#DTCMarketing

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HDMS014. Should You Build or Borrow? What L’Oréal’s Strategy Teaches Comedians About Staying Competitive

If there’s one thing I’ve learned from Harvard’s Digital Marketing Strategy course, it’s that success isn’t just about being the best at what you do—it’s about being adaptable.

Big brands like L’Oréal could have gone all-in on launching their own DTC (direct-to-consumer) brands or acquiring existing ones. Instead, they took a smarter route: they borrowed the best aspects of DTC without trying to reinvent the wheel.

This got me thinking: as comedians, how often do we fall into the trap of thinking we have to “build” everything from scratch?

Do we need to create our own platforms, or should we leverage existing ones?

Should we chase the latest content trends, or should we refine what’s already working?

Can we take strategies that work for other industries—like DTC marketing—and apply them to stand-up, shows, or content creation?

Because let’s be real—comedians are not marketers by trade. But whether we like it or not, the comedy business is still a business. And the comedians who figure that out first are the ones who survive.

So in this post, we’re breaking down L’Oréal’s approach to DTC innovation and how you can apply the same strategy to grow your career—without burning yourself out trying to build everything from scratch.

I. How L’Oréal Built DTC Capabilities Without Starting a DTC Brand

When DTC brands first exploded, legacy companies like L’Oréal had two choices:

Compete head-on by launching their own in-house DTC brands.

Buy out successful DTC brands and integrate them into their portfolio.

But L’Oréal took a third approach—one that comedians and live show producers can learn from. Instead of starting from scratch or acquiring brands at high costs, they borrowed the best aspects of DTC brands and applied them to their existing business.

✅ They enhanced digital consumer engagement instead of trying to build entirely new communities. ✅ They accelerated e-commerce and direct sales instead of relying purely on retail. ✅ They improved personalization through AI-driven recommendations and beauty tech.

This allowed them to stay competitive without the financial risks of launching a completely new DTC brand.

Why This Strategy Worked for L’Oréal

L’Oréal realized that its biggest strengths weren’t about being the most “modern” or “disruptive.” Instead, they leaned into what they already had:

A massive, global audience.

Decades of brand trust.

Access to advanced research & innovation.

Deep marketing budgets that smaller DTC brands couldn’t match.

Rather than starting over, they simply modernized their approach—a key lesson that applies directly to comedians.

II. What Comedians Can Learn From L’Oréal’s Approach

L’Oréal’s decision to build DTC capabilities within their existing brands rather than launching entirely new ones offers a valuable lesson for comedians navigating their careers. The comedy industry, much like traditional business, has been disrupted by digital platforms, forcing comedians to rethink how they grow, market, and sustain their work.

One of the most significant takeaways from L’Oréal’s strategy is that comedians do not need to start over every time the industry changes. Instead, they can integrate new marketing strategies into their existing work. The rise of short-form video, direct-to-fan engagement, and self-produced content has given comedians the ability to bypass traditional gatekeepers in the same way DTC brands have bypassed retailers.

For comedians, this means leveraging personal branding, social media, and direct audience engagement rather than relying solely on comedy clubs, festivals, or industry validation. Just as L’Oréal adapted its marketing, distribution, and personalization techniques to remain competitive, comedians can build their own independent fanbases, increase direct engagement, and establish revenue streams that do not depend on external industry recognition.

Additionally, L’Oréal’s focus on community-driven marketing rather than mass advertising mirrors the way comedians must approach audience-building. Comedy audiences today are more fragmented than ever, and success depends on cultivating a loyal, niche fanbase rather than chasing mainstream appeal. L’Oréal’s decision to emphasize social engagement, influencer partnerships, and direct-to-consumer e-commerce highlights the importance of audience connection—something comedians must prioritize by engaging with fans beyond the stage.

Ultimately, L’Oréal’s model proves that modernization does not require reinvention. Comedians can apply the same principles by refining their approach, strengthening audience relationships, and using digital tools to create a more sustainable career without relying solely on industry gatekeepers.

III. How I’m Applying This in My Own Comedy Career

L’Oréal’s strategy of integrating DTC capabilities into their existing brands instead of launching entirely new ones resonates deeply with how I approach my career as a comedian. The lesson here isn’t about starting over every time a new platform or industry change emerges—it’s about adapting and evolving while building on what already works.

For me, this means recognizing that traditional comedy paths are no longer the only way forward. The industry has shifted, and comedians who rely solely on clubs, festivals, or talent scouts are limiting their reach. Instead of waiting for industry gatekeepers to grant opportunities, I’ve taken a direct-to-audience approach by integrating digital marketing, self-produced content, and community-driven engagement into my comedy career.

Much like how L’Oréal leverages audience data and online engagement to shape their marketing, I’ve structured my comedy business to operate with the same level of precision. This includes:

Audience Engagement Beyond Live Shows – Engaging with my audience through Instagram, Threads, and YouTube, creating consistent touchpoints rather than relying solely on stage performances.

Content Strategy That Reflects What Audiences Want – Using insights from my audience’s interactions to guide the type of content I produce, ensuring that what I put out resonates.

A Multi-Channel Approach to Comedy – Instead of limiting myself to traditional club circuits, I’ve built platforms that allow my work to be experienced digitally, through podcasts, videos, and written content.

Strategic Partnerships & Sponsorships – Similar to how L’Oréal collaborates with influencers and retail partners, I’m actively looking for partnerships that enhance my brand rather than dilute it, aligning with brands that share my comedic voice and values.

By integrating these digital strategies into my existing brand, rather than trying to reinvent myself with every trend, I’ve been able to maintain creative control while building a direct relationship with my audience—something that has proven far more sustainable than waiting for industry approval.

The key takeaway? Modernization doesn’t mean reinvention. Just as L’Oréal didn’t need to start a brand-new company to stay competitive, comedians don’t need to abandon their core skills to stay relevant—they just need to apply new tools to strengthen what they’ve already built.

IV. How I’m Managing This With AuDHD

Adapting my comedy career to incorporate digital marketing strategies isn’t just about keeping up with industry changes—it’s about building a system that actually works for my brain, not against it. The biggest challenge with AuDHD (Autism + ADHD) is that traditional business and marketing advice often assumes neurotypical energy levels, motivation patterns, and executive functioning skills.

That’s why, instead of forcing myself into a structure that burns me out, I’ve developed a workflow inspired by L’Oréal’s approach to DTC integration—taking the best parts of a system and making them work for me.

Here’s how I’m making this marketing-heavy strategy manageable with AuDHD:

Batching and Automation: Instead of trying to engage with my audience every single day, I create content in batches and schedule posts ahead of time. This reduces decision fatigue and helps me stay consistent even when my executive functioning crashes.

Energy-Based Task Management: Some days, my brain is on fire, and I can write five scripts in one sitting. Other days, I struggle to send a single email. Instead of expecting myself to function the same way every day, I organize tasks into low-energy, mid-energy, and high-energy categories so I always have something I can work on, no matter what state I’m in.

Leveraging Hyperfocus (Without Burnout): When I hyperfocus, I take advantage of that intense drive to create weeks’ worth of content at once. But I also have structured off-switches, like pre-set stopping points or accountability check-ins, to prevent myself from burning out.

Building a "Default Mode" for Marketing: Just like how L’Oréal integrated DTC strategies into its existing brands rather than creating something entirely new, I’ve designed my marketing system to feel like an extension of my creative process rather than a separate “business task.”

Example: Instead of seeing content creation as "marketing," I frame it as a natural extension of my comedy—whether it’s making funny Instagram posts, Threads, or YouTube videos that feel like part of my brand, not just promotion.

What this means in practice is that I don’t have to reinvent the wheel every day—I’ve built a structure that allows me to engage, promote, and grow my audience without constantly draining my energy.

The takeaway? If a system doesn’t work for your brain, the system is broken—NOT YOU. L’Oréal didn’t need to create a new company to compete with DTC brands; they just needed to adjust their approach while leveraging their existing strengths. In the same way, I don’t need to change who I am to succeed in marketing—I just need to build systems that work with my neurodivergence, not against it.

V. TL;DR & Final Takeaways

So, what can comedians learn from L’Oréal’s approach to building DTC capabilities without creating a new brand from scratch?

✅ You don’t need to “reinvent” yourself to adapt—you just need to integrate new strategies into what you’re already doing. L’Oréal didn’t start a separate DTC beauty company; they modernized their existing brands to compete in the digital age.

✅ Marketing is about relationships, not just sales. L’Oréal prioritized digital consumer engagement first, THEN scaled e-commerce and personalization. For comedians, this means building an audience who cares before worrying about monetization.

✅ Work smarter, not harder. L’Oréal used their strengths (brand awareness, distribution networks, R&D) rather than trying to operate like a scrappy startup. As a comedian, your strengths are your talent, personality, and unique comedic voice. Use those to your advantage instead of forcing yourself into generic marketing strategies that don’t fit.

✅ If a system doesn’t work for your brain, the system is broken—NOT YOU. Just like L’Oréal adapted DTC strategies to fit their company, comedians need to adapt marketing strategies to work with their neurodivergence, not against it.

At the end of the day, success isn’t about following a perfect formula—it’s about figuring out how to make the system work for YOU.

🛠️ Next Steps & Related Reads:

If you found this post helpful, check out these other posts in the series:

📌 [Buy or Build? What Harvard Taught Me About DTC Acquisitions (And What Walmart’s $235M Loss on Bonobos Can Teach Us About the Risks & Rewards)]

📌 [Should You Build or Borrow? What L’Oréal’s Strategy Teaches Comedians About Staying Competitive]

📌 [Comedy, Clicks & Customer Acquisition: Harvard’s Digital Marketing Breakdown]

🚀 Follow along for more breakdowns of Harvard’s Digital Marketing Strategy course—tailored for comedians!

[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."

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HDMS011. What L’Oréal’s Strategy Can Teach Comedians & Creators About Surviving Industry Disruption

So far in this series, I’ve broken down what I’ve been learning in Harvard’s Digital Marketing Strategy course and how it applies to comedians, content creators, and independent artists. We’ve covered:

The rise of DTC brands and why they changed marketing forever.

How comedians can apply DTC-style product design to their craft.

Why live shows are the comedy version of retail expansion.

How digital-first marketing helps comedians grow an audience.

The importance of customer experience in building a loyal fan base.

But now, we’re flipping the script.

For the last few posts, we’ve focused on how direct-to-consumer (DTC) brands reshaped the marketing world. But what about the big legacy companies that got disrupted by this wave of change? Did they just… give up?

Not quite. Some failed to adapt and died off, while others learned from DTC brands, evolved, and came back stronger.

One of the best examples? L’Oréal.

This post is all about how L’Oréal faced the DTC disruption, the strategies they used to fight back, and what comedians & creators can learn from it.

Because whether you’re a makeup empire or an indie comedian, the lesson is the same: Adapt or get left behind.

I. The Case Against DTC: Was It Just a Fad?

For years, direct-to-consumer (DTC) brands were seen as the future of marketing. They bypassed traditional retail, built direct relationships with customers, and leveraged social media to explode in popularity. But as the dust settled, cracks in the model started to show.

While some DTC brands succeeded, many struggled to sustain profitability and ended up failing, getting acquired, or shifting to more traditional strategies. This raises the question:

Was DTC just a temporary trend? Or did it truly change marketing forever?

Here’s why some argue that DTC was more of a fad than a lasting disruption.

1. The Death of Cheap Customer Acquisition

One of the biggest advantages DTC brands had was the low cost of digital advertising.

In the early 2010s, Facebook and Google ads were incredibly cheap. A brand could launch an Instagram campaign for a few hundred dollars and see massive returns.

But as more companies flooded digital marketing, costs skyrocketed. Ads became expensive, and DTC brands started struggling to acquire new customers profitably.

💡 Example: Casper, the mattress company, spent so much on advertising that they lost money on every sale. Even though their brand was successful, their business model wasn’t sustainable.

For comedians and independent creators, this mirrors the struggles of social media marketing today.

Early YouTube creators blew up with little competition. Now, it’s harder to stand out.

Instagram and TikTok used to provide free organic reach. Now, the algorithm favors paid ads, making it harder to grow without spending money.

2. DTC Brands Are Too Easy to Copy

Most DTC brands don’t own their supply chains or technology. They often white-label (buying pre-made products from manufacturers) and rely on strong branding to stand out.

The problem? Other brands can copy them almost instantly.

There are hundreds of DTC razor brands trying to be the next Dollar Shave Club.

The skincare industry is flooded with copycat brands selling nearly identical formulas.

Once a product goes viral, bigger companies can copy it at scale, leaving the original DTC brand behind.

💡 Example: After Dollar Shave Club disrupted the razor industry, Gillette responded by launching its own subscription model. Since Gillette already had the distribution network and brand trust, it was easy for them to win back customers.

For comedians, this is the equivalent of creating a viral joke that gets copied and repurposed by bigger platforms. Without ownership and differentiation, DTC brands—and indie creators—can lose control of their success.

3. DTC Brands Struggle to Scale

It’s easy to launch a small, niche DTC brand. Scaling it into a billion-dollar company? That’s the hard part.

Many DTC brands hit a growth ceiling. They reach $50M–$100M in revenue but can’t expand beyond that.

Unlike major companies, they lack retail distribution, mass-market recognition, and operational efficiencies.

The customer acquisition costs keep rising, making it harder to sustain growth.

💡 Example: Warby Parker, Glossier, and Allbirds were once seen as unstoppable DTC success stories. But as they tried to grow, they struggled with profitability, leading to layoffs, restructuring, and shifts in strategy.

For comedians and independent creators, this mirrors the challenge of turning an online audience into a sustainable career.

Many comedians blow up on TikTok or YouTube but struggle to convert followers into ticket sales.

Social media success doesn’t always translate into long-term financial stability.

Without a real business model, viral success can be short-lived.

4. The "Path to Profitability" Problem

Many DTC brands aren’t built to be profitable. Instead, they rely on venture capital (VC) funding to grow quickly, hoping to either:

Get acquired by a larger company (like Unilever buying Dollar Shave Club).

Go public and cash out before financial struggles catch up.

This model worked for a while, but as investors started demanding actual profits, many DTC brands collapsed.

💡 Example: Away Luggage was once the “future of travel,” but behind the scenes, they struggled with mismanagement and unsustainable growth. The brand was burning through millions just to keep up appearances.

For comedians and indie creators, this is a warning against chasing viral fame without a long-term strategy.

Some TikTok comedians blow up overnight, but without real audience connection, they fade away.

Many creators rely too much on sponsorships instead of building their own revenue streams.

The key to sustainability isn’t just growth—it’s profitability.

5. The DTC Bubble Burst?

In recent years, many once-hyped DTC brands have shut down, laid off employees, or been acquired for far less than their peak valuation.

This has led some experts to call the entire movement a bubble that has popped.

Investors have pulled back.

Brands that depended on digital ads are struggling.

Retail expansion is proving harder than expected.

So… is that it? Was the DTC revolution just a temporary marketing trend that worked until digital ads got too expensive?

Not quite.

Because while some DTC brands failed, others adapted—and thrived.

Next, we look at the case for why DTC is here to stay—and how it has permanently changed marketing.

II. The Case for DTC: A Permanent Disruption in Marketing

While many DTC brands have struggled, the direct-to-consumer model itself isn’t dead. It has permanently changed how brands approach marketing, customer relationships, and product development.

Here’s why DTC isn’t just a trend—it’s a fundamental shift in how businesses operate.

1. Consumer Behavior Has Permanently Shifted

The way people interact with brands has changed forever. Customers are no longer blindly loyal to the biggest names—they seek out brands that feel:

Authentic – They want to buy from brands that share their values and personality.

Personalized – They expect tailored recommendations and unique shopping experiences.

Community-Driven – They want to engage with brands like fandoms, not just as customers.

DTC brands understood this shift early, while legacy brands are still trying to catch up.

💡 Example: Glossier didn’t just sell beauty products—it created a movement. Customers weren’t just buying makeup; they were participating in a brand identity shaped by their own feedback and engagement.

🔗 How This Applies to Comedians & Creators:

People don’t just want to watch comedy—they want to feel connected to comedians.

Social media allows comedians to build personal brands, interact directly with fans, and cultivate a loyal community.

The old model of waiting for a TV deal is gone—comedians who engage directly with their audience have more control over their careers.

2. Lower Barriers to Entry = More Opportunities

Before digital marketing, only big companies could afford the advertising and retail space necessary to compete.

DTC changed that. Now, anyone with a good idea can launch a brand.

Shopify, Amazon FBA, and TikTok Shop allow small brands to compete with industry giants.

Social media replaces expensive ad campaigns.

AI-driven marketing tools make it easier than ever to launch a brand with minimal resources.

💡 Example: Before digital platforms, a new makeup brand would need a massive budget for product development, retail deals, and TV commercials. Now, a beauty influencer can launch a brand from their bedroom using Shopify and Instagram ads.

🔗 How This Applies to Comedians & Creators:

Before social media, comedians needed gatekeepers (TV execs, club owners, festival bookers) to get noticed.

Now, comedians can bypass the system by growing their own audience directly.

You don’t need a Netflix special to succeed—you need fans who care about your work.

3. Brands No Longer Need Retail Gatekeepers

Traditional brands relied on retail stores like Walmart, Sephora, and Best Buy to reach customers.

DTC brands broke this model by selling directly to consumers through their own websites and social media.

No need to negotiate shelf space with retailers.

No need to split profits with third-party stores.

Direct customer relationships lead to better loyalty and repeat sales.

💡 Example: Gymshark went from a small fitness clothing brand to a $1B company without ever being in traditional stores.

🔗 How This Applies to Comedians & Creators:

The old model: Get booked in clubs, get a TV spot, build a career through industry approval.

The new model: Build a following online, sell tickets directly to fans, and create your own success.

Instead of waiting for gatekeepers to validate your work, you build your own audience and control your career.

4. Digital Marketing Is More Cost-Effective Than Traditional Advertising

While digital ads have gotten more expensive, they’re still far more efficient than TV, print, or billboard advertising.

Facebook and Google Ads allow brands to target highly specific audiences.

TikTok’s algorithm gives new brands exposure at no cost.

Influencer marketing is often more effective than traditional ads.

DTC brands use data-driven marketing, A/B testing, and AI automation to optimize their strategies in ways that legacy brands still struggle to match.

💡 Example: Unlike traditional brands that spend millions on Super Bowl ads, DTC brands spend small budgets strategically on hyper-targeted digital ads, influencer collaborations, and viral content.

🔗 How This Applies to Comedians & Creators:

Instead of spending money on flyers, posters, or TV ads, comedians can grow an audience with Instagram Reels, TikTok clips, and YouTube Shorts.

Social media rewards engagement, not just money—a comedian with strong audience interaction can go viral with zero budget.

By testing different types of content, comedians can see what works instantly and adjust their strategy in real-time.

5. The Power of Community-Driven Brands

One of the biggest advantages of DTC brands is their ability to foster community.

Instead of just selling products, they create spaces for people to engage, share, and interact.

Consumers feel like part of the brand’s journey, rather than just buyers.

This leads to higher loyalty, repeat sales, and word-of-mouth marketing.

💡 Example: BarkBox (the DTC pet brand) realized their customers loved watching their dogs open subscription boxes. So, they leaned into this, encouraging customers to share their unboxings—which turned into free viral marketing.

🔗 How This Applies to Comedians & Creators:

Successful comedians don’t just have viewers—they have communities.

People don’t just follow comedians for jokes—they follow them for personality, relatability, and authenticity.

Engaging with fans (responding to comments, involving them in content decisions, creating inside jokes) strengthens the connection.

So… Is DTC a Fad or the Future?

💡 The answer? Both.

Some DTC brands were built unsustainably and failed.

Others adapted and changed marketing forever.

DTC isn’t just a business model—it’s a shift in how brands engage with consumers. Even legacy companies are now adopting DTC strategies to stay relevant.

The lesson? The power is shifting from corporations to creators.

🔗 What This Means for Comedians & Creators:

You don’t need industry validation to succeed. You need an audience that cares about you.

Social media and direct engagement have leveled the playing field. You can now reach fans without relying on TV networks, comedy clubs, or traditional gatekeepers.

Branding isn’t just for businesses—it’s for comedians too. How you engage with your audience shapes your success more than ever before.

DTC marketing isn’t just about selling products—it’s about building relationships. And in the world of comedy and content creation, that’s the real key to long-term success.

III. How Established Brands Are Adapting to DTC Marketing

As DTC brands continue to reshape the market, legacy companies have two choices: adapt or become obsolete. Instead of resisting the DTC movement, many major brands have adopted DTC strategies to stay competitive.

Here’s how traditional brands are evolving to survive in a direct-to-consumer world.

1. Acquiring Successful DTC Brands

Many major corporations didn’t try to compete with DTC brands—they bought them instead. This allows legacy companies to leverage the DTC brand’s digital expertise while giving them access to larger distribution networks.

💡 Examples:

Unilever acquired Dollar Shave Club for $1 billion to gain a foothold in the DTC razor market.

Nestlé acquired Freshly, a meal delivery startup, to expand into DTC food services.

P&G acquired Native Deodorant to tap into the natural skincare trend.

Pros of this strategy: ✅ Instant access to a loyal customer base – No need to build an audience from scratch. ✅ Proven business models – The acquired DTC brand already has strong product-market fit. ✅ DTC expertise – Legacy brands learn from the agile marketing and direct engagement strategies of DTC startups.

Cons of this strategy: ❌ Risk of losing the DTC brand’s authenticity – Many acquired DTC brands lose their original identity once under corporate control. ❌ High acquisition costs – Buying a successful DTC brand can be expensive, especially for publicly traded corporations.

🔗 What This Means for Comedians & Creators:

The comedy industry is seeing similar trends. Netflix, HBO, and Comedy Central now acquire comedians who build strong digital brands instead of just scouting club comedians.

Instead of waiting to be discovered, comedians can build an audience first, then negotiate from a position of power.

A strong personal brand makes it easier to sell out live shows, secure sponsorships, and attract industry attention.

2. Launching In-House DTC Brands

Some legacy companies don’t want to buy DTC brands—they want to build their own. Instead of acquiring existing brands, they create new ones from scratch that operate with the same agility and marketing strategies as DTC startups.

💡 Examples:

P&G Ventures launched new skincare and wellness brands without attaching the P&G name to attract younger audiences.

Visa Ventures invests in DTC finance tools that bypass traditional banking models.

ZX Ventures (Anheuser-Busch) created niche craft beer brands instead of relying only on Budweiser.

Pros of this strategy: ✅ Full creative control – Brands don’t risk diluting the authenticity of an acquired startup. ✅ No need for costly acquisitions – They can develop DTC brands in-house with internal resources. ✅ Direct access to younger consumers – New brands allow legacy companies to reach audiences who avoid big corporations.

Cons of this strategy: ❌ Takes time to build traction – Unlike buying a DTC brand, launching a new one requires building an audience from scratch. ❌ High risk of failure – Many in-house DTC brands don’t resonate with consumers and fail before gaining traction.

🔗 What This Means for Comedians & Creators:

Many comedians start as part of an industry “machine” (TV networks, talent agencies, production companies).

Some break away to create independent brands. Example: Andrew Schulz built a digital-first audience, bypassing TV networks, and now sells out arenas.

Creators who build their own platforms (YouTube, Patreon, Substack) own their audience and revenue instead of relying on gatekeepers.

3. Integrating DTC Strategies into Existing Brands

Instead of buying or launching DTC brands, some legacy companies are modernizing their existing brands by adopting DTC-style marketing, digital engagement, and direct sales strategies.

💡 Examples:

Nike launched Nike Direct, a DTC platform that allows customers to buy directly from the brand instead of through retailers.

L’Oréal enhanced digital engagement with AI-driven beauty recommendations, virtual makeup try-ons, and influencer collaborations.

Coca-Cola launched a subscription service, Coke Insiders Club, where fans received exclusive new flavors before they hit shelves.

Pros of this strategy: ✅ Leverages brand recognition – Consumers already know and trust the brand. ✅ Avoids expensive acquisitions – No need to buy an existing DTC startup. ✅ Expands brand reach – Direct engagement helps legacy brands connect with younger, digital-first consumers.

Cons of this strategy: ❌ Difficult internal restructuring – Many legacy brands aren’t built for direct customer engagement. ❌ Takes time to implement – Switching to a DTC-friendly model requires major investment in digital infrastructure.

🔗 What This Means for Comedians & Creators:

The traditional comedy industry (TV networks, late-night shows, major comedy clubs) is trying to adapt to the rise of independent comedians.

Some legacy institutions (Netflix, HBO, Just for Laughs) are integrating influencer-style marketing, social media clips, and direct-to-fan engagement to remain relevant.

Comedians who adapt to digital platforms while still leveraging traditional institutions have the best chance of success.

Which Strategy Works Best?

Each of these strategies has strengths and weaknesses. The most successful companies use a combination of all three to stay competitive.

For comedians, the parallel lesson is clear:

Some comedians get “acquired” by the industry (Netflix deals, HBO specials, agent representation).

Some comedians launch their own “DTC brands” (Patreon, self-produced specials, YouTube channels).

Some comedians integrate traditional & digital strategies (touring clubs while growing an online audience).

In today’s entertainment landscape, waiting for industry approval is no longer necessary. Comedians and creators who embrace DTC strategies have more control, more opportunities, and greater long-term potential.

IV. How I’m Applying This to My Own Career

Learning about how legacy brands adapt to the DTC model has helped me refine how I approach my own career as a comedian, producer, and content creator. While comedy and consumer brands may seem like completely different industries, the same fundamental marketing principles apply.

Here’s how I’m adapting these lessons to build a sustainable creative career:

1. I’m Treating Myself Like a Brand (Because I Am One)

Legacy brands like Nike and L’Oréal don’t just sell products—they sell an identity. They use storytelling, emotional connection, and community-building to stay relevant.

💡 How I’m Applying This:

I’m not just a comedian who performs live shows. I’m a content brand.

My work isn’t just stand-up—it’s a mix of comedy, storytelling, and education about themes like relationships, horror, and immigration.

I’m building a community, not just an audience. The difference? An audience watches. A community participates. That’s why I focus on engagement, not just content output.

✅ Takeaway for Comedians & Creators:

Your brand is more than your work. It’s the emotion and experience you create.

Instead of just promoting gigs, sell the experience of being part of your world.

Think beyond your immediate content—what story are you telling about yourself?

2. I’m Not Waiting for Industry Approval

DTC brands don’t wait for retailers to give them shelf space. They go direct to the consumer. Similarly, comedians no longer need TV networks or industry gatekeepers to validate them.

💡 How I’m Applying This:

I’m building my own platforms (YouTube, podcast, newsletters, live shows) instead of waiting for permission to succeed.

I’m designing my content strategy around direct-to-audience engagement, rather than chasing industry validation.

My goal isn’t just to “get booked.” It’s to create demand so venues want to book me.

✅ Takeaway for Comedians & Creators:

Stop waiting for someone to “discover” you. Build something worth discovering.

Create content and own your audience. Don’t rely on industry gatekeepers.

Comedians who succeed today aren’t just funny. They’re smart marketers.

3. I’m Diversifying My Revenue Streams

Legacy brands that survive industry disruption don’t rely on one product. They expand their offerings to increase their income streams.

💡 How I’m Applying This:

Live shows are just one part of my business. I also create digital content, write longform posts, and develop monetizable assets like sponsorships, Patreon, and digital products.

I’m not limiting myself to one platform. I’m growing my audience across social media, podcasts, YouTube, and live events.

I’m thinking like a business owner, not just a performer. Comedy is my product, but my brand is what makes it sustainable.

✅ Takeaway for Comedians & Creators:

If your income depends on one thing, you’re vulnerable.

Think beyond ticket sales—merch, digital content, Patreon, sponsorships, and licensing can add revenue.

Your creative work is valuable. Find multiple ways to make it pay.

4. I’m Learning from Digital Marketing, Not Just Comedy

Many comedians focus only on their craft but ignore marketing, branding, and audience building. The problem? No one can enjoy your work if they never find it.

💡 How I’m Applying This:

I’m studying digital marketing as seriously as I study comedy.

I’m using SEO strategies, email lists, and social media growth tactics to ensure my work reaches the right people.

I analyze which content performs best, why, and how to improve engagement.

✅ Takeaway for Comedians & Creators:

Being funny isn’t enough—people have to find you.

Marketing isn’t selling out. It’s how you connect with your audience.

If you don’t learn digital marketing, you’ll always be at the mercy of algorithms, clubs, or industry gatekeepers.

V. How I’m Managing This with AuDHD

Balancing creativity, marketing, business, and live performances is a huge challenge for anyone—but it’s even more complex when you have AuDHD (Autism + ADHD). The strategies that work for neurotypical creators often don’t apply to me. Instead, I’ve had to develop systems that align with my brain while still allowing me to build a sustainable comedy career.

Here’s how I make it work:

1. I Use My Hyperfocus to Build in Batches

One of the biggest strengths of AuDHD is hyperfocus. When I’m locked in, I can get more done in a week than most people do in a month. But the challenge is inconsistency—when I burn out, I struggle to keep up.

💡 How I’m Applying This:

I batch-create content when I’m in a hyperfocus sprint. Instead of posting daily, I work ahead so I can schedule things in advance.

I record multiple podcast episodes or write multiple blog posts at once, taking advantage of my productive streaks.

I automate as much as possible so my business runs even when I need to rest.

✅ Takeaway for Neurodivergent Creators:

Use your hyperfocus strategically. If you know you’ll have energy bursts, plan around them.

Batch content creation helps prevent burnout. If you work ahead, you can rest without guilt.

Your best work happens when you work with your brain, not against it.

2. I Protect My Energy by Eliminating Unnecessary Tasks

Executive dysfunction makes small admin tasks feel impossible. Instead of wasting energy forcing myself to do them, I simplify or automate.

💡 How I’m Applying This:

I use templates for everything—emails, sponsorship pitches, show descriptions—so I don’t start from scratch every time.

I eliminate tasks that don’t directly move me forward. If something isn’t essential, I let it go.

I delegate where I can. Even with limited funds, I look for ways to offload tasks (e.g., using AI to generate first drafts of content).

✅ Takeaway for Neurodivergent Creators:

Not all tasks deserve your energy. Prioritize only what truly matters.

Templates save mental bandwidth. Use them for outreach, social media, and admin work.

If something feels impossible, find a way to simplify or automate it.

3. I Design My Workday Around My Natural Productivity Cycles

With AuDHD, forcing myself into a strict 9-5 structure doesn’t work. Some days, my brain is ON, and I get 10 hours of work done in 3. Other days, basic tasks feel overwhelming. Instead of fighting this, I structure my work around my natural cycles.

💡 How I’m Applying This:

I don’t schedule deep-focus work in the morning. My brain isn’t fully functional until later in the day.

I alternate between high-energy creative work and low-energy admin tasks. This helps me maintain momentum without burning out.

I give myself permission to rest when I need to. Pushing through burnout only leads to worse crashes later.

✅ Takeaway for Neurodivergent Creators:

Work with your energy cycles, not against them. If your brain works best at night, schedule deep work then.

Alternating tasks can help prevent overstimulation or exhaustion.

Resting when needed leads to better long-term productivity.

4. I Use Interest-Based Motivation to Keep Myself Engaged

ADHD makes boring tasks unbearable. If I’m not interested, I simply can’t force myself to focus. So instead of relying on discipline or willpower, I hack my motivation by making tasks more engaging.

💡 How I’m Applying This:

I gamify boring tasks (e.g., timing myself to see how fast I can edit a podcast episode).

I combine tasks I dislike with things I enjoy (e.g., listening to my favorite playlist while doing admin work).

I frame marketing as storytelling instead of “work.” This makes it feel like a creative outlet, rather than a chore.

✅ Takeaway for Neurodivergent Creators:

Make boring tasks more engaging. Gamification, music, or changing the environment can help.

Reframing tasks can shift your mindset. Instead of “I have to market myself,” think: “I get to tell my story.”

If you hate doing something, find a way to make it fun—or delegate it.

After breaking down Harvard’s Digital Marketing Strategy course, I’ve learned that DTC (Direct-to-Consumer) brands weren’t just a trend—they completely rewrote the marketing playbook. Even though many early DTC brands struggled to scale, the way they approached customer engagement, branding, and direct sales has permanently changed how businesses connect with audiences.

And honestly? Everything I’ve learned applies just as much to comedy and creative work as it does to business.

💡 Here’s the biggest lesson I’m taking away: Success isn’t just about having the best product (or in my case, the best jokes). It’s about understanding your audience deeply, building a relationship with them, and delivering value in a way that feels personal and engaging. Whether that’s through social media, live shows, or digital content—comedians, like DTC brands, need to create experiences that make people feel connected.

How This is Transforming Me as a Comedian & Creator

Taking this course while running my own comedy shows, producing a podcast, and managing my content has been one of the most intense but rewarding experiences of my career.

I’m thinking more strategically about how I market myself—not just posting content randomly, but building a real community that cares about my work.

I’m learning to work WITH my AuDHD instead of against it, finding ways to create consistency while still allowing for flexibility.

I feel more in control of my career than ever. Instead of waiting for gatekeepers to give me opportunities, I’m building my own.

And the best part? I know I’m just getting started.

How Comedians & Creators Can Apply This Knowledge

If you’re a comedian, content creator, or creative entrepreneur, here’s what you can take away from all of this:

✅ Your career is a business. Whether you like it or not, if you’re trying to make a living from your art, you’re running a brand. Learn from DTC brands and take control of your audience, marketing, and distribution.

✅ Build direct relationships with your audience. Don’t rely on algorithms or gatekeepers to put you in front of people. Engage with your community. Make them feel like they’re part of something.

✅ Leverage digital tools to market yourself. If brands can build multimillion-dollar businesses through smart content, storytelling, and digital marketing, so can comedians. The tools are there—learn how to use them.

✅ Be adaptable. The entertainment industry is changing rapidly. Comedians who treat themselves like independent brands will thrive. Those who don’t? They’ll get left behind.

This wraps up the DTC Value Chain section of Harvard’s Digital Marketing Strategy course!

📌 Next up, we’ll dive into how legacy brands (like L’Oréal) are adapting to the rise of DTC—and what comedians and creators can learn from them.

Missed a previous post? Catch up here: 🔗 HDMS001: Why I Took Harvard’s Digital Marketing Course as a Comedian 🔗 HDMS002: The Rise of DTC Brands—What Creators Can Learn 🔗 HDMS003: Customer Insights & How They Apply to Comedy 🔗 HDMS004: What Comedians Can Learn from DTC R&D & Product Design 🔗 HDMS005: The Comedy of Scaling—Production & Manufacturing Lessons 🔗 HDMS006: Comedy, Clicks & Customer Acquisition 🔗 HDMS007: From Clicks to Comedy Clubs—Selling an Experience 🔗 HDMS008: Comedy & Distribution—Why DTC’s Direct Model Matters 🔗 HDMS009: The Stand-Up Comedy of Customer Experience 🔗 HDMS010: The Final Verdict—DTC Fad or Future?

Let’s Keep the Conversation Going!

📩 What do you think? Have you ever applied business or marketing concepts to your creative career? 🎤 Comedians & Creators—What’s your biggest challenge when it comes to marketing yourself?

Let me know in the comments or DM me—I’d love to hear your thoughts!

🔁 If you found this post helpful, share it with another creator who needs to hear this!

[laurafaritos]

HDMS009. Customer Experience Is Everything: What Harvard’s Digital Marketing Course Taught Me About Building an Audience That Stays

So, here’s the thing: selling a product is one thing. Getting people to stay? That’s a whole different beast.

This week, I’m diving into something every business (and, honestly, every comedian) needs to master: customer experience.

As I’ve mentioned before, I’m taking a Harvard Digital Marketing Strategy certificate course, and I’m documenting everything I learn—not just from an academic standpoint, but how it applies to me as a comedian and creative.

So far, I’ve covered:

I Can’t Believe I’m Taking a Harvard Course—But Here’s Why I’m Doing It as a Comedian

Everything Harvard Taught Me About DTC Brands

DTC Brands: A Fad or the Future of Marketing?

What Harvard Taught Me About Customer Insights—And Why It Matters for Comedians & Creatives

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

Comedy, Clicks & Customer Acquisition: Harvard’s Digital Marketing Breakdown

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

Now, we’ve arrived at the final stage of the DTC value chain: customer experience.

What happens after someone buys your product, buys a ticket to your show, or follows you online? How do you turn a one-time buyer into a lifelong fan? And most importantly—how can we, as creatives, build audiences that actually stick around?

Let’s get into it.

I. The Final Stage of the DTC Value Chain: Why Customer Experience Matters

At this point in the Harvard Digital Marketing Strategy course, we’ve covered how DTC brands create products, market them, and distribute them. But none of that means anything if the customer experience is bad. The final—and arguably most critical—step of the DTC value chain is customer experience.

For traditional brands, customer experience usually happens indirectly—through retailers like Walmart, customer service hotlines, or mass-market advertising. There’s little personal interaction.

DTC brands, on the other hand, bypass middlemen and own the relationship with their customers. They don’t just sell a product; they create a journey. The entire experience—from first Instagram ad to unboxing to post-purchase support—is designed to feel seamless, personal, and engaging.

How DTC Brands Redefined Customer Experience

Here’s how direct-to-consumer brands flipped the script:

1️⃣ They talk with their customers, not at them.

Traditional brands advertise; DTC brands interact.

Social media, DMs, email newsletters—DTC brands use two-way communication instead of just pushing messages.

2️⃣ They use direct feedback to improve constantly.

Instead of waiting for surveys and sales reports, they analyze real-time customer behavior (site visits, reviews, social engagement) and adjust fast.

3️⃣ They prioritize experience over just selling a product.

It’s not just about the thing you’re buying—it’s about how it makes you feel.

Think of brands like Glossier, BarkBox, and Warby Parker—the unboxing experience, personalized messaging, and brand communities are just as important as the product itself.

This shift isn’t just about good service—it’s a marketing advantage. A satisfied customer becomes a loyal customer. A loyal customer becomes free marketing. And free marketing becomes a competitive edge.

In other words? Customer experience isn’t an afterthought—it’s a strategy.

II. How DTC Brands Build Unbreakable Customer Loyalty

For legacy brands, customer loyalty is built through habit. You buy the same toothpaste because it’s the one your parents used. You grab the same cereal because it’s always on the shelf at the grocery store. The product is familiar, available, and reliable—so you keep buying it.

But DTC brands don’t have the advantage of shelf space or ingrained consumer habits. They have to create customer loyalty from scratch—and they do it by making their customers feel seen, heard, and valued.

1️⃣ They Make the Customer the Hero of the Brand

Traditional brands say: "We’re the best! Buy from us." DTC brands say: "You're the best. We're here to help you."

Look at brands like Glossier and BarkBox—they amplify their customers' voices through user-generated content (UGC). Instead of telling people what to buy, they showcase real people using their products. This creates community and belonging rather than just a transaction.

🛑 Lesson for Comedians & Creatives: Comedy fans don’t just want to watch your content—they want to feel part of it.

Encouraging audience interaction (polls, Q&As, behind-the-scenes content) fosters community.

Featuring user-submitted content (like fans reacting to your jokes or sending in funny stories) turns customers into collaborators.

Making inside jokes that your audience “gets” makes them feel like insiders.

2️⃣ They Reward Engagement with More Than Just a Product

A purchase isn't the end of the journey—it’s just the beginning.

DTC brands keep customers engaged through:

Loyalty programs (e.g., Sephora Beauty Insider—customers feel invested in the brand).

Referral bonuses (e.g., Uber’s “Give $10, Get $10” model—turns customers into marketers).

Personalized recommendations (e.g., Spotify Wrapped or FabFitFun's customized boxes).

🛑 Lesson for Comedians & Creatives: Your fans want more than just your content—they want to feel like they’re part of your journey.

Reward loyal followers with exclusive perks (early access to tickets, VIP content).

Turn engagement into a two-way relationship (shoutouts, audience polls, responding to comments).

Personalize experiences where possible (think: Spotify Wrapped but for your comedy shows).

3️⃣ They Master the Art of the Post-Purchase Experience

With traditional brands, the customer journey ends at checkout.

With DTC brands, checkout is just the beginning.

Fun packaging makes unboxing an experience (BarkBox’s packaging turns delivery day into an event).

Well-crafted email sequences keep customers excited about their purchase (Glossier sends beauty tips after you buy).

Fast, hassle-free returns build trust (Amazon’s seamless return system keeps people buying).

🛑 Lesson for Comedians & Creatives: The post-purchase experience applies even if you’re not selling a physical product.

After a live show, keep engagement going with thank-you emails, clips, or bonus content.

After a new video, engage in the comments and start a conversation.

If someone buys merch, make the experience memorable with a handwritten note or a bonus sticker.

In short? Loyalty isn’t just about what you sell—it’s about how you make people feel before, during, and after the purchase.

III. How This Applies to Me as a Comedian

At first glance, it might seem like customer experience is something only brands and businesses need to worry about. But in reality, comedy is a business, and audience experience is everything.

For comedians, our product isn’t just our jokes—it’s the entire experience we create for our audience.

Think about the last time you went to see live comedy.

What made the experience great?

Was it just the jokes, or was it the atmosphere, the energy, and the connection with the comedian?

Did you feel like the comedian was just performing at you, or were they engaging with you, reading the room, and making you part of the show?

This is where DTC-style customer experience thinking comes in.

1️⃣ Audience Engagement is Everything

DTC brands thrive by building relationships, not just selling products. Comedians thrive by building connections, not just delivering punchlines.

A good comedian doesn’t just tell jokes—they read the crowd, engage, and adapt. A good content creator doesn’t just post clips—they interact, reply, and build a community.

How I Apply This:

I don’t just put on live shows—I create experiences. I think about everything from the venue vibe to the post-show engagement.

I don’t just post comedy clips—I interact with my audience on Threads, Instagram, and YouTube to make them feel like they’re part of the journey.

I test material in real time (much like DTC brands test products) by seeing what gets laughs, what flops, and what needs tweaking.

2️⃣ The "Post-Purchase Experience" in Comedy

DTC brands don’t stop marketing once a customer buys something—they keep nurturing the relationship so that customer becomes a fan for life.

Comedians need to do the same.

When someone buys a ticket to your show, that’s just the beginning of their experience with you.

Are you keeping them engaged after the show? (Sharing clips, running polls, responding to comments?)

Are you making it easy for them to come back? (Email reminders, early ticket sales, loyalty discounts?)

Are you giving them a reason to tell their friends? (Shareable moments, referral perks, inside jokes?)

How I Apply This:

After every live show, I make sure attendees have a reason to stay engaged. Whether it’s a recap video, a social media post, or a follow-up email, I keep the experience alive.

I use social media like a DTC brand would—not just to promote shows but to build community.

I take note of what my audience responds to and iterate my content based on real feedback.

Comedy isn’t just about jokes—it’s about the relationship between comedian and audience. And if DTC brands can teach us anything, it’s that the best relationships aren’t transactional. They’re built over time.

IV. How I’m Making This Work Even with AuDHD

If there’s one thing I’ve learned from both this Harvard course and my own neurodivergent brain, it’s that traditional business models aren’t designed for people like me.

Most marketing strategies, business structures, and customer engagement frameworks assume: ✔ A linear way of working ✔ A neurotypical understanding of focus & consistency ✔ A predictable routine for audience-building

But here’s the thing: my brain doesn’t work like that.

1️⃣ The Chaos of Multi-Tasking vs. The Power of Hyperfocus

DTC brands thrive because they use real-time feedback loops to adapt fast. I thrive because my AuDHD brain loves hyperfixating on new ideas and testing what works.

How I Make It Work:

Instead of fighting my inconsistent energy levels, I lean into them—I batch content on my hyperfocus days and schedule it in advance.

I build engagement in ways that don’t require daily burnout—automated email sequences, scheduled posts, and bite-sized audience interactions rather than forcing myself to post long, structured content every day.

I set up systems so that even when my brain refuses to function, my business keeps running.

2️⃣ Rejection Sensitivity & the Art of Not Taking Bombing Personally

One of the biggest hurdles for comedians and entrepreneurs alike is handling rejection. For someone with AuDHD and rejection-sensitive dysphoria (RSD), that hurdle is a mountain.

DTC brands survive by iterating—they don’t launch a product once and never improve it. They test, adjust, and refine. Comedy works the same way—except instead of testing products, we’re testing jokes, timing, and audience reactions.

How I Make It Work:

I remind myself that a bombed joke isn’t a failure, it’s data. Just like DTC brands adjust based on customer feedback, I adjust my sets based on audience reactions.

I practice emotional detachment from immediate results—not every show is a hit, just like not every ad campaign is a success. The key is adapting, not quitting.

I give myself permission to step away when my brain needs a break, knowing that consistency is about long-term sustainability, not daily output.

3️⃣ Overstimulation, Understimulation & Finding the Right Environment

DTC brands curate customer experiences based on how people want to interact with them. I have to curate my work environment based on how my brain wants to interact with the world.

How I Make It Work:

If I can’t focus at home, I change environments—cafés, co-working spaces, different rooms in my apartment.

I use body doubling techniques (silent work streams, co-working with friends) to trick my brain into task-mode.

I don’t force myself to work in the 9-5 structure—I embrace my natural hyperfocus cycles and get weeks of work done in bursts.

Final Thought: The DTC Model is the AuDHD Model

DTC brands have revolutionized business by breaking traditional models. They adapt fast, they engage differently, and they meet customers where they are.

And honestly? That’s the only way I’ve been able to survive as a comedian with AuDHD.

I don’t fit into legacy business models, and I don’t force myself to work like a legacy employee. Instead, I build my own systems—ones that work with my brain, not against it.

V. What I’ve Learned & Why It Matters

If this Harvard course has taught me anything so far, it’s that the business world is evolving—and so am I.

✅ DTC brands are rewriting the rules of marketing. They don’t wait for retail approval or industry validation—they go straight to their audience and build relationships on their own terms.

✅ Customer experience is everything. Whether you’re a stand-up comedian, a podcast host, or a small business owner, people don’t just buy products or tickets—they buy experiences. They invest in the way you make them feel.

✅ Success doesn’t come from following outdated rules. It comes from adapting, testing, iterating, and finding what works for YOU. DTC brands thrive because they understand their audiences, engage directly, and create meaningful interactions. The same goes for comedy, content creation, and personal branding.

And most importantly?

✅ I am doing the damn thing. I am taking a Harvard course. I am learning, adapting, and figuring out how to apply these insights to my career. I am balancing this intense learning experience while running a creative business and managing AuDHD.

And I’m freaking proud of myself for it.

This wraps up Module 1 of Harvard’s Digital Marketing Strategy Course. If you’ve been following along, here’s what we’ve covered so far:

📌 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 – DTC Brands Are Changing Everything: What Harvard Taught Me About Direct-to-Consumer Marketing 📌 HDMS 003 – Fad or Future? What Harvard’s Digital Marketing Course Says About the Sustainability of DTC Brands 📌 HDMS 004 – Customer Insights: What Harvard Taught Me About Understanding Audiences as a Comedian & Creator 📌 HDMS 005 – What Harvard’s Digital Marketing Course Taught Me About R&D and Product Design—And How Creatives Can Apply It 📌 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 – From Clicks to Comedy Clubs: What Harvard’s Digital Marketing Course Taught Me About Selling an Experience

Next up? We’re moving on to Module 2: Digital Customer Acquisition.

Stay Connected & Support My Work

🎟️ Want to see me live? Come to my comedy shows in Toronto! Haunted Comedians, Failed by Sex Ed, and Foreigner Diaries are all happening soon.

📩 Love this series? Follow me here or sign up for my newsletter—I’ll be dropping more insights, behind-the-scenes content, and real talk about making it as a creative in today’s digital world.

💬 Let’s talk! What’s been your biggest takeaway from this series so far? Drop a comment, send me a DM, or just scream into the void. I’ll probably hear it.

Tchau, tchau!!!

[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!!!

[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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