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Medium changes ahoy

Once again Medium is changing things, and I’m trying to parse out what it means for those of us earning a (paltry) living on Medium.

Some time ago, Medium declared that one could only be part of the Medium Partner Program (i.e. writers who get paid by the click as opposed to providing content for exposure!) if you had a minimum of 100 followers. I was definitely under that number and figured it would be impossible to get that total by the deadline. I was absolutely floored when the followers poured in and I went sailing past the limit within hours. I still get a little verklempt when I think of that response, coming as it did at a time when I really needed the affirmation more than the tiny check I get from Medium each month.

Now Medium is changing the program again, and one of the things getting kicked to the curb is the 100-follower minimum. Please don’t unfollow me! Instead, anyone who wants to be part of MPP has to be a paying member of Medium.

To be honest, I thought we already were required to pay the $50 minimum. For some that’s going to be tough, as Medium isn’t exactly cheap. But I don’t necessarily object, since I’m already doing it. Note that existing MPP writers will be grandfathered in, but I wouldn’t expect that to last forever.

They’re also expanding to 12 more countries with another 50 or so by the end of the year. People in those countries could always publish with Medium, but now they can get paid, and you all know how I feel about writers being paid for their work. I’ve never had enough readership on Medium to make serious money, but I appreciate the platform and its simplicity.

However, I’m leery of the next part: they’re once again changing the formula on which we get paid. It’s supposed to be how much time members spend reading our stuff, which I always felt unfairly stiffs poets and others who write very short works, and doesn’t take into account the incredibly short attention span of the average internet reader. (Here’s where that media studies MS comes out to play.) The average time a reader spends on a click is three seconds. Seriously, if you don’t catch them in the first three seconds, you’re out of luck.

Well, Medium’s going to keep tracking reader engagement when calculating our earnings, but now they’re also going to factor in other engagement: claps, highlights, replies, and follows. For now it’s only the first engagement that gets counted, but if you want to help out the writer of the awesome piece you’re reading, give ’em a clap (you know what I mean, cretins) or otherwise engage beyond simply taking your time reading, so they get paid more. “Bouncing from a story before reading it for 30 seconds will prevent earnings from accruing for that member,” the policy reads. Thanks?

Stories that get boosted will get a bonus. I don’t actually know how someone gets boosted, but obviously I need to pay more attention to the various options on Medium. And they’re discouraging clickbait by adjusting earnings based on read ratio, defining the latter as people who read the story for 30 seconds or more. Now go back up to that MS theory bit. Thirty seconds is a very long read for the internet. Medium claims they’ve tested this on the poems and comics and it hasn’t impacted them, which I find staggeringly unlikely.

Other aspects of the algorithm: we’ll get boosts for readers who comment (which means commenting on the story itself, not on the Facebook share!), readers who are existing followers of the writer or publication, and so on.

They’re also getting rid of the referral bonus, pretending this program “degraded the reading experience.” Look, Medium, we get you’re a business. You can just say it was costing you more than it was worth and we’ll respect that more than pretending this is about the “reading experience.” We’re in business together, as professionals, so be straight with us.

Whenever this sort of thing happens, I pretty much figure I’m going to get paid less. It’s also why I have not adjusted any of the settings on my Patreon, as I’d have to give up my grandfathered “founders” program and would undoubtedly lose money. The last Medium adjustment was right after I started writing for Medium, so I didn’t have a long history to gauge it, but I definitely saw a drop in my earnings. But I still find it a useful platform for my essays, which might range from musings on journalism and the writing life to interviews with smarter people to utter silliness like the piece I’ve got slated for next week on fast food. While I always prefer people to subscribe to the Patreon, Medium lets people read me without committing to the $1 a month Patreon fee.

So, in short (too late): Follow the writers you like, spend at least 30 seconds on their stories, and clap or otherwise engage with the piece.

From the ghost of Harlan Ellison: #paythewriter.

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Fourteen months and counting.

A cute article from the Freelancers Union caught my attention this morning: This freelancer threw herself a company party and you should, too.

It’s a little too cute – I can’t quite get behind giving myself a speech or a team-bonding activity with just me. But I can definitely get behind the happy hour.

In all seriousness, somehow the one-year anniversary of Donald Media kind of slipped my attention. July 27, 2018 was the day I departed the world of daily news, but this site launched more than a month beforehand: June 11, when I announced my impending departure and launched the Patreon, which was my first freelance endeavor.

It’s funny – a lot of the things they tell you to do when you go freelance were impossible for me. I could not begin freelancing on the side to build up a client base while I was still at the newspaper, because it would have been a violation of my terms of employment to write for competitor papers while I was on staff. Other than my fiction work , I had to wait until I was actually gone before I could query potential clients.

It’s kind of like jumping off the high dive and waiting until you’re in midair before you see if there’s water in the pool.

I didn’t go splat. I didn’t immediately start making six figures, either. I started in what I knew – local news – and that continues to be a major income stream for me. I branched out into magazines and find that they really suit me well. I used to joke at the newspaper that I was built for magazines, because I was famous for writing too long. It turns out that wasn’t a joke.

I did stumble quite a bit that first six months, because I realized why the experienced freelancers shook their heads sadly when I shared my exciting plans to freelance full-time while going to grad school. That first semester nearly killed me and I was only taking two classes and teaching one. This semester is actually easier with three classes as student and one as teacher, because two of them are independent studies. And by “easier” I mean that I’m not staring at myself in the mirror and chanting “you have not made the biggest mistake of your life” and “yes, you are smart enough for this.” They shook their heads because they knew that “full time” for a freelancer is a hell of a lot more than 40 hours a week punching a clock at a desk.

It did get disheartening sometimes, especially in those early months when I only had one or two clients and my Contently portfolio was thin. There’s also the matter of my family: I have a husband and son who are also in college, and sometimes we are up to our eyeballs all at the same time. I have an obligation to my family for my time, support, food and finance, and that requires diligent effort.

Then my work took another side turn when I took a class in creative nonfiction. It was just supposed to be an elective to supplement media studies, but it turns out I absolutely love it. I was always writing creative nonfiction in the form of personal essays and the occasional rant, but I didn’t know there was a form to it or that I’d be really good at it. Or that people would pay me for it.

In many ways, the practice I got in that class has reformed my image of what Donald Media can be – and really, Donald Media is the term for all my freelance work under one umbrella:

  • Local news reporting (including the student newspaper)
  • Magazine journalism.
  • Volunteer work with SPJ and public speaking advocacy for the profession.
  • Photography, both news and artistic.
  • Creative nonfiction/essays on Patreon and Medium.
  • The blog series: CultureGeek, Patreon, Literary Underworld, and here.
  • Editing and writing coaching in fiction and nonfiction.

All of that is partnered with my fiction work (albeit only short stories until I finish the bloody masters), my teaching, and of course school. I need to pass this semester and two more classes next semester, finish and defend Ye Olde Thesis, and I’m done. I will have the masters, which makes me eligible to teach.

It looks like a lot. It IS a lot. I’m working harder than I’ve ever worked in my life, and with that I include the 65-hour weeks constantly on call at my first full-time reporting job with a baby at home.

And yet. It’s stressful and difficult and the money is what it is and sometimes I have to chase it. But I have the great privilege of doing the work I love and being my own master, and I wouldn’t trade that for anything.

So, happy year one to the troops, congrats on all we’ve done, and here’s to that happy hour.

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Patreon changes!

Any new venture is a work in progress, and you have to double or quadruple that when you’re managing a creative endeavor.

The Patreon has become a major part of my work, and like others who have launched one, I’ve found it creatively stimulating. I find I am actively seeking out subjects about which to write, photos and travelogues to create, specifically because I think it will interest the Patrons.

That’s to say nothing about the importance of that income for my family. As you all know, we are a party of three, all in college, and surviving on one paycheck plus whatever I can scrape together.

With that in mind, I decided to rework the structure of the Patreon rewards. I wanted to give more content at the lower price points, because they’ve stuck with me and they should get more for their dollars. I have also created a firm deadline structure for the Patreon, so the posts will be timed more regularly and it won’t necessarily fall by the wayside when my classwork gets insane.

The revised rewards for the Patreon will be as follows:

• $1 per month: Thank you! Your name will be listed on my website as one of my wonderful Patrons; no contribution is too small. You will receive access to exclusive weekly blog posts, which may be on any number of subjects ranging from writing to journalism to grad school.

• $3 per month: You will receive access to at least one photo post from my various photo shoots, along with stories or travelogues about the shoot, location and history, in addition to previous rewards.

• $5 per month: You will receive one short story or nonfiction essay per month, in addition to previous rewards.

• $10 per month: I will critique up to 1,500 words of your fiction or nonfiction per quarter, in addition to previous rewards.

• $25 per month: You’re famous! With your permission, I will put your name in a pool for “Tuckerization” – as in, I will name a character after you in an upcoming work! Plus all previous rewards, of course.

• $50 per month: You will receive an annual ebook of my essays and short stories, as well as a thank-you listing in the author’s note of my published novels, and all previous rewards.

• $100 per month: You’re my best friend. You’ll get a print chapbook once a year on the month of my birthday (or a paperback, depending on what’s been published most recently), a critique of up to 4,000 words of your fiction or nonfiction once a quarter, and all previous rewards.

At each level, existing Patrons should be receiving more content than they had before. And if you have not chosen to join the Patreon so far, I hope you will consider it.

This is going to be a tough semester – I’m taking three graduate-level courses as well as teaching one, and that’s a lot of work. The good news is that more of that work will feed into my interests, and thus may start showing up here and on the Patreon. I am taking a class in cultural studies in media, and another in creative nonfiction. It’s safe to say this is going to bleed over into this work!

As I said back in July, I sing for my supper. The support of my Patrons helps me to feed my family, and they deserve to get what they pay for. Thank you for your support – none of what I do is possible without you.

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Authentic social media marketing without losing your mind

I had the pleasure of visiting with the Midwest Editorial Freelancers Association this week, to hear expert Solange Deschatres of SCORCH talk about social media branding.

SCORCH is right here in St. Louis, but it has a very high-level profile among social media management. Clients include Microsoft, LinkedIn, GE, Annuitas and more. Since my social media strategy has basically been “yell at people on Facebook, retweet on my two Twitter accounts, forget that I have an Instagram, and check into LinkedIn once a month or so,” I clearly need some help.

Deschatres says the main thing is “really putting yourself out there and being authentic, being true to you.” That may sound simple, but it’s not. A lot of people, including weirdo creatives like me, will chase trends and try to do the New Thing because they think it will catapult them to immediate success. But it comes off as stiff, trying to hard, the message hidden under layers of shellac, Deschatres said.

Videos are intensely popular on social media, Deschatres said, so even if your video is just a few minutes of you talking into the camera, go on and post that video. I can personally affirm this from the last few years at the newspaper; even if my news video was thirty seconds of the police chief repeating the basic facts that are already in the story, people would click it.

It’s counter-intuitive to me, since I’m very words-focused; I am the person who scrolls past the news video in favor of text even on broadcast news sites; who can’t stand audiobooks and gets annoyed when people read the text at me. Oh, just give it here and let me read already.

But video is the thing. Wait, didn’t we just tell you not to chase trends? Yes, but instead of chasing the trend, try to find a piece of the trend that fits what you do and run with that, Deschatres said.

Another huge key is consistency. Post often, and post regularly. “You are not going to become an overnight internet sensation,” Deschatres said. “People build their audiences over years and years… It’s the consistency that matters.”

We talked for a good bit about the different kinds of social media and their focus. Writers are on LinkedIn and Twitter; Instagram trends young while Facebook trends middle-aged and older; and of course Google Plus is dead.

That’s demographics, though; think about what you’re marketing before deciding which medium to use. My photography, for example, should probably go up on Instagram rather than Facebook, where it’ll get traded around like a meme. (Naturally, much of my work is going first on the Patreon, but hey, a woman’s gotta make a living until she wins the Powerball.)

And please, give up the whole “I don’t ‘get’ Twitter” or whatever excuse you’re using for not stepping out of your comfort zone. A creative who is actively trying to sell and make money at art needs to be present online to be present at all, and that means spending time in social media that you may not prefer. Curate your feed, protect yourself, but don’t be silent. None of us can afford silence.

Some Facebook groups are still useful despite the ever-changing and annoying algorithm – that might be just my own opinion, but Facebook’s algorithm has generally made marketing on the behemoth site a nightmare and a half. But niche groups can provide connections and keep you aware of opportunities, Deschatres said.

Did you know that LinkedIn has a Facebook-like feed where you can post content and follow or unfollow other feeds? Did you know LinkedIn has its own news service posting original content? Many of us (myself included) tend to think of LinkedIn as a place to post your resume and job-hunt. But Deschatres says the content has shifted to become a little more personal, not just buttoned-up business press releases.

In part, she says, that’s because the nature of business has shifted. “People can smell BS a mile away,” she said. “Business decisions are also emotional decisions… they’re making it about choice.”

So while you can’t be everything to everyone – and if you try you’ll muddle your message to the nth degree – you can target your appeal to the right audience. Even big companies like Microsoft are looking for small, local companies like SCORCH, seeking nimble and creative workers they can work with from anywhere, she said.

While you’re figuring out where to be and how often to be there, also consider your content. How-to’s and a look inside your creative process are wildly popular, rather than sharing the content itself, Deschatres said. “There’s lots of content out there, but there’s only one you,” she said. “It’s not so much about promoting the work, it’s about promoting you and your expertise, what you bring to the table.”

A few key points:

• Think about your reposts. Remember that a retweet may or may not be considered endorsement, but it can reflect that way no matter how many disclaimers you put on your profile that no one read.

• Beware of politics. No one says you can’t say what you think (unless you’re doing news, in which case you should already know the inherent ethical problems with wading into politics while reporting.) But keep in mind that clients and customers will be reading it, and it can cost you dearly. That also goes for authors fighting with reviewers; really, guys, nobody wins that fight. Have a drink and move on.

• There’s no such thing as posting too often. This flies in the face of what I’d heard before, but that was in the early days of stone knives-and-bearskins internet, and now Deschatres said you have to speak often to be heard. “The biggest detriment to your brand is not posting too much, it’s posting too little,” she said.

You can manage this in part by scheduling your posts. Set aside some time to come up with posts and schedule them at the times when people are most often online. Tweetdeck is free and fairly simple to use for managing multiple Twitter accounts (I have five, because I’m insane). I was using HootSuite to manage Facebook, but when I tried to go to the paid version they made me mad with billing problems and borked-up service. You can look into Later or buffer, which have free or low-cost options; if you’re a company willing to spend some money, Sprout Social seems to be very popular, but it’s $99 a month, so that’s pretty much out of the reach of most freelancers, I would think.

While social media can therefore become your part-time job – and don’t we all have awesome things we’d rather be doing? – you can manage it with an editorial calendar. I did this myself when I decided to go freelance. It’s separate from my usual “where do I need to be and when is that doctor’s appointment” family calendar, which is color-coded and coordinated with husband and son for our collective sanity.

My editorial calendar, however, has set deadlines for my freelance projects and research projects, as well as recurring deadlines for blog posts, newsletters and social media. Of course, sticking to those deadlines is always the challenge, which is why I know there will be two more essays written this weekend, along with two freelance news articles, a newsletter, and more literature review for the grad-school research. This is while I’m selling and signing at the Dupo Art Fair and running a charity book sale at Leclaire Parkfest, so keep your life in mind when you set up this calendar. Let it fit into your life, not the other way around.

But don’t ignore it. Whether we like it or not, social media is the future, and while it will change and evolve over the years as it has since it was bulletin boards and AOL chatrooms, it is where people are finding their business partners, clients and contractors. If you’re living the freelance life, you need to be out there.

“Think in advance about what you’re going to do, but as long as you get something out there… Social media presence is by definition about being present,” Deschatres said.

To that end, if you want to find me on social media, here are my various locales:

Facebook: Personal and journalism

Facebook: Author page

Twitter: Personal and author

Twitter: Journalism and grad school

Twitter: SPJ

LinkedIn

Instagram (But please don’t check this yet. I need to get my teenage son to help me figure out how to use it…)

And, of course… THE PATREON.