The Right-Brain 'Art' of Sales vs. the Left-Brain 'Analytic' – Musings on Media from the 'Sell' Side, with Occasional Forays into Music…and Wine
Part IV: The 19 Revenue Sources for WebSeries Creators
Continuing from Part III in this series, with more detail on each of ‘The 19’ funding sources for our future WebContent projects [both yours and mine], let’s take a deeper look at a few more from this list:
Networks [Broadcast or Cable] – This is a well-established path to follow, so we won’t spend much time here. Basically, landing a ‘pitch session’ here changes little from that norm [even if what you are pitching will be different.] Like with the major Studios [see below] you may be pitching to multiple teams, but obviously episodic content will be a primary interest it is fair to say.
Podcasts/Downloads – The pro’s & con’s can work for you on one side, and against you on the other, depending. Getting approvals to submit onto iTunes can be strenuous [as I’ve heard from multiple sources], but in doing so, you receive the benefit of one of the larger venues on the planet for content.
The ‘Revenue Split’ with Apple is just that: a split. And not necessarily in your favor. [Ideally, you want to charge for your episodes if you can, and ask as much as you can, right?] But that’s the “price” if you will, to be a part of an online juggernaut. You can also offer Downloads in a variety of places…including your own Website. You have much more pricing/rev-share flexibility here, but also probably a smaller audience pool. Try to not limit yourself, by trying all of these options, even simultaneously if you can.
Private Investors/Venture Capital – Admittedly, this is an idea from the Indie film and Tech start-up worlds. Some on the indie film side understand that their “investment” is really ‘for the good of the art’, with little hope to recoup. But in the Online space, there are so many distibution outlets & points, and so many other ways to possibly derive revenue, that this may not hold going forward for web content.
Product Placement/Barter Firms – Depending on both the firm…and the strength of your project…these two can be considered as bottom line savings vs. topline revenue, but if they require you to raise, spend [or sell] less to get your project done, it kind of achieves the same thing.
Some of the marquee’ Placement firms work only with big brand names looking to get their product in front of the right audience…for the right price. If you can get paid here, consider it.
Others of these firms basically work more on a “remnant” basis, where they’ll place the product in your project for ‘free’, but now you don’t have to spend money to have a similar item brought in [and possibly pay for rights, clearing, insurance, etc.]
Studios – As in, major/minor motion picture Studios. Like with Broadcast networks, the path here largely adheres to tradition. Except now, you may talk strictly to their New Media/Digital team [on a WebContent-only basis], or their standard Feature/Series teams [if you are looking at “adaptation” of your work], other development teams in other areas they may have, or any/all of those one after the other.
We’ll finish working though the last part of the ‘List of 19’ in Part V – The Final Chapter, coming very soon. Let me know your thoughts here.