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The Best (and Worst) Podcast Feedback We've Ever Received
Épisode 1055
lundi 28 septembre 2026 • Durée 43:52
A listener once told me they hoped I'd quit teaching altogether. Another told me, in the nicest way possible, that the curmudgeon was showing up a little too early these days. Only one of those helped my show. This month's Question of the Month was all about feedback: what's the most constructive feedback you've ever received, and what's the most destructive? A few listeners sent in their answers, I share mine, and to prove how much feedback matters, I dig up some embarrassing basement recordings from a much younger Dave Jackson. Let's get into it.
Why Aren't You Getting Feedback?
It honestly boggles my mind how many podcasters never ask for feedback and then wonder why their show isn't growing. Think of it like making someone a sandwich. You can ask, "I've got baloney, smoked turkey, or salami. Which do you want?" and make something they'll actually eat. Or you can hand everyone salami and say "tell your friends," while half of them are quietly thinking, "I hate salami."
Ralph Estep Jr.: "Go Hire a Speaking Coach"
Ralph, the content creator's accountant, says the best feedback he ever got was to hire a speaking coach. People (me included) told him he sounded robotic on his show, nothing like the Ralph you meet on a Zoom call or in person. He found a coach, and it changed the way he does everything. On the other side, he's had people tell him they hope he gets hit by a bus or struck by lightning over his religious views. He's not taking that advice. His point: when you get feedback, consider who it's coming from and whether it makes sense to act on it.
York Campbell: The Name Was the Problem
York's show used to be called Poetic Earthlings, and people kept assuming it was about poetry. It's actually short sci-fi stories: time travel, alien worlds, hyperdimensional creatures, and a few conspiracy theories. A fellow podcaster suggested Welcome to Earth Stories, and once he made the change, the attention and downloads followed. As York put it, sometimes you fall in love with a clever name because of what it means to you, and never stop to ask whether anyone else will understand it.
Timothy Kimo Brien: "You Called My Baby Ugly"
Tim submitted his old show, KDOI Podcasting (Kimo's Den of Iniquity), to the Podcast Rodeo Show. I said it sounded like a radio station, and the full name sounded like... something else entirely. Tim was not a happy camper. Later, sitting at a podcast conference and hearing someone talk about making your show's title clear, he asked himself what his show actually does: it's about creating art. Hello, Create Art Podcast. He's gone from roughly 200–300 downloads a month to between 1,000 and 1,500. He says it's not necessarily because of the name change. I say probably. Either way, it helped him focus on what the show is really about.
My Best Feedback: The Curmudgeon Is Showing
Before Podfest even started, my buddy Steve Stewart asked me to lunch and asked if I was open to notes. I grew up professionally with "constant improvement" on the walls of my first job, so of course I was. He told me the curmudgeon was coming out a little quicker than it used to. That was gold, because it was something I could control and fix. And it came from someone whose opinion I value, someone who'll tell me when something's good and when it isn't. Knowledge is only power when you act on it.
My First Bad Review (and What Good Feedback Looks Like)
In 2010, five years into podcasting, I got my first negative review: basically "not good, not enough thought, it's a commercial for bad services." It knocked me back on my heels, but there was nothing I could fix, because it never said why. (This is why I now say you're not a real podcaster until you get a one-star review.)
Compare that to a 2017 review from a listener who wanted to hear the show but said the mix had a hiss or too much treble. That's great feedback. It's specific, and I could have adjusted it (I was using the Electro-Voice RE320 back then and liked my S's and T's crisp). The only problem is he should have sent it to me directly.
A few things to keep in mind:
The person might be having a bad day. After decades in customer support, I've seen people apologize later once they calmed down.
Ask yourself: do they have a point? If so, can you fix it?
Make it easy for feedback to reach you. A review isn't a direct line.
Save the nice messages. On days you don't feel like recording, they remind you people are listening.
Reviews are social proof, but they don't help you get found. Apple has said so.
When Feedback Goes Wrong: The Podcast Rodeo Show
In 2017 I launched the Podcast Rodeo Show, where I'd grab a random podcast and give a real first impression. (Half of YouTube is reaction videos now. I'm taking credit for inventing it. I didn't.)
One episode, a host opened by sharing a string of genuinely awful personal experiences, all within the first few minutes, and never said what the show was about, who it was for, or even that it was an interview. My feedback was all logic: what's in it for the listener? As Erik K. Johnson says, nobody gets on a bus if they don't know where it's going. Don't bury the lead. People don't care about you until you give them a reason to care.
She emailed and attacked me personally, said I was cruel and should never call myself a teacher. It hit me hard enough that I worried the show was hurting my brand, and it's part of why the show eventually ended. Listening back now, I could have been more compassionate. But when I asked my audience whether they wanted a kinder, gentler version, they very loudly said no. So the show evolved (a little less "listen and react," a little more "what do we want them to learn") and got rebranded, first to Podcast Hot Seat (people said that sounded painful) and now to Fix My Podcast.
Scott Orr: How to Take Hard Feedback
Now compare that to Scott Orr, an award-winning journalist and host of Code 3 – The Firefighters Podcast. Before one review, I reached out and said, respectfully, "Scott, you sound like you're drunk." He replied that he didn't have a drinking problem. He has Parkinson's. Instead of getting angry, Scott took the feedback and now opens every episode by saying he won't let Parkinson's stop him.
When Scott later came on the Podcast Review Show, Erik K. Johnson pointed out that addressing it up front is disarming. Listeners stop wondering what's going on and focus on what Scott's saying, not how he's saying it. Honest? Yes. Awkward? Yes. Helpful? Absolutely.
You Can't See Your Own Typos
My favorite example: I once had a typo in the School of Podcasting's own tagline ("plan, launch, grow, and monetize") and didn't catch it. Sometimes you just don't see it.
Young Dave Jackson's Basement Tapes
At School of Podcasting we hold listener parties, where members listen to an episode together and give feedback in real time. Some people cringe at the idea. So here's my confession: in my twenties I was basically Ross from Friends, recording angry '80s rock in my basement. Guitar, bass, keys, drum machine, and, unfortunately, all the vocals. I'd hit play and leave the room while friends listened.
Their feedback? "Who's playing the piano?" Me. "Who's on bass?" Me. Nobody said a word about the music. Just recently, my brother found that CD and told me the songs and singing weren't that bad, but the mix was horrendous. Thirty years later. A little late.
Here's the scary part: you're going to be judged anyway. Wouldn't it make more sense to be judged in a way where you can capture the feedback and make changes before you publish?
The Sidewalk Lesson
A few years ago on the Fourth of July, I fell on an uneven sidewalk while looking at my phone and still have the scars on my knees. That was feedback too, just the painful kind. If someone had warned me about that raised block of cement ahead of time, I'd have saved myself a lot of trouble. That's what good feedback does.
Give me feedback on this show: head to schoolofpodcasting.com/survey and tell me how I can make it better. I'm doing this show for you.
Want help growing your show? Go to schoolofpodcasting.com and use the coupon code LISTENER for a monthly, quarterly, or yearly subscription, backed by a 30-day money-back guarantee.
Next week: one thing I did in under five minutes that put me directly in front of my target audience. Follow at schoolofpodcasting.com/follow so you get it the minute it drops.
Contributors & Links
Ralph Estep Jr., the Content Creator's Accountant: https://ralphestepjr.com
Podcast Movement 2026 Reflections and Behind the Scenes of Two Other Events
Épisode 1054
lundi 21 septembre 2026 • Durée 48:38
Podcast Movement 2026 Reflections + Lessons from Two People Who Run Podcast Events
I just got back from Podcast Movement, and a lot of you have been asking whether it was still worth going now that it's under new ownership, in a new location, with a whole new format. Short answer: I'm definitely going back.
In this episode I walk through what changed, what I loved, what I'd tweak, and what Tom Webster's data says about where podcasting really stands. Then I sit down with two guys who have actually done it, Marc Ronick of Empowered Podcasting and Dr. Brad Miller of Pod Indy, to get the behind-the-scenes story of running a podcast event. If you've ever had that little voice in your head saying "maybe I should start my own meetup or conference," this one is for you.
Podcast Movement 2026: Was It Worth It?
I went down the list, old Podcast Movement versus new.
The hotel and the cost. It used to be at Gaylord hotels, which run $1,000 a night, where the burgers are $30 apiece and you never leave the building. This year was BYOH: bring your own hotel. I stayed two nights at a Holiday Inn Express for $400 a night. Still pricey, but nowhere near the Gaylord. Tickets were also much cheaper because they weren't paying for that hotel arrangement. Point to the new Podcast Movement.
The venue. Picture a small theater (think House of Blues) that had a baby with a cruise ship: three floors, and you can look down at the main stage from the top. The rooms were narrower, so the back row was farther from the stage than I was used to. I also learned I need new glasses, because the giant screen was split in two and I couldn't read the slides. Sessions ran with silent-disco-style headphones: turn the dial to yellow or green and you hear that stage. The strange part is that people talk while someone is presenting a few feet away. It went against everything in my body, but it works, and I could network the whole time. My one suggestion: turn on the house lights during networking breaks. When you have 40 minutes to meet people and can't see who's in the room, it's a problem (unless it's Rob Greenley, who is six foot six inches).
Networking and the parties. PodPage hosted a small meetup, and I walked over to the Buzzsprout meetup too. Both were places where you could actually talk, with no blaring music. I've talked to Dan Franks, who helps plan Podcast Movement, and he says they tell every sponsor that people want to talk, not have their ears bleed. Nice to see it work.
What I Learned from Tom WebsterPodcast Standards Project: PodRoll Is ComingVideo: Do You Have To?Small Events vs. Big OnesInterview: Running a Podcast Event with Marc Ronick and Dr. Brad MillerPod Indy: November 7, 2026My Takeaway
Attention vs. Connection
Épisode 1053
lundi 14 septembre 2026 • Durée 33:46
A few years ago I accidentally hit a guy on the golf course. I'm not proud of it — although it did bank in almost perfectly off his calf on its way toward the hole. But the swing that caused it taught me something I haven't stopped thinking about: my brother told me to quit trying to kill the ball and just make good contact. Looking at podcasting, it turns into the best explanation I've found for why so many podcasts stop growing.
If you've ever chased a bigger download number, wondered why nobody signs up for the thing you're selling despite having a decent audience, or just felt like you're doing everything and getting nowhere, keep listening — because the fix isn't a bigger swing.
It's Not About a Big Audience. It's About the Right One.
I talk to podcasters constantly who are chasing the same fantasy: flip a switch, get 10,000 downloads overnight. I get it — I've wanted that too. But it doesn't exist unless you've got a massive budget, and even then it doesn't always work.
Quick, honest question: who won American Idol season six? They had a million people watching. Doesn't mean you remember them, and it doesn't mean they connected.
Here's the math that changed how I think about this: if you ran your show as a $30-a-month membership, you'd only need one person willing to pay to break even (assuming you're spending $30/month). But not just any listener does that — it has to be someone connected to you. So the real target was never more downloads. It's finding roughly 500 right-fit people who trust you. Downloads don't join a membership.
Connected people do.
What a Musician Taught Me About Connection
I study podcasters, but I also study musicians, authors, and YouTubers, because we're all in the same business — entertaining people with our art. One of my favorite channels right now is Mary Spender's. She's a musician, not a podcaster, but what she said recently hit me right in the chest:
"We've spent years treating streaming numbers as though they measure fandom, but perhaps they often measure familiarity instead. Millions of streams doesn't necessarily become hundreds of people willing to leave the house on a Wednesday evening. Maybe we've become incredibly good at measuring attention, but forgotten how to measure connection."
How to Actually Get in Front of the Right PeopleHow I Found Out What's Actually Working: Click TrackersTwo People Who Grew by Showing Up Consistently, Not LoudlyAsk Your Audience Who They Actually AreThe Bottom LineLinks & Resources Mentioned
Intuition Over Imitation: Lessons from the Empowered Podcasting Conference
Épisode 1052
lundi 7 septembre 2026 • Durée 44:08
What I Learned (and Relearned) at Empowered Podcasting Conference
I got triggered at a podcasting conference last week, and honestly? I almost jumped out of my chair. Someone in the room said something that stopped me cold, and it's become one of the biggest lessons I'm bringing back to you this week — along with a story about a $230 million quarterback who won't take feedback, why "cheating off the smart kid" with AI is quietly ruining your podcast, and the subscription I found on my own bank statement that I'd been paying for and not even using. This episode is a mashup of my talk at Empowered Podcasting Conference 3 in Charlotte and everything I picked up just from being in the room. Let's get into it.
It's Your Show. Own It.
This is the one that made me want to stand up. Someone in a session said, "Well, I can't ask my guest to keep their answers short." Yes, you can. It's your show. If you're doing interviews, you're the goalie — it's your job to keep anything that doesn't serve your audience out of the episode. And if a guest rambles, that's usually on the host, not the guest. Give your guest a target before you hit record: who you're talking to, and whether you want short, medium, or long answers. A guest who doesn't get a target from the host should ask for one. Own your show. Set the boundaries. Your audience is who you're protecting.
What Actually Makes Content Remarkable
My talk was about what makes a podcast good, and I focused on what makes any content remarkable. I walked through a few movies to prove it:
Saving Private Ryan — that D-Day opening wasn't new information (we all knew WWII was brutal), it was a new way of presenting it. People talked about it because nobody had seen it shown like that.
The Sixth Sense — a tiny budget that beat big blockbusters like The Lone Ranger because of one twist: we don't find out Bruce Willis's character is dead until the end. People walked out of the theater and called a friend to say "you have to see this." That's the goal — content remarkable enough that it spreads on word of mouth alone.
Gone with the Wind — a 1939 movie with an actual intermission, and people still talk about the burning of Atlanta (a real fire on the studio backlot, no CGI) and that last line — "Frankly, my dear, I don't give a damn" — which had audiences clutching their pearls. Again, something people had not seen before.
The Most Underrated Skill in Podcasting: ListeningThe AI Shortcut That's Quietly Killing Your VoiceOwn Your Audience — Don't Rent It From a PlatformAudit Your Subscriptions — You're Probably Bleeding MoneyDon't Copy the Gear. Be You.Bonus: Sometimes "Remarkable" Means Remarkably BadQuick Update on Episode 1049
12 Business Lessons Podcasters Can Learn From Dolly Parton
Épisode 1051
lundi 31 août 2026 • Durée 39:28
Dolly Parton died on August 25, 2026, at age 80. While most tributes are focused on the music, this episode looks at something else entirely: Dolly Parton the businesswoman and entertainer. She sang at the Grand Ole Opry at 13 and was still building her empire seven decades later, which is rare in an industry where most acts have a five-to-ten-year run. As we like to say around here, success leaves clues, and Dolly left a lot of them. Below are 12 lessons pulled from her career, each one translated into something a podcaster can actually use.
Take Advantage of Opportunities When They Show Up
In the late 1960s, a teenage Dolly landed a spot on the syndicated Porter Wagoner Show, earning $60,000 a year — by her own account, more money than she'd ever seen. She could have stayed comfortable as Porter's sidekick. Instead, she used the platform to build her name, and when she'd gotten what she needed from it, she left in 1974 to build something that was actually hers. Wagoner threatened to have her dropped from her label and later sued her; she ended up paying roughly $1 million to settle it, and the relationship took years to repair before the two eventually reconciled (American Songwriter, Cheat Sheet).
Why it matters for your podcast: your show builds relationships, those relationships create opportunities, and taking advantage of those opportunities (a guest slot, a speaking gig, a collaboration) is what grows your audience — which creates more relationships. It's a loop, and it only works if you actually act when the opportunity shows up.
Build a Podcast Brand People Instantly Recognize
You knew Dolly when you saw her. Her wig, the rhinestones, the exaggerated glamour, her boobs, wasn't an accident. She said she based it on the town's "tramp."
Dolly's response: I wanted to look like her. I thought she was beautiful. Her best line, "It costs a lot of money to look this cheap" says it all. When Barbara Walters pushed her on it in a 1970s interview, essentially implying she looked like a hillbilly, Dolly shot back that she might "kick her in the shin" and laughed the whole way through it.
Own Your Audience — Don't Rent It to a PlatformDon't Take Yourself Too SeriouslyBe Consistent — It Builds TrustKnow Your WhyExperiment With New Formats Without Losing Your IdentityOutsource What You're Not Good AtGive Back to Build Loyalty
How Many Podcast Downloads Do You Actually Need to Keep Going?
Épisode 1050
lundi 24 août 2026 • Durée 33:45
What is Your Rock Bottom Podcast Downloads Number?
Everybody talks about growing their audience. Nobody talks about the number where they'd quietly give up.
This month's Question of the Month flips the growth conversation on its head: what's the smallest number of downloads that would keep you making your show — and if you dropped below it, would you quit, or try to fix it? The answers from School of Podcasting listeners are surprisingly close... and my answer might not be a number at all.
Also in this episode: a guest-pitch so bad it somehow involves a U-Haul dealership, and a heads-up on a booking-platform trick you'll want to know before you pitch yourself as a guest anywhere.
In this episode
This month's Question of the Month: what's your download floor?
Steve Stewart says he'd think about quitting under 25 downloads an episode — but here's why he probably wouldn't
Frank Bravo is already running on "10s" of downloads, and explains why that number doesn't bother him
Ralph Estep Jr. went from 20 downloads to over 1,000 — but what actually keeps him going isn't the number
Dave's answer: which of his 30+ podcasts he let die, which ones he kept, and why it's rarely about the download count
The 6-episode survey test — how to know if it's time to change your show or just accept where it's at
Scott Johnson (What Was That Like) shares the worst guest pitch he's ever received
A warning about how some guests are gaming booking platforms like PodMatch — and how to vet who you let on your show
Links mentioned
School of Podcasting — use code LISTENER for a discount on monthly, quarterly, or yearly plans
YouTube Just Got Harder, Spotify Still Doesn't Care
Épisode 1049
lundi 17 août 2026 • Durée 31:29
You Down With YPP?
Episode Description:
I break down YouTube’s latest changes to its Partner Program, including doubled watch-hour requirements and higher Shorts monetization thresholds ahead of the February 2027 deadline. I also bring in YouTube expert Adam Ivey’s take on why the real story isn’t necessarily the new criteria, and I share my own channel’s numbers so you can set realistic expectations for your own YouTube journey.
Then the AI kids stop by for story time as I take a look at Spotify’s decade-long history of making big podcasting promises—and quietly failing to deliver on them. From a scrapped hosting partnership to a Creator Fund that never paid a cent, there’s plenty to unpack.
Plus, Ray Ortega drops by with the shortest—and most accurate—definition of “podcast” you’ll ever hear.
YouTube Partner Program (YPP) changes, effective February 1, 2027
Watch-hour requirement doubles: 4,000 to 8,000 hours in the past year (new creators only; existing YPP members are grandfathered in)
Shorts monetization threshold doubles: 10 million to 20 million qualified views in 90 days to get in, then a rolling 10 million views every 90 days to maintain earnings
Full monetization tier: 1,000 subscribers, $100 payment threshold
Lower tier (500 subscribers): unlocks YouTube Shopping (affiliate) and channel memberships, requires 3,000 watch hours or 3 million Shorts views
The real story behind the changes
Adam Ivy's stat: 67% of YouTube creators make less than $10,000/year
YouTube's stated pivot: broadening revenue beyond ads, with bonuses for YouTube Shopping, brand-deal incentives, and trend-based earning boosts
YouTube says it expects to pay creators more in 2027 than 2026: money is shifting, not shrinking
Steve Stewart (Podcast Editor Academy): "Don't just sell your audience to sponsors, sell sponsors on how great your audience is"
Inside “Horses in the Morning”: Daily Content, Loyal Fans, and 4000+ Episodes
Épisode 1048
lundi 10 août 2026 • Durée 44:23
How Do You Hit 4000 Episodes Without Losing Your Mind?
Today I'm talking with Glenn Hebert and Jamie Jennings from Horses in the Morning, the flagship show of the Horse Radio Network. They just crossed 4000 episodes, and since they're doing this daily, I had a ton of questions for them. Mainly: how do you keep your sanity?
Glenn has been on this show more times than any other guest, and I'll drop links to a few of those past conversations below. We also talk about how "Glenn the Geek" became a verb around here. I cut in a few times throughout the episode to riff on some of what we discussed, so stick around for that too.
Key Takeaways
Segments (not just guests) are what let a daily or frequent show survive without constantly reinventing the wheel.
A real community needs a place to talk to each other, not just a place to listen to you.
Feedback from your most invested listeners (not just anyone) should shape what you keep and what you cut.
You're making the show for the 80% who like it, not the 20% who don't.
If you're trying to make money at this, budget 10-12 hours of work for every hour that airs.
How Glenn and Jamie Keep Finding Something to Talk About
Jamie's husband asked her, before episode one, what she was even going to talk about after two weeks of a horse podcast. Sixteen years and 4000 episodes later, that question still makes her laugh. Glenn books guests only a week or two out, and most of the show's four or five segments per episode get planned the morning of. Being daily is actually their advantage: they can be timely in a way most podcasts can't.
Glenn admitted he basically is the show-prep service. Google Alerts and AI help him find stories faster than they used to, but the instinct for what's worth talking about still comes down to two to three hours of prep every single morning.
Segments Give You Somewhere to Put Your Energy
Jamie is the storyteller. Glenn plays the guy reacting to it. He described their pre-show routine: Jamie says she's got a two-to-five-minute story, and he already knows it's going to stretch to twenty minutes and he'll happily let it. That contrast, he said, is what makes the show work.
From Facts to Feelings: The Secret Sauce of Engaging Podcasts
Épisode 1047
lundi 3 août 2026 • Durée 35:14
If you look at movies that you love, and you think about them, and you remember how they made you feel. Today we talk about three things you can have in your tool belt to use in your show to not just have something to listen to, but to have content that moves your audience. We also answer the question what do Sportcasters, Movie Reviewers, and Christians all have in common?
Pull Some Emotion Into Your Show
Most podcasters focus on information—tips, tactics, and how‑tos. But your audience doesn’t connect to information first; they connect to emotion first.
Three Tools To Boost Connection
Nostalgia
Storytelling
Vulnerability
As the old saying goes, "with great power comes great responsibility," so how do we use these ingredients in our show without sounding like we starting the sympathy engine just to grab attention?
What Do Christians, Movie Reviewer, and Sportscasters all have in common?
They are all working with the same source material. The same bible (more or less), the same movies, the same games. In this episode we talk about how to make your show stand out?
The Best Book on StoryTelling
I've read MANY books on storytelling, but Storyworthy by Matthew Dicks is the best - period. The audiobook is so good you will want to listen with a pad and pencil to take notes (or if you're loving in 2026, take notes on your phone).
I loved connecting with my audience. Here are the next events I will be at:
November 11: Podindy.com (use the coupon code SOP)
February 23-26, 2027: National Religious Broadcasters nrb.org
I'd love to speak at your event. Go to schoolofpodcasting.com/contact
20 Books for Content Creators Recommended by My Audience
Épisode 1046
lundi 27 juillet 2026 • Durée 40:59
What if one book could change the way you tell stories, connect with your audience, or even see your own podcast? In this episode of the School of Podcasting, I asked a simple question: “If you found out someone was a content creator, what book would you recommend?” — and the responses were pure gold.
You’ll hear from working podcasters, educators, business owners, and storytellers sharing the books that sharpened their craft, grew their communities, and kept them going when numbers and algorithms tried to wear them down. Along the way, I share my own must‑reads and pay tribute to a podcasting legend whose work shaped an entire generation of creators. If you’re ready to level up your show — not with more gear, but with better thinking, storytelling, and heart — this is the episode you’ll want to queue up next.
New York City. I'll miss Dallas and Chicago, but it's supposedly staying in New York to make it easier for international attendees. The food was a win, and I never felt unsafe walking around Hell's Kitchen. I ate at Cubbies and at McGee's, which I didn't realize until halfway through is tied to How I Met Your Mother.
A smarter schedule. Monday and Tuesday were geared toward the business and advertising side, and Thursday and Friday were for indie podcasters. That means indie folks can save on the hotel bill.
The talks are going online. They're putting the presentations on the Podcast Movement YouTube channel for free. I'm looking forward to catching the ones I missed, including Lou Mangiello and Rob Walch's talk about video.
If you only see one talk at a conference, make it Tom Webster's. Here's what stuck with me:
Podcasting has gone flat. It used to grow at least 3 to 5% a year, occasionally 7%. This past year it barely moved. It's still growing, but by a very small amount.
Where people listen. In a survey of roughly 5,000 podcast consumers, the top three places were YouTube, Spotify, and Netflix. Not Apple, Pocket Casts, or Overcast.
Where I disagree. YouTube and Spotify are open to anyone, so I get why people call them podcasts. Netflix isn't open. They have to choose you, and there's no RSS feed. For me, a podcast is an RSS feed with audio or video in it.
Tom's Walmart analogy. Look at the CD section: a tiny collection of only the biggest hits (Back in Black, Rumors), nothing like a dedicated record store. His suggestion was that we should promote podcast-specific apps. My favorite is Pocket Casts: it plays audio and video, it has bookmarks (that's how I grab the clips I play on the show), and it has a web version.
I sat in on my first Podcast Standards Project meeting. PodRoll, from the Podcasting 2.0 spec, is the modern version of a blogroll: a list of shows you personally recommend, living in your feed. Because feeds are public, anyone can see who's recommended most. That's human recommendations, not an algorithm you try to trick. Ask your media host if they support it (if not move ton one that does). The group is also looking at adding location, so you could find podcasts in your area.
Some people insist you have to do video. Others said not only do you not have to, but the shows that added it didn't see much benefit beyond more work, cost, and time. In Apple's video spotlight, the shows featured were already big. I'm looking forward to Rob Walch's full presentation, because that's exactly the kind of "what's working and what's not" you go to a conference to learn.
Podcast Movement had probably over 1,000 people. Empowered Podcasting had a little over 100 (about 150 this year), and Pod Indy will land somewhere between 50 and 100. Podfest usually draws a couple thousand. My favorite kind of event is single-track: everyone hears the same content, so when you step into the hallway you all have something to talk about.
Why they started. Brad spent 43 years as a pastor and was a Christian concert promoter, so he'd seen the power of live events. After connecting with his local podcasting group in Indianapolis, he launched Pod Indy in 2023 (I keynoted the first one), and the fourth is coming up. Mark had been podcasting as long as I have, and didn't step into a conference until about five years ago. He felt a little out of place at the big ones, so he built a place where he'd feel comfortable.
Small is a feature. Mark went in wanting Empowered Podcasting to become the next Podcast Movement. After the first one (2024, under 100 people) he noticed magic in a smaller, more intimate room, where people were learning from each other outside the sessions. He'd cap it around 200. Brad goes deep on one track, one day.
The biggest surprises:
You can't do it alone. Mark thought he could run it almost by himself. He carried the financial and emotional load, burned out after year two, and nearly canceled three times. Jason and Rich stepped in to save it, and he made them business partners.
Ticket sales come late. In Mark's second year, only about 20 tickets sold before the final month. Brad says two-thirds of tickets arrive in the last month. This year's sales were smoother for both, and both say credibility builds over time.
Bring enough lead time. Brad's first event had only three months, and he bit off more than he could chew. He also lost money using a business center, so he moved it to his church, where he has a studio, and kept it to one day with no hotel block.
Hotel blocks. If you don't fill the rooms, you pay anyway. Mark's went fine this year because speakers and a good share of attendees needed rooms.
Money, honestly. Brad started by deciding what he could afford to lose (he did lose some the first year, and calls it an investment). Mark admits he wasn't careful with money in the first two years and took on some debt. Both credit their wives, Debbie and Amy, for keeping them grounded and for believing in the vision.
Advice if you're thinking about it:
Mark: Be okay with however many people show up. Start with a few who believe in your message. If they have a good experience, they come back and become your advocates.
Brad: Build transformative relationships one on one, then a few together. Have coffee or lunch with someone, or start online, before deciding whether to do a formal event.
Both: Virtual is great, but nothing replaces being around like-minded people in person.
Choosing speakers. Mark's pet peeve is speaker submissions that are obviously written entirely by AI: "I love using AI, but that's a lazy move, and I don't know that I want a lazy speaker on one of my stages." (My favorite line on this: if you can't take the time to write it, produce it, or record it, why should I take the time to consume it?) Brad recruits speakers through personal relationships instead of an application process. Themes so far: podcasting as a business, AI, and this year taking your podcast (and your life) to the next level with keynote speaker Cliff Ravenscraft.
When and where: November 7, 2026, in Whiteland, Indiana (suburban Indianapolis), 9 a.m. to 4 p.m.
Tickets: $37 in person, $27 live stream.
Discount: use code SOP for $5 off.
On the lineup: Cliff Ravenscraft (keynote), John Lee Dumas (video), Craig on AI, and me.
If you try to start with 1,000 people, you'll burn...
Swap "streams" for "downloads" and "tickets" for "memberships," and she's describing exactly what's happening in podcasting. Mary lost £12,000 on her last tour. Instead of giving up, she changed her approach: "Not to chase the biggest room, to chase the right room. Not to impress the most people, to matter to the people who choose to be there." Knowledge is knowing that. Wisdom is acting on it — and she is, booking her own shows again, more intentionally this time (And enjoying it more).
We've been brainstorming growth ideas in the School of Podcasting community, and the point was never to do all of them — it's to pick one, test it, and measure it. A few examples:
Guesting on other podcasts that share your audience — less friction, since that audience already knows how to listen to a podcast.
Podcast swaps, shout-outs, or a 30-second promo trade.
Speaking engagements or workshops.
Writing for a publication your audience already reads.
Your own blog and SEO — no, it's not dead.
Partnerships that go beyond sponsorship, where you actually help each other promote.
Word of mouth — which drives roughly 70% of podcast growth, and yet almost nobody deliberately asks for it. Ask your audience, specifically and simply, to share the show with one friend.
Local, unglamorous options: I used to slip a business card into a book on the page matching my age, in a genre my audience would read. Free. Slow. It worked, a little at a time.
None of these flip a switch. They're singles, not grand slams. You build an audience one person at a time.
Would you spend 5 minutes to get 36 people to your site each week?
Here's the part that surprised me. I started putting a click tracker (I use Switchy) on every link I post — social, LinkedIn, wherever. Takes about 41 seconds per link. What I found: my email list outperformed every social platform by double digits, while everything else stayed in single digits. One email drove 36 clicks in a week — times four weeks, that's potentially 144 people who might actually listen, follow, or tell a friend. And it cost me less than five minutes.
Would you spend 5 minutes a week to get 36 people to your site each week? Again, this is not the 10,000 switch. It's one strategy, and leaves you lots of time to try others.
The click isn't the whole story, though — a click is still just attention, the same thing Mary warned about. What matters is what happens after it: did that traffic turn into an email subscriber, a membership signup, a real connection?
Track that, and you'll quickly find out which platforms are worth your time and which ones you can quietly stop feeding. (If you want a free option instead of a paid one, Short.io does the same basic job.) So the "extra" time you spent using click trackers, you get back by identifying strategies that don't work for you.
In the early days of podcasting, Steve Stewart (Podcast Editors Academy) built recognition for years by simply leaving comments on other people's shows — for free. Eventually every show about podcasting seemed to mention him. Neil Veglio did something similar on Pod News Weekly Review, showing up consistently with sharp, specific insight until listeners started recognizing his name. Neither of them flipped a switch. They just kept showing up in the right rooms. I plan on doing some sort of collab with Neil in the future.
If you're just starting out and don't have an audience yet, go find where your future audience already hangs out — YouTube comments on a similar channel's most-viewed video, or Amazon reviews for books on your topic (skip the 5-star and 1-star reviews; the 4-star ones that explain what would've made it a 5 are where the real feedback lives).
And if you already have an audience: ask them directly what they want, more than once, and explain why it helps them to tell you. Track the link to your survey the same way you track everything else — if 12 people click but only 6 finish it, that's useful data too.
Hope is not a strategy. Neither is waiting for the 10,000-download switch — I've been looking for one since 2007, and it doesn't exist. Growth doesn't come from a bigger swing: more effort, more platforms, more reach. It comes from solid contact with the right people, and you won't know what's solid contact until you measure it.
If you want help building the kind of connection that actually turns into a membership, that's exactly what I do at School of Podcasting. Head to schoolofpodcasting.com and use coupon code LISTENER for a monthly, quarterly, or yearly subscription — backed by a 30-day money-back guarantee.
School of Podcasting — https://schoolofpodcasting.com (coupon code: LISTENER)
PodPage — https://podpage.com
Switchy — Click tracker with lifetime one time payment. (aff)
Star Wars — I saw it eleven times as a kid, and even when half the theater had already seen it multiple times, everybody still cheered when the Death Star blew up. That's not just about the special effects. That's about how it made people feel.
A podcast episode is content plus delivery — and delivery is you: your attitude, your confidence, your life skills. My rule of thumb for what makes a good episode: laugh, cry, think, groan, educate, or entertain. Save them time or save them money. Try to hit more than one of those in every episode.
Everyone assumes the top skill is a great voice or being funny. It's not. It's your ability to listen — to your audience, and to feedback.
Case in point: The Cleveland Brown's quarterback, the one we paid $230 million despite a stack of off-field allegations. He's not good at his job. When fans booed him, his response was basically "you guys don't like me" — not "I need to get better," not "tell me more." He made it personal instead of taking it as information. I hear the same thing constantly from podcasters. I'll offer to help someone grow their show, ask which episode they want me to listen to, and they'll say "oh, it's not the content." If you're not willing to actually hear feedback, don't be surprised when your show doesn't grow.
This is the one I need you to sit with. There's a real strategy going around called the outlier strategy: if you and a competitor share an audience, and one of their episodes way outperforms their normal numbers, you make your own version of that topic. Legitimate strategy.
Here's where it goes sideways — people are grabbing the transcript of that outlier video, feeding it to AI, and saying "rewrite this in my voice." And the whole reason they're doing a podcast in the first place is to be seen as a thought leader — using someone else's thoughts.
It might work about 80% of the time (I'm making that number up), and that missing 20% is the part that's actually, uniquely you. Mark Maron said it best: "You're not thinking your own thoughts. You're a hack with an excuse for why you're failing."
I'm not anti-AI — I use it to organize my own brain dumps into an outline. But when you let it write the content, you get exactly what everyone else already sounds like.
Led Zeppelin became Kingdom Come became Greta Van Fleet. Cinderella became Girl School. The copy is never as good as the original, and eventually the audience notices.
Which brings me to a phrase I have to credit to YouTuber Aprillynne Alter, because she said it better than I could: protect your intuition. When you let AI do all your thinking, you never actually process the information — and you lose your gut instinct for what your audience needs. That's exactly why I watched every single Dolly Parton video myself for last week's episode instead of asking AI to summarize them. I wanted that information in my head, not just in the output.
Cheating off the smart kid might get you the grade. It won't get you the understanding.
I had a great conversation with email marketing expert Paul Gowder about this. I moved my main marketing list from Kit (formerly ConvertKit) over to Substack, and while my subscriber count is actually growing there, I can see in my stats that it's not driving nearly as much traffic to my website. Paul's question stopped me: "
What do platforms do once they get popular enough? They change the rules."
TikTok, Facebook, YouTube — every one of them eventually limits your reach to your own audience unless you pay up.
Email doesn't have an algorithm. Those are people who raised their hand and said "I want more." I'd rather have a 40% open rate on my newsletter than a meaningless "view" on YouTube.
And I export my list every single month just in case, because platforms can turn on you fast — there was a parenting podcast that got pulled off YouTube with zero warning, appealed to an AI system, got denied by that same AI, and only got reinstated after Podnews' James Cridland made it a public story. You don't want your show's survival to depend on someone shaming a platform into doing the right thing.
My buddy Ralph Estep Jr. — "the content creator's accountant" — gave the keynote, and his advice was simple: go look at your podcast's checkbook.
So I did. In five minutes I found I'd been paying $57 a month for an SEO mastermind I hadn't attended in ages, plus $10 a month for an email address I don't even use anymore. Close to $100 a month, gone, just from things I forgot to cancel. This is exactly why you want a separate bank account for your podcast — every charge in there is tied to something you're using for the show, and it makes the leaks obvious. If you need a separate account I use both Sofi and Acorns.
One more story from my talk. We all think if we buy the same mic or use the same host as someone successful, we'll get their results. It's not the gear. The band Extreme had guitarist Nuno Bettencourt, who idolized Eddie Van Halen his whole career — and finally got to play Eddie's actual rig, in front of Eddie. He was sure he'd finally sound like his hero. Instead, he said it was "so horrible," because he just sounded like himself. Same thing happened in early podcasting — we all bought the same expensive mic because we wanted to sound like a famous podcaster. Lean into being you. You're already very good at it.
A tiny, ultra-low-budget Chinese film (reportedly made for around $200 by a mother and son on an iPhone) got pulled from theaters and mocked online as one of the worst movies ever. The memes were brutal. And because everyone was talking about it, curiosity took over — it ended up making an estimated $9.3 million. Remarkable works both ways.
In
Why it matters for your podcast: a distinctive brand gets you noticed once. Celebrity, a striking name, a bold visual that earns the first click. What earns the return listener is the talent and substance behind it. Dolly had both, and so should your show.
Dolly wrote "I Will Always Love You" in 1973 as a farewell to Porter Wagoner. When Elvis wanted to record it in 1974, his manager Colonel Tom Parker demanded the publishing rights as a condition for Elvis to record it. This was a standard (crappy) practice for an Elvis cut at the time.
Dolly said no, even though it was Elvis. Nearly two decades later, Whitney Houston's version spent 14 weeks at No. 1 and sold an estimated 20 million copies. Because Dolly still owned 100% of the publishing, that single song brought her roughly $10 million in royalties in the 1990s alone, and an estimated $20 million total from the Houston version according to Forbes (American Songwriter).
Why it matters for your podcast: As fellow podcaster Steve Stewart puts it, "Don't sell your audience to your sponsor, sell your sponsor on the value of your audience." The same logic applies to platforms: own your website, your domain, and your email list so no single network or app can take your audience away from you. It happens — YouTube pulled a top parenting podcast off the platform entirely (before reinstating it after public pressure). Dolly held onto her publishing because she knew the long game mattered more than a quick win. Hold onto your feed the same way. This is why an RSS feed is important. You can't be cancelled, and you can easily move to a new host if needed.
Long before a critic could land a joke, Dolly had already made it herself. On plastic surgery: "If I see something sagging, bagging, or dragging, I'm going to have it nipped, tucked, or sucked." Even the announcement of her passing carried her sense of humor forward, joking that she was finally ready to trade the rhinestones for something more comfortable.
Why it matters for your podcast: self-deprecating humor makes an audience like you more. If you can laugh at yourself — a mistake, dated gear, a rough first episode — listeners relax and warm up to you faster. Have fun with your show. Otherwise, you'll burn out on it.
Dolly reportedly slept in her makeup in case she had to get up in the middle of the night for an emergency, because she never wanted to be seen without it. More importantly, she was always, unmistakably Dolly be it on stage or off, in an interview or in a duet, across 70 years of performing. People who met her said what you saw on stage is exactly what you got in person.
Why it matters for your podcast: consistency isn't just about your publishing schedule (though that matters too) — it's about your output staying recognizably you. A listener who hasn't tuned in for six months should know exactly what they're getting the moment they hit play.
Dollywood already existed under a couple of generic names before Dolly bought into it in 1986. She didn't just license her name and collect a check — she built it to bring jobs to her hometown region in Tennessee, rooting the business in something true about her instead of something generic and scalable. Today it generates an estimated $180–580 million a year, with her stake alone valued around $165 million.
Why it matters for your podcast: plenty of celebrities slap their name on a generic product — a tequila brand, a theme park, a template — and it doesn't work because the "why" isn't real. If you're just copying someone else's show format and putting your name on it, it's probably not going to land. Know why you're actually doing this.
Secondly if you put your name behind it, it better be a positive reflection of you (think about this when it comes to sponsors). If you say a product is great, and your audience buys it and it's not, they won't buy anything else from you as your integrity is shot.
Dolly moved from country into pop in the '70s (9 to 5 and more), then made the bluegrass albums she couldn't make earlier in her career because they were "too niche" — as she put it, "I had to get rich so I could come back and sound poor" (BrainyQuote). She went into TV, movies, and near the end of her life a Broadway musical. It was based on her own story, for which she wrote much of the score (so you could say she liked to stay busy).
She initially tried to withdraw her name from Rock and Roll Hall of Fame consideration, saying she hadn't "earned that right," then was inducted anyway and leaned all the way in, dueting with Judas Priest's Rob Halford at the ceremony (Rolling Stone, Fox News). She later recorded "Please Please Please" with Sabrina Carpenter — a genre-crossing pairing where each artist's fans discovered the other (Rolling Stone).
Why it matters for your podcast: every new genre, format, or collaboration was still unmistakably Dolly. That's the model — try new things, but stay recognizably yourself. And notice the audience-sharing angle: pairing with an artist (or podcaster) who has an adjacent audience introduces you to people who'd never have found you otherwise. That's exactly what cross-promotion with a show in your niche can do for you.
When Dolly wrote and starred in the 1986 TV movie A Smoky Mountain Christmas, she knew the script and the performance were her strengths — but directing wasn't, so she brought in Henry Winkler (yes, the Fonz) to direct (Yahoo News).
Why it matters for your podcast: do the parts of your show you're genuinely good at and enjoy, and hand off the rest — editing, show notes, technical setup — to someone who does it better than you.
Despite her wealth, Dolly gave away enormous sums, saying she prayed for "enough to share and enough to spare." In 1995 she launched the Imagination Library in...
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Mentioned in this episode:
Live Appearances
I loved connecting with my audience. Here are the next events I will be at:
November 11: Podindy.com (use the coupon code SOP)
February 23-26, 2027: National Religious Broadcasters nrb.org
I'd love to speak at your event. Go to schoolofpodcasting.com/contact
Question of the Month: Constructive and Deconstructive Feedback
This month we are talking feefdback. What is the most constructive or deconstructive (or both) piece of feedback you've received. If you haven't asked for feedback, why not? I need your answer by September 25th (late entries won't be accepted) go to www.schoolofpodcasting.com/question and be sure to mention your show and your website address so I can link to it in the show notes.
Podpage just launched a feature called Episode Alerts. It automatically emails your subscribers the moment a new episode goes live — no third-party email tool needed. When you publish, Podpage sends the email, links listeners straight to the episode, routes replies to your own inbox, and handles unsubscribes automatically. They also run every email address through validation and monitor bounces/spam complaints to protect your sender reputation.
It's not meant to replace a full newsletter platform — no drip campaigns or segmentation — just a simple "hey, new episode's up" notification.
It's available for Pro and Elite users, with monthly sending caps of 500 emails on Pro and 5,000 on Elite.
For more information see https://www.podpage.com/updates/introducing-episode-alerts/
Join the #1 Podcast Education Site - The School of Podcasting
Adam Curry is the co-founder of Podcasting (and the co-host of the No Agenda Show). When asked about learning how to podcast Adam said, "The place to go with the guy who has taught more people how to podcast than anybody I know - Dave Jackson, School of Podcasting.com"
Sounds Profitable's Podcast Atlas (slide 23): Clips lead viewers to watch a specific episode (30% often/always, 81% at least sometimes) and to become regular listeners (33% often/always, 84% at least sometimes)
Dave's real channel numbers: 3,523 subscribers, ~$2.49 per 1,000 views, one video with 115 views earned 25 cents
Bottom line: YouTube ad revenue is icing, not cake. Don't budget groceries on it
Spotify: a bedtime story for the AI kids
May 2015: Spotify launches podcasts through a small group of hosting "partners" (Libsyn, Blubrry), framed as a growth opportunity, not monetization
Spotify initially insists on hosting the media files itself rather than letting partners host. Partners build custom engineering to comply, then Spotify reverses course
2019: Spotify buys Anchor for $150 million, turning former hosting partners into competitors overnight, with free hosting
Spotify quietly submits shows to Apple Podcasts under its own account, hiding stats from creators and sparking creator frustration (often aimed at consultants, not Spotify)
2020: Megaphone acquired for $235 million. 2021: Whooshkaa acquired and folded into Megaphone, then shut down
2021: "New Era of Podcast Monetization": paid subscriptions, Open Access Platform, Spotify Audience Network announced
Mid-2021: Greenroom launches with a Creator Fund promised for live audio creators. Payment mechanics never disclosed
2021: Music + Talk announced ("play music in your podcast"), restricted to the Spotify app, paying subscribers only, after listening to the full episode
September 2021: Q&A and Polls launch, pitched as "the future of podcasting is interactive"
January 2022: In-house production studio "Studio Four" shut down with layoffs
April 2022: Greenroom rebrands to Spotify Live; Creator Fund confirmed to have never launched, quietly shelved
March 2023: Anchor rebranded to Spotify for Podcasters
April 2023: Spotify Live shut down entirely, two years after the original Greenroom launch
February 2024: Music + Talk and Anchor's recording tools killed; users redirected to Riverside
July 2024: Q&A and Polls shut down, replaced with Comments
Spotify's "walled garden" habits: video and transcripts only available on Spotify, resistance to RSS since it sends listeners off-platform
2026: Skip Ahead ad-skipping button testing begins, available only to Premium subscribers, while advertisers still pay for the ad
Audiobooks added, bundled with music, resulting in lower royalty payments to musicians
What it actually takes to make money on Spotify
1,000 Spotify audience members (last 30 days)
2,000 Spotify hours consumed (last 30 days)
At least 3 published episodes
Free alternatives exist too: Buzzsprout (90 days free), RSS.com, Red Circle
Also in this episode:
Ray Ortega's shortest definition of a podcast: "An RSS feed with audio or video content"
Dave will be at the Empowered Podcasting Conference. Say hello if you see him
I've got segments on this show too (if you've got a favorite segment idea, feel free to send it in). One of mine is built entirely out of "this happened because I have a podcast." I used to do a "last five in five" segment where I'd share the last five things I listened to in under five minutes. Segments are useful because they don't all have to show up in every episode. When I don't have a big topic, I create a "podcast stew," a handful of small segments squeezed together. Takes the pressure off having to fill a big block of time. An episode just needs to be as long as it needs to be, and not a minute more.
Building a Community That Actually Talks to Each Other
Glenn says their community basically built itself once Patreon entered the picture around nine or ten years ago. One of their own listeners asked if she could start a private Facebook group for supporters, and it's grown into 30+ subgroups on everything from dogs to mental health, plus in-person meetups they run themselves.
Glenn's take, and I completely agree: the biggest mistake podcasters make when they say they want "community" is giving people no actual place to talk to each other. A community needs a room. You don't have a true community until they can talk to each other.
They get supporters directly involved too, birthdays shouted out on air, segment material submitted by listeners themselves. If your audience made the content, you already know they're going to like it.
Sponsors Who Become Part of the Family
Jamie and Glenn have given away more than $80,000 in prizes over 16 years, largely funded by sponsors who get a bit of airtime in exchange for product. Those relationships often graduate into full paid sponsorships once the brand sees it works.
That reminded me of Mark from Beyond Bourbon Street, a past guest of mine (episode 829) who had Two Chicks Walking Tours as a sponsor, then had listeners telling him in his own community that they'd taken the tour and loved it. That's the kind of proof that makes a sponsorship renewal conversation easy. And speaking of sponsors sticking around, I was listening to The New Media Show recently and they mentioned Todd Cochran had GoDaddy as a sponsor for around 21 years.
The Focus Group Most Podcasts Never Bother With
This one floored me. On top of their broader Patreon community, Glenn and Jamie run a rotating focus group of 12 listeners every six months whose entire job is to comment on every single episode. Every episode gets six to twelve honest responses.
That feedback has actually killed segments. They ran an "animal psychics" bit for a while that they personally enjoyed, but the negative response outweighed the positive, so it's gone. If you're going to ask your paying supporters for their opinion, you have to actually be willing to act on it.
Handling the People Who Don't Like You
Glenn's rule, learned from ten years running an improv theater company: about 80% of any audience likes what you do, and 20% doesn't. That ratio doesn't change. You're not making the show for the 20%. You're making it for the 80%, and Glenn pointed out the harder truth: a chunk of that 20% keeps listening anyway, seemingly just to be annoyed. Let it go.
Jamie added that after the true fans and the negative Nellies, there's a middle group whose feedback is the most useful because it's the most honest.
The Most Popular Segment Isn't the Guests
Right before hitting 4000 episodes, they surveyed listeners on favorite segments. The winner, by a wide margin: pure host banter, just Glenn and Jamie talking about nothing. Their biggest listener complaint over the years has actually been "too many guests." As Glenn put it, people come for the content and stay for the hosts.
What It Takes to Actually Make Money Doing This
Glenn's advice for a new podcaster wondering when the money shows up: niches make it easier. Horse people, in his words, are some of the most dedicated hobbyists out there, and that's true of plenty of other niches too (cycling, golf, you name it). Small and mid-sized brands without their own ad agencies are the sweet spot, and Glenn's found 80% of his sponsors by showing up in person at trade shows and introducing himself at every booth. He's been to 38 of them.
Their own listener survey backs this up: 80% of listeners said they'd bought a product because Glenn and Jamie talked about it on air in the last year. Only 25% said the same about a banner ad. Trust is the entire business model.
Doing the Show Sick, and Other Real-Talk Moments
When you're sick, you address it up front. Ignoring it doesn't work, because that's all the listener will focus on anyway. Same goes for a loud remote recording location. Be real about it and people roll with it, sometimes they even prefer it.
One detail that stuck with me: Jamie trains off-the-track thoroughbreds and has personally placed horses with listeners in 18 different states just by mentioning them on the show. That's community turned into real-world impact.
My Takeaways After the Interview
A few things I wanted to add once the mic was off:
Contact info matters more than you think. Always tell people how to reach you. For me that's schoolofpodcasting.com/contact. Someone recently told me they'd left a comment on my Substack and had no idea if I'd seen it, because I hadn't told them how I check for those.
Where to find ideas, beyond hanging out with your audience the way Glenn does: Google Alerts will tell you anytime a topic (or your name) gets mentioned online. Answer the Public shows you what people are actually typing into search around a topic. Or just Google your topic and scroll down to "People Also Ask."
On Podcast Movement: I wasn't selected to speak this year, which is the first time that's happened after speaking at every single one. Disappointing, sure, but I'll still be there to say hi, and I'll have more free time than usual. I am speaking at the Empowered Podcasting Conference in Charlotte, NC, and at PodIndy in November.
Question of the Month: The Smallest Amount of Downloads
We all want a bigger audience. We all put a lot of work into our shows. With this in mind, what is the smallest amount of downloads you would do the show for? If it drops below a number would you stop, or put effort into finding out why?
Does the size of your audience matter?
Go to schoolofpodcasting.com/question by August 28th (and don't forget to say a little bit about your show and your website address so I can link to it in the notes)
Podcasting in Six Weeks is BACK! (and this time it's free!)
We are continuing to experiment with marketing, and we had so much fun helping people launch their show that we are going it again (and dropped the fee). If you don't have a show but want to start one this is THE place to get going in the right direction.
Go to www.schoolofpodcasting.com/sixweeks
Growing Your Podcast Live Course
For members of the School of Podcasting we are all banding together to go through the steps of growing your show (so sign up now!). This will including feedback and strategies to get your show growing faster. You will write down your typical downloads before you start, and compare it to the final numbers. Use the coupon code listener when singing up to become a member and receive a discount.
These live classes start August 19th. Please let me know if you have any questions at schoolofpodcasting.com/contact
Podpage is flexible. If you want to promote something you can put it in the sidebar, on the front page, or at the bottom of every episode (not to mention the navigation bar, the footer and more). Podpage is designed specifically for podcasts. Quit trying to squeeze your podcast into a website made for a yoga studio. Start your free trial at podpage.com/preview
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Question of the Month: The Smallest Amount of Downloads
We all want a bigger audience. We all put a lot of work into our shows. With this in mind, what is the smallest amount of downloads you would do the show for? If it drops below a number would you stop, or put effort into finding out why?
Does the size of your audience matter?
Go to schoolofpodcasting.com/question by August 28th (and don't forget to say a little bit about your show and your website address so I can link to it in the notes)
I loved connecting with my audience. Here are the next events I will be at:
November 11: Podindy.com (use the coupon code SOP)
February 23-26, 2027: National Religious Broadcasters nrb.org
I'd love to speak at your event. Go to schoolofpodcasting.com/contact
Découvrez des podcasts liées à School of Podcasting: Expert Tips for Launching and Growing Your Podcast. Explorez des podcasts avec des thèmes, sujets, et formats similaires. Ces similarités sont calculées grâce à des données tangibles, pas d'extrapolations !
