#DTCMarketing

[laurafaritos]

HDMS008. From Clicks to Comedy Clubs: What Harvard’s Digital Marketing Course Taught Me About Selling an Experience

So, as I’ve mentioned before, I’m taking a Harvard Business School Digital Marketing Strategy course, and I’m documenting everything I learn—from a comedian’s perspective.

So far, I’ve written about: 📌 Why I signed up for Harvard as a comedian 📌 What Harvard taught me about the rise of DTC brands 📌 Are DTC brands a fad or the future of marketing? 📌 How DTC brands master customer insights 📌 What research & development looks like in the digital era 📌 Outsourcing vs. DIY: What Harvard taught me about scaling creativity 📌 Comedy, Clicks & Customer Acquisition: Breaking down DTC marketing

But now, let’s talk about distribution.

Most DTC brands start online—but if digital marketing is so powerful, why do so many of them eventually open retail stores or partner with Walmart, Target, and Nordstrom?

The answer? Even the best online brands need a physical presence to scale.

And the same applies to creatives. Just like brands use retail expansion to grow, comedians, podcasters, and artists need live events, real-world partnerships, and in-person experiences to take their careers to the next level.

📲 Keep reading to learn what Harvard taught me about DTC distribution—and why live shows are the comedy world’s version of retail expansion. And don't forget to follow me for more!!!

I. Traditional vs. DTC Distribution Models

For decades, the playbook for launching a successful brand looked something like this:

Develop a product.

Pitch it to major retailers.

Fight for shelf space in stores like Walmart, Target, and department chains.

Spend millions on advertising to convince consumers your product is the best.

This retail-first model made it nearly impossible for new brands to compete. Legacy giants like Procter & Gamble, Unilever, and Gillette dominated every industry because they had exclusive deals with retailers and enough money to outspend anyone on advertising.

If you weren’t on store shelves, you practically didn’t exist.

But then, DTC (Direct-to-Consumer) brands changed everything.

Instead of playing by the old rules, they took a shortcut.

💡 Rather than begging for shelf space in stores, they sold directly to customers online.

This shift allowed brands like Dollar Shave Club, Warby Parker, and Casper to bypass traditional retail and own the entire customer relationship—from marketing to distribution to after-sales support.

Suddenly, a startup didn’t need millions to get a product in front of people. A single viral video, a well-placed Instagram ad, or a killer TikTok campaign could launch a brand overnight.

🔥 Traditional Model (Legacy Brands):

Sell through big retailers (Walmart, Target, grocery stores, etc.).

Invest heavily in TV, print, and billboard ads to build mass awareness.

Rely on third-party retailers to reach customers.

Face high barriers to entry (expensive, slow, competitive).

🚀 DTC Model (Modern Brands):

Sell directly to consumers online (Shopify, Amazon, Instagram, etc.).

Use digital ads and influencer marketing instead of mass media.

Own customer data and brand experience.

Lower startup costs, faster to launch, easier to scale.

🎭 And guess what? Comedians and creatives follow the same pattern.

For decades, the “traditional model” for success in comedy looked like this:

Get booked at major clubs.

Perform at festivals.

Wait for a TV appearance or late-night show to “make it.”

Hope someone gives you a special, sitcom, or major deal.

But in today’s digital era?

Comedians can build their own careers without waiting for industry gatekeepers.

🎤 Traditional Path for Comedians (Legacy Model):

Rely on comedy clubs, bookers, and TV to get exposure.

Network endlessly to get industry validation.

Compete for limited stage time in crowded markets.

Gatekeepers decide who gets opportunities.

📲 DTC Model for Comedians (Modern Approach):

Use TikTok, Instagram, and YouTube to reach an audience directly.

Sell tickets to independent shows instead of waiting for club bookings.

Monetize through Patreon, podcasts, and digital content.

Build a career on your own terms.

💡 The takeaway? Whether you’re selling razors or selling jokes, the biggest brands (and comedians) are the ones who realize:

🚀 You don’t need permission to reach an audience anymore. You just need to find the right distribution strategy.

II. Traditional vs. DTC Distribution: How the Game Has Changed

For decades, getting a product to consumers meant one thing: retail shelves.

If a brand wanted to sell toothpaste, razors, or sneakers, they needed a spot at Walmart, Target, or a department store. But shelf space was limited, competitive, and controlled by gatekeepers.

That’s why traditional brands like Gillette, Procter & Gamble, and Nike spent millions on advertising—the only way to secure their spot in stores was to prove they could sell.

But then, everything changed.

💡 DTC brands came in and rewrote the rules.

Instead of begging for retail space, they built their own online stores.

Instead of needing a massive ad budget, they ran Instagram, Facebook, and Google ads for a fraction of the cost.

Instead of competing for shelf space, they met customers directly in their social feeds, emails, and search results.

This is why we now see brands like Warby Parker, Glossier, and Dollar Shave Club thriving. They bypassed traditional distribution systems and reached customers on their own terms.

And now? Even traditional brands are adapting.

Nike pulled out of some retail stores to focus on direct-to-consumer sales.

Harry’s started as a DTC razor brand but now sells in Target.

Bonobos opened "Guide Shops," blending online and offline experiences.

It’s no longer about online vs. offline. The new standard is omni-channel: balancing DTC sales with strategic retail partnerships for long-term growth.

And that got me thinking—how does this apply to comedy???

III. Why DTC Brands Expand Into Physical Retail (And What That Means for Comedy)

At first, DTC brands built their entire identity around being online-only. No retail partnerships, no physical stores—just direct access to customers through digital platforms.

But over time, something became clear: e-commerce alone wasn’t enough.

Even the most successful DTC brands started opening retail stores, partnering with big-box retailers, and experimenting with offline experiences.

Why Would a DTC Brand Expand Into Physical Retail?

1️⃣ Building Trust – No matter how strong your online presence is, a physical store makes a brand feel real. Customers like seeing, touching, and trying products before they commit.

2️⃣ Reaching New Audiences – Not everyone shops online. Expanding into stores means tapping into customers who might never have discovered the brand otherwise.

3️⃣ Reducing Ad Costs – Digital marketing is getting more expensive. A store acts as its own form of advertising—every person who walks in is a potential sale without the high cost-per-click of Facebook or Google ads.

4️⃣ Improving Customer Experience – In-store interactions provide real-time feedback and strengthen the emotional connection between brand and consumer.

5️⃣ Leveraging the Power of Retail Giants – Getting a product on Target or Walmart shelves means instant credibility. These retailers handle logistics, distribution, and foot traffic—making it easier for a DTC brand to scale.

Now, let’s bring this back to comedy and entertainment.

Just like DTC brands started online before expanding to physical spaces, many comedians start by building an audience on social media.

TikTok clips.

Instagram reels.

Twitter jokes.

But at a certain point, you have to take it offline.

Live shows build credibility.

Venue partnerships increase reach.

In-person experiences create stronger fan loyalty.

No comedian makes a career purely from social media. The biggest names—whether it’s John Mulaney, Ali Wong, or Hasan Minhaj—built their digital audiences and then used that to fill theaters, sell out tours, and get Netflix specials.

DTC brands are doing the same thing.

They start online, but they expand strategically into physical spaces.

So if you’re a comedian only focusing on digital content, ask yourself:

👉 Where’s your “retail store” moment? 👉 How are you turning online fans into paying ticket buyers? 👉 What’s your version of “retail distribution” for long-term success?

Because if brands like Warby Parker and Glossier need an offline presence to scale… comedians do too.

IV. How I’m Applying This to Comedy (And How You Can Too)

DTC brands and comedians have more in common than you’d think.

At the core of both industries is the need to build an audience.

DTC brands do it through:

Social media marketing

Paid ads

Community-driven content

Comedians do it through:

Clips on TikTok & Instagram

Podcast guest appearances

Live show promotions

But just like DTC brands realized they needed physical stores to scale, comedians need in-person experiences to turn passive fans into engaged ticket buyers.

Here’s how I’ve started thinking about my own comedy business through this lens:

1️⃣ Digital First, But Not Digital Only

I’ve built an audience online through:

Threads posts that spark conversations

Clips from past shows that showcase my humor

Blogging about my creative journey (like this series!)

But if all my content lived online, I’d never sell out a show.

That’s why I treat my monthly live shows as my version of DTC brands expanding into physical retail.

They’re where I:

Strengthen relationships with my audience.

Convert passive followers into paying supporters.

Prove that my comedy is worth experiencing in real life.

2️⃣ Venues & Partnerships Are Comedy’s Version of Retail Expansion

DTC brands partner with retailers like Nordstrom and Walmart to reach more people.

Comedians can do the same with:

Comedy clubs – Building relationships with venue owners who book recurring shows.

Cultural spaces – Hosting comedy nights in bookstores, art galleries, and unconventional venues.

Brand partnerships – Getting sponsorships or collaborations that help promote shows to wider audiences.

Right now, my Haunted Comedians, Failed by Sex Ed, and Foreigner Diaries series are part of my retail expansion strategy.

Instead of waiting for social media algorithms to boost my content, I’m actively putting my name out in Toronto’s comedy scene through real-world experiences.

3️⃣ Stand-Up Is Just One Product in a Comedian’s “Inventory”

When Warby Parker started, they didn’t only sell glasses. They created:

Try-at-home kits.

Retail showrooms.

Virtual fitting tools.

They expanded beyond their core product.

As a comedian, my “core product” is stand-up, but that’s not the only thing I’m offering.

My podcast expands my reach.

My blog builds long-term audience relationships.

My email list lets me market directly to supporters.

The key to success isn’t just performing—it’s owning the entire audience experience.

👉 If a DTC brand relies only on e-commerce, they hit a ceiling. 👉 If a comedian relies only on live stand-up, they hit a ceiling.

The best strategy is multi-channel.

I don’t just want people to see one show—I want them to keep coming back.

And if DTC brands can teach us anything, it’s that long-term success isn’t just about the first purchase—it’s about retention.

V. How I’m Making This Work with AuDHD

Navigating this course, running my comedy business, and keeping my brain from combusting all at once? A challenge.

But if there’s anything my AuDHD brain has taught me, it’s that structure and adaptability can coexist.

DTC brands succeed because they stay flexible while still following a strategic framework. That’s the exact approach I need to take to stay on top of everything without spiraling into chaos.

Here’s how I’m making this work for me:

1️⃣ Breaking It Down Into “Micro-Tasks”

A six-week Harvard course is a LOT—especially when one module alone takes me 35 hours instead of the estimated 10.

But instead of getting overwhelmed by the sheer weight of it all, I treat every lesson like a standalone goal.

I don’t think, “I need to finish this entire module today.”

I think, “I just need to take notes on this one section.”

Then, “I just need to write the first paragraph of my blog post.”

Every post in this series? It’s just a micro-task that eventually builds up into a full body of work.

If I tried to tackle the whole thing at once, I’d short-circuit. Instead, I’m treating this like comedy writing. One joke at a time. One lesson at a time.

2️⃣ Externalizing Everything (Because Short-Term Memory? Nonexistent.)

DTC brands don’t rely on gut instinct alone—they track real-time data.

I do the same, except my “data tracking” is… writing down every thought I have before I forget it forever.

Google Docs for course notes (so I don’t waste time rereading the same thing 12 times).

Trello for content tracking (so I don’t accidentally repeat myself).

Todoist for daily tasks (because “I’ll remember to do that” is the biggest lie I tell myself).

If it’s not written down, it doesn’t exist.

3️⃣ Using My Hyperfocus (But Not Burning Out)

The blessing and curse of AuDHD: When something clicks, I can deep-dive into it for 12 straight hours without blinking.

But I also know that when I crash, I CRASH.

So I’m harnessing my hyperfocus strategically:

Structured work sprints: 90-minute work blocks, then a forced break (even if my brain says, “KEEP GOING OR DIE”).

Different work modes: Some days, I’m in a “writing” mood. Other days, I can’t write a sentence but I can edit video for hours. Instead of forcing myself into a rigid structure, I rotate tasks based on what my brain is cooperating with that day.

Self-imposed deadlines: Even if no one is grading me, I set hard deadlines for finishing each module so I don’t endlessly tinker with every sentence.

4️⃣ Giving Myself Permission to Work Differently

DTC brands challenge traditional marketing norms—so why shouldn’t I challenge traditional productivity norms?

If I need to pace around my apartment while brainstorming, that’s valid.

If I process information better through talking than reading, I’ll record voice notes.

If my best ideas come at 2 AM, I’ll write them down and nap later.

Instead of forcing myself into neurotypical study methods, I’m leaning into what actually works for my brain.

And that? That’s how I’m making this Harvard course work for me, not against me.

If you told me a year ago that I’d be sitting here, deep-diving into a Harvard Business School course, I’d have laughed.

If you told me I’d be breaking down digital marketing strategies while juggling comedy shows, content creation, and an AuDHD brain, I’d have assumed you were talking about someone else.

But here we are.

This course has already reshaped how I think about marketing, branding, and distribution—but more than that, it’s reshaping how I think about myself.

I’ve always been creative. Now I’m learning to be strategic.

I’ve always had ideas. Now I’m learning how to scale them.

I’ve always worked hard. Now I’m learning how to work smart.

And the biggest shift? Realizing I don’t have to do everything alone.

Just like DTC brands partner with suppliers, logistics services, and retail stores to grow their business, I’ve realized that outsourcing, collaborating, and streamlining are the only way to build something sustainable.

I’m still figuring out what this means for me as a comedian, producer, and creator. But what I do know is:

✅ I’m capable of adapting. ✅ I’m capable of learning. ✅ I’m capable of taking up space in rooms I never thought I’d be in.

And if you’ve ever felt like business and marketing weren’t “for people like us”—I hope you’re starting to realize that’s a lie.

We deserve to understand this stuff. We deserve to thrive in our creative careers. We deserve to build something bigger than ourselves.

And that? That’s what I’m doing.

📝 So Far in This Blog Series…

🔗 HDMS #001 - I Can’t Believe I’m Taking a Harvard Course—But Here’s Why I’m Doing It as a Comedian 🔗 HDMS #002 - Everything Harvard Taught Me About DTC Brands & What I Wish I Knew Earlier 🔗 HDMS #003 - DTC Brands: A Fad or the Future? Harvard’s Take & What It Means for Creators 🔗 HDMS #004 - Customer Insight: How Harvard Taught Me to Actually Understand My Audience 🔗 HDMS #005 - R&D & Product Design: What Harvard’s Digital Marketing Course Taught Me About Creating Things People Actually Want 🔗 HDMS #006 - Outsourcing vs. DIY: What Harvard’s Digital Marketing Course Taught Me About Scaling Creativity 🔗 HDMS #007 - Comedy, Clicks & Customer Acquisition: Harvard’s Digital Marketing Breakdown 🔗 HDMS #008 - DTC Distribution & Why Getting Off the Internet Might Be the Smartest Thing a Creator Can Do

🎟️ Want to Support a Creative in the Wild?

I’m not just studying marketing—I’m applying it in real time with my comedy shows.

🎭 Come to one of my live shows!

Haunted Comedians - Tickets

Failed by Sex Ed - Tickets

Foreigner Diaries - Tickets

💌 Not in Toronto? Follow along for more insights on building a creative career.

📌 Instagram & Threads - @laurafaritos 📌 YouTube - Laura Faritos

Tchau, tchau!!!

[blacksheepsocial]

Whether you are running ads through PPC (Pay-per-click) campaigns or optimizing your website for a search engine to get ranked, neither of those will work for you to get a boost in traffic without content marketing.

[swaginfluencertyphoon]

DTC Taken to the Next Level

Sponsored Post:

Given how much has changed, what worked in the past may no longer be effective in the future. The way forward could include a return to management fundamentals as well as a departure from the current DTC playbook in order to incorporate the lessons learned over the last decade. Do you want to learn how to launch a successful direct-to-consumer campaign? You might be able to find out by reading this article. 

Digitally native brands may cross the chasm into IRL retail as DTC distribution becomes a bottleneck. Although it's unclear how viable or scalable this new version of master-lease retail could be, many DTCs that have dabbled in some offline presence report that customers who interact with their brand in the physical realm have lower merchandise return rates and more repeat acquires than their online counterparts.

If a sector's retail strategy includes sector-owned stores or national retail networks. DTC brands may have a distinct advantage in that they could have one-on-one relationships with their customers while collecting valuable data that could be impossible to obtain in traditional retail. Check disclaimer on profile and landing page.

[pixephant]

Check out how ten direct-to-consumer businesses executed innovative and unique marketing campaigns to form better relationships with their consumers and increase brand awareness."

[laurafaritos]

HDMS007. Comedy, Clicks & Customer Acquisition: What Harvard Taught Me About Digital Marketing & Why Comedians Should Care

So, as I’ve mentioned before, I’m taking a Digital Marketing Strategy certificate course from Harvard—because apparently, doing stand-up comedy and producing shows wasn’t stressful enough, and I decided I needed to add “business school” to my to-do list.

This is Module 1.3.1: Marketing, where we dive into how direct-to-consumer (DTC) brands—like Dollar Shave Club and Warby Parker—revolutionized marketing by ditching traditional advertising and going all in on digital.

So far in this Harvard series (HDMS), I’ve covered:

📌 Why I Signed Up for This Course as a Comedian 📌 What Harvard Taught Me About DTC Brands 📌 Are DTC Brands a Fad or the Future? 📌 The Power of Customer Insights in Marketing 📌 R&D and Product Development for Creatives 📌 Outsourcing vs. DIY: Scaling Your Business

In today’s post: I’m breaking down what Harvard taught me about digital marketing, how DTC strategies apply to creatives, and why finding the right balance between online growth & real-world branding is the key to long-term success.

Section I – What Harvard Taught Me About Digital Marketing (DTC vs. Traditional Marketing)

For decades, marketing was a pay-to-play game. Big brands dominated TV, radio, billboards, and magazines because they had millions to spend on mass advertising. If you were a small business, tough luck—you couldn’t afford a Super Bowl ad.

Then came the internet.

Suddenly, anyone with a laptop and a budget of $50 could run ads on Google or Facebook and reach the exact audience they wanted.

🚀 Enter Direct-to-Consumer (DTC) brands.

Instead of spending millions on broad, untargeted TV ads, they used hyper-specific digital marketing to sell directly to consumers. Dollar Shave Club, Warby Parker, and Glossier didn’t need a big retail presence or TV commercials—they just needed Instagram ads and a solid brand story.

💡 DTC brands flipped the marketing rulebook. They went from: ❌ Mass media marketing (TV, billboards, print ads) → ✅ Digital-first, targeted ads (Google, Facebook, Instagram) ❌ Retail-driven sales (in-store shopping) → ✅ Direct online sales (websites & subscriptions) ❌ Big budgets required → ✅ Low-cost, high-impact digital campaigns

For creatives like me—who don’t have a million-dollar ad budget—this is game-changing.

I don’t need to be on a Netflix special or a giant billboard in Times Square to grow my comedy brand. I can use smart digital marketing strategies to reach people who actually care about my content.

But here’s where it gets tricky.

DTC brands thrive on performance marketing (ads that drive instant action, like buying a product). But long-term success comes from brand-building—which means more than just running ads.

So the real question is: What’s the right balance between short-term ad-driven success and long-term brand credibility?

Section II – How DTC Brands Use Digital Marketing & What Creatives Can Learn from It

Direct-to-consumer (DTC) brands didn’t just change where ads are placed—they changed how ads are made and who they’re for.

Traditional brands like Gillette and Coca-Cola used to market to everyone at once. Their TV commercials didn’t care if you were actually interested in their product—they just hoped enough people saw the ad and remembered the brand.

DTC brands, on the other hand, got hyper-specific.

🚀 Instead of marketing to the masses, they marketed to individuals based on their: ✔ Interests (What pages they follow, what content they engage with) ✔ Online behavior (What they click on, what they buy) ✔ Demographics (Age, gender, location, income)

💡 How They Do It: 🔹 Facebook & Instagram Ads: They use detailed audience targeting to show ads only to people most likely to buy. 🔹 Google Search & Shopping Ads: They capture potential customers at the moment they’re looking for a product. 🔹 Influencer & UGC Marketing: They use creators to make their ads feel organic and personal.

💡 What Creatives & Comedians Can Learn from This

DTC brands don’t waste money on ads hoping they work. They test, refine, and scale what performs best. And as creatives, we need to start thinking the same way.

For comedians, creatives, and performers, this means: ✔ Instead of posting random content and hoping for traction → Test different content formats and see what performs best. ✔ Instead of trying to be “for everyone” → Narrow your niche & speak directly to your audience. ✔ Instead of relying on social media algorithms → Use targeted ads to grow in a more intentional way.

For example, let’s say you’re a comedian trying to sell tickets to a show. ✅ You could run an Instagram ad specifically targeting people in your city who follow comedy clubs. ✅ You could use Google Search ads to reach people actively looking for “comedy shows in [your city].” ✅ You could partner with a local influencer or podcast to promote your show in a way that feels more authentic than traditional ads.

This is what DTC brands do. They don’t just market broadly—they market smart.

Section III – The Downside of Digital-Only Marketing & Why Comedians Still Need Offline Strategies

For all the power of digital marketing, relying only on online ads comes with serious drawbacks.

💡 DTC brands that go all-in on digital often face three major problems:

1️⃣ Rising Costs: The more brands use digital ads, the more expensive they become. Facebook and Google ads were dirt cheap in 2012—but today, competition is fierce and the cost of acquiring new customers is skyrocketing.

2️⃣ Short-Term Thinking: Digital ads drive quick sales, but they don’t always build long-term brand loyalty. A brand like Coca-Cola doesn’t need to run Facebook ads because people already know and trust them. But if a DTC brand stops running ads, they risk disappearing from customers’ minds completely.

3️⃣ Lost Synergy Between Online & Offline: Brands that only market online often miss out on the power of real-world brand recognition. Studies show that when people see a TV commercial or billboard, they’re more likely to remember the brand and search for it online later.

What This Means for Comedians & Creatives

As comedians and performers, we can’t rely entirely on digital marketing. Yes, Instagram and Google are great for selling tickets, but offline marketing still plays a huge role in getting people to actually show up.

🔹 Think about how comedy shows actually sell out. ✅ Social media ads help spread the word. ✅ Venue posters & flyers catch people who aren’t online. ✅ Word-of-mouth & referrals from friends build hype. ✅ Partnerships with local businesses, newsletters, and radio shows reach audiences you’d never find through digital alone.

Just like DTC brands need a mix of performance marketing and brand-building, comedians need a balance of online strategies and real-world presence to grow a sustainable career.

Section IV – Finding the Right Balance Between Digital & Real-World Marketing

So, if DTC brands need both performance marketing (ads that drive quick sales) and brand-building (long-term credibility), what does that balance look like for comedians and creatives?

💡 Here’s the winning formula:

1️⃣ Use Digital Marketing for Targeted Growth ✔ Run Instagram or Facebook ads targeting comedy fans in your city. ✔ Use Google Search ads for “comedy shows near me” so people looking for entertainment find your event. ✔ Build an email list so you’re not fully dependent on social media algorithms to reach your audience.

2️⃣ Use Real-World Marketing for Credibility & Hype ✔ Print posters and flyers in high-traffic locations (venues, coffee shops, comedy clubs). ✔ Leverage partnerships with local businesses or media outlets. ✔ Encourage audience members to bring friends—word-of-mouth is still the #1 way comedy shows sell out.

🚀 The Hybrid Approach That Works Best 💻 Online marketing → Attracts new audiences, sells tickets efficiently. 📍 Offline marketing → Builds real-world credibility and deepens audience connection.

For comedians, this means thinking beyond just "going viral" online. You want to create a brand people trust and recognize, whether they see your name on a TikTok clip or a comedy club lineup.

Section V: How I’m Making This Work Even with AuDHD

Marketing as a comedian is already overwhelming, but doing it with an AuDHD brain is like running a marathon while juggling fire. There’s so much to keep track of—ads, algorithms, branding, audience engagement—it’s easy to spiral into analysis paralysis.

This course is forcing me to rethink how I approach marketing in a way that works with my brain, not against it.

1️⃣ Adapting My Attention Span to Digital Marketing

DTC brands thrive on short-form, high-impact content. They don’t waste time on broad, corporate messaging. They get straight to the point.

💡 Instead of trying to “be everywhere,” I’m narrowing my focus to platforms that align with how my brain works:

Threads for organic engagement (quick thoughts, community-driven convos).

Instagram for visual branding (graphics, promo materials, video clips).

TikTok for high-reach experiments (low-pressure, short-form content testing).

I don’t need to be on every platform perfectly—I need to be intentional.

2️⃣ Automating & Systemizing Marketing Tasks

📌 Repetitive marketing tasks drain my executive function. Scheduling posts, writing captions, engaging consistently—it’s easy to either hyperfocus or completely forget about them.

To combat this, I’m setting up: ✅ Batch content creation: Filming multiple clips in one session instead of scrambling for last-minute promo. ✅ Pre-written response templates: So I don’t get overwhelmed by responding to DMs, emails, or post comments. ✅ Scheduled engagement blocks: Instead of doom-scrolling and calling it “marketing,” I’m setting 30-minute timers to interact with my audience intentionally.

3️⃣ Treating Marketing Like Stand-Up

🎤 Here’s a secret: Marketing is a lot like writing jokes.

A punchline is just a headline with better timing.

A promo post is just a setup that needs a strong hook.

A marketing campaign is just a long-form bit that builds momentum.

Instead of feeling like marketing is “corporate” and unnatural, I’m treating it like a performance. A way to connect with my audience, test what works, and refine my voice.

🎭 For Other AuDHD Creatives & Comedians: ✔ If marketing overwhelms you, pick 1-2 platforms where you naturally enjoy creating. ✔ If you struggle with consistency, batch your content in advance and automate what you can. ✔ If you hate self-promo, treat it like a stand-up bit—engaging, experimental, and fun.

If there’s one thing I’ve learned from this module, it’s that marketing is a game. Legacy brands played it for decades with big budgets, mass media ads, and broad messaging. Then, DTC brands came in and flipped the script—small budgets, hyper-targeted ads, and direct audience engagement.

I used to think marketing was just throwing content at the wall and hoping something sticks. Now, I realize it’s about strategy. It’s about understanding how platforms work, how audiences behave, and how to use that knowledge to reach the right people at the right time.

And for the first time, I’m not just absorbing this information—I’m applying it to my career as a comedian. Every joke, every show, every post is an opportunity to refine my messaging, test what works, and build an engaged audience.

Oh, and I’m doing all of this with an AuDHD brain that wants to chase every dopamine hit possible. But instead of letting that overwhelm me, I’m using it to my advantage—treating marketing like stand-up, automating what drains me, and focusing on platforms that fit my creative flow.

Catch Up on the Other Posts from This Module:

📌 HDMS 001 - Why I Signed Up for a Harvard Marketing Course as a Comedian 📌 HDMS 002 - The Rise of DTC Brands & What It Means for Creatives 📌 HDMS 003 - Are DTC Brands a Fad or the Future of Marketing? 📌 HDMS 004 - What Harvard Taught Me About Customer Insights & Why Comedians Need Them 📌 HDMS 005 - R&D & Product Design: What Creatives Can Learn From DTC Brands 📌 HDMS 006 - Outsourcing vs. DIY: How Harvard’s Marketing Course Changed My Perspective

Follow for More Insights & Come See Me Live in Toronto!

If you’ve made it this far, you’re clearly just as nerdy about marketing & creativity as I am. So hit follow for more insights, and if you’re in Toronto, grab a ticket to one of my upcoming shows:

🎭 Haunted Comedians - Ghosts, hauntings, and comedy. What’s not to love? 👻 ❤️ Failed by Sex Ed - The sex ed we actually needed, with jokes. 🍆 🌎 Foreigner Diaries - Immigrant stories, culture shocks, and stand-up.

Follow me on socials @laurafaritos for personal life and @showlaurafaritos for creative and professional endeavours!!!

[laurafaritos]

HDMS006. Outsourcing vs. DIY: What Harvard’s Digital Marketing Course Taught Me About Scaling Creativity

So, as I’ve mentioned before, I’m taking a Digital Marketing Strategy course from Harvard Business School, and I’m applying every lesson to my creative career in real time. Now, we’re getting into production & manufacturing.

DTC brands don’t own factories. They don’t invest millions in R&D. They outsource. Why? Because it’s cheaper, faster, and lets them focus on branding, marketing, and storytelling. And as creatives, we should be thinking the same way.

Are you treating your creative work like a business?

Or are you trying to do everything yourself?

Keep reading to find out what Harvard taught me about outsourcing, delegation, and scaling as a creative—and how YOU can apply this knowledge as a comedian, writer, or artist!!! And also follow me for more content like this!!!

I. What Harvard Taught Me About How DTC Brands Handle Production

For most of history, if a company wanted to sell a product, they had to own the means of production.

Legacy brands like Procter & Gamble, Unilever, and Nike built massive factories to produce their own goods.

This gave them full control over quality, supply chains, and proprietary technology.

But it also meant high costs, slow production cycles, and limited flexibility.

Then came DTC brands.

Instead of building factories, they outsource manufacturing to third-party suppliers.

Instead of investing millions in R&D, they use customer insights to develop products quickly.

Instead of owning the supply chain, they leverage global manufacturers to stay flexible and cost-effective.

📌 Example: Dollar Shave Club When Dollar Shave Club launched in 2011, they didn’t spend years developing their own razors. Instead, they:

Partnered with a South Korean manufacturer to produce affordable, high-quality blades.

Focused their efforts on branding, marketing, and distribution.

Used a viral video campaign to dominate the market—without ever owning a factory.

📌 Example: Pattern Brands Pattern Brands follows the same strategy, working with global suppliers instead of producing in-house.

They source affordable raw materials.

They collaborate with specialized factories that already have expertise.

They focus on brand storytelling, customer experience, and direct engagement.

This outsourcing model allows DTC brands to scale faster, cheaper, and with less risk.

But what does this mean for creatives and comedians?

II. What This Means for Comedians & Creatives

At first glance, manufacturing might seem completely unrelated to comedy or creative work. But if you swap “product” for “content,” the parallels become clear.

DTC brands don’t build factories—they outsource to focus on storytelling, branding, and customer relationships. And creatives? We shouldn’t be trying to do everything alone, either.

What’s the “Production & Manufacturing” of a Comedian?

If you’re a comedian, writer, or creative, your "manufacturing process" includes:

Developing new material (writing jokes, testing bits, refining performances).

Producing content (filming reels, editing clips, publishing podcasts).

Promoting your work (posting on social media, booking shows, selling tickets).

Engaging with your audience (responding to comments, building community, growing your fanbase).

And here’s where most creatives burn out.

Because just like Nike wouldn’t try to sew every sneaker themselves, you shouldn’t be trying to write, edit, film, market, and perform all on your own.

The Outsourcing Mindset: How Creatives Can Apply DTC Production Strategies

DTC brands don’t waste time reinventing the wheel—they use existing systems to get their products to market faster.

📌 If a DTC brand wants to launch a skincare line, they don’t build a lab. They partner with an established manufacturer. 📌 If a comedian wants to grow an audience, they shouldn’t try to master video editing, graphic design, and social media alone. They should collaborate, delegate, or automate.

The key takeaway? The best creatives don’t do everything themselves—they build a system.

→ Next: How I’m Applying This to My Career as a Comedian.

III. How I’m Applying This to My Career as a Comedian

For most of my life, I thought being a successful comedian meant doing everything myself.

Writing. Performing. Editing. Marketing. Booking. Promoting. I believed that if I wasn’t handling every aspect of my career, I wasn’t “working hard enough.”

But here’s the truth: that mindset is a one-way ticket to burnout.

Harvard’s lesson on DTC production models made me realize something important:

🔹 DTC brands don’t manufacture their own products—they outsource to scale. 🔹 Comedians don’t need to do everything themselves—we can delegate, automate, and collaborate.

What This Looks Like in My Comedy Career

1️⃣ Outsourcing Video & Audio Editing

I record the content, but I don’t need to be the one manually editing every clip.

Instead of spending hours cutting footage, I’m exploring hiring an editor or using AI-powered tools to speed up the process.

2️⃣ Collaborating on Marketing & Promotion

DTC brands focus on branding and storytelling—I should be doing the same.

Rather than scrambling to design every graphic myself, I’m creating reusable branding templates and looking into design support.

3️⃣ Automating Where Possible

Scheduling content in advance = more time for writing & performing.

Using email templates & automated workflows for show bookings & sponsorship outreach.

The Biggest Lesson? Time is My Most Valuable Resource.

Just like DTC brands focus on their strengths (branding, storytelling, customer experience), I need to focus on mine:

✔ Performing. ✔ Writing. ✔ Building community.

If I spend all my time on admin, production, and marketing, I’ll have no energy left for what actually makes my career grow.

The best comedians (and creators in general) aren’t the ones who “grind the hardest.” They’re the ones who learn to work smarter.

→ Next: How Creatives with AuDHD Can Make This Work for Them.

IV. How Creatives with AuDHD Can Make This Work

If you’re a creative with AuDHD (Autism + ADHD), you probably already know that traditional productivity advice doesn’t work for us.

The whole "just outsource and delegate!" advice sounds great in theory. But in reality?

Decision paralysis: Where do you even start?

Executive dysfunction: You know you should delegate, but you keep putting it off.

Perfectionism: You worry no one else will do it right.

Budget concerns: Outsourcing costs money, and creative careers aren’t always stable.

So, how do we apply Harvard’s outsourcing lessons in a way that actually works for neurodivergent creatives?

1️⃣ Prioritize Your "Factory Tasks" vs. "CEO Tasks"

Think of yourself as a business owner.

There are two kinds of tasks in any business:

✅ CEO Tasks (Creative & High-Impact Work)

Performing, writing, networking, pitching sponsors.

This is what only you can do and what moves your career forward.

❌ Factory Tasks (Repetitive & Time-Consuming Work)

Editing, formatting, captioning, designing, scheduling.

This is what someone else can do, freeing up your time.

💡 The key is to protect your CEO time. If a task doesn’t require your unique creative input, it’s a candidate for outsourcing or automation.

2️⃣ Start with Automation Before Outsourcing

If delegating work to another person feels overwhelming, start with automation.

Social media scheduling (Meta Business Suite, Metricool).

AI-assisted transcription & captions (Descript, Otter.ai).

Pre-set email templates (for pitching, booking shows, following up).

These tools handle repetitive tasks so you can focus on the creative side.

3️⃣ Build a "One-Step-Removed" Collaboration System

A big AuDHD struggle is trusting other people to get things done—so instead of fully handing off work, start with a one-step-removed approach:

✅ Instead of hiring a full-time video editor, try a captioning tool first. ✅ Instead of outsourcing all your social media, create a template system so someone can post your designs. ✅ Instead of hiring a manager, use a CRM (Notion, Trello, Google Docs) to track gigs & networking.

This way, you test what works for you without feeling like you’re losing control.

4️⃣ Make It ADHD-Friendly: Body Doubling & Micro-Tasks

Outsourcing isn’t just about hiring people—it’s also about working with your brain, not against it.

Body doubling: Co-work with a friend or accountability partner while doing admin tasks.

Micro-delegation: If fully outsourcing feels overwhelming, break it down. Ask for one small favor at a time.

Lo-fi outsourcing: If hiring a professional is too expensive, try Fiverr, Upwork, or trading services with another creative.

The goal isn’t to offload everything at once—it’s to build a system that supports your creative process without draining your energy.

Harvard’s Digital Marketing Strategy course is making one thing very clear:

DTC brands scale by focusing on what they do best—branding, storytelling, and direct engagement. They outsource everything else to stay agile, efficient, and profitable.

As a comedian and creative, I’m realizing that I need to do the same.

🔹 If I want to grow my audience, I need to stop drowning in admin work. 🔹 If I want to monetize my content, I need to spend less time on busywork and more time creating. 🔹 If I want to scale my career, I need a system that supports me instead of draining me.

So that’s what I’m building.

📌 Next post: What Harvard taught me about marketing in the digital era—and how comedians can use these strategies to grow their audience.

Follow me for more insights from this Harvard course, adapted for creatives. And if you’re in Toronto, come see my upcoming live shows:

🎭 Haunted Comedians

💘 Failed by Sex Ed

🌍 Foreigner Diaries

Follow me on socials @laurafaritos for my personal life and @showlaurafaritos for creative and professional endeavours!!!

Tchau, tchau!!!

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