences gravitating towards CTV,” this executive said.

To be clear, though, publishers would prefer to have an active buying market for short-form shows. Not only would it provide an alternative revenue source to the traditional ad revenue-sharing arrangements with platforms like YouTube and Facebook, but also it would provide a pipeline for audiences seeking out the publishers’ programming rather than chancing upon it in their feeds.

“If YouTube doesn’t have originals and Facebook stopped doing their originals, how are platforms luring in people?” asked a fourth publisher.

An active buying market for short-form shows would also help to serve as a farm league of sorts for publishers to polish their programming pitches as they eye eventual deals with the major streamers like Netflix and WarnerMedia’s HBO Max. The YouTube Originals program “was like a stepping stone to get to bigger places and to prove we can do shows on a bigger level… They occupied a nice place in the market because they were right below a Discovery+ where we could get reps,” said the first publisher.

What we’ve heard

“One of the things [YouTube’s TikTok clone] Shorts is doing for sure is inflating the view totals for a lot of creators… Now you have creators generating 20 million views from Shorts and 100 million on other content. That 120 million isn’t indicative of the same quality of view.”

Digital video executive on the value of video view counts

The measurement Super Bowl

The Rams-Bengals wasn’t the only matchup taking place on Sunday. Nielsen-iSpot.tv was another. The two measurement providers are among the frontrunners vying to be one of the primary currencies on which TV and streaming ads are bought and sold. And the Super Bowl provided one of the first true face-offs, with both Nielsen and iSpot.tv tracking viewership across NBCUniversal’s traditional TV and streaming broadcasts of the game.

Here is the final tally for each measurement provider’s count of this year’s Super Bowl viewership. Both companies’ measurements are based on the average number of people watching at any given minute during the broadcast.

Nielsen

112 million viewers overall101.1 million viewers on traditional TV, including an undisclosed number of out-of-home viewers watching in bars, restaurants, etc.11.2 million viewers on streaming1.9 million viewers on Telemundo

iSpot.tv

121 million viewers overall98.1 million million viewers on traditional TV, not including OOH viewers10.5 million viewers on streaming2.9 million viewers on Telemundo12.5 million OOH viewers

So clearly the measurement matchup did not end in a draw. That’s to be expected since the companies use different measurement methodologies. So who won? Who’s to say. And that’s both the point and the predicament.

This lack of a match, given the differing methodologies, is why universal support is such an important aspect of the future measurement landscape. Agency executives accept that they are unlikely to receive the same numbers from different measurement providers — otherwise why not just stick with Nielsen — but they need universal support for the individual measurement providers to ensure the numbers they receive from the various TV networks and streamers are sharing the same baseline. After all, how many people watched the Super Bowl matters most when you can know, for sure, how many people were watching other programming at that time.

Numbers to know

32.8 million: Number of subscribers for Paramount’s (née ViacomCBS‘s) Paramount+ at the end of 2021.

10.7%: Percentage share of Netflix’s full-time employees in the U.S. who are Black.

$2.4 billion: Ad revenue that Fox Corp. generated in the final three months of 2021.

25%: Percentage share of overall U.S. streaming subscription sign-ups claimed by Disney+, ESPN+ and Hulu in the fourth quarter of 2021.

81.4%: Percentage share of people who sign up for free trials of Discovery’s Discovery+ that convert into paying subscribers.

12.7%: Percentage share of movies released in 2021 that were directed by women.

The streaming Super Bowl

A tenth of Super Bowl viewers streamed the game this year. And yet the streaming experience continues to lag behind linear. Just ask my sister.

During the first quarter, my sister called me to see if I was watching the game. I was. So was she. While we were catching up and watching the same game, the Rams scored.

“Oh touchdown,” I said into the phone.

“What?” said my sister.

“The Rams scored,” I said.

“What?”

At this point, I remembered my sister has YouTube TV. Being a whole two years older, I still have cable. “Oh, you’re probably on a delay,” I told her. “Streaming’s usually like 30 seconds to two minutes behind regular TV.”

“Oh really? Should I watch it on Peacock?” she asked upon seeing a push notification from Peacock about the scoring play. “Oh! OBJ!” Finally, she had seen the touchdown.

Even if my sister had been streaming the Super Bowl on Peacock instead of YouTube TV, I  probably would have spoiled the opening score for her. According to streaming technology provider Phenix — by no means an objective source — this year’s Super Bowl streams were between 50 and 60 seconds behind the real-time action; the traditional TV broadcast would have had a seven- to 10-second delay to account for any potential issues, like wardrobe malfunctions, according to a Phenix spokesperson.

That means 8% to 10% of the audience for this year’s Super Bowl watched the game on a minute-long delay (depending on whether you’re using iSpot.tv’s numbers or Nielsen’s, respectively).

Streaming’s share of Super Bowl viewership will likely only grow from here. But for it to close the gap to the point of overtaking linear, it will likely need to close the gap in its lag time.

What we’ve covered

Instagram’s video ad-revenue sharing program has underwhelmed participating publishers:

Instagram started testing sharing revenue with publishers for long-form videos last summer.Two publishers said they are seeing CPMs around $6, which is a third to half of their YouTube and Facebook ad rates.

Read more about Instagram here.

Why Texas Monthly thinks a pivot to video will help attract subscribers:

In December, the publication acquired a documentary-style TV show and its production team.Texas Monthly aims to use TV and video as a form of marketing.

Read more about Texas Monthly here.

Why Future plc is opening a hub for video production in Atlanta to help boost female viewership:

Future will open a 16,000 sq. ft. office in Atlanta to produce more women’s lifestyle, home and entertainment videos.The 115-person Future Studios team produces videos and shows for the web, social platforms and TV and streaming.

Read more about Future plc here.

Disney+ subscriber growth reaccelerates as Disney tops 196 million total streaming subscriptions:

Disney+’s subscriber growth returned to double-digit quarter-over-quarter increases in the final three months of 2021.Disney expects streaming subscriber growth to be higher in the second half of its current fiscal year than in the first.

Read more about Disney here.

What we’re reading

Snapchat will slot ads in Stories:
While YouTube, TikTok and Instagram figure out how to improve upon creator funds as a monetization option for super-short-form video creators, Snapchat has hit upon a model for its Stories product. The original vertical video app plans to start inserting ads in the middle of select creators’ Stories and sharing an undisclosed-but-varying percentage of the resulting revenue, according to Tubefilter.

NBCUniversal preps pulling shows from Hulu:
Comcast’s NBCUniversal is getting ready to take a shot cross the bow at Disney in the streaming wars by pulling its programming from Hulu, according to The Wall Street Journal. NBCUniversal execs had hinted at this move two years ago when the company unveiled Peacock, which has yet to realize its potential as Hulu’s most direct ad-supported rival.

Whither Hulu:
Speaking of Disney’s other general-entertainment streaming service, Hulu’s future seems to be in question given Disney’s plan to put more adult-oriented programming on Disney+, according to The Hollywood Reporter. This re-raises the question of whether Disney moved to acquire control of Hulu primarily in order to own the streamer itself or to ensure a competitor did not.

Disney+ plus live:
Staying on theme, Disney’s flagship streamer, Disney+, has begun testing live programming with a stream of last week’s Academy Awards nominations, according to Protocol. Disney also streamed the ceremony on Hulu, but considering Hulu has a live pay-TV service, what does Disney have in mind for live programming on Disney+ and could that have any implications for Hulu?

Productions keep to COVID protocols:
Film and TV productions are continuing to follow COVID-related restrictions in order to protect the health and safety of cast and crew members, according to Variety. Considering that many projects have been able to be completed despite the pandemic, there seems to be less incentive to ease the restrictions and run the risk of having to shut down a production.

Measurement execs stand off:
The CEOs of Comscore, Nielsen and VideoAmp spoke on stage together at the Interactive Advertising Bureau’s Annual Leadership Meeting last week, and the measurement executives unsurprisingly took the opportunity to take turns throwing shade at one another, according to AdExchanger. Sounds like my inbox brought to life…

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