Recently, we opened a new series of articles on how ad-funded publishers can adapt through the COVID-19 pandemic. So far, we’ve examined advertising trends, affiliate revenue stream and digital alternatives to print in detail. In today’s fourth instalment, we’re going to look at how publishers are hosting their events virtually.
Many publishers, including the Texas Tribune and recently launched tech publication Protocol, took events planned for the immediate future online with minimal hesitation. Protocol announced a series of events called Protocol Virtual Meetups, which it hosted through video conference platform Zoom. They took place on four Thursdays from March 19, and essentially placed attendees in an audience for panel discussions between tech journalists and industry executives.
As a new publication, Protocol hasn’t yet revealed any advertising sponsors, but we do know that the team will include virtual events in the events package it sells to advertisers. Clearly, Protocol expects virtual events to be the norm for some time.
Head here to learn more about Protocol’s Virtual Meetups.
The Texas Tribune’s team have adopted a similar approach. A recent on-site announcement read:
“The good news is, we’re always innovating. In the events realm, as in the way we produce and distribute our public-service journalism, we’re going to leverage technology to raise the level of civic engagement at a time when we need more people thinking about the issues in play and the state of the world. Through our live streaming capabilities, we’re creating a virtual events series — online opportunities to hear from and engage with policymakers and newsmakers.”
This events series launched in March with Jason McLellan, an associate professor of molecular biosciences at the University of Texas at Austin and a leading expert on the coronavirus, interviewed by the Tribune's Alana Rocha.
But what these solutions can’t account for is interactivity, product sampling and networking. There’s no easy way around this fact. Depending on what they cover, certain publishers will find virtual events more challenging than others.
A virtual event will likely bring in one-third to one-half the revenue of a physical event, said Larry Weil, events sponsorship consultant:
“I don’t believe you can take a three-day conference and put it online. Sponsorship is definitely going to take a hit. But those who have a digital strategy, and can scramble, can defer a lot of that loss.”
The Information has taken few financial hits, as its business model strived to build a monetized online community long before the coronavirus pandemic began. The Information’s subscribers are bound by exclusive conference calls, access to a private Slack channel, an annual summit and up to a dozen other subscriber-only events each year that foster engagement and information sharing. The publisher’s 2020 WTF Summit, scheduled for September will go virtual. Plans for their 2020 Autonomous Vehicles Summit haven't yet been announced, but, given The Information’s track record, this seems entirely likely.
On May 16, Teen Vogue celebrated those graduating from America’s high schools by hosting the Virtual Prom, “in an effort to bring some joy and normalcy to you high school students who are missing out on educational milestones at a time that they expected to be among the proudest and most exciting of their school experience.” Hosted on Zoom, Virtual Prom featured special performances, celebrity guests, live DJs, the live presentation of the “Teen Vogue Virtual Prom Court” and more. Virtual Prom’s sponsor AXE offered a “promposal”, while Chipotle created content on how to make corsages and boutonnieres from materials found at its restaurants.
Elsewhere, dance music publisher, ticketing platform and directory Resident Advisor has launched numerous initiatives under the umbrella banner ‘Save Our Scene’. The team has compiled every live streamed clubbing alternative by artists in its wheelhouse into one comprehensive resource. The publisher also created Streamland, a geo-tag that allows music fans at home to filter RA’s events listings section down to “virtual-only events, offering self-isolating ravers a helpful index for finding the best digital parties broadcasting from across the globe.”
Staple British music publication DIY recently used Instagram live to host an entire one-day festival, called DIYsolation, throughout which it took donations. All proceeds went to the charity Help Musicians, and the event proved that Instagram is an easy way to host an event with multiple remote speakers or performers for a large audience. Subsequently, DIYsolation has become a nightly stream on DIY’s Instagram featuring musical artists from all over the world.
Recently, the startup accelerator Y Combinator's Director of Events shared some advice on hosting a virtual event, grouping all the Dos and Don'ts of this often intimidating new practice into a simple, intuitive list. They also shared a useful infographic, which can be seen below and would be worth saving to refer to later.
When it comes to the software for hosting virtual events, for many publishers, Zoom will be sufficient.
Zoom has fast become the industry standard video conferencing platform for its ease of use and its video and audio quality. Whilst users must pay to exceed the unlimited free trial’s 40 minute limit on conversations with three or more participants, the host of the conference is the only one who needs the paid package; all other attendees may chat for an unlimited amount of time if the extension is granted by the host. As such, it’s the favoured video conferencing platform of many a top-tier publisher.
Here are a few apps that can supplement Zoom and other standard methods of hosting a virtual event. Hopefully, they’ll set the idea wheels in motion, enabling you to monetise with minimal extra effort.
Stream is the simplest way we’ve found for publishers to promote, monetise, and live stream virtual events for their audiences. It was launched as its founders noticed friends and family members getting frustrated with having to text or email Zoom and Venmo links for events they were hosting with paying clients. So, they created an app that lets users, create a landing page, manage payments and start a Zoom live stream with 1-click.
However, one app offers the potential for a pretty accurate recreation of conference experience as a whole. With it, users can quite literally take others to one side for a one-on-one in a larger virtual ‘party’. That app is SpatialChat.
Initially developed for events like birthday parties to be held remotely, Spatial.chat offers a blank ‘event’ canvas, on which each attendee is represented by an avatar. Attendees can choose who specifically they’d like to speak to, and can share content of all kinds within these inter-conference conversations. In theory, it creates an opportunity for a post-event networking session as good as the real, pre-coronavirus thing.
As tough as COVID-19 will be on publishing, we hope this will prove to be no more than a bump in the road. The above publications have all found exemplar solutions that enable them to continue hosting the events they rely upon for portions of their income.
Click here for the next instalment in our article series aimed at helping publishers monetise through the COVID-19 crisis: Monetising Video
Recently, we opened a new series of articles on how ad-funded publishers can adapt through the COVID-19 pandemic. First, we examined its effects on advertising trends. Last week, we looked at the myriad benefits of having an affiliate revenue stream. In today’s third installment, we’re going to focus on digital alternatives to print.
Print is taking a beating from a number of angles:
“While print remains very relevant both now and long term, publishers must acknowledge the fact that consumers are perhaps more than ever leaning on other perceived safer, digital ways to consume content and connect with brands,” added Paul DeHart, CEO of BlueToad, in a press release.
BlueToad’s survey also revealed that 53% of people now want to hear more from the brands they trust during these uncertain times. Thankfully, there are many platforms offering convincing digital alternatives to print, which allow publishers to maintain the integrity and stellar reputations of their brands through an unprecedented crisis. Here are some of our favourites, and why they’re worth paying attention to.
Issuu enables any publisher to use PDFs to create exact replicas of their print editions that can be embedded anywhere. Once embedded, Issuu editions are incredibly simple to use, and advertising is interactive; readers can click through to a brand’s site from an Issuu embed. Here’s an example:
In a letter to clients in late March, Joe Hyrkin, Issuu CEO, wrote that the platform is currently waiving its commissions on sales of digital single copies or subscriptions made on the platform. He referenced a coronavirus-era trend in which “content creators who normally sell physical media are having to find new ways to sell their content digitally.” Combined with its interactive ad functionality, Issuu can be very beneficial for digital publishers.
As Europe’s largest ‘all you can read’ digital magazine platform, Readly offers users access to over 4,000 digital-edition magazines for a £7.99 monthly fee. It hosts digital editions of TIME Magazine, Cosmopolitan, HELLO! and many other A-list titles.
Publishers receive over 50% of Readly subscription revenue and receive data insights into their audience. Readership figures can be included in ABC circulation audits.
Around 8% of all magazines read by UK Readly users are foreign, and 16% are back issues.
Similar to Issuu, Exact Editions uses PDFs to create true-to-print digital editions of magazine to be viewed through the Exact Editions website and app platforms.
In the wake of the COVID-19 crisis, Exact Editions opened up free access to its “Reading Room”: a tool which allows publishers to upload entire issues in PDF format and generate a link to a digital edition that expires after 30 days. It’s “a free and emergency digital distribution solution to fill gaps in publishing schedules that may have been disrupted by the pandemic,” claims a spokesperson for the platform.
Magzter bill themselves as "the world’s largest digital magazine newsstand", offering international readers access to 13,000+ publishers. Titles can be simply duplicated into digital editions using a one-click system that Magzter calls Orey Click Publishing. Magzter differs as it offers publishers individual branded apps that enable them to stay connected to their target audiences at all times.
The Tortoise-endorsed Pugpig describes itself as “the world's favourite digital publishing platform”, and may have the credentials to substantiate this claim. Pugpig readers spend an average of 24 minutes per session and partake in over 15 sessions per month in the platform’s top-performing editions.
Pugpig editions are optimised for desktop, mobile and tablet, and the platform has an impressive portfolio, including publications from Condé Nast.
News+ is the paid tier Apple’s flagship news aggregation platform. It allows readers to access digital magazines including Time, Vogue, People, National Geographic and The Wall Street Journal for a monthly fee of US$9.99. Total subscription revenue is split 50/50 between publishers and Apple, and each publisher’s share is assigned according to article dwell time.
Apple News+ is currently invite-only. If you’re interested in finding out more about this, we’d love to help. Get in touch for more information.
As tough as COVID-19 will be on publishing, we hope this will prove to be no more than a bump in the road. The above platforms offer elegant opportunities for print publishers with digital equivalents to continue to generate advertising revenue.
Click here for the next instalment in our article series aimed at helping publishers monetise through the COVID-19 crisis: Virtual Events
Launching in 2012, TouTiao is now among the largest news aggregation apps in China. Installed on over 250 million devices, it’s the flagship product of Bytedance: owner of world-beating apps like Uber, and the world’s most valuable startup. TouTiao doesn’t only syndicate news; it presents content from social media platforms, video streaming sites and more. Its all-encompassing nature makes it the most widely-used app in China in terms of duration: users spend an average of 73 minutes a day on the app, surpassing even Facebook.
ByteDance launched TopBuzz in 2015: an English-language version of TouTiao that has been steadily ascending charts ever since. In December 2018 alone, Chartbeat found that TopBuzz referred almost 34 million page views across Charbeat publishers internationally. That’s a 36x increase on January 2017. TopBuzz had 36 million monthly active users, as of September 2019. See below for the steep incline in users from February 2017 to February 2019.
TouTiao stands out as it curates user-specific content using a remarkably sophisticated AI. This technology is very much the heart of the product, to the extent that TouTiao has never hired an editor, and CEO Chen Lin has previously said that TouTiao is “not a news company, but an AI company in the search business”. TopBuzz uses the same Bytedance AI, making it just as powerful an application.
Bytedance’s AI creates engaging user feeds by focussing on three key areas:
The apps refine their recommendations as users spend more time with them, increasing the quality of recommendations and significantly raising user retention rates.
TouTiao and TopBuzz monetise through advertising. Bytedance’s AI inserts ads every three to five pieces of news. Leveraging their user bases, TouTiao and TopBuzz share revenue with creators in a YouTube-style proportional rewards system.
Publishers should be aware that a curation process without human input has seen fake news surfaced virally in the past. Interestingly, TouTiao only allows “legitimate” media institutions to publish political content, but TopBuzz has yet to implement this rule. Also, financial rewards for clicks fundamentally contradicts many publishers’ quality-over-quantity business models. But, neither TopBuzz nor TouTiao are closed networks, so visitors without accounts can still view content. Also, the fact that so many TouTiao/TopBuzz publishers focus on clickbait, quick-fire content does allow higher quality content to stand out, it just may be difficult for it to surface in the first place. There’s no hard-and-fast answer here.
Anyone can set up a publisher account and start surfacing content. TouTiao says on its website that by October 2017, 900,000 of its 1.1 million publishing accounts were “self-media.” Interestingly, only 5,500 accounts are professional news outlets and over 70,000 represent government institutions and other organisations. Also, TopBuzz has officially partnered with over 200,000 publishers and independent creators including The New York Times, BuzzFeed, Hearst and CNN.
After signing up for a publisher account on TouTiao or TopBuzz’s signup pages, publishers’ content immediately begins being crawled by Bytedance’s AI and recommendation algorithms, giving new publishers just as many opportunities to be surfaced in users’ feeds as established ones.
Emulating TouTiao’s model, TopBuzz presents a significant opportunity for digital publishers, and content creators of all kinds. It may continue to encounter trouble as it proliferates in the west, where regulations on things like copyright and fake news are stricter than China, but consider that TopBuzz floats around #10 among top free news apps in Google Play Store. That’s above CNN and even Flipboard. On iTunes, it ranked higher than the BBC News app. It continues to grow rapidly, and publishers would do well to investigate.
Recently, Digiday published a valuable investigation into why in the last couple of years, publishers including The Guardian and Le Monde have cut publishing frequency, and consequently observed rises in audience traffic, dwell time and subscribers. Here, we pull some key facts and figures that will be of interest to digital publishers.
Chris Moran, The Guardian’s Editor of Strategic Projects, revealed to Digiday that the publisher detected a huge portion of its content went mostly unread. It cut its output by a third, which resulted in traffic growth, according to a tweet by Editor-in-Chief Katharine Viner. In December 2018, The Guardian had 23.4 million monthly unique users in the UK. In December 2019, it boasted 25 million.
Similarly, French publisher Le Monde reduced its published output by 25%, simultaneously growing its staff to 500 journalists. Its online readership grew by 11%, as did its print and digital circulation, according to Luc Bronner, Le Monde’s Managing Editor.
How do publishers gain readers by publishing less?
In short: because there’s a marked difference between digital and print news consumption habits. Readers tend to dedicate time to reading print publications cover-to-cover, but less time to individual articles online. If users read fewer articles online, publishers should dedicate all their time to ensuring that these articles are of the highest possible quality. Publishers have a tendency to produce more content than necessary in pursuit of revenue, but The Guardian and Le Monde have proven that this isn’t strictly necessary.
Here’s what media analyst Thomas Baekdal had to say:
“Whether a digital magazine publishes 100, 500, or 1,000 articles makes no difference. It’s the quality and interest of the articles that matter instead. We see this clearly on YouTube, where the most popular YouTubers rarely post more than once or twice a day. Publishers look at this, do the analysis, and they discover that when they cut away the not valuable, nobody realizes that it is gone.”
When it comes to tracking the success of this new approach, publishers can begin tracking time spent over clicks and page views. “These analytics show a clearer path to subscriptions”, according to The Post and Courier.
Digiday’s full investigation is available to read now.
Google has opened discussions with publishers about licensing their content for a new, Apple News-style news aggregation service. With publishers to be paid a license fee, the revelation represents a shift in Google’s relationship with publishers, who have long sought financial compensation from the search giant for the use of their content in its results page. The talks are in their infancy, but we do know that Google is meeting with publishers in Europe, specifically France, about the as-yet-unnamed new service.
The financial arrangements have yet to be revealed. A Google source revealed to The Wall Street Journal that ongoing discussions focus on licensing content to appear in a free product, but the specifics are being ironed out currently. Apple News launched in September 2015 and quickly became the industry standard news aggregator. A free service, publishers monetise their publications through advertising. Used by 100 million users worldwide, it’s very much the Goliath to Google’s David in the news aggregation arena. In 2019, Apple launched Apple News+, which provides subscribers with full access to digital editions of newspapers and magazines including Vogue, National Geographic Magazine and Los Angeles Times. Priced at $9.99 per month, it provides full access to digital versions of print publications.
Facebook is the third tech giant reevaluating its approach to news. It wants to pay publishers a license fee for use of their news in an upcoming in-app news tab. At the time of the announcement, Facebook CEO Mark Zuckerberg spoke of his hope that other tech companies will follow this business model.
Google’s news aggregation service may mark an attempt to rekindle favour with the European news media. In September of 2019, Google announced that it would not pay European news organisations for the right to include their content in its search results pages. This sparked a significant backlash from publishers who expected the opposite outcome after the passing of a directive through European Parliament.
France was the first EU country to progress this directive into national legislation on October 24th 2019, but fell into one of its loopholes. This meant that Google refused to pay French publishers for links and removed snippets and thumbnail images for publishers displaying content in France unless they specified they wished to have this content shown in search results.
Apple News has long been the benchmark for news aggregation apps. Separate from the pre-existing Google News app, Google’s new news aggregation service can be considered a direct competitor for Apple News and Apple News+. Google is optimistic about its chances. Here’s what Richard Gingras, VP of news at Google, had to say:
“We want to help people find quality journalism – it’s important to informed democracy and helps support a sustainable news industry. We care deeply about this and are talking with partners and looking at more ways to expand our ongoing work with publishers, building on programs like our Google News Initiative.”
If you’d like to seamlessly integrate your publication with Apple News, click here.
Facebook has announced plans to shut down the mobile web arm of its Facebook Audience Network. Thought to be a response to recent attempts by browser companies to reject cookies in mobile web browsers, publishers should be aware that starting April 11 2020, Audience Network will no longer fill any ad requests to their web and in-stream placements.
“We make business decisions based on where we see growing demand from our partners, and that’s in other formats across mobile apps. We’re focusing our resources there moving forward,” revealed a Facebook spokesperson to Digiday. Publishers should note, however, that this move will not yet affect their ability to place Audience Network ads in their Instant Articles.
Launched in 2014, Audience Network offers advertisers placements in a variety of third-party apps. In 2016, an expansion was introduced that included mobile sites. This has helped it monetise publishers, who were paid over $1.5 billion in 2018. But, it’s unclear quite where the divide between web and app revenues lies. Sources suggest that the app segment drives a larger proportion by a significant margin.
Google dominates web browser market share and the tech giant last month announced its intention to drop support for third-party cookies inside two years. That move is likely to negatively impact Facebook’s Audience Network. GDPR penalties have been leveled at certain European ad tech groups, placing real-time bidding under critical examination. Furthermore, Facebook CFO Dave Wehner expects a targeting “headwind” as the California Consumer Privacy Act is rolled out.
On the whole, the closure of Facebook Audience Network’s mobile web arm represents an interesting move on Facebook’s part. Mobile web is so susceptible to brand safety and viewability issues, and Google is undoubtedly the dominant force.
Every January, Nic Newman publishes his annual report of journalism, media and technology trends and predictions for the coming year. Nic Newman is Senior Research Associate at the Reuters Institute for the Study of Journalism, where he has been lead author of the annual Digital News Report since 2012. As such, his annual report is an invaluable tool for digital publishers, marketers and editors alike. Here’s our roundup of its key revelations for 2020.
As in 2019, publishers are putting faith in reader revenue in 2020 - that is, revenue driven by readers through paid strategies like the paywall. 50% of publishers expect it to provide the majority of their revenues in 2020. A third expect this approach to be on par with advertising in terms of importance, and very few will attempt to profit off solely advertising. Jon Slade, Financial Times’ Chief Commercial Officer, said: “Growth engines, reader revenue specifically, has very positive prospects; advertising revenue remains a major concern.”
The positivity towards reader revenue extends beyond international publishers to smaller publications who are enjoying successes with their first forays into subscription models. But, as this approach circulates wider, competition for the finite amount of users willing to pay for content will likely become a challenge. “Churn rates are likely to become an increasing worry for those that can’t prove consistent value to audiences,” warns Newman. Also, the disappearance of quality journalism behind paywalls has obvious democratic implications that publishers should be wary of.
A digital leaders’ survey conducted by Reuters revealed that publishers favour Google and Twitter over Apple, Snapchat, Amazon and Facebook when it comes to initiatives to support journalism. Facebook, it seems, is still experiencing fallout from publishers over the early-2018 introduction of the ‘meaningful interactions’ algorithm that saw publisher content sidelined in news feeds.
Publishers aren’t naive about the unlikelihood of lawmakers fighting their corner and defending the sanctity of unbiased reportage. The controversial EU directive “the link tax”, which decrees that anyone “using snippets of journalistic online content must first get a license from the publisher”, is not being regarded as the saving grace that European lawmakers hoped it would be.
Elsewhere, 2020 looks set to be another serious year for podcasting. Half of the publisher respondents to Reuters’ survey claim they’ll push various podcast-focused initiatives throughout 2020. Not least because podcasting revenue is expected to grow by roughly 30% to reach over $1bn in the US. In 2020, expect the proliferation of podcasting beyond the English language. Much of the action so far has been confined to the US and a handful of English-speaking countries, but this is set to change.
All in all, 2020 looks to be a year in which journalism finds a firmer footing, and begins to regain some confidence in itself thanks to new business models with a serious potential for longevity. In spite of some legislative obstacles, the overall mood is one of optimism. Here’s how Nic Newman articulated the feeling for 2020:
“...the overwhelming mood from this year’s survey is one of quiet determination not to be distracted by the latest innovations but to focus on delivering long-term value for audiences. There is no one path to success – and there will be many publishers that do not make it – but there is greater confidence now that good journalism can continue to flourish in a digital age.”
Head here for a summary of, and download link to, Newman’s full report.
Sistrix, the industry-leading SEO tool favoured by Amazon, recently announced Mathematics client Kerrang! as the brand which gained the greatest search visibility through SEO for 2019: Kerrang! reported growth of 364%, as a result of SEO, across the year. That puts our beloved music title ahead of editorial heavyweights like Metro, Huffington Post, and even the New Yorker when it comes to overall growth from search engine optimisation.
We helped Kerrang! achieve this success with a process we call ‘Editorial SEO’: a collaboration between publisher and agency that comprises two key facets:
This project with Kerrang! started with editorial team training. Luke Morton, Kerrang!’s Digital Editor, arrived to the publication with a strong knowledge of SEO, and recognised Kerrang!’s potential for serious growth through search. He wished to ensure the full team understood the ins and outs of SEO best practise, so after working together to build a set of goals we ran training sessions and Luke ensured this practice was assimilated fully within his team.
Mathematics is a publisher-specialist agency. We understand how editorial teams tick, so our approach to SEO considers the voice of a publication at every step - audience loyalty doesn’t arise from stuffing articles with keywords or creating content based solely on popular search terms. As we advised Kerrang! when we started working together: Editorial SEO must never compromise the quality of the journalism.
Instead, we spoke to the team about tools that could aid them, and changes to processes that would increase search traffic without hindering quality. Among the tools we walked the team through were CoSchedule’s ‘Headline Analyzer’ and Answer the Public. CoSchedule’s tool is vital for its intuitiveness; it aids users to craft a version of their headline that will find greatest favour with Google thanks to in-depth analytics presented in refreshingly simple diagrams. Answer The Public is a search insights tool into which a user enters a topic, and is presented with all pertaining questions, prepositions and comparisons that featured that topic and have been searched in Google, in order of search volume.
Next, we walked the team through short tail and long tail search terms. A short tail search term could contain one word, so may be the name of an artist or band - let’s say Kerrang! favourites Slipknot. Three words and below is still classified as a short tail search term - eg. ‘Slipknot drummer’. Anything over three words is a long tail search term; often specific questions for which users want specific answers. As such, they drive fewer clicks but tend to be of a greater value, making them of equal importance to short tail. Let’s say someone searches ‘when is Slipknot’s new album released’ - an article with the headline ‘Slipknot Announce Release Date for New Album’’ is a shoe-in for their click as it guarantees an answer to their question. As they’re often questions, long tail keywords tend to begin with prepositions, making the aforementioned Answer the Public a handy tool for identifying them. A site hosting plenty of pieces optimised for both short tail and long tail search terms will find itself a domain authority with persistence and patience.
We also discussed headlines, title tags, subheaders and meta descriptions with Kerrang!’s team. The title tag is the headline of the page as seen by Google and Google users. It’s first seen within a relevant search result. Title tags should feature the main keyword, and not be too long: Google typically displays the first 50-60 characters of a title tag. The rules for headlines are the same and often the headline of a piece of journalism will serve the same purpose as its title tag.
Meta descriptions aren’t a Google ranking factor, but can impact a page’s click-through rate. They should never exceed 160 characters. If they do, they’ll be truncated by Google and won’t appear in full. Subheaders are valuable when they include the chosen keyword. Appearing in sequence below a headline that also features the keyword reveals to Google a complex ‘headler hierarchy’, signalling a wealth of information on the topic covered.
Craft, the CMS Kerrang! was built upon, makes it easy to categorise and tag content, so a strategy was devised to ensure Kerrang! builds a complex, sophisticated network of internal links in order to become an authority on the subjects it covers. Jumping into the CMS we took the team through the importance of image SEO, showing them how to quickly edit filenames and alt tags to help readers find content through image search, and introducing tools like ImageOptim that minimise file sizes without harming image quality.
The team set about integrating our SEO advice into their day-to-day work, and quickly developed a deft ability for writing journalism that a reader would never guess had been optimised for search.
As the Kerrang! team creates content with search in mind, we’re focusing on analytics, making SEO improvements to existing content and suggestions on areas for the team to tackle in the future.
Our Data Analyst starts out by surfacing stories that have performed well on-site, but have gained a suspiciously low click-through rate on search engines, suggesting that they may be in need of optimisation.
This data is then passed onto our Growth Officer, who analyses the list to choose articles to tackle. Because we’re optimising to maximise long-term growth we always ensure that the pieces we tweak are evergreen, or can be tailored to be. That way, we ensure that every piece we revise has the potential to drive great traffic in the long term, not just the short. Naturally, we tend to optimise long-form features more often than news.
Next we look at potential terms a person may search for, using tools to measure the amount of times a phrase is searched for each month and the amount of competition. We find terms that are relevant, popular but realistic in terms of competition - when we spot a good opportunity we get started on optimisation.
Each story is carefully edited to maximise its traffic-generating potential. With our analytics research as our guide, we restructure headlines, subheaders and body copy, image alt tags, meta tags and internal and external links. Where feasible we add extra context, videos or additional content to stories, presenting our suggestions to editorial for sign-off before pushing them live. Particular attention is paid to ensuring the tone, message or house style of the story is never affected by our changes.
The result of this approach is an increase in high-quality visits to the website through search. Director and musician Rob Zombie receives 201,000 monthly searches, and this Kerrang! article optimised manually by Mathematics ranks highly on the first page of Google’s results page for searches of ‘Rob Zombie’. It’s the highest-ranking result from a publisher by a long shot. Rob Zombie directed Halloween, so a Kerrang! article about him regained traction at that time of year, leading to a huge increase of traffic.
Testament to the seamlessness with which Kerrang!’s team integrated editorial SEO into its practice are the results for searches of ‘Green Day’. The band receives 165,000 monthly searches. A Kerrang! article appears on the first page of results as the highest-ranking publisher. That win stems from the team’s skill as writers, and the fluency they now boast with SEO:
As well as reworking content, we look for opportunities using analytics. By tracking search trends, click-through rates and overall changes in traffic, we’re able to advise editorial teams on artist biographies to create and topics to cover. This bolsters a publications overall domain authority and creates a web of internal links; an enormous SEO help. After identifying high-impression, low-click queries with Google Analytics, Google Trends is used to filter the number of queries down to a reasonable amount. We send the team a list of suggestions for biographies to assemble and add to an artist/band’s hub page.
The world of SEO is a famously tumultuous one. We can never stop adapting to the frequent updates made to Google’s core algorithm. Kerrang! has competitors nipping at its heels, some of which focus on news over features. There are countless reasons why complacency is the same as losing the ranking battle.
So, we’ll continue to make our weekly updates and offer our guidance. Luke will keep feeding this back to his team, who’ll ensure it slots neatly into their daily editorial workflow. It’s a symbiotic relationship that ensures Kerrang! remains ahead of the curve. The technical stuff’s on us, while the writers get to focus on what they do best: brilliant music journalism.
Rubicon Project and Telaria have announced plans to merge to create “the world’s largest supply-side platform”. Rubicon will own 52.9% of the new company to Telaria’s 47.1%. “Together, Rubicon Project and Telaria will enable thousands of publishers to connect with hundreds of buyers and brands, creating a global, independent alternative to closed players in the ecosystem”, read the joint announcement.
This deal will benefit publishers in the form of reductions on fees; higher volume leads to lower transaction fees. The size of Rubicon and Telaria’s combined arsenals should lead to increased availability of inventory. Rubicon’s digital ad buying, selling and header bidding is renowned, and Telaria’s model allows them to specialise in video; Telaria’s product is software that allows publishers to effectively manage video advertising.
“We want to be the lower-priced player in the market, the scaled player, the efficient player,” said Michael Barrett, Rubicon CEO and chief executive of the as-yet-unnamed new company. “You’ll continue to see that play out as the market contracts: there will definitely be a lowering of the ad tax.”
It seems as though this new company is aiming to tackle Google’s status as the king of supply-side platforms. Google currently dominates the market in terms of both buying and selling ads.
The rise of header bidding - which lets publishers offer inventory to multiple ad exchanges simultaneously - has transformed the behaviour of many SSPs, throwing the priority of many services they provide into question. So, many have shifted their focus to new areas of biddable media, like TV and audio. The areas on which Rubicon Project and Telaria have focussed previously mean this new company will be an industry leader across the wide spectrum of digital ad buying and selling.
For publishers wishing to work with Rubicon, they can get in touch here. Rubicon will tend to only work with publishers who can prove they yield over 5 million page views per month. Whether the new company will lower, raise or maintain these requirements remains to be seen.
Rubicon and Telaria’s deal is expected to close in the first half of 2020, and we hope that simultaneously, a doorway will open to publishers hoping to develop their advertising strategies easier and more powerfully than ever before. Only time will tell.
Our mission with FlatPlan is to aid publishers to build a large, valuable audience on Apple News. We strive to illustrate the importance of Apple News analytics for our clients when helping them drive growth on the platform. As part of these efforts, we’re pleased to announce FlatPlan Notify - instant Apple News analytics notifications for editorial teams.
Our notifications allow your teams to be informed instantly by email whenever your articles are featured or boosted by Apple News editors, selected for inclusion in Spotlight or Top Stories sections, or make it into Trending Stories. Your team will also receive alerts when an article ‘spikes’ through an influx of traffic.
These emails are ideal for alerting your teams to content that resonates with Apple News editors and readers, with each email including actionable next steps for editorial, helping them attain further growth from this content and plan future coverage that will play well in Apple News.
Barney, our Data Analyst, explains the rationale behind this new feature:
“The aim of these email notifications was to provide feedback to publishers as quickly as possible to give them an idea of what content is performing well on the platform at any given moment. Being featured by Apple News editors can earn significant returns for publishers, so it’s important that these events are not missed. FlatPlan Notify aims to circumvent this.”
Here’s what HELLO! had to say:
"The notifications we receive from FlatPlan Notify provide invaluable insights into what content resonates strongest with Apple News’ editors, algorithms and our readers. They’re a quick, simple way to discover what works on Apple News." - Ainhoa Barcelona, Acting Website Editor, HELLO! Magazine
FlatPlan Notify is available within the new notifications package - get in touch with us if you would like to activate this new service on your account.