- 1,000 True Fans—Revisited
- I have recommended Kevin Kelly’s “1,000 True Fans” to
- literally millions of people. Many guests in this book have done
- the same. “If you only read one article on marketing, make it
- this one” is my common wording. Here’s a highly simplified
- synopsis: “Success” need not be complicated. Just start with
- making 1,000 people extremely, extremely happy.
- Kevin’s original piece has grown outdated in a few places, so
- he was kind enough to write up a newer summary of core
- concepts for readers of this book.
- Since I first read the original nearly 10 years ago, I’ve tested
- his concepts across dozens of businesses, many of which are
- now multi-billion-dollar companies. I’ve added some of my core
- learnings and recommendations at the end.
- Enter Kevin
- I first published this idea in 2008, when it was embryonic and
- ragged, and now, 8 years later, my original essay needs an
- update—by someone other than me. Here I’ll simply restate the
- core ideas, which I believe will be useful to anyone making
- things, or making things happen.—KK
- To be a successful creator, you don’t need millions. You don’t
- need millions of dollars or millions of customers, clients, or
- fans. To make a living as a craftsperson, photographer,
- musician, designer, author, animator, app maker, entrepreneur,
- or inventor you need only 1,000 true fans.
- A true fan is defined as “a fan who will buy anything you
- produce.” These diehard fans will drive 200 miles to see you
- sing; they will buy the hardback and paperback and audio
- versions of your book; they will purchase your next figurine,
- sight unseen; they will pay for the “best-of” DVD version of
- your free YouTube channel; they will come to your chef’s table
- once a month; they will buy the superdeluxe reissued hi-res
- box set of your stuff even though they have the low-res
- version. They have a Google Alert set for your name; they
- bookmark the eBay page where your out-of-print editions show
- up; they come to your openings. They have you sign their
- copies; they buy the T-shirt, and the mug, and the hat; they
- can’t wait till you issue your next work. They are true fans.
- If you have roughly 1,000 fans like this (also known as
- superfans), you can make a living—if you are content to make
- a living, but not a fortune.
- Here’s how the math works. You need to meet two criteria:
- First, you have to create enough each year that you can earn,
- on average, $100 profit from each true fan. That is easier to
- do in some arts and businesses than others, but it is a good
- creative challenge in every area because it is always easier and
- better to give your existing customers more, than it is to find
- new fans.
- Second, you must have a direct relationship with your fans.
- That is, they must pay you directly. You get to keep all of
- their support, unlike the small percentage of their fees you
- might get from a music label, publisher, studio, retailer, or
- other intermediate. If you keep the full $100 from each true
- fan, then you need only 1,000 of them to earn $100K per
- year. That’s a living for most folks.
- 1,000 customers is a whole lot more feasible to aim for than
- a million fans. Millions of paying fans is just not a realistic goal
- to shoot for, especially when you are starting out. But 1,000
- fans is doable. You might even be able to remember 1,000
- names. If you added one new true fan per day, it’d only take
- a few years to gain 1,000. True fanship is doable. Pleasing a
- true fan is pleasurable and invigorating. It rewards the artist to
- remain true, to focus on the unique aspects of their work, the
- qualities that true fans appreciate.
- The number 1,000 is not absolute. Its significance is in its
- rough order of magnitude—3 orders less than a million. The
- actual number has to be adjusted for each person. If you are
- able to only earn $50 per year per true fan, then you need
- 2,000. (Likewise, if you can sell $200 per year, you need only
- 500 true fans.) Or you many need only $75K per year to live
- on, so you adjust downward. Or if you are a duet, or have a
- partner, then you need to multiply by 2 to get 2,000 fans, etc.
- Another way to calculate the support of a true fan is to aim
- to get one day of their wages per year. Can you excite or
- please them sufficiently to earn what they make from one day’s
- labor? That’s a high bar, but not impossible for 1,000 people
- worldwide.
- And of course, not every fan will be super. While the support
- of 1,000 true fans may be sufficient for a living, for every
- single true fan, you might have 2 or 3 regular fans. Think of
- concentric circles with true fans at the center and a wider
- circle of regular fans around them. These regular fans may buy
- your creations occasionally, or may have bought only once. But
- their ordinary purchases expand your total income. Perhaps
- they bring in an additional 50%. Still, you want to focus on the
- superfans because the enthusiasm of true fans can increase the
- patronage of regular fans. True fans are not only the direct
- source of your income, but also your chief marketing force for
- the ordinary fans.
- Fans, customers, patrons have been around forever. What’s
- new here? A couple of things. While direct relationships with
- customers was the default mode in old times, the benefits of
- modern retailing meant that most creators in the last century
- did not have direct contact with consumers. Often even the
- publishers, studios, labels, and manufacturers did not have such
- crucial information as the names of their customers. For
- instance, despite being in business for hundreds of years, no
- New York book publisher knew the names of their core and
- dedicated readers. For previous creators, these intermediates
- (and there was often more than one) meant you need much
- larger audiences to have a success. With the advent of
- ubiquitous peer-to-peer communication and payment
- systems—also known as the web today—everyone has access to
- excellent tools that allow anyone to sell directly to anyone else
- in the world. So a creator in Bend, Oregon, can sell and
- deliver a song to someone in Kathmandu, Nepal, as easily as a
- New York record label (maybe even more easily). This new
- technology permits creators to maintain relationships so that the
- customer can become a fan, and so that the creator keeps the
- total amount of payment, which reduces the number of fans
- needed.
- This new ability for the creator to retain the full price is
- revolutionary, but a second technological innovation amplifies
- that power further. A fundamental virtue of a peer-to-peer
- network (like the web) is that the most obscure node is only
- one click away from the most popular node. In other words,
- the most obscure, under-selling book, song, or idea is only one
- click away from the best-selling book, song, or idea. Early in
- the rise of the web, the large aggregators of content and products,
- such as eBay, Amazon, Netflix, etc., noticed that the
- total sales of *all* the lowest-selling obscure items would equal,
- or in some cases exceed, the sales of the few best-selling items.
- Chris Anderson (my successor at Wired) named this effect
- “the Long Tail,” for the visually graphed shape of the sales
- distribution curve: a low, nearly interminable line of items selling
- only a few copies per year that form a long “tail” for the
- abrupt vertical beast of a few bestsellers. But the area of the
- tail was as big as the head. With that insight, the aggregators
- had great incentive to encourage audiences to click on the
- obscure items. They invented recommendation engines and
- other algorithms to channel attention to the rare creations in
- the long tail. Even web search companies like Google, Bing,
- and Baidu found it in their interests to reward searchers with
- the obscure because they could sell ads in the long tail as well.
- The result was that the most obscure became less obscure.
- If you live in any of the 2 million small towns on Earth, you
- might be the only one in your town to crave death metal
- music, or get turned on by whispering, or want a left-handed
- fishing reel. Before the web, you’d never have a way to satisfy
- that desire. You’d be alone in your fascination. But now,
- satisfaction is only one click away. Whatever your interests as a
- creator are, your 1,000 true fans are one click from you. As
- far as I can tell there is nothing—no product, no idea, no
- desire—without a fan base on the Internet. Everything made or
- thought of can interest at least one person in a million—it’s a
- low bar. Yet if even only one out of a million people were
- interested, that’s potentially 7,000 people on the planet. That
- means that any 1-in-a-million appeal can find 1,000 true fans.
- The trick is to practically find those fans, or, more accurately,
- to have them find you.
- One of the many new innovations serving the true fan
- creator is crowdfunding. Having your fans finance your next
- product is genius. Win-win all around. There are about 2,000
- different crowdfunding platforms worldwide, many of them
- specializing in specific fields: raising money for science
- experiments, bands, or documentaries. Each has its own
- requirements and a different funding model, in addition to
- specialized interests. Some platforms require “all-or-nothing”
- funding goals; others permit partial funding; some raise money
- for completed projects; some, like Patreon, fund ongoing
- projects. Patreon supporters might fund a monthly magazine, or a
- video series, or an artist’s salary. The most famous and
- largest crowdfunder is Kickstarter, which has raised $2.5 billion
- for more than 100,000 projects. The average number of
- supporters for a successful Kickstarter project is 241
- funders—far less than 1,000. That means if you have 1,000
- true fans, you can do a crowdfunding campaign, because by
- definition a true fan will become a Kickstarter funder. (Although
- the success of your campaign is dependent on what you ask
- of your fans).
- The truth is that cultivating 1,000 true fans is time-consuming,
- sometimes nerve-wracking, and not for everyone. Done well
- (and why not do it well?) it can become another full-time job.
- At best, it will be a consuming and challenging part-time task
- that requires ongoing skills. There are many creators who don’t
- want to deal with fans, and honestly should not. They should
- just paint, or sew, or make music, and hire someone else to
- deal with their superfans. If that is you, and you add someone
- to deal with fans, a helper will skew your formula, increasing
- the number of fans you need, but that might be the best mix.
- If you go that far, then why not “subcontract” out dealing with
- fans to the middle people—the labels and studios and publishers
- and retailers? If they work for you, fine, but remember, in
- most cases they would be even worse at this than you would.
- The mathematics of 1,000 true fans is not a binary choice.
- You don’t have to go this route to the exclusion of another.
- Many creators, including me, will use direct relations with
- superfans in addition to mainstream intermediaries. I have been
- published by several big-time New York publishers, I have
- self-published, and I have used Kickstarter to publish to my
- true fans. I chose each format depending on the content and
- my aim. But in every case, cultivating my true fans enriches
- the route I choose.
- The takeaway: 1,000 true fans is an alternative path to
- success other than stardom. Instead of trying to reach the
- narrow and unlikely peaks of platinum bestseller hits,
- blockbusters, and celebrity status, you can aim for direct
- connection with 1,000 true fans. On your way, no matter how
- many fans you actually succeed in gaining, you’ll be surrounded
- not by faddish infatuation, but by genuine and true
- appreciation. It’s a much saner destiny to hope for. And you
- are much more likely to actually arrive there.
- Some Thoughts from Tim
- evin distinguishes between “making a living” and “making a
- fortune,” which is an important starting point for the discussion.
- However, it’s worth noting that these aren’t necessarily mutually
- exclusive. Creating 1,000 true fans is also how you create
- massive hits, perennial mega-bestsellers, and worldwide fame (be
- careful what you wish for). Everything big starts small and
- focused (see Peter Thiel, page 232). 1,000 true fans is step #1,
- whether you want a $100K per year business or the next
- Uber. I’ve seen this with all of my fastest-growing and most
- successful startups. They start laser-focused on 100 to 1,000
- people, niche-ing down as necessary with their messaging and
- targeting (demographically, geographically, etc.) to get to a
- manageable and cost-effectively reachable number.
- So, you may ask yourself, “Why aim for a mere $100K
- when I can try to build a billion-dollar business?” Two reasons:
- 1) Aiming for the latter from the outset often leads to
- neglecting the high-touch 1,000 true fans who act as your
- most powerful unpaid marketing force for “crossing the chasm”
- into the mainstream. If you don’t build that initial army, you’re
- likely to fail. 2) Do you really want to build and manage a big
- company? For most people, it’s not a fun experience; it’s an
- all-consuming taskmaster. There are certainly ace CEOs who
- thread the needle and enjoy this roller coaster, but they are
- outliers. Read Small Giants by Bo Burlingham for some fantastic
- examples of companies that choose to be the best rather than
- the biggest.
- And, as Kevin noted, the number of your true fans can
- actually be far fewer than 1,000. This is particularly true if you
- A) produce content that attracts a niche but well-heeled group,
- and then B) invite and look for indirect revenue opportunities
- not based on onsite transactions (e.g., paid speaking, investment
- opportunities, consulting). These can be far more lucrative than
- most advertising, tip jars, and the like.
- One reasonably common critique of “1,000 True Fans” comes
- from musicians, for instance, who say something along the lines
- of, “But I can only sell an album for $10, and I can only
- produce one per year. That’s only $10K and not enough to
- live on. ‘1,000 True Fans’ doesn’t work.” Scores of book
- writers have a similar argument, but it’s flawed. Remember, a
- true true fan will buy whatever you put out. If they refuse to
- purchase above $10, you haven’t done the work to find and cultivate
- real true fans. If you have true fans, it’s your
- responsibility to consider (and test) higher-priced, higher-value
- options outside of the $10 paradigm. Don’t be locked in the
- pricing model of the incumbents. In 2015, Wu-Tang Clan sold a
- single bespoke album at auction—in a handcrafted silver and
- nickel box made by British-Moroccan artist Yahya—to one
- person for $2 million. There are a lot of options between $10
- and $2 million. See my “free or ultra-premium” approach on
- page 290, which has provided me with complete creative and
- financial freedom.
- You do not have to sacrifice the integrity of your art for a
- respectable income. You just need to create a great experience
- and charge enough.