Category: InterviewCategory: Interview

What’s your sense of the moment we’re living in now, in terms of art and communication, compared to a few years ago?

It’s probably biased, because I talk to a lot of people who are looking to get away from social media. But that’s okay, that’s who I want to talk to. I don’t want to talk to people about maximizing reach with paid ads on Facebook, I want to talk to people printing out their poetry and leaving copies around town.

Read more of this interview over at Soul Writer.

Given Ryan J. Downey’s experience in doing interviews with everyone, I had to ask what an artist could learn from his interactions with so many big names in the entertainment world.

It’s absolutely essential for an artist—and by “artist,” I mean that broad umbrella of musicians, filmmakers, painters, authors, comic creators—they’re all storytellers. They’re communicating something through whichever medium they’ve chosen. And it’s so important to have something to say.

Sure, you can make something that doesn’t really say much. Maybe it catches fire for a little while. But that kind of work doesn’t last.

When I say “something to say,” I don’t necessarily mean a political stance or a religious message. It doesn’t have to be Rage Against the Machine or Skillet. I mean having an idea, an emotion, or a feeling that needs to come out.

Kate Ellen and I (mostly Kate!) wrote ‘Ghosting Spotify: A How-To Guide‘ which got people talking.

We laid out why she pulled her music from Spotify: the streams weren’t translating into real support, and the platform made it almost impossible to build direct relationships with listeners.

We talked about how Spotify keeps people inside its walls, as listeners don’t click through to emails, don’t buy vinyl, don’t follow links. The listening numbers might look cool on paper, but they rarely lead to anything that pays the bills or creates momentum. Leaving forced Katie to focus on places where people actually show up, like Bandcamp, her website, and her email list.

Once she made that shift, she started seeing repeat buyers and more meaningful conversations. We dug into how owning the audience gives you room to experiment — releasing small projects, selling limited runs, offering commissions — instead of hoping a playlist bump solves everything.

The takeaway wasn’t “streaming is evil,” but that depending on Spotify (or social media!) as the center of your work keeps you stuck waiting for something that rarely materializes.

Sarah Fay and I focused on how people are using Substack right now, especially the temptation to treat Notes like another social feed to optimize and post constantly.

We talked about slowing that reflex down and prioritizing email subscribers instead—saving strong ideas for newsletters, reposting things from Notes into emails so subscribers actually see them, and measuring success by retention rather than public subscriber counts. The emphasis was on engagement, keeping people on the list, and treating email as the primary channel rather than chasing visibility inside Substack itself. 

We also covered practical approaches to writing, video, and business models on Substack. That included writing in a way that feels natural, publishing without waiting for perfection, and getting comfortable sending work to small groups before larger audiences.

On the business side, we talked about proximity, like keeping most work public while charging for closer access through Zoom calls or live discussions, and using Substack as a tool that supports existing goals rather than becoming another platform to manage. We also discussed live video formats, replays, YouTube workarounds, and treating Substack as a professional practice without overcomplicating the model.