Being ‘omnipresent’ across all platforms certainly is the best way to distribute Perdix content; ultimately, if the goal is to grow a multi-medium content brand that includes a variety of art formats, from short stories to music to animated and real film, then taking that content to audiences is paramount for success.
Except, not if it precludes the actual production content. There is no value in a vast distribution network if you have nothing to distribute.
Setting up and managing distribution platforms, from content publishing (FanFiciton, RoyalRoad, Wattpadd etc.), social (Facebook, Twitter, Instagram etc.), monetization (BMAC, Ko-fi, Patreon etc.) and other platforms that touch on all three (YouTube, Reddit, Anchor etc.) took enough time to start eclipsing content production. Perhaps this is why the classical model of entertainment delivery divided creation (studios, writers) and distribution (broadcasters, publishers), in fact even within those silos theres compartmentalisation (the person deciding show schedules isn’t the same as the person deciding the social media posts). Anyway, how different is the new media world really? YouTubers, podcasters and the like that produce indie content may feel closer to or more integrated with their distribution platform, getting their content to the audience is still mostly out of their hands – see: YouTube trending issues.
The point is that though a sense of pride, or even a naive legitimacy, was felt in having over 20 different platforms for Perdix, it was a major barrier. Not the only barrier, as equal parts of life and laziness stand between Perdix and actually writing something, but this ‘productive procrastination’, whereby lots of work can be completed under the guise of brand building without actually achieving much, served as a convenient excuse.
One reason these platforms take up a lot of time isn’t because of the absence of single (affordable) management suite for them, where one could upload the same content, tailor the messages to suit the platform, and push it to audiences; it’s because of each platform’s use case. I’ve categorised them above, but the the specification needs to go further. Of course, each ‘channel’ has it’s own purpose, otherwise they’d have died from market saturation. Even within the social media realm, Instagram differs from Facebook by prioritising photos over the ‘news feed’, it’s why it was bought by Facebook. Twitter is even more different by being a representation of the individuals thoughts/statements. The publishing platforms are more closely aligned but even they have their slight differences, and the likes of YouTube/Anchor are most clearly differentiated as distributors because of the different mediums, video and audio respectively.
This is all obvious. But to do a good job of being on each platform, to use it properly, the content needs to be bespoke every time. The accompanying caption to an Instagram post will not be as effective on Twitter, the audio from a podcast recording will not be as effective on YouTube, the story as written on RoyalRoad will not be as effective on Medium. The main choices then are a) damage the infant brand with ineffective channels that feature generic copy-paste content, b) spend the time to convert each new piece of content into its best version for each platform (inc. short form YouTube videos, recorded podcasts, Instagram photos etc.) or c) leave most channels empty and prioritise.
No job is better than half a job, for brand integrity at least, so C is the better option. Content production must be the primary objective, with distribution only to publishers of the written word (RoyalRoad etc.) as that requires very little editing.
Sure, overall reach will be hindered, and Perdix can’t expect to garner the millions of subscribers and 10s of millions of interactions as popular YouTube channels have, but it absolutely can’t reach anybody if there’s no content. Perhaps Perdix should be a YouTuber, but that platform has its own issues (most recently quelling YouTuber’s ability to trend, favouring the presumably more brand-safe videos from media-conglomerates). More importantly though, the content ideas behind Perdix don’t lend themselves to YouTube videos; there are some amazing channels that are educating, entertaining and often both – but this isn’t a review blog, a gaming blog, or a ‘fun topic to explain’ blog, it’s a platform for original creative content, and whilst a lot of it could translate to screen eventually, it can’t if there’s nothing written down.
So. Perdix had a presence across a plethora of platforms, but that will peter out. The subreddit, YouTube channel, Patreon page etc are all there, and the accounts will be kept for the future. But the focus will be on writing content, pushing it to readers, and maybe, time permitting, updating social media. Perdix, is as much about the journey to try and establish a content brand as it is the content itself. Until it can grow to sustain multiple people, it is at the mercy of what one person is capable of.