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Open source sustainability

Open source sustainability has been nothing short of an oxymoron. Engineers around the world pour their sweat and frankly, their hearts into these passion projects that undergird all software in the modern internet economy. In exchange, they ask for nothing in return except for recognition and help in keeping their projects alive and improving them. It’s an incredible movement of decentralized voluntarism and represents humanity at its best.

The internet and computing giants — the heaviest users of open source in the world — are collectively worth trillions of dollars, but you would be remiss in thinking that their wealth has somehow trickled down to the maintainers of the open source projects that power them. Working day jobs, maintainers today can struggle to find the time to fix critical bugs, all the while facing incessant demands from users requesting free support on GitHub. Maintainer burnout is a monstrous challenge.

That distressing situation was chronicled almost exactly two years ago by Nadia Eghbal, in a landmark report on the state of open source published by the Ford Foundation. Comparing open source infrastructure to “roads and bridges,” Eghbal provided not just a comprehensive overview of the challenges facing open source, but also a call-to-arms for more users of open source to care about its economics, and ultimately, how these critical projects can sustain themselves indefinitely.

Two years later, a new crop of entrepreneurs, open source maintainers, and organizations have taken Eghbal up on that challenge, developing solutions that maintain the volunteer spirit at the heart of open source while inventing new economic models to make the work sustainable. All are early, and their long-term effects on the output and quality of open source are unknown. But each solution offers an avenue that could radically change the way we think of a career in open source in the future.

No one sees that the Roads and Bridges are falling down

Eghbal’s report two years ago summarized the vast issues facing open source maintainers, challenges that have remained essentially unchanged in the interim. It’s a quintessential example of the “tragedy of the commons.” As Eghbal wrote at the time, “Fundamentally, digital infrastructure has a free rider problem. Resources are offered for free, and everybody (whether individual developer or large software company) uses them, so nobody is incentivized to contribute back, figuring that somebody else will step in.” That has led to a brittle ecosystem, just as open source software reached the zenith of its influence.

The challenges, though, go deeper. It’s not just that people are free riding, it’s often that they don’t even realize it. Software engineers can easily forget just how much craftsmanship has gone into the open source code that powers the most basic of applications. npm, the company that powers the module repository for the Node ecosystem, has nearly 700,000 projects listed on its registry. Starting a new React app recently, NPM installed 1105 libraries with my initial project in just a handful of seconds. What are all of these projects?

And more importantly, who are all the people behind them? That dependency tree of libraries abstracts all the people whose work has made those libraries available and functional in the first place. That black box can make it difficult to see that there are far fewer maintainers working behind the scenes at each of these open source projects than what one might expect, and that those maintainers may be struggling to work on those libraries due to lack of funding.

Eghbal pointed to OpenSSL as an example, a library that powers a majority of encrypted communications on the web. Following the release of the Heartbleed security bug, people were surprised to learn that the OpenSSL project was the work of a very small team of individuals, with only one of them working on it full-time (and at a very limited salary compared to industry norms).

Such a situation isn’t unusual. Open source projects often have many contributors, but only a handful of individuals are truly driving a particular project forward. Lose that singular force either to burnout or distraction, and a project can be adrift quickly.

When free isn’t free

No one wants open source to disappear, or for maintainers to burnout. Yet, there is a strong cultural force against commercial interests in the community. Money is corrupting, and dampens the voluntary spirit of open source efforts. More pragmatically, there are vast logistical challenges with managing money on globally distributed volunteer teams that can make paying for work logistically challenging.

Unsurprisingly, the vanguard of open source sustainability sees things very differently. Kyle Mitchell, a lawyer by trade and founder of License Zero, says that there is an assumption that “Open source will continue to fall from the sky like manna from heaven and that the people behind it can be abstracted away.” He concludes: “It is just really wrong.”

That view was echoed by Henry Zhu, who is the maintainer of the popular JavaScript compiler Babel. “We trust startups with millions of VC money and encourage a culture of ‘failing fast,’ yet somehow the idea of giving to volunteers who may have showed years of dedication is undesirable?” he said.

Xavier Damman, the founder president of Open Collective, says that “In every community, there are always going to be extremists. I hear them and understand them, and in an ideal world, we all have universal basic income, and I would agree with them.” Yet, the world hasn’t moved to such an income model, and so supporting the work of open source has to be an option. “Not everyone has to raise money for the open source community, but the people who want to, should be able to and we want to work with them,” he said.

Mitchell believes that one of the most important challenges is just getting comfortable talking about money. “Money feels dirty until it doesn’t,” he said. “I would like to see more money responsibility in the community.” One challenge he notes is that “learning to be a great maintainer doesn’t teach you how to be a great open source contractor or consultant.” GitHub works great as a code repository service, but ultimately doesn’t teach maintainers the economics of their work.

Supporting the individual contributor: Patreon and License Zero

Perhaps the greatest debate in sustaining open source is deciding who or what to target: the individual contributors — who often move between multiple projects — or a particular library itself.

Take Feross Aboukhadijeh for example. Aboukhadijeh (who, full disclosure, was once my college roommate at Stanford almost a decade ago) has become a major force in the open source world, particularly in the Node ecosystem. He served an elected term on the board of directors of the Node.js Foundation, and has published 125 repositories on GitHub, including popular projects like WebTorrent (with 17,000 stars) and Standard (18,300 stars).

Aboukhadijeh was looking for a way to spend more time on open source, but didn’t want to be beholden to working on a single project or writing code at a private company that would never see the light of day. So he turned to Patreon as a means of support.

(Disclosure: CRV, my most immediate former employer, is the series A investor in Patreon. I have no active or passive financial interest in this specific company. As per my ethics statement, I do not write about CRV’s portfolio companies, but given that this essay focuses on open source, I made an exception).

Patreon is a crowdsourced subscription platform, perhaps best known for the creatives it hosts. These days though, it is also increasingly being used by notable open source contributors as a way to connect with fans and sustain their work. Aboukhadijeh launched his page after seeing others doing it. “A bunch of people were starting up Patreons, which was kind of a meme in my JavaScript circles,” he said. His Patreon page today has 72 contributors providing him with $2,874 in funding per month ($34,488 annually).

That may seem a bit paltry, but he explained to me that he also supplements his Patreon with funding from organizations as diverse as Brave (an adblocking browser with a utility token model) to PopChest (a decentralized video sharing platform). That nets him a couple of more thousands of dollars per month.

Aboukhadijeh said that Twitter played an outsized role in building out his revenue stream. “Twitter is the most important on where the developers talk about stuff and where conversations happen…,” he said. “The people who have been successful on Patreon in the same cohort [as me] who tweet a lot did really well.”

For those who hit it big, the revenues can be outsized. Evan You, who created the popular JavaScript frontend library Vue.js, has reached $15,206 in monthly earnings ($182,472 a year) from 231 patrons. The number of patrons has grown consistently since starting his Patreon in March 2016 according to Graphtreon, although earnings have gone up and down over time.

Aboukhadijeh noted that one major benefit was that he had ownership over his own funds. “I am glad I did a Patreon because the money is mine,” he said.

While Patreon is one direct approach for generating revenues from users, another one is to offer dual licenses, one free and one commercial. That’s the model of License Zero, which Kyle Mitchell propsosed last year. He explained to me that “License Zero is the answer to a really simple question with no simple answers: how do we make open source business models open to individuals?”

Mitchell is a rare breed: a lifelong coder who decided to go to law school. Growing up, he wanted to use software he found on the web, but “if it wasn’t free, I couldn’t download it as a kid,” he said. “That led me into some of the intellectual property issues that paved a dark road to the law.”

License Zero is a permissive license based on the two-clause BSD license, but adds terms requiring commercial users to pay for a commercial license after 90 days, allowing companies to try a project before purchasing it. If other licenses aren’t available for purchase (say, because a maintainer is no longer involved), then the language is no longer enforceable and the software is offered as fully open source. The idea is that other open source users can always use the software for free, but for-profit uses would require a payment.

Mitchell believes that this is the right approach for individuals looking to sustain their efforts in open source. “The most important thing is the time budget – a lot of open source companies or people who have an open source project get their money from services,” he said. The problem is that services are exclusive to a company, and take time away from making a project as good as it can be. “When moneymaking time is not time spent on open source, then it competes with open source,” he said.

License Zero is certainly a cultural leap away from the notion that open source should be free in cost to all users. Mitchell notes though that “companies pay for software all the time, and they sometimes pay even when they could get it for free.” Companies care about proper licensing, and that becomes the leverage to gain revenue while still maintaining the openness and spirit of open source software. It also doesn’t force open source maintainers to take away critical functionality — say a management dashboard or scaling features — to force a sale.

Changing the license of existing projects can be challenging, so the model would probably best be used by new projects. Nonetheless, it offers a potential complement or substitute to Patreon and other subscription platforms for individual open source contributors to find sustainable ways to engage in the community full-time while still putting a roof over their heads.

Supporting the organization: Tidelift and Open Collective

Supporting individuals makes a lot of sense, but often companies want to support the specific projects and ecosystems that underpin their software. Doing so can be next to impossible. There are complicated logistics required in order for companies to fund open source, such as actually having an organization to send money to (and for many, to convince the IRS that the organization is actually a non-profit). Tidelift and Open Collective are two different ways to open up those channels.

Tidelift is the brainchild of four open-source fanatics led by Donald Fischer. Fischer, who is CEO, is a former venture investor at General Catalyst and Greylock as well as a long-time executive at Red Hat. In his most recent work, Fischer invested in companies at the heart of open source ecosystems, such as Anaconda (which focuses on scientific and statistical computing within Python), Julia Computing (focused on the Julia programming language), Ionic (a cross-platform mobile development framework), and TypeSafe now Lightbend (which is behind the Scala programming language).

Fischer and his team wanted to create a platform that would allow open source ecosystems to sustain themselves. “We felt frustrated at some level that while open source has taken over a huge portion of software, a lot of the creators of open source have not been able to capture a lot of the value they are creating,” he explained.

Tidelift is designed to offer assurances “around areas like security, licensing, and maintenance of software,” Fischer explained. The idea has its genesis in Red Hat, which commercialized Linux. The idea is that companies are willing to pay for open source when they can receive guarantees around issues like critical vulnerabilities and long-term support. In addition, Tidelift handles the mundane tasks of setting up open source for commercialization such as handling licensing issues.

Fischer sees a mutualism between companies buying Tidelift and the projects the startup works with. “We are trying to make open source better for everyone involved, and that includes both the creators and users of open source,” he said. “What we focus on is getting these issues resolved in the upstream open source project.” Companies are buying assurances, but not exclusivity, so if a vulnerability is detected for instance, it will be fixed for everyone.

Tidelift initially launched in the JavaScript ecosystem around React, Angular, and Vue.js, but will expand to more communities over time. The company has raised $15 million in venture capital from General Catalyst and Foundry Group, plus former Red Hat chairman and CEO Matthew Szulik.

Fischer hopes that the company can change the economics for open source contributors. He wants the community to move from a model of “get by and survive” with a “subsistence level of earnings” and instead, help maintainers of great software “win big and be financially rewarded for that in a significant way.”

Where Tidelift is focused on commercialization and software guarantees, Open Collective wants to open source the monetization of open source itself.

Open Collective is a platform that provides tools to “collectives” to receive money while also offering mechanisms to allow the members of those collectives to spend their money in a democratic and transparent way.

Take, for instance, the open collective sponsoring Babel. Babel today receives an annual budget of $113,061 from contributors. Even more interesting though is that anyone can view how the collective spends its money. Babel currently has $28,976.82 in its account, and every expense is listed. For instance, core maintainer Henry Zhu, who we met earlier in this essay, expensed $427.18 on June 2nd for two weeks worth of Lyft rides in SF and Seattle.

Xavier Damman, founder president of Open Collective, believes that this radical transparency could reshape how the economics of open source are considered by its participants. Damman likens Open Collective to the “View Source” feature of a web browser that allows users to read a website’s code. “Our goal as a platform is to be as transparent as possible,” he said.

Damman was formerly the founder of Storify. Back then, he built an open source project designed to help journalists accept anonymous tips, which received a grant. The problem was that “I got a grant, and I didn’t know what to do with the money.” He thought of giving it to some other open source projects, but “technically, it was just impossible.” Without legal entities or paperwork, the money just wasn’t fungible.

Open Collective is designed to solve those problems. Open Collective itself is both a Delaware C-corp and a 501(c)6 non-profit, and it technically receives all money destined for any of the collectives hosted on its platform as their fiscal sponsor. That allows the organization to send out invoices to companies, providing them with the documentation they need in order to write a check. “As long as they have an invoice, they are covered,” Damman explained.

Once a project has money, it is up to the maintainers of that community to decide how to spend it. “It is up to each community to define their own rules,” Damman said. He notes that open source contributors can often spend the money on the kind of uninteresting work that doesn’t normally get done, which Damman analogized as “pay people to keep the place clean.” No one wants to clean a public park, but if no one does it, then no one will ever use the park. He also noted that in-person meetings are a popular usage of revenues.

Open Collective was launched in late 2015, and since then has become home to 647 open source projects. So far, Webpack, the popular JavaScript build tool, has generated the most revenue, currently sitting at $317,188 a year. One major objective of the organization is to encourage more for-profit companies to commit dollars to open source. Open Collective places the logos of major donors on each collective page, giving them visible credit for their commitment to open source.

Damman’s ultimate dream is to change the notion of ownership itself. We can move from “Competition to collaboration, but also ownership to commons,” he envisioned.

Sustaining sustainability

It’s unfortunately very early days for open source sustainability. While Patreon, License Zero, Tidelift, and Open Collective are different approaches to providing the infrastructure for sustainability, ultimately someone has to pay to make all that infrastructure useful. There are only a handful of Patreons that could substitute for an engineer’s day job, and only two collectives by my count on Open Collective that could support even a single maintainer full time. License Zero and Tidelift are too new to know how they will perform yet.

Ultimately though, we need to change the culture toward sustainability. Henry Zhu of Babel commented, “The culture of our community should be one that gives back and supports community projects with all that they can: whether with employee time or funding. Instead of just embracing the consumption of open source and ignoring the cost, we should take responsibility for it’s sustainability.”

In some ways, we are merely back to the original free rider problem in the tragedy of the commons — someone, somewhere has to pay, but all get to share in the benefits.

The change though can happen through all of us who work on code — every software engineer and product manager. If you work at a for-profit company, take the lead in finding a way to support the code that allows you to do your job so efficiently. The decentralization and volunteer spirit of the open source community needs exactly the same kind of decentralized spirit in every financial contributor. Sustainability is each of our jobs, every day. If we all do our part, we can help to sustain one of the great intellectual movements humanity has ever created, and end the oxymoron of open source sustainability forever.

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Facebook launches Brand Collabs search engine for sponsoring creators

Facebook wants to help connect brands to creators so they can work out sponsored content and product placement deals, even if it won’t be taking a cut. Confirming our scoop from May, Facebook today launched its Brand Collabs Manager. It’s a search engine that brands can use to browse different web celebrities based on the demographics of their audience and portfolios of their past sponsored content.

Creators hoping to score sponsorship deals will be able to compile a portfolio connected to their Facebook Page that shows off how they can seamlessly work brands into their content. Brands will also be able to find them based on the top countries where they’re popular, and audience characteristics like interests, gender, education, relationship status, life events or home ownership.

Facebook also made a wide range of other creator monetization announcements today:

  • Facebook’s Creator app that launched on iOS in November rolled out globally on Android today (this link should be active soon once the app populates across Google Play). The Creator app lets content makers add intros and outros to Live broadcasts, cross-post content to Twitter and Instagram, see a unified inbox of their Facebook and Instagram comments plus Messenger chats, and more ways to connect with fans.

  • Ad Breaks, or mid-video commercials, are rolling out to more U.S. creators, starting with those that make longer and original content with loyal fans. Creators keep 55 percent of the ad revenue from the ads.
  • Patreon-Style Subscriptions are rolling out to more creators, letting them charge fans $4.99 per month for access to exclusive behind the scenes content plus a badge that highlights that they’re a patron. Facebook also offers microtransaction tipping of video creators through its new virtual currency called Stars.

  • Top Fan Badges that highlight a creator’s most engaged fans will now roll out more broadly after a strong initial reaction to tests in March.
  • Rights Manager, which lets content owners upload their videos so Facebook can fingerprint them and block others from uploading them, is now available for creators not just publishers.

Facebook also made a big announcement today about the launch of interactive video features and its first set of gameshows built with them. Creators can add quizzes, polls, gamification and more to their videos so users can play along instead of passively viewing. Facebook’s Watch hub for original content is also expanding to a wider range of show formats and creators.

Why Facebook wants sponsored content

Facebook needs the hottest new content from creators if it wants to prevent users’ attention from slipping to YouTube, Netflix, Twitch and elsewhere. But to keep creators loyal, it has to make sure they’re earning money off its platform. The problem is, injecting Ad Breaks that don’t scare off viewers can be difficult, especially on shorter videos.

But Vine proved that six seconds can be enough to convey a subtle marketing message. A startup called Niche rose to arrange deals between creators and brands who wanted a musician to make a song out of the windows and doors of their new Honda car, or a comedian to make a joke referencing Coca-Cola. Twitter eventually acquired Niche for a reported $50 million so it could earn money off Vine without having to insert traditional ads. [Disclosure: My cousin Darren Lachtman was a co-founder of Niche.]

Vine naturally attracted content makers in a way that Facebook has had some trouble with. YouTube’s sizable ad revenue shares, Patreon’s subscriptions and Twitch’s fan tipping are pulling creators away from Facebook.

So rather than immediately try to monetize this sponsored content, Facebook is launching the Brand Collabs Manager to prove to creators that it can get them paid indirectly. Facebook already offered a way for creators to tag their content with disclosure tags about brands they were working with. But now it’s going out of its way to facilitate the deals. Fan subscriptions and tipping come from the same motive: letting creators monetize through their audience rather than the platform itself.

Spinning up these initiatives to be more than third-rate knockoffs of Niche, YouTube, Patreon and Twitch will take some work. But hey, it’s cheaper for Facebook than paying these viral stars out of pocket.

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Snapchat launches privacy-safe Snap Kit, the un-Facebook platform

Today Snapchat finally gets a true developer platform, confirming TechCrunch’s scoop from last month about Snap Kit. This set of APIs lets other apps piggyback on Snap’s login for sign up, build Bitmoji avatars into their keyboards, display public Our Stories and Snap Map content, and generate branded stickers with referral links users can share back inside Snapchat.

Snap Kit’s big selling point is privacy — a differentiator from Facebook. It doesn’t even let you share your social graph with apps to prevent a Cambridge Analytica-style scandal.

Launch partners include Tinder bringing Bitmojis to your chats with matches, Patreon letting fans watch creators’ Stories from within its app, and Postmates offering order ETA stickers you can share in Snapchat that open the restaurant’s page in the delivery app. Developers that want to join the platform can sign up here.

Snap Kit could help the stumbling public company colonize the mobile app ecosystem with its buttons and content, which might inspire Snapchat signups from new users and reengagement from old ones. “Growth is one of our three goals for 2018, so we absolutely hope it can contribute to that, and continue to strengthen engagement, which has always been a key metric for us” Snap’s VP of product Jacob Andreou tells me. That’s critical since Snapchat sunk to its lowest user growth rate ever last quarter under the weight of competition from Instagram and WhatsApp.

“There have been areas inside of our products where we’ve really set standards” Andreou explains. “Early, that was seen in examples like Stories, but today with things like how we treat user data, what we collect, what we share when people login and register for our service . . . Snap Kit is a set of developer tools that really allow people to take the best parts of our products and the standards that we’ve set in a few of these areas, and bring them into their apps.”

This focus on privacy manifests as a limit of 90 days of inactivity before your connection with an app is severed. And the login feature only requires you bring along your changeable Snapchat display name, and optionally, your Bitmoji. Snap Kit apps can’t even ask for your email, phone number, gender, age, location, who you follow, or who you’re friends with.

“It really became challenging for us to see our users then use other products throughout their day and have to lower their expectations. . . having to be okay with the fact that all of their information and data would be shared” Andreou gripes. This messaging is a stark turnaround from four years ago when it took 10 days for CEO Evan Spiegel to apologize for security laziness causing the leak of 4 million users’ phone numbers. But now with Facebook as everyone’s favorite privacy punching bag, Snapchat is seizing the PR opportunity.

“I think one of the parts that [Spiegel] was really excited about with this release is how much better our approach to our users in that way really is — without relying on things like policy or developer’s best intentions or them writing perfect bug free code, but instead by design, not even exposing these things to begin with.”

Yet judging by Facebook’s continued growth and recovered share price, privacy is too abstract of a concept for many people to grasp. Snap Kit will have to win on the merits of what it brings other apps, and the strength of its partnerships team. Done right, Snapchat could gain an army of allies to battle the blue menace.

Snapvengers Assemble

Snap’s desire to maintain an iron grip on its ‘cool’ brand has kept its work with developers minimal until now. Its first accidental brush with a developer platform was actually a massive security hazard.

Third-party apps promising a method to secretly screenshot messages asked users to login with their Snapchat usernames and passwords, then proceeded to get hacked, exposing some users’ risqué photos. Snap later cut off an innocent music video app called Mindie for finding a way to share to users’ Stories. Last year I wrote how A year ago I urged it to build a platform in my article “Snap’s anti-developer attitude is an augmented liability”, as it needs help to populate the physical world with AR.

2017 saw Snap cautiously extend the drawbridge, inviting in ads, analytics, and marketing developer partners to help brands be hip, and letting hacker/designers make their own AR lenses. But the real transition moment was when Spiegel said on the Q4 2017 earnings call that “We feel strongly that Snapchat should not be confined to our mobile application—the amazing Snaps created by our community deserve wider distribution so they can be enjoyed by everyone.”

At the time that meant Snaps on the web, embedded in news sites, and on Jumbotrons. Today it means in other apps. But Snap will avoid one of the key pitfalls of the Facebook platform: over-promising. Snap Deputy General Counsel for Privacy Katherine Tassi tells me “It was also very important to us that there wasn’t going to be the exchange of the friends graph as part of the value proposition to third party developers.”

How Snap Kit Works

Snap Kit breaks down to four core pieces of functionality that will appeal to different apps looking to simplify signup, make communication visual, host eye-catching content, or score referral traffic. Developers that want access to Snap Kit must pass a human review and approval process. Snap will review their functionality to ensure they’re not doing anything shady.

Once authorized, they’ll have access to these APIs:

  • Login Kit is the foundation of Snap Kit. It’s an OAuth-style alternative to Facebook Login that lets users skip creating a proprietary username and password by instead using their Snapchat credentials. But all the app gets is their changeable, pseudonym-allowed Snapchat display name, and optionally, their Bitmoji avatar to use as a profile pic if the user approves. Getting that login button in lots of apps could remind people Snapchat exists, and turn it into a fundamental identity utility people will be loath to abandon.
  • Creative Kit is how apps will get a chance to create stickers and filters for use back in the Snapchat camera. Similar to April’s F8 launch of the ability to share from other apps to Instagram and Facebook Stories, developers can turn content like high scores, workout stats and more into stickers that users can overlay on their Snaps to drive awareness of the source app. Developers can also set a deep link where those stickers send people to generate referral traffic, which could be appealing to those looking to tap Snap’s 191 million teens.

  • Bitmoji Kit lets developers integrate Snapchat’s personalized avatars directly into their app’s keyboard. It’s an easy path to making chat more visually expressive without having to reinvent the wheel. This follows the expansion of Friendmoji that illustrate you and a pal rolling out to the iOS keyboard. But Bitmoji Kit means developers do the integration work instead of having to depend on users installing anything extra.
  • Story Kit allows developers to embed Snapchat Stories into their apps and websites. Beyond specific Stories, apps can also search through public Stories submitted to Our Story or Snap Map by location, time, or captions. A journalism app could surface first-hand reports from the scene of breaking news or a meme app could pull in puppy Snaps. The company will add extra reminders to the Our Story submission process to ensure users know their Stories could appear outside of Snapchat’s own app.

One thing that’s not in Snap Kit, at least yet, is the ability to embed Snapchat’s whole software camera into other apps which TechCrunch erroneously reported. Our sources mistakenly confused Creative Kit’s ability to generate stickers as opposed to sharing whole stories, which Andreou called “an interesting first step” for making Snapchat the broadcast channel for other apps.

Additional launch partners include bringing Bitmoji to Quip’s word processor, RSVP stickers from Eventbrite, GIF-enhanced Stories search in Giphy, Stories from touring musicians in Bands In Town, storytelling about your dinner reservation on Quandoo, music discovery sharing from SoundHound, and real-time sports score sharing from ScoreStream.

While other platforms have escaped their host’s control, like Facebook’s viral game spam outbreak in 2009 or Twitter having to shut down errant clients, Snapchat’s approval process will let it direct the destiny of its integrations.

Bitmoji Kit in Tinder

When asked why Snapchat was building Snap Kit, Andreou explained that “We think that giving people more tools to be able to express themselves freely, have fun and be creative, both on Snapchat and other apps is a good thing. We also think that helping more people outside of Snapchat learn about our platform and our features is a good thing. And most importantly, being able to do this in a way that doesn’t compromise our users’ privacy is very good thing.”

Without much data sharing, there’s a lot less risk here for Snapchat. But the platform won’t have the same draw that Facebook can dangle with its massive user base and extensive personal info access. Instead, Snapchat will have to leverage the fear of being left out of the visual communication era and tout itself as the catalyst for apps to evolve. The biggest driver of the platform might be youngins demanding their Bitmoji everywhere.

Snap needs all the help it can get right now. If other apps are willing to be a billboard for it in exchange for some of its teen-approved functionality, Snapchat could find new growth channels amidst stiff competition. Platforms can entrench apps. And after its user count shrunk in March, Snap has to find a way to keep from disappearing

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Patreon acquires Kit to let creators bundle merch in subscriptions

If content creators want to sell pricier monthly content subscriptions, offering stickers, pins, signed photos or t-shirts can convince fans to pay a higher fee and keep them loyal with a physical connection. That’s why patronage platform Patreon just acquired Kit, a startup building a merchandise logistics backend so creators don’t have to fiddle with spreadsheets and stuff envelopes themselves.

“Over 60 percent of today’s Patreon creators either want to or are already delivering some kind of physical merchandise,” says Patreon’s VP of Product, Wyatt Jenkins. Together, the startups could help Patreon creators develop merch items that fans subscribe to get ahold of, potentially shelling out for $10 or $20 per month tiers rather than basic $1 or $5 online content-only tiers.

The deal also could help Patreon stay ahead of YouTube and Facebook, which are encroaching on its subscription patronage model. Patreon now has 2 million patrons backing 100,000 creators. It paid out $350 million over its first five years through 2017, and expects to send creators another $300 million in 2018, while taking a 5 percent cut.

Financial terms of the deal were not disclosed. Ninety percent of Kit’s team, mostly product and engineering talent, will join San Francisco-based Patreon, though they’ll stay put in NYC as a satellite office the rest of the year. Kit had raised $2.5 million from Social Capital, Expa, #Angels, Precursor and Stanford’s StartX, as well as angels like Ellen Pao and Slack’s April Underwood.

“When we think about merch, it’s never been fully about the thing — the sticker or the t-shirt — there’s this relationship. This human-to-human connection,” says Kit co-founder and CEO Camille Hearst.

Kit was in the process of pivoting toward merchandise logistics and raising a Series A when it began talks with Patreon, leading to the acquisition. The startup was originally built as a way for social media stars and online celebrities to earn affiliate marketing fees by recommending products to fans through Kit, which took a cut of the referral dollars. Some creators showing off their “Kit” of camera equipment, sportswear or caffeination supplies were earning tens of thousands of dollars.

“We were at a stage where everything was going in the right direction. We had seen strong growth in monthly active users and how much creators were making,” Hearst says, noting Kit had reached $15 million in gross merchandise value. For what it’s worth, we hadn’t heard the startup was #crushingit and Patreon repeatedly refused to give even a ballpark figure for the price, so this might have been more of a soft landing.

“It just seemed like we would be able to accelerate what we were doing by joining with Patreon. Merch is very transaction-focused compared with a subscription,” Hearst explains, touting the high lifetime value of recurring payments over one-off purchases. “You can help creators earn a lot more money if you use merch to sell subscriptions.”

The pre-Kit Patreon team

The plan at Patreon is to build out a new open merchandise provider platform. Creators will be able to choose between a variety of merch partners ranging from those that turn their existing logo into physical goods to those that will design items based on merely vague ideas from the star. But in the meantime, Kit won’t be shutting down or ditching its affiliate program because “we don’t want to turn off any revenue streams” that creators depend on, Hearst promises.

“Right now creators have to choose between different merch partners,” without collective bargaining power or enough data to know what works, says Jenkins. “We can have set pricing for all those merch partners that will be lower than they can get on their own,” while alleviating creators from having to juggle spreadsheets of who gets what and mailing it all themselves.

The plan for Patreon to monetize merch is a little less clear, though Jenkins says, “We’re going to grow the pie and we want a piece of the growth.” The idea is that using Patreon’s merchandise platform will incur extra fees beyond the skimpy 5 percent it earns on subscriptions. If adding a merch item significantly boosts the subscriber number for a certain tier, Patreon will take a TBD cut. For comparison, YouTube takes a much more hands-off approach, merely listing suggested merchandise partners with whom to work.

“We want creators to make a living. That’s not a side hustle. You have to make more money year over year, You have to be able to do things like buy a house or get healthcare,” Jenkins concludes. “All the other platforms are ‘give us your content and we’ll give you a little side change.’ That kind of led us down the merch path. Creators are were begging for merch.”

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Facebook builds Patreon, Niche clones to lure creators with cash

Facebook is eager to displace YouTube and Patreon in order to become the home of online content creators, so it’s testing a bunch of new ways for them to earn money and connect with fans. Facebook’s dedicated Creator app that launched in November on iOS will come to Android soon, and it’s also starting a closed beta program where social media stars can work with it to build new features. It’s already cooked up new ones like a leaderboard for each creator’s most engaged fans who earn a special badge next to their comments, as well as a version of its Rights Manager tool for removing or taking over monetization of unofficial copies of their videos.

But most interesting are the new monetization options Facebook is trying out. It will let some users sign-up for a monthly subscription patronage payment to their favorite creators in exchange for exclusive content and a fan badge just like on Patreon . This will bring Facebook into the world of in-app purchases. Fans will be able to sign up for a $4.99 per month subscription, with Facebook forgoing a cut during the testing period, though the App Store and Google Play will get their 30 percent cut. That means creators will get $3.50 per month per subscriber.

It seems that rather than letting creators set their own price points including a cheap $1 per month option like on Patreon where the average subscription is $12 and the startup takes a 5 percent cut, Facebook is aiming for simplicity of pricing at mid-tier point. However it did mention custom pricing could come later. Not adding its own rake shows how much Facebook is prioritizing getting creators onto its platform. Facebook will launch the program next month with ten creators across the U.S. and U.K.

Meanwhile, Facebook has created a tool that lets creators show off a portfolio of their content expertise and audience, and get connected to businesses to hammer out branded content and sponsorship deals. It’s effectively Facebook’s version of Niche, the creator-sponsor deal broker that Twitter acquired in 2015 for around $50 million. [Disclosure: My cousin Darren Lachtman co-founded Niche] Facebook isn’t taking a cut here either during the testing period.

In both cases, Facebook might add a 5, 15, 30, or 45 percent cut when the features officially launch. Facebook already takes a 45 cut of ad break revenue when creators insert ads into their videos. Facebook also has a direct, one-time $3 tipping feature it’s testing with game streamers.

Creators who want access to the new product and monetization tests can sign-up here. “Creators are vibrant, diverse, and wonderful at building community, bringing people from across the world together around shared passions – and that’s why Facebook is a natural home for them” says Facebook’s VP of product for video Fidji Simo.

Facebook already lets creators use ad breaks and self-brokered sponsored content deals to monetize, but the digital arts economy still doesn’t let them earn enough to survive on this long-tail audience model. Facebook is taking a hint from its work with game developers, where it found that a tiny percentage of “whales” spend most of the money that games earn. Similarly, Facebook is now trying to equip creators with ways to earn the most possible from their biggest, most passionate fans who might pay way more in a tip or monthly subscription than a creator could ever earn through ads.

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Patreon Lens is Snapchat for creators’ paid fans only

 Exclusive content is how creators get patrons to pay them a monthly subscription fee on Patreon, so the startup is equipping them with a Snapchat-like tool to turn their private lives into “behind-the-scenes” footage. Patreon Lens launches today so creators can share photos and videos that disappear in 24 hours just with those who pay them at least a $1 a month. Read More

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Patreon raises big round at ~$450M valuation to get artists paid

 In an era where art is shared and streamed for free, Patreon offers new hope for turning content creation into a career. Illustrators, comedians, game makers, and musicians use Patreon to let fans pay a monthly subscription fee for special access to their work. In exchange, Patreon takes only a tiny 5% cut. With 50,000 creators and 1 million subscribers on board paying an average of $12 per… Read More

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Patreon launches Snapchat clone just for creators’ paid subscribers

 Ads aren’t enough to support professional online content makers. So Patreon is equipping them with new ways to organize, measure, and entertain fans who use its platform to pay them a monthly subscription fee for special access. With 1 million patrons paying an average of $12 per month to 50,000 creators, Patreon is on track to send musicians, comedians, journalists, videographers, and… Read More

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Patreon doubles in a year to 1M paying patrons and 50K creators

 Patreon’s novel idea of fans just directly paying the artists they love is having its hockey stick moment. Patreon tells TechCrunch that in a year, it’s doubled the number of monthly active paying patrons to 1 million, and the number of active creators to 50,000. It’s now on track to pay out $150 million to creators in 2017. Read More

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