The “value” of “user generated content” notes #3 (networks)

January 23, 2013

N.B. For more see the Turner Hopkins blog and also Notes #1 and #2.

What if the success of content is not about quality or who makes it but about who you know?

Is the only difference between UGC and “professional”/paid content who you know?

Who you know is about networks.

How do different networks perceive quality? How much “value” do different networks put on “quality”?


concert circuits, gig circuits, venues, promoters, publishing houses, distribution networks to book sellers and retailers, lorries carrying stuff to shops, TV & radio production houses, film studios, content companies, broadcasting networks, networks of critics and tastemakers, book clubs, personal recommendations through social media, transmitters, digital platforms, epublishing, amazon, soundcloud, mixcloud, pinterest, youtube.

How many concerts do you have to do before your live music pays for itself?

How many ebooks do you have to sell before you can support yourself by your writing alone?

What’s the tipping point? Can a number be put on when this happens?

Isn’t an essential quality of UGC that it has no economic value? When it does start to make money doesn’t it become just “content”, pure and simple?


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