content disruptors: more than cat videos

Transcription

CONTENT DISRUPTORS: MORE THAN CAT VIDEOS
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CONTENT DISRUPTORS:
MORE THAN CAT VIDEOS
PRICE: $159
Release Date: JULY 7, 2015
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TABLE OF CONTENTS
Page 3 … Executive Summary
Page 3 ... Part One: Introduction
Page 5 … Part Two: Case Studies
Page 5 … UPWORTHY
Page 7 ... .Mic
Page 9 … Narratively
Page 10 … BuzzFeed
Page 13 ... Part Three: Conclusions
Page 14 ... Part Four: Other Resources
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CONTENT DISRUPTORS:
MORE THAN CAT VIDEOS
By Dena Levitz
Executive Summary
Over the last few years we have seen a new form of journalism emerge. What began as cat videos has now morphed into
narratives and more meaningful videos among other things. Content sites are popping up almost daily. Who will be the
ultimate winners? It remains to be seen as these new journalism sites all forge new ground.
In the old model, content is primarily one of a few things: reported articles, opinion pieces, photographs, cartoons. Nowadays
it takes on a very different twist aimed at drawing in Millennials. In this report, we look at four of these new style content
providers and get a better insight into the revenue generating ideas behind them.
Part One: Introduction
In an article back in 1996 Bill Gates declared, “Content is king.”
In the article, which appeared on a blog maintained by Microsoft, Gates made a series of pronouncements and predictions
about the future, technology, and ultimately who would win out monetarily.
Perhaps most memorably he wrote:
Content is where I expect much of the real money will be made on the Internet, just as it was in broadcasting. The
Internet also allows information to be distributed worldwide at zero marginal cost to the publisher. Opportunities are
remarkable and many companies are laying plans to create content for the Internet.
At the time Microsoft and Yahoo were incredibly powerful companies. It’s not a stretch to say that much of their dominance
and potential has lost its luster. Lately Google, Amazon and Facebook have become the bigger technology company stars.
However, Gates’ sweeping statements about the crucial role of content have never been more true than they are now, nearly 20
years later. Content is king, and an ever-growing array of companies have sprung up to capitalize on this reality and opportunity.
For decades, legacy media companies held dominance, especially newspapers, whose strongholds in the communities extended to the articles their journalists wrote and the advertising that their sales departments used to promote local businesses.
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In the old model, content is primarily one of a few things: reported articles,
opinion pieces, photographs, cartoons.
In the new model, the definition of content has widened dramatically. It’s not
just a written article. It can be an entire multimedia experience or a shorter
assemblage of facts. In addition, shepherding in these new forms of content
there are an array of media startups that are largely digital-first and are
thriving as forward-thinking, innovative companies, with the young audiences
that newspapers and TV stations crave.
Think BuzzFeed, which was once a bastion for cat videos and listicles, and has morphed into
a major publisher on the Web and on mobile. Think Gawker and Vice, whose online traffic
numbers are impressively high.
These content disruptors often don’t have the established brands that legacy media
companies do – at least not off the bat – and they often have less money, staff and overall
resources in which to devote to their journalistic activities and strategic pursuits.
Nevertheless, they’re also nimble, with Millennial staff members who are experimenting
with products that appeal to a generation that previously had not been interested in news
coverage or national and global happenings. They’re less afraid to fail and, thus, trying out
entirely new ways of generating revenue beyond traditional advertising and subscription models, which remain the primary
means of moneymaking for newspapers.
What other commonalities do these content disruptors possess?
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They utilize new forms of content, including, but not limited to, lists,
videos, polls, maps. For instance, Vox.com, the spinoff of Ezra Klein’s Wonk
blog, which serves to explain news and put it in context, features card
decks to stack facts that they offer up.
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They use social media cleverly and in a variety of ways – to draw
traffic to their main sites, most prominently. In fact, it’s not unusual for
half or more of traffic to come from Facebook and Twitter.
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Similarly, they create material that is shareable, not by accident or as
an afterthought, but as part of the reporting process. The topics in which
their reporters pursue often come from Twitter trending topics, so they are
by their very nature, social and popular subject matter.
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They are becoming more and more legitimate in terms of their journalistic heft. And as credibility for these digital
companies have grown they have brought on big-name journalists, often stealing them away from traditional media
outlets, convincing them leaving brings more opportunities to be creative, take chances and play a larger role in a
growing venture.
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Many are backed by venture capitalists. That means they have money in the bank in which to grow their audiences. In
some cases that means focusing first on getting the content mix right, building up a large following and then figuring out
a revenue plan.
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Their business models, thus, tend to be out-of-the-box and different from newspaper and TV stations’. Native
advertising or sponsored content, which are content-heavy, are especially popular. Events and ecommerce are other
revenue buckets that are proving effective as well.
For all of these reasons, traditional media outlets should take notice of these burgeoning brands. There are lessons to be
learned from these media startups.
This report provides a handful of concise case studies to provide a glimpse into the content and revenue strategies being
employed by a number of these different disruptors. They are:
1. Upworthy
2. Mic
3. Narratively
4. BuzzFeed
Following a profile of each startup there are three or four bulleted takeaways noting what that company does particularly well
and, consequently, what traditional media companies can glean from how they’re doing business. Lastly, there’s a collection of
revenue strategies they’ve collectively employed and a conclusion to tie it all together.
Part 2: Case Studies
UPWORTHY
The “up” part of Upworthy is the key. From
the start, this digital hub has aimed to
surface uplifting articles, videos and other
coverage. In fact, the site’s tagline speaks
volumes: “Things that matter. Pass ‘em on.”
One day that could mean highlighting just
why it is that Finland is great at keeping
babies alive. Another day it could mean
a slideshow of graphic photos of injured veterans to highlight their sacrifices. The point
is to draw attention to compelling stories.
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And, Upworthy has become known for doing this with headlines that beg readers to click, share and rave. They aren’t the
traditional five-paragraph news stories and concise, fact-based declarative headlines found in a newspaper. They ooze emotion
and make-no-bones-about-it telling a user why to care.
Here’s one: “His school canceled his speech after learning that he’s gay. What resulted was actually awesome.”
Another certainly gives some sass and attitude along with a glance into the subject: “Something fascinating happened after
these male baboons died. Men should keep this in mind.”
Upworthy’s leadership tries to spell out the kinds of stories it wants to help users unearth that might otherwise be hiding in
the far corners of the Internet: “ensuring that women are seen as full human beings, poking holes in the belief that a small
percentage of the world should own all the things, making sure the Earth is around to see the next century, and fighting
attempts to make the Internet any less free and unfettered than it was built to be.”
Over time, Upworthy has cordoned off these areas and now has sections under which it groups these viral stories that include
diversity, science, the environment and democracy. Viral stories are certainly what they are, as many individual pieces of
content receive hundreds of thousands of views and each month the brand is seen by a whopping 50 million users. This level
of traction has made Upworthy the fastest growing site ever.
Content on Upworthy is largely curated, so the staff’s role is to find it, make it palatable, interesting, and compelling, so that
users share it with gusto. It’s less of reporting and more of reframing or repackaging stories that, in their mind, deserve attention and emphasis. This can mean a quick first-person video or a longer written account.
At the start of 2015, Upworthy also scored a big victory on its staffing front by hiring Amy O’Leary (left) away from the
New York Times to head up its editorial product. O’Leary had been part of the team that created the Times’ widely read
“Innovation Report”, documenting changes that need to happen at the newspaper and others like it to weather
disruption. Now, she’s applying those skills at Upworthy. O’Leary, when her appointment was announced, wrote that she
was attracted to the challenge of making unsexy subject matter, like climate change, and income equality, as
compelling as Beyonce’s next album drop, which she sees as the secret sauce behind Upworthy’s fast ascent, especially
in luring in younger readers.
“Today, I don’t think even the most talented journalist can be content to say that important stories are just ones people should
read or view. Today we have to go farther,” O’Leary wrote. “We have to be willing to get out there, into the street fight for human
attention that is the Internet, and be willing to deploy our strengths as storytellers to make sure the most impactful ideas
reach real people, where they’re at. How to do that? The best way I know how to is to merge narrative skills with deep
analytics to craft impactful stories that massive numbers of people want to read and view and share.”
Since Upworthy’s main concentration is content, its revenue model entirely revolves around content as well. The company
calls its program Upworthy Collaborations. These collaborations either fall under the heading of promoted content, which the
advertiser pays to post, usually writes him or herself and is labeled as such, or sponsored content, which Upworthy staff find
and curate on a client’s behalf and is labeled to reflect that.
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For instance, this video in which a disabled woman talked about how people treat her, ran as part of a series paid for by the
Open Society Foundation. Above the video, the Upworthy curator explained the sponsor behind it.
Learning from Upworthy:
*Upworthy has become known for making virality and shareability key features of what it does. Through headlines that sound
more like how you’d tell a friend about a story its curators are dead set on selling the emotion or importance of every piece of
content.
*In its sponsored content strategy, transparency is paramount, and it’s clear when a story has been supported by a brand. This
way Upworthy can secure steady revenue without confusing readers about the source and motivation of posts.
The length of an article or video doesn’t dictate how much it matters. Many of the most shared items are shorter — videos in
less than a minute. The more personal or centered on an individual, either famous or more often not, the better.
.MIC
Started by two founders in their 20s, Mic is the ultimate news source for Millennials. Chris
Altchek (top left) and Jake Horowitz (bottom left), who met in high school, saw a need for
a space online in which young people could talk about big ideas, especially in the world of
politics and global and national affairs. Altchek came from the world of finance and Horowitz
from media, and they both have vastly different political leanings.
The site that they created, which was originally called Policy Mic, launched in 2010. Initially the effort was bootstrapped and relied entirely on contributors who crafted articles. Two years ago, Mic pivoted away from this contributor
model to become more serious about its journalistic credentials. Instead, the founders hired writers, many of whom are
also in their 20s, to do the writing. Above all, though, they wanted to keep the focus on appealing to young readers.
That laser focus has seemingly
worked. Currently, Altchek says Mic
gets 27 million users per month on
average — and this audience is, largely,
18 to 34 year olds. Its page-view count
monthly is 74 million, with almost 55
million of that on mobile Web, as opposed
to desktop mobile.
In addition, Mic has $15 million worth of
venture capital funds behind it, which has
allowed the company to bring on 80 staff
members.
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More than any other qualities, Altchek touts that Mic is conversational and smart for young people. Being smart and
conversational is what makes the site appeal to Millennials and what his staff does better than traditional media companies
do.
How exactly?
The tone of the stories is different. Headlines might talk in terms of “our” or “us” to let the public know that Mic is right there
with them, a peer. Articles cover meaty territory like the Middle East conflict, but writers break down the components of the
story into easier-to-understand elements to make the complex topics accessible.
“(We cover) serious, important, relevant topics, all done in an approachable way,” Altchek says, to explain the content mix.
As a news organization, one tactic employed is that writers and editors – as they’re mulling over what to cover and while
they’re reporting – are constantly asked to consider whether they’d personally share the resulting article with friends and
whether they’d discuss it over dinner. In this way, it’s using its young staff as a sounding board and test for its equally young
readership. Besides hard news topics, Mic’s added verticals for more lifestyle-driven areas like sports, gender identity and
culture.
“It’s all about creating really high-quality stories,” Altchek says.
And, because of this attitude, 60 percent of Mic’s visitors are coming from social media, which is a major tool for every aspect
of what the company does, from gathering information to spreading their ensuing articles.
In addition to articles, video is a big push for Mic, especially to break down controversial fare. For instance, the most shared
video to date that Mic produced, coming in at just under four minutes, is about when it’s okay and not okay to use the word
“retarded.” Via Facebook, the video has been viewed 15.4 million-plus times. The video has a host and brings in clips from TV
shows, music videos and other pop culture references.
To make money, Mic’s business model eschews banner ads – which its founders have adamantly said their generation despises – in favor of sponsored content. This sponsored content, or native advertising, generally takes the form of a brand, such
as a luxury car company, subsidizing a series on the site about, say, innovation. In true native advertising fashion the brand is
aligned with a subject that Mic’s audience finds compelling.
“We reach the most affluent, hard to reach audience under 35. Marketers very much need to reach them,” Altchek says.
Learning from Mic:
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Ask writers and editors to put themselves in the place of readers. In other words, as they’re conceiving an article they
should ask themselves whether they’d personally share it on Facebook or talk about it with friends in a social situation.
•
Take big stories and make them easier to understand. Millennials will care about politics, science and foreign affairs
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if the headline is accessible and they can walk away with a way to carry on the conversation.
•
In that vein, sometimes visualizations and other more graphic ways of demonstrating the impact of an event can do
more than trying to explain it through words. Such is the case with this visualization in time for D-Day.
NARRATIVELY
At a time when the Web focuses heavily on big headlines and breaking news, Noah Rosenberg (left) wanted to create a
journalistic product that focused on stories that are “falling through the cracks.”
Narratively (aka Narrative.ly) is the result – and went live two and a half years ago following a successful Kickstarter campaign that raised about $50,000. Though it’s lesser known and reaps less traffic than massive, general
interest platforms like BuzzFeed — the site’s filling a void — steadily growing and racking up recognition for the
caliber of its storytelling and the aesthetic appeal of its portal. For one, TIME magazine named Narratively one of
its top 50 websites in the world in 2013.
Its goal is to unearth untold human stories that often take the form of profiles of intriguing characters. Quality over quantity –
being decidedly un-BuzzFeed-like in refusing to churn out unlimited amounts of copy – is practically a mantra. From day one,
the format has been one new story a day and a new theme every week under which these stories fall.
“We try to inspire, delight, scare, inform your sense of what it means to be a person at
this time,” Rosenberg says.
Some stories are written, particularly in long-form, with a hefty dose of narrative, as
the name of the site would imply. Other times a story is told through illustrations or
video – really whatever is best for to tell that tale. Themes have spanned from guns,
to marriage, to borderlands—making the mix skew serious, silly and everything in
between.
Rosenberg is especially proud of the 2,000-member-paid freelance contributor
network. Authors of works on Narratively have been published in well-known
publications like the New York Times, which has helped create a base of users who
are also writers and legitimized the startup, especially early on.
The audience for Narratively comes to 250,000 unique visitors a month. That reflects
steady growth since launch, with absolutely no paid marketing or promotions, just
word of mouth. Rosenberg says the user engagement is what is especially, and,
according to Chartbeat, on the high end of all of the sites it monitors. Plus, users skew
young. Close to three-quarters are between 18 to 48 year olds.
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A lot of the traffic is concentrated in urban centers like New York, London and San Francisco. Initially Narratively’s stories were
exclusively based upon New York scenarios and characters but the scenes for the works have expanded as the freelancer
network has grown and widened geographically.
“We’ve gotten story pitches from every continent,” Rosenberg says. “And we like to say that we publish stories from small
African villages up to major [city] markets.”
Besides the Narratively website, which is its “bread and butter,” the staff maintains an email newsletter to draw attention to
works, and the use of social media is a major draw. With social platforms, too. Narratively is trying its hand at posting video
directly to Facebook and using Snapchat’s Discover feature to post directly there. The rationale is to go to where the users are,
especially when it comes to Millennials who are increasingly frequenting Snapchat.
“Why would you try to get that person to Narrativly if they want to be on Snapchat?” he says. “We’re trying to adopt that way of
thinking.”
Of the hundreds of stories so far, one of the top performing was “Legends Never Die” from 2013. The piece caught up with the
stars of the controversial film “Kids” 18 years after the movie’s release. Because the movie was such a cultural phenomenon
and the story was both revisiting that and its actors, the story went viral. It also prompted a documentary film project, which is
now underway.
The evergreen, timeless nature of stories that Narratively features has paved the way for a “long tail of opportunities”
business-wise. Rosenberg says one revenue sector going forward is content licensing. He’s also working with a talent agency to
turn stories into films. The writer and Narratively split the money made off of such deals. Additionally Rosenberg is anticipating
future print editions periodically that highlight some existing content as well as debut new content.
Another means of revenue, which accounts for about 10 percent of the total revenue pool, is sponsorship of Narratively’s email
newsletters, occasional events or even special series. For instance, Expedia recently sponsored a four-part series that
highlighted renditions of “the best trip that I ever took.”
By far, the most substantial moneymaking vehicle for Narrative is a division it refers to as Narratively Creative, which
leverages some of the freelancer pool to produce content that brands can then publish and distribute. Working like a digital
agency, Narratively Creative handles an array of different content functions. As an example, when the Woodrow Wilson Institute
for Scholars wanted to relaunch its quarterly publication as a digital version, it enlisted Narratively’s help to do so.
Rosenberg says this type of work is lucrative and much sought after, which makes it an ideal business model.
“Right now there’s an insatiable appetite for high-quality content,” he says, “and we can help with that.”
Learning from Narratively:
•
A focus on quality over quantity of stories ensures that content is unique, that users will see its value. That approach
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inspires loyalty and spurs lengthy time spent on a site consuming information.
•
Even when Narratively takes on a subject, other outlets are our editors that try to twist the approach or angle in such
a way so that it rises above the fray. In Narratively’s case that means being a bit more literary or high-brow. Each
publication should figure out a unique voice.
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With content that’s more timeless, there are greater opportunities to use it in a variety of different context and, thus,
create several different content-based revenue streams. Narratively plans to do this with content licensing and extra print
products for starters.
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Experienced, credible journalists are always an asset to tout.
BUZZFEED
It all started with cat videos. That was BuzzFeed’s claim to fame when the site launched in 2006. But, as Huffington Post did
before it, the site evolved from more frivolous, click-baity material to a site that, yes, still has listicles aplenty but also features
serious, long-form content and hard-charging news on politics, crime and global affairs.
The big change is associated with a big get for BuzzFeed. When the startup hired away Ben Smith from Politico about three
years ago, it marked a transition over to original reporting and that supplements the more playful, softer side. BuzzFeed now
boasts an editorial team of over 200 journalists and writers covering
business, entertainment, even the White House. Venture capital dollars have also been a major contributor, with renowned firm Andreessen
Horowitz investing $50 million in the company, giving it a reported
valuation of $850 million, which it’s using to extend its reach even farther
and make more and more hires.
Eric Harris (left), executive vice president of business operations, says
it’s the “breadth of our editorial coverage” that’s made BuzzFeed such
a massive social news and entertainment organization that’s native
to the Web.
Part of that formula for success includes a branded content program
that, too, can go serious or silly, depending on the story or the advertiser
who wants to be out in front of the young BuzzFeed audience. In fact,
BuzzFeed’s native advertising side makes up the lion’s share of its revenue
and has been around for almost five years – earlier than most forays.
During that time Smith says BuzzFeed has partnered with two-thirds of the
world’s largest brands.
What else has made BuzzFeed such an immensely popular force?
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Its Millennial-heavy audience is more than 50 percent mobile. BuzzFeed, from early on and like Upworthy, has made shareable
content a priority. It aims to be that quiz everyone is itching to post to Facebook. But unlike Upworthy and Mic, the tone can
be snarkier, more biting, spoofing present-day pop culture like “House of Cards” and even major entertainment moments of a
decade or two ago like “Dawson’s Creek.”
For instance, an ongoing humorous video series shows people trying out ethnic cuisine for the first time and bantering about
the delicacies as they chew and swallow them.
Being on BuzzFeed’s home page means a reported piece on an ISIS base being blown up can be just below a list of 30 bacon
recipes that is near a quiz that asks users to identify a city based on a picture of a single building. Nevertheless, the mix has
been pivotal in bringing an array of users to the site for an array of reasons.
Learning from BuzzFeed:
•
Branded content can skew serious or silly on BuzzFeed. That’s because companies want the content that they’re
paying for to align with the tone, look and feel of what else is on BuzzFeed’s site. The company takes great care to do this.
•
Videos are the next frontier for BuzzFeed, both in its editorial and business strategy. Videos, mostly on the shorter
side, are driving further engagement on the site.
•
BuzzFeed speaks to the fact that a media company can evolve. It began as a hub for frivolous lists and quizzes and
now has reporters all over the world, many of whom have come from prestigious traditional media organizations.
REVENUE-GENERATING IDEAS
•
Content for brands
•
Sponsorship of email newsletters or other Web portals
•
Live events (with sponsorship of the events and sometimes admission to the events providing funds)
•
Licensing or syndicating content
•
Ecommerce – selling merchandise
•
Turning unique stories into movies or books to repackage it in a different way
•
Take a digital-first approach to the stories, posting them on the Web first, but highlighting the best in occasional,
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high-end print products
Part 3: Conclusions
Joining news organizations that have been around for generations is a new class of media startups that are disrupting the
content model. These companies, from Mic to Upworthy, showcase a blend of originally reported works, curated stories and
unique styles of posting that appeal to a younger demographic.
As these content disruptors grow, they’re experimenting with how to make stories shareable and how to build shareability into
the newsgathering process. They’re also demonstrating that business models, which also revolve around content, can be
effective alternatives to traditional display ads.
Legacy media outlets also can learn a host of lessons from how these next-generation, digitally native organizations are run,
including:
Throwing money at the problem of attracting younger users – or even building an engaged audience from scratch – isn’t the
solution often. Many of these startups begin as bootstrapped companies with little money behind them. As such, they spend
conservatively and, instead, rely on creativity to break through the clutter. Social media, crowdfunding and other platforms
have helped with this. For instance, Narratively raised $50,000 from 800 backers to launch and thus began with an
enthusiastic, loyal crowd of users. From there, it has spent no money on marketing or promoting itself. By featuring its content
on other sites and spurring readers to sign up for email newsletters it has generated interest more organically and with less
monetary cost.
The first priority for each of these sites has been to build up a desirable, youthful audience. Doing this means finding and
executing a content blend and unique take that makes the posts on that site available nowhere else. For instance, Mic is
positioning itself as an alternative to BuzzFeed, with less snark yet in a style that’s appealing to Millennials. Mic’s Altchek calls
the desired voice of the posts conversational and smart.
Hiring young staffers who can understand what the audience craves is key. Mic asks its editors and writers to put themselves
in the position of readers. Would you share this with friends? Would you post this link to Facebook or tweet it out? If it’s good
enough for them it makes the cut for the site.
Having a large, dedicated audience makes many of these revenue strategies mentioned possible. So does having evergreen
content that can be repackaged in a number of ways and re-promoted to tie in with a newsworthy happening or timely
development.
BuzzFeed and Reddit are proof that a media company can begin as one thing and evolve into another. Reddit, for 10 years, has
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been a massive hit as a destination for aggregated news and threads of conversation around this information. Just this year the
company has taken the plunge to become a newsmaker, instead of simply an aggregator. It’s using the large audience it’s built,
the trust it’s developed, to turn into a new kind of hub, starting with video version of its “Ask Me Anything” feature. “We know
we have to modernize things,” founder Alexis Ohanian has said. “I think 170 million people (Reddit’s user base) are probably
ready for something that looks a little more modern, a little more usable.”
But it’s important to evolve and change with explanation to the public and when the time is right. The expansion of Reddit’s
brand comes as its reputation is that of a site to help surface the most interesting content the Internet has to offer. Now,
Reddit is simply taking ownership of that content while also growing its reach.
Startup culture is famously nimble and collaborative. Each of these content disruptors has that same mentality. Staffs are not
afraid to try all different styles of reporting, writing, displaying multimedia and utilizing social media. If a tactic does not work,
then it’s an opportunity to try something else. This can be difficult in a legacy media company with a longer history.
Nevertheless, it can add a jolt of energy and fresh perspective. To deal in the currency of the day – also requires this level of
flexibility and transparency.
Part 4: Other Resources
Examining Gawker’s ecommerce business – http://digiday.com/publishers/meet-important-person-gawker-media-youve-neverheard/
Upworthy’s Insider, the company’s internal blog to explain goings-on and strategy decisions – http://blog.upworthy.com/
A note from Upworthy’s editorial director about leaving the New York Times for Upworthy – http://blog.upworthy.com/
post/107324043841/why-this-amazing-woman-is-joining-upworthy-as-our
A look at The Mighty, which aims to be one of the biggest health-related sites with first-person accounts about dealing with
disability and mental illness – http://www.pbs.org/mediashift/2015/06/examining-the-mightys-success-to-storytelling-aboutdisabilities/
A Q & A with BuzzFeed’s executive vice president of business operations – http://www.americanpressinstitute.org/publications/good-questions/business-behind-buzzfeeds-growth-expansion-8-good-questions-buzzfeeds-eric-harris/
A look at Mic’s beginnings and early motivations – http://observer.com/2014/09/mic/
Quantcast data showing Mic’s audience breakdown – https://www.quantcast.com/mic.com
Reddit’s video site launch – http://www.wired.com/2015/05/reddit-video/
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About the Author
Dena Levitz is an award-winning journalist with 10 years of experience as a writer, editor and digital media innovator. She’s
worked as a staff writer for the Augusta Chronicle covering transportation and crime and then for the Washington Examiner
reporting on efforts by then-chancellor Michelle Rhee to reform D.C. schools. In her role as the Newspaper Association of
America’s manager of digital strategies, she spent three years helping U.S. newspapers formulate tactics to grow audience and
revenue. And she’s also part of the first cohort of a cutting-edge Media Entrepreneurship Masters program at American
University. Dena’s freelance credits include The Atlantic Cities, Washington Post, San Francisco Chronicle, PBS Mediashift,
Washington City Paper, Bloomberg News, Narratively, NetNewsCheck and Northern Virginia Magazine. Her coverage topics
range from urban demographics to digital solutions for media companies.
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Case Studies: Top Ways to Monetize Social + Mobile
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Case Studies:
Top Ways to Monetize Social + Mobile
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Release Date: SEPTEMBER 8, 2014
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content disruptors: more than cat videos

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