Phew, we’ve apparently solved 97% of the podcast measurement problem — everybody relax

MEASUREMENT BITE. Been a while since we’ve checked back into what is arguably the most important subject in the podcast business. Let’s fix that, shall we?

“The good news for podcasters and buyers is measurement challenges are 97 percent solved,” Midroll Media CRO Lex Friedman said on a podcast panel at the National Association of Broadcasters (NAB) Show last week. “What we can report now is more specific than we could before.” You can find the quote in this Inside Radio writeup on the panel.

Be that as it may, there’s still some work left to be done. I reached out to Friedman for his perspective on what constitutes the remaining 3 percent of the challenges left to be solved, and here’s his response (pardon the customary Midroll spin):

In TV today, advertisers would struggle if NBC used Nielsen ratings, and ABC used Nielsen but with a different methodology, and CBS used some other company’s measurement technology.

Today in podcasting, the measurement problem is solved; the remaining 3 percent is getting everyone standardized. It doesn’t happen often, but every once in a while, Midroll loses a show to a competitor. When we sell a show at 450,000 downloads, and the next day the same show and same feed is being sold at 700,000 downloads, that’s a problem.

The IAB’s recommended a 24-hour measurement window, while some folks still advocate for 60 minutes or two hours, and too many vendors continue to sell at 5 minutes, which we universally know is way too liberal a count. That’s unfair and confusing to advertisers, and that’s the piece that needs fixing.

That’s no small 3 percent, in my opinion.

Anyway, if you’re new to the podcast measurement problem, my column from February 2016 — back when a group of public radio stations published a set of guidelines on the best way for podcast companies to measure listenership — still holds up as a solid primer on the topic, if I do say so myself.

Fool’s gold? Something else to note from Inside Radio’s article on the NAB panel: a strong indication, delivered by Triton Digital president of market development John Rosso, that there is increasing demand for programmatic podcast advertising.

Programmatic advertising is a system by which ads are automatically bought and sold through algorithmic processes. In other words, it’s a monetization environment where the facilitation of advertising value exchange is automated away from human interaction. The principal upside that comes with programmatic advertising is efficiency: As an advertiser, you theoretically don’t have to spend a lot of time identifying, contacting, and executing buys, and as a publisher, you theoretically don’t have to spend a lot of time doing those things in the opposite direction. In theory, both sides don’t have to do much more work for a lot more money. But the principal downside is the ensuing experience on listener-side, and all the ramifications that fall from a slide in said experience: Because these transactions are machine-automated, there’s no human consideration governing the aesthetic intentionality of an advertising experience paired with the specific contexts of a given podcast.

Combine this with the core assumptions of what makes podcasting uniquely valuable as a media product — that it engenders deeper experiences of intimacy between creator and listener, that its strength is built on the cultivated simulacra of personal trust between the two parties, that any podcast advertising spot is a heavy act of value extraction from the relationship developed between the two sides — and you have a situation where a digital advertising technology is being considered for a medium to which its value propositions are diametrically opposed.

The underlying problem, put simply: Can you artificially scale up podcasting’s advertising supply without compromising its underlying value proposition? To phrase the problem in another direction: Can you develop a new advertising product that’s able to correspondingly scale up intimacy, trust, and relationship-depth between podcast creator and consumer?

The answer for both things may well be no, and that perhaps the move shouldn’t be to prescribe square pegs for round holes. Or maybe the response we’ll see will sound more like “the way we’re doing things isn’t sustainable, we’re going to have to make more money somehow” with the end result being an identity-collapsing shift in the defining characteristics of this fledgling medium. In which case: Bummer, dude.

Binge-Drop Murphies. Gimlet announced its spring slate last week, and two out of three of them, the audio drama Sandra and the Lynn Levy special The Habitat, will be released in their entirety tomorrow. When asked about the choice to go with the binge-drop, Gimlet president Matt Lieber tells me:

We decided to binge both The Habitat and Sandra because we felt that they were both so engrossing and engaging, so we wanted to give the listener the decision to either power through all the episodes, or sample and consume at their own pace. Sandra is our second scripted fiction series and we know from our first, Homecoming, that a lot of people chose to binge the series after it was out in full. With The Habitat, it’s such a unique and immersive miniseries, and we wanted to give listeners the chance to get lost in the world by listening all at once.

Grab your space suits, fellas.

The beautiful game. The third show in Gimlet’s spring bundle is We Came To Win, the company’s first sports show, which promises to deliver stories on the most memorable soccer matches in history. The press release appears to be playing up the universal angle of the sport: “Soccer is a sport that is about so much more than goals. It’s about continents, countries, characters, and the relationships between them.” (I mean, yeah.)

In an interesting bit of mind-meld, Gimlet’s first foray into sports mirrors WNYC Studios’ own maiden voyage into the world of physical human competition. Sometime this spring, the New York public radio station will roll out its own World Cup-timed narrative podcast, a collaboration with Men in Blazers’ Roger Bennett that will look the U.S. Men’s National Soccer Team’s journey from its triumphant 1994 World cup appearance to its doomed 1998 campaign. (Yikes.)

Public radio genes run deep.

Peabody nominations. The 2017 nominations were announced last week, and interestingly enough, six out of the eight entries in the Radio/Podcast category are either podcast-only or podcast-first. The nominees are: Radiotopia’s Ear Hustle, Minnesota Public Radio’s 74 Seconds, Serial Productions’ S-Town, the Center for Documentary Studies at Duke University’s Scene on Radio: Seeing White, Gimlet’s Uncivil, and Louisville Public Media/Kentucky Center for Investigative Reporting’s “The Pope’s Long Con.

Notes on The Pope’s Long Con. It was an unbelievable story with unthinkable consequences. Produced by the Kentucky Center for Investigative Reporting (KyCIR) and Louisville Public Media, The Pope’s Long Con was the product of a seven-month long investigation into Dan Johnson, a controversial bishop-turned-Kentucky state representative shrouded in corruption, deceit, and an allegation of sexual assault. KyCIR’s feature went live on December 11, bringing Johnson’s story — and the allegations against him — into the spotlight. The impact was explosive, leading to immediate calls for Johnson to resign. He denied the allegations at a press conference. Two days later, Johnson committed suicide.

It was “any journalist’s nightmare,” as KyCIR’s managing editor Brendan McCarthy told CJR in an article about how the newsroom grappled with the aftermath of its reporting. (Which, by the way, you should absolutely read.)

In light of those circumstances, the podcast’s Peabody nomination feels especially well-deserved. It’s also a remarkable achievement for a public radio station relatively new to podcasting. “The Pope’s Long Con was the first heavy-lift podcast Louisville Public Media had undertaken,” Sean Cannon, a senior digital strategist at the organization and creative director of the podcast, tells me. “It didn’t start out as one though…Audio was planned, but it was a secondary concern. Once we realized the scope and gravity of it all, we knew everything had to be built around the podcast.”

When I asked Cannon how he feels about the nomination, he replied:

Given the situation surrounding the story, it’s still a confusing mix of emotions to see The Pope’s Long Con reach the heights it has. That said, we’re all immensely proud of the work we did. It’s necessary to hold our elected officials accountable.

In the context of the podcast industry, it taught me a lesson that can be easy to forget. I was worried the hierarchy of publishers had become too calcified, rendering it almost impossible for anyone below the top rungs to make serious waves — without a thick wallet, anyway. It’s a topic that comes up regularly in Hot Pod.

While the industry will never purely be a meritocracy, The Pope’s Long Con shattered that perception. It served as a reminder of something that gets glossed over when you’re caught up in the business of it all: If you can create compelling audio, that trumps everything else.

Tip of the hat, Louisville.

Crooked Media expands into film. According to The Hollywood Reporter, the media (political activism?) company will be co-producing a new feature documentary on Texas congressman Beto O’Rourke’s bid to unseat Senator Ted Cruz in the upcoming midterm elections. This extends on Crooked Media’s previous adventures in video, which already involve a series of HBO specials to be taped across the country amidst the run-up to midterms.

A quick nod to Pod Save America’s roots as The Ringer’s Keepin’ It 1600 here: Crooked Media will likely crib from the playbook The Ringer built around the recent Andre the Giant HBO documentary, which was executive produced by Ringer CEO Bill Simmons, where the latter project received copious promotion through The Ringer website and podcast network. What’s especially interesting about that whole situation is the way it is essentially a wholesale execution of what I took as the principal ideas from the analyst Ben Thompson’s 2015 post “Grantland and the (Surprising) Future of Publishing.”

I’m not sure if I’d personally watch a Beto O’Rourke doc — the dude has been a particularly vibrant entry into the “blue hope in red country” political media subgenre for a long while now, and I’m tapping out — but Pod Save America listeners most definitely would.

Empire on Blood. My latest for Vulture is a review of the new seven-part Panoply podcast, which I thought was interesting enough as a pulpy doc but deeply frustrating in how the show handles its power and positioning. It’s a weird situation: I really liked host Steve Fishman’s writing, and I really liked the tape gathered, but the two things really shouldn’t have been paired up this way.

The state of true crime podcasts. You know you’re neck-deep in something when you can throw out random words and land close to an actual example of that something: White Wine True Crime, Wine & Crime, Up & Vanished, The Vanished, Real Crime Profile, True Crime Garage, Crimetown, Small Town Murders, and so on. (This is a general observation that goes well beyond true crime pods. Cryptocurrencies: Sumokoin, Dogecoin, PotCoin. Food startups: Plated, Pantry, PlateIQ. Names: Kevin.)

Anyway, I’ve said it once, and I’ll say it again: True crime is the bloody, bleeding heart of podcasting, a genre that’s proliferating with a velocity so tremendous it could power a dying sun. And in my view, true crime podcasts are also a solid microcosm of the podcast universe as a whole: What happens there, happens everywhere.

When it comes to thinking about true crime podcasts, there are few people whose opinions I trust more than crime author, podcaster, and New Hampshire Public Radio digital director Rebecca Lavoie. As the cohost of the indispensable weekly conversational podcast Crime Writers On… — which began life as Crime Writers On Serial, a companion piece to the breakout 2014 podcast phenomenon — Lavoie consumes and thinks a lot about true crime and true crime podcasts specifically.

I touched base with Lavoie recently to get the latest on what’s been going on in her neck of the woods:

[storybreak]

[conl]Hot Pod: In your view, how has the true crime podcast genre evolved over the past four years or so?[/conl]

[conr]Rebecca Lavoie: It’s evolved in a few directions — some great, some…not so much.

On the one hand (and most wonderfully), we have journalism and media outlets who would never have touched the true crime genre a few years ago making true crime podcasts based on the tenets of great reporting and production. And when it comes to the “never would have touched it” part, I know what I’m talking about. Long before I was a podcaster, I was the coauthor of several mass-market true crime books while also working on a public radio show. Until Criminal was released and enjoyed some success, public radio and true crime never crossed streams, to an extent where I would literally avoid discussing my true crime reporting at work — it was looked down upon, frankly.

Today, though, that kind of journalistic snobbery is almost non-existent, and podcasts (especially Criminal and Serial) can claim 100 percent responsibility for that. Shows that exist today as a result of this change include Accused from the Cincinnati Enquirer, West Cork from Audible, Breakdown from the Atlanta Journal-Constitution, In the Dark from APM reports, and the CBC’s recent series Missing & Murdered. (And yes, even the public radio station where I still work — now on the digital side — is developing a true crime podcast!)

Credit is also due to Serial for the way journalism podcasts are being framed as true crime when they wouldn’t have been in a pre-Serial era. Take Slow Burn from Slate, which is the best podcast I’ve heard in the past year or two. While the Watergate story would have been so easy to frame as a straight political scandal, the angles and prose techniques used in Slow Burn have all the hallmarks of a great true crime narrative — and I’m pretty sure the success of that show was, at least in part, a result of that.

Of course, where you have ambitious, high-quality work, you inevitably have ambitious terrible work, right? It’s true, there are very big and very bad true crime podcasts being produced at an astonishing rate right now, and because they have affiliation with established networks, these shows get a lot of promotion. But as much as I might personally love to hate some of these terrible shows (I’m talking to YOU, Atlanta Monster!) I do see some value in their existence.

I think about it the same way I think about movies: Not every successful big budget blockbuster is a good movie, but ultimately, those films can serve to raise the profile and profitability of the movie industry as a whole, and help audiences discover other, higher-quality content.[/conr]

[conl]Hot Pod: What do you think are the more troubling trends in how true crime podcasts have evolved?[/conl]

[conr]Lavoie: One is what I see as a glut of podcasts that are, quite frankly, building audience by boldly recycling the work of others. Sword & Scale is a much-talked-about example of that, but it’s not even the worst I’ve come across. There was a recent incident in which a listener pointed me to a monetized show in which the host simply read, word for word, articles published in magazines and newspapers — and I can’t help but wonder how pervasive that is. My hope is that at some point, the transcription technologies we’re now seeing emerge can somehow be deployed to scan audio for plagiarism, similar to the way YouTube scans videos for copyright infringement.

But there’s another trend that, for me, is even more troubling. There’s been a recent and massive growth of corporate podcast networks that are building their businesses on what I can only compare to the James Patterson book factory model — basically saying to creators, “Hey, if you think you have a story, partner with us and we’ll help you make, distribute, and monetize your podcast — and we’ll even slap our name on it!”

This, unfortunately, seems to be what’s behind a recent spate of shows that, in the hands of a more caring set of producers, could have (maybe?) been good, but ultimately, the podcasts end up being soulless, flat, “why did they make it at all” experiences.

Why is this the most upsetting trend for me? First, because good journalists are sometimes tied to these factory-made shows, and the podcasts aren’t doing them, or their outlets, or the podcast audience as a whole any favors.

The other part of it is that these networks have a lot of marketing pull with podcast platforms that can make or break shows by featuring them at the top of the apps. These marketing relationships with Apple etc. mean factory networks have a tremendous advantage in getting their shows front and center. But ultimately, many of the true crime podcasts getting pushed on podcast apps are very, very bad, and I can’t imagine a world in which a lot of bad content will end up cultivating a smart and sustainable audience.[/conr]

[conl]Hot Pod: In your opinion, what were the most significant true crime podcasts in recent years?[/conl]

[conr]Lavoie: In the Dark by APM Reports is up there. What I love about that show is that they approached the Jacob Wetterling story with an unusual central question: Why wasn’t this case solved? (Of course, they also caught the incredibly fortunate break of the case actually being solved, but I digress…) Theirs is a FAR more interesting question than, say, “What actually happened to this missing person?” Or “Is this person really guilty?” Of course, In the Dark also had the benefit of access to a talented public media newsroom, and I really enjoyed how they folded data reporting into that story.

I most often tell people that after Serial season one, my favorite true crime podcast of all time is the first season of Accused. Not only do I love that show because it looks at an interesting unsolved case, but I love it because it was made by two women, seasoned newspaper journalists, with no podcasting experience. Amber Hunt is a natural storyteller and did an amazing job injecting a tremendous amount of humanity and badass investigative journalism skills into that story. It’s not perfect, but to me, its imperfections are a big part of what makes it extraordinary.

More recently, I’ve really enjoyed the shows I mentioned above, including West Cork and Missing & Murdered. But when it comes to significance, Slow Burn is the most understated and excellent audio work I’ve heard in a long time. I loved every minute of it. I think that Slate team has raised the bar on telling historical crime stories, and we’re the better for it.[/conr]

[conl]Hot Pod: What do you generally want to see more of from true crime podcasts?[/conl]

[conr]Lavoie: I want to see more new approaches and formal risk-taking, and more integrity, journalistic and otherwise.

One of my favorite podcasts to talk about is Breakdown from the AJC. Bill Rankin is the opposite of a radio reporter — he has a folksy voice and a writing style much more suited to print. But beginning in season one, he’s been very transparent about the challenges he’s faced while making the show. He’s also, as listeners quickly learned, an incredible reporter with incredible values. That show has embraced multiple formats and allowed itself to evolve — and with a couple of exceptions, Bill’s voice and heart have been at the center of it.

I’d also love to see some trends go away, most of all, this idea of podcast host as “Hey, I’m not a podcaster or a journalist or really anyone at all but LET’S DO THIS, GUYS” gung-ho investigator.

Don’t get me wrong, some really good podcasts have started with people without a lot of audio or reporting experience, but they aren’t good because the person making them celebrates sounding like an amateur after making dozens of episodes.[/conr]

[storybreak]

Again, you can find Lavoie on Crime Writers On…, where she is joined every week by: Kevin Flynn, her true crime coauthor (and “former TV reporter husband,” she adds); Toby Ball, a fiction writer; and Lara Bricker, a licensed private investigator and fellow true crime writer. Lavoie also produces a number of other podcast projects, including: …These Are Their Stories: The Law & Order Podcast, HGTV & Me, and Married With Podcast for Stitcher Premium.

On a related note: The New York Times’ Jonah Bromwich wrote a quick piece on the Parcast network, described as “one of several new networks saturating the audio market with podcasts whose lurid storylines play out like snackable television.” The article also contains my successful effort at being quoted in ALL CAPS in the Times.

Bites:

  • This year’s Maximum Fun Drive has successfully accrued over 28,000 new and upgrading members. (Twitter) Congrats to the team.
  • WBUR is organizing what it’s calling the “first-ever children’s podcast festival” on April 28 and 29. Called “The Mega Awesome Super Huge Wicked Fun Podcast Playdate” — shouts to whoever came up with that — the festival will be held at the Coolidge Corner Theatre in Brookline, Massachusetts and will feature shows like Eleanor Amplified, Story Pirates, But Why, and Circle Round, among others. (Website)
  • “Bloomberg expands TicToc to podcasts, newsletters.” For the uninitiated: TicToc is Bloomberg’s live-streaming video news channel that’s principally distributed over Twitter. On the audio side, the expansion appears to include podcast repackages and a smart-speaker experiment. (Axios)
  • American Public Media is leaning on Westwood One to handle advertising for the second season of its hit podcast In The Dark. Interesting choice. The new season drops next week. (AdWeek)
  • I’m keeping an eye on this: Death in Ice Valley, an intriguing collaboration between the BBC and Norway’s NRK, debuted yesterday. (BBC)
  • Anchor rolls out a feature that helps its users find…a cohost? Yet another indication that the platform is in the business of building a whole new social media experience as opposed to something that directly relates to podcasting. (TechCrunch)
  • On The New York Times’ marketing campaign for Caliphate: “The Times got some early buzz for the podcast before its launch; 15,000 people have signed up for a newsletter that will notify them when a new episode is ready, twice as many as expected.” (Digiday)
  • “Alexa Is a Revelation for the Blind,” writes Ian Bogost in The Atlantic.

[photocredit]Photo of a tape measure by catd_mitchell used under a Creative Commons license.[/photocredit]

“If a Serial episode was a mountain peak, S-Town was the Himalayas”

Welcome to Hot Pod, a newsletter about podcasts. This is issue 116, published April 18, 2017.

Midroll formalizes the Stitcher editorial brand. When I wrote up the return of First Day Back for last week’s newsletter, I was mostly thinking out loud when discussing its label as a Stitcher show and how that might’ve hinted towards the spinning out of the podcast app as its own editorial brand. It looks like I was a day early on that, as the company announced last Wednesday that it was indeed firming up the Stitcher branding, and that it was shuffling some Earwolf shows into its purview.

Stitcher will now carry The Longest Shortest Time and the Katie Couric Podcast, both of which were previously categorized as Earwolf shows. The new umbrella will also carry The Sporkful, whose departure from WNYC I covered two weeks ago, and Tell Me Something I Don’t Know, the Stephen Dubner-led game show previously housed in The New York Times’ audio unit.

The reason for all of this shuffling? In a word: #branding.

Speaking over the phone yesterday, Midroll CEO Erik Diehn explained that, while he ultimately thinks a network’s brand won’t mean very much to a broad audience, he does find that it carries significant weight with its core audience. As such, any programming move has to make sense within the context of that audience’s relationship with the brand. “Every once in a while, a content brand rises above the fray to stand for something more than the individual shows organized within it,” Diehn said, also pointing to Gimlet Media, Barstool Sports, and The Ringer as examples. “There is value there for a certain core audience.”

The company bumped up against this when it initially attempted to broaden the Earwolf network out from its core comedy and comedy-adjacent sensibility; Diehn told me that Stranglers, a true-crime documentary podcast that Midroll published under the Earwolf network, was perceived by some to be a parody in large part due to its association with Earwolf. (It is most certainly not that.) The decision to carve out Stitcher as a separate entity from Earwolf, then, is meant to create a separate audience architecture for the more newsy and serious shows that Midroll hopes to get more involved in.

For what it’s worth, I personally feel that a brand means as much to listeners, audiences, and consumers as it makes itself out to be — which is to say, I tend to believe its effectiveness — and, for that matter, the effectiveness of things like bylines and datelines — is chiefly derived from the amount of work put into making it mean something.

Anyway, when I asked about how Stitcher Premium was doing, Diehn noted that it was “doing quite well,” and that it was “hitting all of its forecasts for the year so far.” He declined to share specific numbers when asked.

Speaking of brands…

“Apple Podcasts.” Last week saw a quiet announcement from Apple’s iTunes teams that nonetheless sent ripples throughout the community: The company is rebranding “iTunes Podcasts” as “Apple Podcasts.” Aside from an updated set of marketing guidelines and visual assets for use by publishers — get those badges and switch up your tags, folks — the announcement was made with little accompanying information that could tell us anything substantial about how (or even whether) Apple is actually fundamentally rethinking its relationship with the growing podcast ecosystem — a possibility that was first hinted back in February’s Recode Media conference when Apple’s senior vice president of Internet software and services Eddy Cue vaguely noted that the company was “working on new features for podcasts.”

Which is to say, we know nothing new about whether the company plans to: revamp the podcast app’s underlying user experience (long criticized as being virtually unchanged since its introduction over a decade ago); provide any further analytics support; allow for external verification of metrics (as in the case of Apple News); increase the sophistication of podcast discovery and publisher promotion on the podcast app; provide additionals pathways for monetization within the Apple podcast ecosystem; or clarifying the editorial and symbolic significance of the podcast charts.

On the flipside, it does maintain a status quo that continues to leave unreconciled the larger question about how the space will continue to play out structurally — that is, it holds in place the tension between podcasts-as-blogs contingent and podcasts-as-future-of-radio contingent that seemingly came to a public head last summer. (Here’s the relevant Hot Pod column from that time.) A lot has changed since then; the industry has continued to grow, more hit shows have come to be, more platforms have begun to encroach on Apple’s majority share with experiments in windowing and exclusives, and so on.

There’s a legit story in here somewhere…but this isn’t quite it. Looks like we’ll have to keep being on the lookout.

“If a Serial episode was a mountain peak, then S-Town was the Himalayas.” On Friday, PRX chief technology officer Andrew Kuklewicz published a Medium post discussing the backend of hosting the hit podcast — which, as you probably know by now, opted to drop all of its seven episodes at once as opposed to a recurring drop structure. In case you didn’t know, This American Life hosts all of its podcasts on Dovetail, the CMS platform created by PRX (which also distributes the company’s shows to public radio stations).

I’ve briefly written about Dovetail before, but the platform has kept a relatively low profile compared to its more aggressive competitors, like Art19 and Panoply’s Megaphone, and I suppose you could read this post as the company flexing its muscles somewhat. “After S-Town, we are that much more confident in our technology, both in new ways of using it, and under extreme load,” Kuklewicz wrote. “Plus, the next time someone asks me what Dovetail can do, I have a new graph to show them.”

The post is chock-full of interesting stuff — including some fascinating insights into binge-download behavior — but I’d like to draw your attention to something: Long-time observers of the podcast industry are probably familiar with the conversation around dynamic ad insertion technology, how its proponents argue that it allows for greater advertising inventory and opportunity (by allowing ads to be dynamically switched out according to who is listening), and how the current generation of professionalizing podcast companies have generally integrated the technology by treating the ad slot as the unit that gets dynamically switched out.

According to Kuklewicz’s post, it appears that the S-Town team made a peculiar request: to treat the entire episode as the dynamic unit. This effectively maintains the baked-in nature of the ad-read while still allowing for the fundamental utility of each individual episode being able to serve different ads to different kinds of people. When I asked Kuklewicz about the logic behind this, he said: “They wanted to maximize the flow between show and spots, and allow for music under the end roll. So I understand it to be an aesthetic motivation, and considering the years of time put into the show, and the way the music is practically a character, I can see now why they wanted it just that way.”

Related. BuzzFeed has a chunky feature up on S-Town that should be interesting to fans on two major levels. First, it sheds some additional light on the narrative threads that the podcast ultimately leaves unresolved — which, as we learn from the piece, is purely by design. And second, it serves as a nice companion to host Brian Reed’s interview on Longform. Also, this from The Awl: “Call it Shit Town, because that is its name.”

Call Your LLC. I highly recommend digging into last week’s episode of Call Your Girlfriend, the well-loved conversational podcast by Ann Friedman and Aminatou Sow (produced by Gina Delvac), which features a pretty substantial look at how the team has built out an independent business around the show. No specific figures were disclosed — other than mention that ad slots cost at least four figures and a solid-sounding revenue range — but there’s a lot going on here. The episode touches on the uncertainties involved in working with a network, the general weirdness of the podcast industry, and figuring out a business model that best fits the values of a production. Check it out.

Missing Richard Simmons on TV? The Hollywood Reporter is apparently reporting that First Look Media, which led the production for the podcast, has “begun meeting with would-be buyers for a small screen narrative adaptation of the investigative show searching for the reclusive fitness guru.” Two things on this:

  • It’s yet another data point in the emerging trend that sees the podcast category as another IP pool for TV and film to trawl in for potential adaptations. (Though, it should be noted that real life — or very recent history — remains the IP pool du jour.)
  • Maybe I lack vision, but I can’t for the life of me see how the adaptation could possibly either (a) a good idea, given the myriad of ethical questions surrounding the podcast, or (b) effective or interesting in the same way, probably as a result of those ethical conundrums surrounding the podcast.

But then again, I am but a humble podcast bard, and not a wheelin’ dealin’ TV exec.

Tracking… Looks like CNN en Español recently rolled out a Spanish-language podcast slate, most of which are repackages of existing shows. There’s one original production in there, however: a culture show called Zona Pop. With this rollout, the company steps into a lane whose primary current occupant appears to be the Revolver Podcast network, which has built out a sizable Spanish-language podcast portfolio in addition to its work with music executive Jason Flom on the Wrongful Conviction podcast.

The Outline, daily. I suppose I should start looking for another way to describe the daily news podcast space in terms other than “heating up” — if only to avoid ledes defined by a cliche — but it does seem like the experimental genre is certainly growing more active by the week.
The latest of such experiments comes in the form of World Dispatch, a new daily morning podcast by the digital curiosity known as The Outline. John Lagomarsino, The Outline’s audio director, told me that show is meant to be the closest approximate representation of the publisher’s coverage in the audio format. Episodes are between 8 to 12 minutes, and segments will be a mix of stories that draw from material already on the site and stories produced specifically for the podcast. (“We’ll also be leaning on freelancers a fair amount for more reported-out, strictly audio stories — get at me!” he adds.)

I’m told that the show is the result of some internal experiments with social audio that didn’t go very far. (“Turns out audio still is not particularly shareable,” Lagomarsino quipped.) Those experiments eventually shifted to the social audio app Anchor when it re-launched back in March, and the team ultimately decided to move those efforts over to a daily podcast feed as a natural next step. The resulting podcast is an intriguing artifact: strange, compelling, but ultimately a little confusing — which, given the show’s explicitly conscious sense of style, is probably the point.

Lagomarsino notes that the podcast isn’t exactly meant to be newsy. “The podcast is for curious humans who are not looking for a news rundown that barely goes past headlines,” he said. “These are angled stories, often *about* news, but this is not for the listener who wants the ‘what I need to know today’ thing.” Hmm.

World Dispatch debuted yesterday, with new eps dropping Mondays to Thursdays.

Explainer ambition. In times of confusion, go back to the basics. That was, more or less, the thinking behind Civics 101, the explainer podcast by New Hampshire Public Radio that covers the fundamental institutions, mechanisms, and even concepts that make up the United States. That approach has proven to be pretty successful: Since launching on Inauguration Day, Civics 101 has clocked in about 1.88 million listens, with episodes averaging about 75,000 listens per month. (To be clear: that’s per episode per month, suggesting strong back catalog activity.)

The way Civics 101’s editorial director Maureen McMurray tells it, the podcast was the product of a completely organic process. The show came out of an ideas meeting for the station’s daily show, Word of Mouth, shortly after the elections. “Our producer, Logan Shannon, expressed frustration over the endless ‘hot take’ election coverage and said something along the lines of, ‘I don’t want any more analysis. I just want to go six steps back to find out how things work,'” McMurray said. What started out as a segment idea soon broadened out into an accompanying podcast experiment pegged to the first 100 days of the Trump administration. It was all pretty scrappy. “There were some clever titles thrown about, but I insisted on calling it Civics 101,” she said. “Logan made the logo, and we sent a trailer and pilot episode to iTunes.”

“In retrospect, I guess we just did it. There wasn’t a big meeting with executives or anything,” McMurray added.

As the weeks rolled on, the show steadily grew into its own. It consistently dived headfirst into wonky subjects (emoluments, the Office of Scheduling and Advance, gerrymandering) while remaining fundamentally accessible, and the podcast eventually adopted an appealing topical edge (calling your congressperson, impeachment, the nuclear codes) that nonetheless retains a broad, evergreen perspective. Almost three months in, Civics 101 has grown in depth and complexity. And, as I found in a recent email correspondence with McMurray, it has certainly grown in ambition. Here’s our chat:

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[conl]Hot Pod: How has the show evolved over the past four months?[/conl]

[conr]McMurray: Our editorial vision has shifted a lot, and continues to evolve. Civics 101 was intended to be a short-run series. We planned to drop one episode per week for the first 100 days of the Trump administration. In part, we thought “How many governmental agencies and cabinet positions do people really want to know about?”, but I was also concerned about resources. Our production team is responsible for producing a daily magazine program, Outside/In, the 10-Minute Writer’s Workshop podcast, and a series of live events, among other things.

After iTunes featured Civics 101 in its New and Noteworthy section, everything went to hell in a good way. Our audience numbers shot up and we started to receive unsolicited listener questions. We captured the moment, and began releasing two episodes per week, created a Civics 101 website where listeners could submit questions via Hearken, and started a Civics 101 hotline with Google. A lot of the questions coming in stemmed from current events. For example, when Steve Bannon was appointed to the National Security Council’s principals committee, there was an uptick in National Security Council-related questions. So, Civics 101 became newsier than I anticipated, but editorially, I wrestle with it. It’s easy to be seduced by the latest scandal, and to bump those questions to the top of the list, but I want Civics 101 to be a meaningful resource for future listeners. What’s timely today may sound dated in six months, and it will certainly sound dated by 2020. For the time being, we’re trying to balance the timely issues with the evergreen questions.

Oh, and a shout out to our producer, Logan Shannon, who created the Civics 101 weekly newsletter, Extra Credit. We’ve seen a lot of audience engagement around it, and it has quizzes and gifs.[/conr]

[conl]Hot Pod: Does NHPR have any future plans for Civics 101 — and for its podcast operations more generally?[/conl]

[conr]McMurray: Civics 101 will continue answering listener questions on a biweekly basis. New questions come in everyday, so there’s no shortage of content. Of course, we want to grow and monetize our podcast audience, and that’s where a distributor will come in handy. We’re planning to repackage the podcast content for different platforms. Specifically, we’d like to become a multimedia resource for educators, and hope to create and distribute supplemental materials to teachers and students. That includes anything from videos to lesson plans.

My real dream, though, is to farm Civics 101 out to other stations/production units in time for midterm elections. We cover the national stuff well, but member stations are in a unique position to tackle state and local politics. And, as our yet-to-be-created production guide will show, Civics 101 is a scalable, turnkey format, and a fairly easy lift for smaller teams. In 2018, I’d love to see Civics 101: Louisiana, Civics 101: Albany, Civics 101: Michigan. Heck, you could do Civics 101: Canada, Civics 101: Australia, Civics 101: Brazil. Of course, resources are the elephant in the room. We’re currently working out ways to resource this thing. So check back in with me.

As far as podcast operations go, Civics 101 and Outside/In have been great proofs of concept for NHPR, but weren’t part of a formal, top down strategy. Our first major podcast, Outside/In, was intended to be a weekly, one-hour broadcast. When the show was in development, we found ourselves gravitating to longer stories that involved original reporting, narrative arc, sound design, and (for lack of a better adjective) a “podcasty” tone. Long story short, we put those early experiments into a podcast feed and came to realize those 15-30 minute prototypes were what distinguished Outside/In from other environmental shows and, given the size of our team, producing an hour-long program with those elements would be impossible. At the same time, the Outside/In podcast was developing an audience. So, the question became: is the podcast the show? In a way, our failure to deliver a sustainable, one-hour broadcast model coupled with the success of Outside/In and Civics 101 forced NHPR to consider the value and potential of podcasts. It’s been a learning curve for everyone, from producers to the underwriting department to membership, but we’re starting to develop an infrastructure that supports and leverages podcast creation.

One more really important detail: in order to double down on Civics 101, we had to make an editorial decision to ease up on something. So, we’ve been strategically replaying interviews and stories on our daily magazine program, Fresh Air-Friday style. There are some upcoming changes that will ease our production load, but for the time being, it’s a quick fix.[/conr]

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Bites:

  • Reminder: Edison Research’s Podcast Consumer 2017 report comes out later today. (Edison)
  • The Webby Awards has a pretty broad and interesting set of podcast and digital audio nominations this year. Check it out. (Website)
  • Audible has apparently taken over the billboards at the Rockefeller Center subway stop in New York to promote its original show, Sincerely X, which debuted back in February. (Pictures) Speaking of Audible, it looks like the company has been building another content strategy: creating original programming out of existing IP. (Rolling Stone).