Substack writer Emily Sundberg argues that platforms like Patreon are mistaken to poach established creators from rivals. A better growth strategy is to find underpaid, high-value talent within legacy media and provide them the support to launch their own ventures.
The most effective hires are individuals with the entrepreneurial drive to build their own business but who recognize greater potential in leveraging your company's platform and distribution. This strategy attracts talent that thinks like owners, not employees, and can run their departments autonomously.
An unexpected benefit of a B2B creator program is its potential as a talent pipeline. Common Room sponsored a creator who became so engaged with the product's value that they later hired him to lead their SDR team. This creates a powerful feedback loop where an authentic evangelist now dogfoods the product and leads a core GTM function.
Large media companies are slow to adopt new platforms like Substack. However, once one major player makes a move (e.g., Bloomberg launching Substacks), it triggers a "fast follow" reaction from competitors. This predictable herd mentality creates strategic windows for creators on those platforms to pursue acquisitions.
Big Cabal Media intentionally cultivates on-air talent from within, identifying junior employees who resonate with the audience and investing in their growth. They find it more effective than trying to hire established creators, who often prefer to remain independent. This approach turns the media company into a talent incubator, building loyalty and brand-specific stars.
The creator economy's foundation is unstable because platforms don't pay sustainable wages, forcing creators into brand-deal dependency. This system is vulnerable to advertisers adopting stricter metrics and the rise of cheap AI content, which will squeeze creator earnings and threaten the viability of the creator "middle class."
The value of a large, pre-existing audience is decreasing. Powerful platform algorithms are becoming so effective at identifying and distributing high-quality content that a new creator with great material can get significant reach without an established following. This levels the playing field and reduces the incumbent advantage.
Instead of creating everything from scratch, Klue's Compete Network began by aggregating content and partnering with existing thought leaders. They provided the production 'plumbing,' allowing creators to focus on their expertise, which accelerated the network's growth and value.
To expand beyond its core market, OnlyFans avoids risky big bets on established creators. Instead, it uses a deliberate incubator model, tested with comedy. By creating and promoting a touring show on its free OFTV platform, it builds a new creator ecosystem from the ground up before committing to a full-scale launch.
To attract top freelance talent, Escape Collective is testing a model that can pay more than Substack. They offer writers a base rate plus a share of the subscription revenue directly generated from their articles, aligning incentives and rewarding high-performing content.
The modern creator economy prioritizes immediate monetization via ads or subscriptions. The older model of patronage—direct financial support from an individual without expectation of direct ROI—can liberate creators from chasing metrics, enabling them to focus on producing high-quality, meaningful work.