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I'm Phed (@phedeu). I have been posting videos online for 15+ years. This is everything I ever posted, in one place.

7,293 posts15 years 9 chapters62 sections

01

How YouTube Actually Works

The algorithm isn't a lottery and it isn't unfair. It's a prediction engine with one job, and once you know what it optimises for the platform stops being mysterious.

Is the YouTube algorithm random?

No. It's one of the most sophisticated recommendation systems ever built, and none of it is chance.

  • You keep treating a prediction engine like a lottery ticket. You upload, you hope, and when nothing happens you blame the algorithm. That's why you can't predict your own results — you never learned what the machine is actually trying to do.

    This is the difference between the people who grow and the people who've been "trying YouTube" for three years. It's not talent and it's not luck. One group is running experiments against a system they understand, and the other is buying tickets and getting upset when the numbers don't come up. It is not random, and the moment you understand what it optimises for, the whole platform becomes readable.

  • Its only job is keeping viewers watching. Not rewarding your effort. Not being fair. Not "pushing small channels". It exists to help over a billion people find something worth watching inside a library that grows every second. Every complaint you have about fairness is a complaint about a job it was never given.
  • Effort is not an input. You can spend eight hours editing and the system will not know or care. It measures what happened to the viewer, not what happened to you. This is the single hardest thing for creators to accept and the fastest way to stop wasting your time.
  • It's a feedback machine, not a judge. Every upload is an experiment and every video teaches the system something about what you are. Most people fail because they treat YouTube as a performance — one shot, get it right, get rewarded. Treat it as trial and error and you stop taking the results personally.
  • Being predictable is what gets you paid. Stay clear and consistent and YouTube will hand you all the virality in the world, because clarity makes its recommendations safer. You're not posting into a void. You're feeding a system that remembers everything.

What is YouTube actually optimising for?

Expected watch time per impression. Not views, not clicks, not quality.

  • Ranking by clicks would just reward lying. If click-through were the target, the winning strategy would be deceptive thumbnails, and the platform knows it. A video can pull a million clicks and be worthless if everyone leaves after fifteen seconds. So the system scores something harder: if I show this to this viewer, how much satisfaction does it produce?
  • Satisfaction is inferred, never measured. YouTube almost never gets ground truth on whether you enjoyed something. It models satisfaction indirectly through noisy signals — watch time, clicks, behaviour — and asks a chain of questions: did they click, did they stay on the platform, did it turn into a binge, did they come back tomorrow.
  • The thumbnail earns the click. The video proves you deserved it. Those are two separate jobs and you have to win both. Ranking decides whether you get the next impression, which means a good thumbnail on a weak video actively costs you future reach.
  • Stop optimising "content" and start optimising satisfaction per impression. They sound like the same thing and they aren't. One is about how good you think the video is. The other is about what the viewer did after they clicked.

How does YouTube decide who sees your video?

Two stages. One network narrows millions of videos down to a few hundred for that viewer, a second ranks those few hundred.

  • You are not competing with all of YouTube. This is the reframe that changes everything. Ranking every video on the platform for every viewer is computationally impossible, so it never happens. You compete inside your candidate pool — and getting into the right pool matters more than being better than the pool.
  • Stage one is retrieval. The system takes the viewer's activity history and pulls a small subset of broadly relevant videos. If someone watches football every day and you post a football documentary, you are very likely in that subset. If you're not in the pool, nothing else you did matters.
  • Stage two is ranking inside a moment, not in general. The same person at 11pm on a TV is in a completely different psychological state than at 9am scrolling a phone. One is lean-back binge mode, the other is killing time. Same viewer, different demands, different winner.
  • The signals feeding that decision are contextual. What they've watched recently, what similar users watched next, whether they're on mobile, desktop or TV, how long the session has run, how fresh the video is, whether they clicked, and whether they stayed.
  • This is why YouTube feels psychic. It isn't witchcraft and it isn't watching you through your phone. It's personalisation at a scale most people can't picture.

Why do two nearly identical videos get completely different results?

Because the algorithm doesn't rank on quality. It ranks on context — where your video lands inside YouTube's internal map of content.

  • Every video gets dropped into a map of everything else. The system doesn't see a file. It sees a set of patterns — title, tone, topic, pacing, voice, structure — and places you next to whatever feels similar. That placement decides who you get compared to and what you get shown beside.
  • You're judged against your neighbours, not the trending tab. You are never competing with global YouTube. You're competing with whatever the system thinks you most resemble. Weak neighbours and you win by default. Elite neighbours and you'd better be better than them.
  • Tiny differences move you to a different neighbourhood entirely. Different title means different click behaviour. Different thumbnail means different expectations. Different metadata means different initial classification. Different channel history means different embedding bias. Four small changes, four completely different baselines.
  • Your first thousand impressions are the handshake. If early viewers bounce, you get filed near weak and chaotic content. If they stay and binge, you get upgraded into stronger clusters. That's where compounding starts, and it starts far earlier than people think.
  • Two creators, same topic, same script, opposite outcomes. Not luck and not quality. One got ranked next to bangers and the other got buried next to flops. Same video, wrong context.
  • The system isn't asking "is this good?" It's asking "what is this like?" Once you internalise that question you stop trying to deserve views and start trying to be legible.

What are embeddings and why should a creator care?

YouTube turns users, videos and searches into vectors — a mathematical map of taste where similar things sit close together.

  • This is why taste jumps categories that look unrelated. Someone watching football scandals suddenly gets basketball controversies. The topics aren't the same at all, but the satisfaction pattern is identical, and satisfaction is what the map is built on.
  • The real unit isn't the niche. It's the satisfaction cluster. Not categories, not tags, not what you'd write on a business plan. Clusters of things that scratch the same itch for the same person.
  • Your packaging sets your coordinates before anyone watches. Title, description and even your transcript shape where you land on the map. Same video, slightly different framing, different position, different competition, different result — with nothing about the actual content changed.
  • Channel history acts like a magnet you can't switch off. Your previous uploads anchor you. Change niche, tone or format too fast and you get dragged back toward your old embedding. This is the real reason pivots flop, and why people blame the algorithm for punishing them when it's just doing what it was built to do.
  • You don't win by being good. You win by being good in the right cluster. Same video, different placement, different outcome. It's not what you made, it's where the system thinks it belongs.

How does YouTube treat a brand new channel?

It doesn't trust you, and it starts forming an opinion before you upload anything.

  • The observation begins before your first video exists. When you create a channel, YouTube has no context — it doesn't know who you are, what niche you belong to, or how viewers should react to you. So instead of pushing your videos it quietly watches. Most new creators think nothing counts until the first upload goes live. By then the system already has a view.
  • What you watch helps classify you. Brand new accounts get partially categorised on their viewing behaviour even with zero uploads. The system looks at what topics you consume, how long you stay, and whether your behaviour looks focused or scattered. Two fresh channels do not start on equal footing — one already fits a clear ecosystem and the other doesn't.
  • So warm the account up on purpose. Before you upload anything:
    1. Watch 10–30 videos in your niche, properly, not skimmed.
    2. Let them play through — watch depth is one of the strongest signals available, and finishing tells the system far more than clicking.
    3. Verify your phone number and email. Unverified behaviour reads as a consumer, verified reads as a builder.
    4. Keep it focused. If the watch history is random the model stays fuzzy. If it's consistent the system gets confident.
  • Don't behave like a bot. A bot creates an account and immediately starts posting. Details matter more than people think at this stage, and none of this is about tricking anything — it's about looking like a real viewer and a real creator inside one ecosystem.
  • You're not hacking the algorithm, you're training it. YouTube builds an internal model of your channel before distribution ramps up, and that model decides who your videos get tested on and how hard. Clean signals mean clean testing. Noisy signals mean slow growth.

Why do your first ten uploads matter so much?

They're your algorithmic résumé. They teach the system your niche, your pacing and who sticks around — and once that model sets, undoing it takes real time.

  • Inconsistency early gets encoded into the model. If your first ten videos are unfocused, the system's understanding of you is unfocused too, and that confusion is what gets used to decide your future reach. It's not impossible to recover, but you want to play the odds rather than fight your own history.
  • Early performance sticks around far longer than people expect. Initial retention and topic clarity shape your channel's embedding, and that embedding drives recommendations for months. Bad structure quietly suppresses reach in the background. Good structure quietly compounds.
  • Random behaviour kills momentum. Switching styles, posting at unpredictable times, deleting videos — all of it confuses a system that is actively trying to work out what you are. Consistency in topic, format and pacing builds algorithmic trust faster than any spike ever will.
  • Virality is the wrong goal at the start. Your first videos aren't there to blow up. They're there to teach YouTube who your content is for. Clarity beats virality, session depth beats view count, and consistency beats experimentation chaos.
  • Treat the first ten like a blueprint the system has to follow. Not ten attempts at a hit. Ten pieces of evidence about what kind of channel this is.

Why do fresh videos sometimes explode?

Because the system needs freshness. Hours of video get uploaded every second, and users prefer new — though not at the expense of relevance.

  • Timing is a genuine lever and most people ignore it. Hit a topic cycle at the right moment and a merely average video can explode. Miss the cycle and the algorithm won't care how good it was. This is the mechanic behind trend-jacking working spectacularly sometimes and doing nothing at all other times.
  • Freshness never overrides relevance. Being new doesn't rescue you from being in the wrong cluster. It's a multiplier on correct placement, not a substitute for it.
  • Plan around predictable cycles instead of chasing random ones. Q4 is the obvious one — it arrives at the same time every year, which means you research, produce and schedule ahead of it rather than scrambling during it.

Does YouTube favour certain political content?

Yes, measurably — and not in the way either side assumes. I went through the largest algorithmic audits ever run on the platform, and the bias shows up in distribution rather than in bans.

27 videos vs 2
what it took to push a test account into far-left territory, against pushing one out of far-right
  • The research is genuinely large-scale, not a vibe. Two audits — Wojcieszak et al. (2022) on ideologically extreme content, and Ribeiro et al. (2023) on US political lean — built over 100,000 sock puppet accounts across five positions from far left to far right. Each bot watched 100+ politically aligned videos and then followed YouTube's recommendations through homepage and autoplay.
  • Fresh accounts get nudged before they do anything. Brand new accounts with no watch history saw homepage recommendations that were mostly centre or mainstream left. Far right and far left content was close to invisible. You don't have to click anything to be pointed somewhere.
  • The asymmetry is the actual finding. It took 27 videos to shift a bot into far-left territory, but only 2 videos to push one out of far-right. The system resists right-leaning classification and holds onto left-leaning patterns considerably longer.
  • The misinformation explanation doesn't hold up. Researchers ran a fake-news detection model across 11.5 million videos to test it. Flagged content was negligible in volume and distributed roughly evenly across left and right. So the difference isn't about truth or trust — it's algorithmic preference.
  • Autoplay only radicalises in one direction. Following the up-next trail without clicking anything, right-leaning bots saw exposure to very-right content rise 37% over 20 recommendations. Left-leaning bots stayed flat. Passive drift exists, but it isn't symmetrical.
  • Cross-cutting content flows one way too. Once trained, homepages became echo chambers on both sides — but left-leaning bots were still shown some right-leaning videos, while right-leaning bots saw almost nothing from the left.
  • Even mainstream sources diverge. Bots trained only on Fox News ended up seeing alt-lite and conspiracy recommendations. Bots trained only on MSNBC mostly saw mainstream or neutral content. Same starting method, different algorithmic future.
  • You don't need a strike to lose your reach. This is the part that matters if you make news or commentary. Three things can happen with no warning, no flag and no penalty on your dashboard:
    1. You stop appearing on the homepage.
    2. You get excluded from autoplay trails.
    3. New users never discover your niche in the first place.
  • What to actually do with this. If you're in political or news content, your reach problem may be structural rather than something you did wrong — so diagnose distribution before you rewrite your whole format. Judge your videos against others in your own lane, and treat owned channels like email and your own site as the part nobody can quietly throttle.

What should a beginner actually do with all this?

Reverse-engineer the context you're uploading into instead of guessing at it. Good content plus good alignment is what produces exponential reach — neither one alone does.

  • Study the winners in your specific niche context. Not winners in general, not whoever is biggest on the platform. The channels competing for the same viewers in the same moments you are.
  • Reverse-engineer the actual numbers before you make anything:
    1. Average retention in your niche.
    2. The video length YouTube seems to favour there.
    3. The upload frequency the top channels stick to.
    4. Title and thumbnail patterns that are driving CTR right now.
    5. The emotional tone that consistently gets rewarded.
  • Every niche has its own algorithmic fingerprint. If your niche is true crime, 20–45 minutes is normal. If it's memes, 90 seconds is long. Break the expectation the system has learned for your space and you get punished for it.
  • Be original within what already works. Not just original — that's how people make things nobody has any context for. Originality inside a framework the niche already rewards is what actually compounds.
  • Then run the loop. Build an idea machine out of outliers, package as a clear promise, hook fast, deliver satisfaction continuously, and iterate relentlessly. That's the whole 80/20.
02

Faceless YouTube

The model I've run for 15 years. What a faceless channel actually is, why it compounds when personal brands burn out, and the order you're supposed to do things in.

What is a faceless YouTube channel?

A channel that doesn't depend on a personal brand — growth comes from the workflow behind it, not from one person showing up.

  • The words came after the thing. When I started, around 15 years ago, nobody said "automation" or "faceless". It was just a large part of how YouTube already worked. The terminology arrived when people started selling courses about it, which is worth remembering when someone tells you it's a new opportunity.
  • YouTube was never only gamers and vloggers. It hosts an enormous range of content, and that range matters more every year as traditional television keeps moving online. The advertisers followed the viewers, and the money followed the advertisers.
  • "Automated" is a misleading word for it. Nothing runs itself. There's a team or a workflow doing every part of the job — the only thing missing is a personality on camera. If someone sells you automation as passive income they are describing something that doesn't exist.
  • Any topic with a high enough viewer ceiling can become one. Sports, drama, celebrity, finance, gaming, mini-documentaries. The format travels almost anywhere, which is exactly why niche selection matters more than the model itself.
  • The average person knows what dropshipping is and has never heard of faceless YouTube. That asymmetry has been the whole opportunity for years, and it still hasn't closed.

Why choose faceless over a personal brand?

Because one burns out and the other compounds. Personal brands depend on the creator. Faceless brands depend on the workflow.

  • A personal brand is a single point of failure. If the entire thing depends on one person, then an injury, an emergency or any sudden life change takes the brand down with it. You have built a job that cannot be delegated, paused, or sold.

    And it never stops being one. The bigger it gets the more it depends on you personally, so success makes the trap tighter rather than looser. You can't sell it, you can't hand it over, and you can't stop — which means what you've built isn't really an asset, it's a very well-paid job with no notice period.

  • The top 0.0001% escape this and everyone else doesn't. A handful get big enough to become larger than their own brand and launch products on top of it. The other 99.999% are relying on showing up, shooting, and always being there. Look at how many of them are still doing it five years later.
  • Scalability is the actual argument. A faceless brand can run multiple channels across multiple niches with multiple people, because nothing is bottlenecked on a face. One burns out. The other compounds.
  • This is not an argument that personal brands are bad. They will never go out of style and the ceiling on them is higher. It's an argument about what a single person can realistically scale without becoming the product.
  • The era of having to show your face to grow a brand is over. It has been for a while. People just keep repeating advice from a version of the internet that stopped existing.

What roles does a faceless channel actually need?

Ideation and research, script writing, voice over, editing, thumbnail design, channel management. That's the full version, not the starting version.

  • Six people are not required and you should stop assuming they are. That's an option you take once you've scaled enough to outsource everything and buy back your attention for quality control. It is the end state, not the entry fee.
  • I run channels making five figures a month where I personally do five of those six roles. The roles are jobs that need doing, not headcount you need to hire. Treat the list as a checklist of skills, not a payroll.
  • Every one of those roles is learnable in weeks, not years. People treat editing and thumbnail design as specialist crafts requiring a hire. They're skills with a very steep early learning curve and enormous returns to being merely competent.

Should you learn the craft or hire a team first?

Learn first. This is the single most common mistake I see — people start their faceless journey at the "scale" part.

  • You will never run a team well if you can't do their jobs better than they can. That's the entire argument and it isn't about discipline or paying dues. It's that you cannot brief, evaluate or correct work you don't understand, so you end up paying for output you're unable to judge.
  • Building a team from scratch gets expensive very fast. Especially before anything is working, when you have no revenue and no idea which parts of the process are actually broken. You'll burn your runway paying people to do the wrong thing well.
  • The cost of learning it yourself is close to zero and the upside is uncapped. Learn editing for video production, learn design for your thumbnails, master script writing. Then go over the full process again and again on your own.
  • Every successful YouTuber I know did everything themselves before outsourcing. I watch people just starting out trying to assemble teams of five or six. They are doing it exactly backwards and it's the most expensive way to learn a cheap lesson.
  • When you do hire, hire against a style, not a role. Post the reference you want matched and ask for portfolios rather than descriptions. Don't be afraid to give people a chance — you'll find genuinely good work at prices you don't expect.

Is faceless YouTube still worth starting?

Yes. It's very likely the best "make money online" business model available, and I've been through enough waves to compare it honestly.

  • The margins aren't comparable to anything else being sold. A shorts channel I ran cost roughly $20/day to operate at about 93% profit margins. You do not get that in dropshipping or in most of what gets loudly promoted online, and nobody advertising those models leads with their cost line.
  • The market changes, it doesn't close. You can still get viral videos by adjusting to the market. What stops working is the specific tactic — a thumbnail trend, a script format, a loophole. The model underneath keeps working, which is why people who mistake a tactic for the model keep announcing it's dead.
  • I've been through the first dropshipping wave, the first automation wave and the first ebook wave. I'm telling you this one has a longer tail than any of them, because it's attached to a platform that pays out rather than a traffic source you're renting.
  • It rewards people who simply stay. A lot of the people making real money now have been in this bubble for a year or more. The only difference between them and you is that they kept showing up after it stopped being exciting.

What does "digital real estate" actually mean?

Every video is an asset that pays out 24/7, indefinitely, long after you stopped touching it.

$30 a day
still arriving from a single upload nearly a year after I posted it
  • The compounding is slow and then obvious. One video I posted was still making around $30/day nearly a year later. Another was still doing about $20/day 121 days after upload. One from 2018 was still generating revenue five years on. None of them needed anything from me after the day they went live.
  • Three uploads a week is 156 income-producing assets in a year. That reframe is what makes consistency feel like building instead of grinding. You're not chasing a hit, you're accumulating inventory.
  • Even at a dollar a day per video the arithmetic gets silly at volume. Run the numbers on having hundreds or thousands of videos live simultaneously. That's the entire reason scale is worth the operational pain.
  • You don't get to know which seeds grow. Some die at 10–100K views, some pass a million, and you cannot reliably tell in advance which is which. Plant every day, collect forever, and stop trying to pick winners before the data exists.

What's the biggest mistake beginners make?

Quitting at ten videos — right at the point where the data was about to become useful.

  • There is no such thing as failure here, only people who didn't adjust. I watch people upload five to ten videos, not get the result they imagined, and disappear. They didn't fail at YouTube. They quit before the sample size meant anything.
  • The loop is the whole job:
    1. Upload ten videos in your niche.
    2. Review the data honestly and find what actually underperformed.
    3. Fix that specific thing.
    4. Double down hard on whatever outperformed.
    5. Upload ten more and run it again, indefinitely.
  • Trial and error is not a phase you graduate out of. No matter what I or anyone else teaches you, without your own reps against your own audience you are not going to make it. The teaching shortens the loop, it doesn't replace it.
  • The wall is normal, not a verdict. Most videos hit a ceiling and slow down. The ones that punch through are where the money is, and you cannot get those without producing the ones that don't.
03

Picking a Niche

The most-asked question I get and the one people answer worst. Riches really are in the niches — just not the niches you're currently looking at.

How do you pick a niche that actually makes money?

Three filters in order: a niche you understand, a niche with a high ceiling, a niche with a high CPM. Fail the first and the other two can't save you.

  • Pick something you actually understand. If you don't get the niche and the culture of the people watching it, your videos will never land with them — you'll produce something that looks correct and feels wrong. The rule I keep coming back to: don't make videos that you, as a viewer, wouldn't watch.
  • Stop trying to copy my niches or anyone else's. It's the first instinct and it's the wrong one, because you're inheriting the output of someone else's filters without the understanding that made it work. Run the filters yourself and find your own.
  • Test the ceiling before you commit. The rule of thumb I use: do new channels entering this niche get more views on average than they have subscribers? If yes, there's room and the algorithm is still willing to distribute to strangers. If no, the niche is closed to newcomers regardless of how good you are.
  • High ceiling means a genuinely wide audience. If you love kite surfing but not enough people do, don't make kite surfing videos. You'll cap out at a number that has nothing to do with your ability.
  • Sub-niches let you have both specificity and reach. "YouTube automation with AI" sits inside finance, but it doesn't restrict you to YouTubers — anyone interested in making money online is a candidate viewer. That's the shape you're looking for: narrow enough to own, broad enough to scale.

What makes a niche high-CPM?

Who the advertisers are trying to reach. Start looking at YouTube as a business instead of as a viewer.

$27 RPM
the ceiling I've hit. At that rate 370,000 views a month is $10,000
  • Advertisers pay for English-speaking adults likely to spend money after seeing an ad. That's the entire mechanism, and every CPM difference you've ever noticed comes back to it. You're not being rewarded for quality, you're being priced by your audience's wallet.
  • Finance gets absurd CPMs for a boring reason. Stock exchanges, trading platforms and course sellers spend more on customer acquisition than almost any other industry, so they bid the price up. The high CPM is a symptom of their margins, not of the content being good.
  • The age of your audience is the fastest tell. Making videos for 8–15 year olds? Advertisers largely aren't interested. Making business content for 25+? They are. You can predict most of your RPM before you've made a single video.
  • I've hit $27 RPM, which changes the maths entirely. At that rate you need roughly 370,000 views a month to clear $10K. The niche matters far more than the view count, and chasing views in a cheap niche is how people end up with millions of views and no money.
  • Understanding why finance pays well is not a recommendation to make finance videos. It's the reasoning you should apply to whatever you actually understand.

Should you stop making finance documentaries?

Yes — if the only reason you picked it was hearing the RPM is high. That's the most crowded bad decision in this space.

  • Joining the finance niche to upload "top 10 richest people" is not a business. You are entering the most contested space on the platform with no advantage, no understanding and nothing that makes a viewer come back. Building an audience that recognises your brand and returns is a business. That isn't.
  • Find an industry you understand, then work out how to build a brand inside it. Tell stories that create an actual audience rather than chasing whatever has the highest advertised CPM this quarter.
  • Shiny does not mean profitable. Becoming the next big 3D animation documentary channel sounds great and is usually a negative-EV play — a decision that loses money on average over the long run, even when the occasional winner is spectacular.
  • The unglamorous niches are where the money is. It's the same reason the millionaires in those street interviews always say waste management or pest control rather than something impressive. Nobody competes for the boring thing, which is precisely why it pays.
  • Stop opening YouTube to consume and start opening it to look for angles. The more you look the more patterns you see, and the more patterns you see the more money you make.

Should you diversify across niches or dominate one?

Dominate one. This is my biggest single piece of advice and the mistake I watch people repeat most.

  • Stop trying to do everything at once. You will very likely never find success — and can go broke on the way — if you believe your first ten channels should be diversified. You're not spreading risk, you're guaranteeing you're mediocre everywhere.

    I understand the instinct completely, because every niche you look at has someone winning in it and it feels like you're leaving money on the table by picking one. You're not. Ten half-built channels in ten niches is ten sets of packaging instincts you never developed, ten audiences you never learned, and ten formats you never nailed down.

  • Shiny object syndrome is what's actually happening. Trying to take basketball, NFL, football and gaming simultaneously feels like ambition and functions as avoidance. You never stay anywhere long enough to get good.
  • Master one craft, one niche, one market — then scale from there. Dominate that niche repeatedly. Cover every vertical angle it contains. Only then move to the next thing.
  • "But that's what you do" — yes, and I'm 14 years in with a large team. What I do now is not the starting position, and copying someone's current behaviour instead of their sequence is how people get stuck.
  • Diversification protects breadcrumbs. There is genuinely less risk in running more channels — a niche can stall, audiences lose interest. But the wealthiest people I know are not diversified. Find the thing that works and put everything into it.
  • I've owned six channels inside a single niche. That's what dominating actually looks like in practice — not one channel per idea, but complete coverage of one market.

Would you rather own ten channels at $5K or one at $50K?

One channel at $50K, easily. Then scale it by launching sub-niche channels off the back of it.

  • A winning channel is a platform, not a finish line. Sub-niche channels launched off a proven one inherit the audience understanding, the format knowledge and the packaging instincts you already paid for. Starting a channel in a new niche means paying that tuition again from zero.
  • The trade-off is real and I'm not pretending otherwise. More channels genuinely does spread risk. Niches stall, formats age, audiences move. Being diversified is fine.
  • But concentration is where outsized outcomes live. Not having all your eggs in one basket is excellent advice if you're chasing breadcrumbs, and bad advice if you're trying to build something. Find what works, double down.

What about demonetisation risk?

Overblown. The reaction is wildly out of proportion to the actual risk every single time a wave hits.

  • It's rare if you play by the rules, not a coin flip. People treat every demonetisation wave as evidence the model is dying. It's evidence that automated enforcement is imprecise, which is a different problem with a different solution.
  • Around 99% of demonetisations had successful appeals. That tells you almost everything — it was mostly automated systems misfiring rather than genuine enforcement against genuine violations. Appeal, don't panic.
  • Where you genuinely do get punished: going aggressive on misinformation and on big names. Plenty of channels have already learned that one expensively, and those aren't the cases getting overturned on appeal.
  • Quality control is the real defence. Being the last channel standing in a niche that just got cleared out is an actual outcome, and it comes from not cutting the corners everyone else cut.
04

Ideas & Packaging

Where most videos are won or lost before anyone presses play. How to find ideas that are already proven, and why a format beats a topic every single time.

How do you come up with viral video ideas?

Stop inventing and start remixing. I look at the highest-ceiling channels on the platform, because a large audience has already proof-checked the concept for me.

  • The method is three steps and it works in every niche.
    1. Build a watchlist of high-ceiling channels — big audiences, trending niches — that are not in your niche but run concepts you could replicate.
    2. Check whether the concept has already travelled into other niches. The more places it has been copied, the larger your sample size and the safer the assumption that the concept itself is what works.
    3. Replicate it in your own niche, in your own packaging.
  • Sports channels are my default source. Enormous audiences, fast-moving formats, and concepts that port cleanly into completely unrelated subjects. A structure that works for football highlights usually works for something that looks nothing like football.
  • You're validating the concept, not the topic. When you see an idea working in four different niches you're no longer guessing whether people want it. You're just deciding whether you can execute it.
  • This isn't new to YouTube or even to the internet. If something works, double down on it — that has been true since television. The only people who find this uncomfortable are the ones who think originality is the product.
  • Stop opening YouTube to consume. Open it to scroll and hunt for angles. The more you look, the more patterns you start observing, and the more money you make.

How important is packaging compared to the video?

Good packaging turns an average video into a multi-million view video. It isn't a finishing touch, it's a large share of the outcome.

  • Packaging sends signals before anyone has watched anything. Your title, description and even your transcript shape where the algorithm places you, and placement decides who you compete against. You are choosing your competition at the moment you write the title, not when you upload the file.
  • The thumbnail's job is the click. The video's job is proving you earned it. Both have to land. A brilliant thumbnail on a weak video doesn't just underperform, it teaches the system not to trust your next impression.
  • Simplicity beats complexity far more often than people expect. Some of the best-performing thumbnails I've collected are dramatically simpler than what creators assume high effort should look like. Detail loses to contrast in a crowded feed.
  • The thumbnail completing the title is the most reliable pattern I know. Neither element carries the idea on its own — together they close a loop the viewer has to open the video to finish. That's the whole mechanic.
  • A white background will take you places in most niches. It's not a design opinion, it's that it stops the scroll against a wall of dark, busy competitors.

What separates a format from a topic?

A topic gets someone through the door. A format is what makes them stay and come back.

  • Finance is a topic. This is a format: a calm narrator walks you through one company's rise and fall in exactly eight minutes, same intro, same music, same visual rhythm, ending on a question the next video answers. One of those is a subject. The other is a machine.
  • A niche is not a format either, and this is where almost everyone stalls. People test voiceover tools, optimise thumbnails, study analytics dashboards and research CPMs — all before answering the most basic question available: what is my format?

    A topic gets someone through the door. The format is what makes them stay, and more importantly what makes the next video feel necessary rather than optional. Answer the format question first and every other decision — length, pacing, thumbnail style, upload rhythm — stops being a guess.

  • The competitive advantage is a repeatable structure. A visual language consistent enough to recognise in a single frame. A rhythm that trains your audience to expect uploads. An architecture that turns every individual video into a chapter of something larger rather than a standalone attempt.
  • If a viewer can't identify your structure within three seconds of clicking, the foundational work isn't done. No amount of production polish, niche optimisation or AI tooling compensates for a missing format. You'll just produce nicer versions of something forgettable.
  • The channels that win on format are relentlessly boring about it. Same length, same voice, same pacing, same thumbnail style, every day for years. The content changes constantly, the container never does — and the container is what people subscribe to.

What's the structure behind an addictive video?

Four beats. They show up in every serialised format that has ever worked, regardless of subject.

  • Beat one: disruption. The first three to five seconds break a pattern. Something unexpected appears and a gap opens in the viewer's understanding that their brain instinctively wants closed. You don't give them time to decide whether they care — by the time they've processed what they're looking at, they're already watching.
  • Beat two: escalation. The situation complicates, new elements appear, the stakes rise. On a finance channel this is the "here's where it gets worse" section. On a horror channel it's the tension build. Identical mechanic, different paint, and the viewer's brain won't let them leave before finding out where it goes.
  • Beat three: the flip. A reveal or reversal that makes everything before it look different. This is the moment that justifies the click. The viewer feels rewarded for staying, and that reward trains them to believe your next video will pay out too.
  • Beat four: the incomplete close. Resolve the immediate tension but leave a genuine open question — not a cheap cliffhanger. Give them 80%. The remaining 20% is what brings them back, and the brain's craving for closure does the work for you.
  • This isn't a trick, it's how attention functions. The brain seeks closure on open patterns. Every creator who consistently retains an audience is running some version of this loop, and most of them don't know they're doing it.

Why does serialisation convert so well?

Because when a viewer needs the next episode to resolve the last one, they subscribe out of necessity rather than loyalty.

  • The format manufactures the need. Characters carry over, stakes escalate, new factions appear, alliances form and break. Episode 41 is meaningless without 1 through 40 — and that's not a flaw, it's the most powerful subscriber conversion mechanism available on the platform.
  • Removing barriers compounds the effect. Content that needs no dialogue, no context and no language works identically for a kid in Brazil and a kid in Indonesia. Zero barrier to entry from the first frame, and that accessibility multiplies with every episode you add.
  • Nobody subscribes because of your topic. They subscribe because of the loop. If your videos are independent, each one has to win the audience from scratch forever.

Does quality matter?

It matters, but it's one variable and not the most important one.

  • The comfortable story creators tell each other is a lie. Good content rises, bad content falls, the algorithm eventually rewards quality — none of that is true as stated. Quality is one input among several, and it's not the one with the largest coefficient.
  • What people say they value and what they actually watch are different things. Ask anyone and you'll get a noble answer about well-researched, thought-provoking work. Then at midnight, with nobody watching, they binge something absurd until their phone dies. That gap is where every large audience in history has been built.
  • This does not mean making garbage. It means wrapping genuine substance in a package that matches how people behave rather than how they describe themselves. Refusing to do that isn't integrity, it's making content for an imaginary audience.
  • The channels beating you often have a better delivery system, not deeper content. That's an uncomfortable thing to accept and it's also the most actionable, because delivery systems can be studied and copied.
  • If people watch it, it's worth something. If they don't, it's worth nothing — because it never reaches anyone. The most brilliant video ever made has zero impact sitting in a vacuum, and no amount of quality changes that.

Can you fix an old video by repackaging it?

Yes, and it's one of the cheapest wins available to you right now.

  • I've revived a five-year-old video with nothing but a new title and thumbnail. It was slowly dying, I made no dramatic changes — just a more modern approach to both — and it came back. The video didn't improve. Its packaging stopped being dated.
  • Run a repackaging cycle rather than doing it once. Every 30 days, revisit the thumbnails, titles and concepts on what you already have live. Your back catalogue is inventory you already paid for.
  • Double down on your own winners. Pick the videos that performed best and make more that look and sound like them — similar thumbnails, similar titles, same direction. Most people study other channels while ignoring the proven data on their own.
  • A/B test instead of guessing. I run multiple thumbnails against each other rather than trusting my instinct about which one is right, because my instinct is wrong often enough to matter.
05

The Money

Real numbers off my own channels — RPM, margins, what a view is actually worth, and why the metric everyone chases is the one that matters least.

How much can you actually make on YouTube?

More than people expect, from cheaper videos than people expect. The gap between production cost and revenue is the entire business.

52,394% ROI
one $20 video returned $10,498.98, and I did 95% of the work myself
  • A $20 video that generated $10,498.98. That's a 52,394% ROI, and I did roughly 95% of the work myself. The reason it worked wasn't the budget — it's that the cost of being wrong was almost nothing, so I could afford to keep being wrong until something landed.

    That's the part people miss when they see the ROI number and assume it was a fluke. The video wasn't brilliant. It was cheap enough that I could afford to make dozens like it, and one of them connected. Low production cost isn't a compromise on quality — it's what buys you enough attempts to find the winner.

  • A $0 video that made $2,843.33 in 66 days. Learn to edit and design before you go on a hiring spree, because this is what that skill is worth. Every dollar you don't spend on production is a dollar of margin on every video you ever make.
  • A $7 short that made about $5,000 in twelve days. People ask how it only cost $7. The answer is that most creators are dramatically overpaying for services, largely because they never learned to judge the work.
  • Cheap doesn't mean a low ceiling. A video costing a few dollars and one to two hours of your day can return five or six figures. The correlation between production cost and revenue is far weaker than anyone starting out believes.
  • The extreme end is genuinely absurd. An eight-hour recording of mice walking around generated something in the region of $1,000,000. That's not a strategy, but it should permanently adjust your sense of what counts as a viable video.

What is RPM and what's a good one?

RPM is what you actually earn per thousand views after YouTube's cut. It matters far more than raw views and it swings enormously by niche.

+46% RPM
from manually placing ad breaks instead of letting YouTube choose them
  • My long-form range sits around $5–18 depending on niche and season. I've hit $18 RPM on channels where TV watch time is high, which is not a coincidence — the same content earns more when it's being watched in a lean-back context with more ad slots.
  • $27 RPM is achievable in the right niche and it rewrites the maths. At that rate, 370,000 views a month is $10K. Somebody in a cheap niche needs several million views for the same money and works far harder for it.
  • Shorts are an entirely different universe. I went in expecting a $0.10 RPM and I was wrong — the best videos hit around $0.25, and with a music deal closer to $0.50 per thousand. Still roughly fifty times worse than decent long-form.
  • Manually placing your ads is free money and almost nobody does it. On a video two days old, manually inserting ad breaks instead of letting YouTube place them produced an instant 46% RPM increase. Same video, same views, same day.
  • Seasonality is real and predictable. Q4 RPMs are meaningfully higher because advertiser budgets are. Which means you research, produce and schedule ahead of Q4 rather than noticing it's started.

How many views do you need to make real money?

Fewer than you'd guess, if the RPM is right. Worth memorising, because it converts a vague ambition into a daily number.

  • $100,000/year is about 100,000 views per 48 hours. That's roughly 2,000 views an hour at a $5 RPM. Written like that it's a target you can actually check yourself against.
  • $500,000/year is roughly 300,000 views a day. About 13,000 views an hour at around $4.5 RPM. Still just a number, still reachable by a channel most people have never heard of.
  • $10,000/month is 370,000 views at $27 RPM — or well over a million at $5. Same money, three times the work, decided entirely by a choice you made before filming anything.
  • The point isn't that it's easy, it's that it's finite. These are knowable numbers with knowable inputs. Easier said than done, so start today rather than recalculating it.

Do subscribers matter?

Far less than you've been told. Subscribers are the vanity metric of this business and my own numbers make it obvious.

$4.84 vs $0.018
revenue per subscriber, long-form against shorts, same person running both
  • Compare the two directly. On one of my long-form channels I was making $4.84 per subscriber. On a shorts channel, $0.018 per subscriber. Same person running both, wildly different value per human being.
  • A gold play button means very little. You can hold ten plaques and have earned under $10,000 in total. If the only thing you optimised for was subscriber count, that's exactly the outcome you should expect.
  • Views are king, not subs. Some niches simply don't convert to subscribers and that's completely fine. Don't let a shorts channel's subscriber graph distract you from the channel that's actually paying you.
  • Asking for subscribers has a real cost. A hard CTA converted at roughly one subscriber per 30–44 views, but the channel with no CTA at all had the best longevity and the most consistent real-time views. Aggressive CTAs look like a handicap on virality.

Why long-form over short-form?

Because long form was, is, and will remain king. I ran a serious short-form experiment specifically to test that belief and it survived.

  • Television is the reason, and it's the thing most creators still haven't priced in. Over 40% of total watch time on YouTube now comes from TVs, and viewers get pushed longer videos there because they demonstrably watch longer on a TV than on a phone.
  • The gap is wider than the view counts suggest. On one of my videos, TV accounted for only 31.5% of views but 42.6% of total watch time — over eight minutes more per viewer than computer or mobile. Views undercount your most valuable audience.
  • The whole chain reinforces itself. More minutes watched means more ads served, which means more revenue, which means more incentive for YouTube to keep pushing you. Long videos aren't just better paid, they're better distributed.
  • YouTube is trying to replace traditional TV and Netflix, and advertisers keep shifting budget to match. Content that ignores that shift is leaving money on the table every single upload.
  • If you're starting out, spend your time on ideation and on making videos as long as they can honestly justify being. Not padded. Justified.

Is there money in shorts?

Yes, but treat it as a cash grab rather than a business.

  • My honest position: do shorts only if you're rotating the money into long form. If that wasn't the plan going in, there was no point. It's a way to generate capital, not a place to build an asset.
  • I made about $8,421 in 28 days from 46 million views on one shorts channel, running at roughly $20/day in costs and about 93% margins. Good money, terrible per-view economics, excellent education.
  • A single short made around $7,000 in under 20 days, another roughly $15,000. A large part of that came from a music deal, and music deals were always a ticking bomb — building a business on a temporary rate multiplier is how people get caught out.
  • The copyright risk is genuine. Narrating over viral clips means relying on a fair use policy that's vague, and a simple commentary won't always protect you from an inevitable strike. Edit the video, add your own value, never just download and re-upload.
  • I'm a long-form maximalist and always have been. Short form was a side quest to understand the other half of the platform, and I stopped touching it once I had.

How should you think about profit margins?

As the actual scoreboard. Revenue without the cost line next to it tells you nothing.

93% margins
on a shorts channel costing roughly $20 a day to run
  • 93% margins on a shorts channel at roughly $20/day in costs. You will not get that in dropshipping or most of what's heavily promoted online — and notice that nobody advertising those models ever leads with their margin.
  • A real long-form example: a channel costing $760/month returned $12,759 in October. That's the shape of the business when it's working, and it's why the operational overhead is worth tolerating.
  • Costs collapse over time and change what's viable. What used to cost $20 a video now costs a fraction of that. Videos that were negative-EV three years ago are profitable now, purely because production got cheaper.
  • Know your break-even per channel before you scale it. In the shorts experiment a single monetised channel covered the running costs of all seven remaining channels plus profit. Without that number you can't tell which channels are carrying you and which are bleeding you.

What is the 90/10 rule?

90% of your revenue comes from 10% of your videos. In shorts it's closer to 95/5.

  • Most of your videos will hit a wall and that's the normal state. On shorts, most stall around 10–15K views and slow down. The ones that punch through the wall are the ones that turn a profit, and there's no version of this where you only make those.
  • This is why volume isn't optional. You cannot produce the 10% without producing the 90%. Anyone promising you a process where every video performs is selling something.
  • It applies to AI long-form channels just as hard. A lot of videos won't perform. The five or six that blow up are the money makers, and they fund everything else.
  • So don't kill things early. A video sitting at 800 views after 40 days can still take off — I've watched it happen repeatedly. Judging a video on week one is judging it before the algorithm has finished deciding.
  • Don't get discouraged by the wall. This is a numbers game. Do more, get more.
06

The Shorts Experiment

I launched 10 shorts channels in public and documented 150 days of it. Everything I learned about a format I still don't recommend building on.

What was the 10 shorts channels experiment?

In July 2024 I started ten shorts channels from zero — five aged accounts from 2006–2007 and five brand new — and posted the results publicly every few days.

$17,000 in 5 months
across the 3 channels left standing, monetised for only the last two of those
  • I did it because I had opinions I hadn't earned. I'd been in faceless long form for over a decade and had never seriously run short form. Rather than keep repeating what other people said about it, I built the thing and let the data settle the argument.
  • The structure was cull and concentrate. Run all ten, drop the worst performers on a schedule, and redirect the effort into whatever survived. That's the only honest way to test ten variables at once without lying to yourself about which ones are working.
  • Volume was the entire point. Over 500 shorts in about 50 days. That kind of throughput fast-forwards the learning curve enormously — you get enough data to adjust the next batch almost immediately, instead of waiting months to learn one lesson.
  • By day 150 three channels were left, carrying 99% of the revenue at roughly 39.5M, 49M and 20.1M views respectively. Total was about $17,000 across five months, with all three only monetised for the final two.
  • I built it in public including the parts that didn't work, which is the only reason the numbers here are worth anything to you.

Do aged channels beat new ones?

No. The best performing channel of the ten was brand new, and it beat every aged channel comfortably over the long run.

  • This genuinely surprised me and it should update you too. The aged-channel premium is one of the most confidently repeated ideas in this space, and my own experiment contradicted it. Age is not a distribution advantage.
  • The aged accounts weren't even stable. Two of them dropped back into the 0-view jail partway through for no visible reason, while the new channels kept climbing. Whatever the algorithm is weighting, it isn't the creation date.
  • Pre-monetised channels are a different tool for a different job. I've bought pre-monetised channels for around $200 each. That's about skipping the monetisation threshold, not about buying performance — don't confuse the two and don't pay a performance premium for an age number.
  • The signals you send now are what decide placement. Your recent behaviour, consistency and retention matter. A 2006 creation date does not.

What metrics actually matter for shorts?

Swipe rate first, retention second — and retention measured in seconds, not percentages.

  • Total view duration beats percentage and this is where people misread their own analytics. A 200% APV on a 9-second short is 18 seconds of attention. An 80–90% APV on a 42-second short is around 37 seconds. The second one is roughly twice as valuable despite the worse-looking percentage.
  • YouTube wants viewers held on the platform, not looped. Tricking someone into rewatching something tiny doesn't serve the thing the system is optimising for. Keep them there longer and you get rewarded, regardless of how the percentage reads.
  • A bad swipe rate kills virality outright. You need genuine hooks, and you should not increase upload frequency until swipe rate is fixed. Posting more bad hooks just teaches the system faster that you're not worth distributing.
  • My working benchmarks were:
    1. A minimum 80/20 swipe rate as the floor.
    2. Around 85/15 as the level where a big push became likely — almost every video hitting that got one eventually, even when APV was only around 70%.
    3. Strong numbers on both swipe rate and APV within the first 48 hours, which reliably earned a second and third push over the following weeks.
  • Outliers exist and don't invalidate the rule. There are viral videos sitting at a 70/30 swipe rate, saved by other metrics. Don't build a strategy around the exception.

Should you ask people to subscribe?

It depends entirely on what you're optimising for, and the trade-off is sharper than most people admit. I tested this directly across channels.

1:30 vs 1:2,000
subscribers per view with an aggressive CTA against none - and the silent channel lasted far longer
  • The aggressive CTA channel grew fast. Roughly one subscriber every 30–44 views, peaking at 5–15K subscribers a day and reaching 150,000. On paper that's the best result in the experiment.
  • The zero-CTA channel converted terribly and performed best. Around one subscriber every 2,000 views — but the best longevity and the most consistent real-time views of any channel I ran.

    That result is the one I'd point at if you only take one thing from the whole experiment. The metric that looked worst on the dashboard belonged to the healthiest channel, and the metric that looked best belonged to the one that stalled. Optimising the number you can see is not the same as optimising the business.

  • CTA channels blow up fast and die faster. Mine slowed hard, needed a 10-day cooldown, and only recovered once I brought it back with a much softer CTA. The growth was real and it was borrowed against the channel's future reach.
  • My conclusion after testing several CTA variants: an aggressive ask will get you the plaque you think you want, but it acts as a handicap on virality and makes a genuinely viral video meaningfully harder to achieve. Decide which one you're actually after.

How long does a shorts channel take to work?

Longer than the internet implies. I got the first channel monetised around day 50, and that's the headline rather than the whole story.

  • Individual videos take a long time to wake up. Plenty of mine took 15–40 days to find traction. One sat at 800 views for 40 days and then ran. If you judge a short in its first week you'll delete the ones that were about to work.
  • Don't drop channels early, even when the data looks obvious. I was advised that some shorts channels take three to four months to get recognised by the algorithm. A channel I nearly cut got a push after two months and came back at 6,000 views an hour.
  • The monetisation threshold is a different game entirely. Ten million views in 90 days is a fundamentally different bar from long form's watch-hours route, and it punishes slow starts far harder.
  • Patience here is a strategy, not a personality trait. The format's payoff curve is genuinely back-loaded and you have to fund the wait.

What's your honest verdict on shorts?

Worth doing once, to learn. Not worth building on.

  • The economics simply don't compare. $4.84 per subscriber on long form against $0.018 on shorts is not a close call. I put 99% of my resources into long form throughout the experiment and never saw a reason to change that.
  • The goal was always to move the capital into long-form channels. Shorts generate cash. Long form generates assets. Confusing the two is how people spend two years building something with no resale value and no compounding.
  • The music-deal RPM boost was never durable, and leaning on it was always a ticking bomb. A meaningful share of the headline numbers came from a rate that was structurally temporary.
  • A jack of all trades is a master of none — but a side quest never hurt. I understand the format properly now, which is worth something, and I stopped touching it the moment the experiment ended. That's probably the clearest verdict available.
07

AI as Leverage

The workflows I've published for scripts, thumbnails and whole channels — plus the part most people selling this won't say out loud.

How do you use AI to write scripts?

Extract the style first, then apply it to new topics. Asking for a script cold is why your output reads generic — you gave the model nothing to imitate.

  • Step one is building a style profile, not writing anything. Feed it the transcripts of the top three videos from reference channels in your niche and ask for a "script style profile" as a JSON object describing voice, structure, tone and narrative technique. Explicitly instruct it to exclude any names, brands, events or subject matter from the originals — you want the skeleton, not the content.
  • The profile should capture the things that actually make a script work:
    1. Tone of voice and emotional tone.
    2. Narrative structure — linear, mystery reveal, flashbacks, cliffhangers.
    3. Pacing and sentence style.
    4. Hook style — question, shocking fact, cinematic build.
    5. Common devices: open loops, repetition, analogies, suspense.
    6. Point of view and how the audience gets addressed.
  • Step two: turn that profile into a Custom GPT. Paste the JSON in as a permanent guide alongside your format rules — the series premise, target length in words, structure and point of view. Now the style is locked in rather than re-explained every time.
  • After that you only supply titles. With the profile in place you write a video title and get back a script at or above the level of what's already winning in the niche. That's the whole point of the setup — you've moved the work upstream into a system.
  • One profile per video style, not one per channel. A style profile describes a specific kind of script. Trying to make one GPT handle everything is how you end up back at generic output.
  • Getting the transcripts is trivial. Any of the free transcript grabbers will pull them in seconds.

How do you make thumbnails with AI?

Exactly the same pattern as scripts: extract a design profile from what already works, then reuse it. There's no reason to be spending $100 a thumbnail.

  • Build a thumbnail design profile in JSON from two or three thumbnails of the same style. Mixing styles gives you a profile that describes nothing. Capture colour scheme, lighting and mood, subject focus, facial expression style, text style, composition, visual effects, emotional tone, the strategy in play, and how templated the design is.
  • Strip the specifics deliberately. The profile should describe the visual language, not the actual subject, text or faces in the reference images. You're extracting a system, not cloning a picture.
  • Then wrap it in a Custom GPT with strict layout rules. Where the subject sits, how many words of text and where, what the background is, what the text does. Strict rules are what make every output feel like the same channel rather than a series of one-offs.
  • Learn to prompt by asking the model to reverse-engineer. Show it a thumbnail you admire and ask how it would have prompted that image. You get noticeably better at this within an afternoon.
  • Aspect ratio needs a workaround. Add black TV bars to your reference image, generate, then crop back to 1920×1080 in any free editor. Slightly annoying, entirely worth it.

How would you enter a niche using AI end to end?

Four stages, each one a prompt away. This is the workflow I published after finding a channel three months old already doing around $15,000/month.

  • Stage one — ideation. Frame the model as an elite YouTube strategist handling ideation for faceless channels, attach a screenshot of a viral channel's most-viewed videos, and ask for ideas for a channel launching in the same niche. You can constrain it further — limit it to two or three recurring subjects so the channel stays coherent.
  • Stage two — script. Stay in the same window. Paste two real scripts from that channel, then ask for a new script using that writing style, pace and engagement tactics, for one of the ideas it just generated. You're giving it working examples rather than adjectives.
  • Stage three — images. Match whatever visual language the niche already wins with. Pull sentences directly out of your script and generate a concept image in that style at 16:9. Two or three images per paragraph is the working ratio. Run them through an image-to-video model if you want the extra mile.
  • Stage four — thumbnails. Same extraction approach, matched to the style that's already performing in that specific niche.
  • Then systematise the whole thing. Build SOPs around each stage and hire VAs to run the channels against them. The value isn't the prompts, it's that the process becomes something you can hand to somebody else.

Are AI channels a real business?

No — and I say that as someone who launched 34 of them at once. Treat it as a gold rush: get in, take the money, move the capital into stronger channels, get out.

  • Go in with that mindset from day one or you will be caught out. Do not invest in AI channels as a long-term play. The people who got hurt were the ones who mistook a temporary window for a durable asset and kept reinvesting into it.
  • The termination waves are real and I was flagging them while running the experiment. This isn't hindsight. The risk was visible at the time, which is exactly why the strategy was extraction rather than accumulation.
  • What genuinely gets you punished: going aggressive on misinformation and on big names. Plenty of channels have already been cleared out for precisely that, and those aren't the cases that come back on appeal.
  • Expect 30–60 days of consistent daily uploads before any momentum, and expect the 90/10 rule — or closer to 95/5 — to apply hard. Most of your videos won't perform. A handful will carry everything.
  • Quality is still the moat even here. The stated goal on my own AI channels was putting out better quality than 99% of the competition, so the algorithm would do its thing naturally. Being marginally less lazy than a flooded market is a real edge.
  • I've reviewed over 200 AI channels. More people pile in every month, which means patience is now part of the cost of entry rather than a virtue.

Does AI change what's possible for a beginner?

Enormously. It collapsed the cost of production to nearly nothing, which moved the bottleneck somewhere else entirely.

$5-10 per video
what production already cost in 2023, and it has only fallen since
  • $5–10 per video was already possible in 2023 using the first generation of these tools, and it has only got cheaper since. Videos that were negative-EV a few years ago are straightforwardly profitable now.
  • The bottleneck moved from production to judgement. It used to be that making the thing was hard. Now ideation, packaging and knowing what's worth making are the hard parts — which happen to be exactly what AI is worst at.
  • Faceless channels were always about workflow, and AI is simply a much better workflow. That's the honest framing. It didn't create the model, it made the model cheaper to run.
  • The floor rose for everyone, which is the part people miss. When anyone can produce competent output, producing competent output stops being a differentiator. The question is no longer whether you can make it — it's whether what you made is worth watching.
  • Technology moves and so should we. You can resent that or use it, but it isn't waiting for anyone's opinion.
08

Running It As A Business

Hiring, scaling, acquiring channels, and the boring structural work that decides whether the money you made stays yours.

When should you actually hire?

Once you can afford to buy back your time — and not a moment earlier.

  • You cannot run a team whose jobs you can't do better than they can. This isn't about paying dues or proving something. It's that you can't brief work you don't understand, can't evaluate the output, and can't tell whether a bad result came from the person or the plan. You end up paying for work you're structurally unable to judge.
  • Building a team before anything works burns your runway on the wrong problem. You have no revenue, no proven format, and no idea which part of the process is actually broken. So you pay people to execute the wrong thing competently, and you learn nothing about why it failed.
  • When you do hire, hire against a specific style rather than a generic role. "Can edit in this style, fast-paced, simple, sources their own clips, one to two videos a week" gets you a usable shortlist. "Video editor" gets you a hundred portfolios you can't rank.
  • Ask for portfolios, not descriptions. Post the reference you want matched and let the work filter people. Don't be afraid to give unknowns a chance — you'll find genuinely good work at prices you don't expect, and you'll only recognise it because you learned the craft first.
  • Do whatever makes sense financially. There's no prize for staying solo longer than you need to, and no prize for hiring earlier than you can justify.

Should you build an agency around this?

If you're a freelancer making under $10,000/month — no. Scrap the agency framing entirely.

  • Nobody takes "we can take care of this" seriously from an account with ten followers. Who is we? You're working alone and everyone can tell. The framing doesn't add credibility, it just signals that you think you need to hide.
  • I'd rather work with an individual than pay a markup to an agency wrapper around one person. That's how the person hiring you thinks about it too. You've made yourself more expensive and less direct at the same time.
  • A personal brand is a far better return on effort for whatever you're selling. The thing that gets you work is demonstrable skill attached to a name, not a company structure you invented last week.
  • I don't know who started pushing the agency thing, but at that stage it doesn't work and it makes you look less professional rather than more.

Is buying channels worth it?

Yes, for specific jobs. Just be clear about which job you're buying.

  • Acquisition is how you take market share in a niche you've already proven. At one point I owned six channels in a single niche. That only makes sense once you know the niche well enough to improve what you bought — otherwise you've purchased somebody else's problem.
  • Pre-monetised channels for around $200 are a way to skip the monetisation threshold, not a performance upgrade. Make sure they look organic. You're buying past a waiting period, and that's the entire value.
  • Don't buy your way past the learning. Acquiring channels in a niche you don't understand just gives you more things to be bad at simultaneously, and now you've paid for the privilege.
  • A newly acquired channel still needs your format. The asset is the monetisation status and whatever audience exists. It is not a working business, and treating it as one is how people spend money to acquire a slow decline.

How do you scale past one channel?

By replicating something already proven, not by diversifying into things you hope might work.

  • Scale a winner by launching sub-niche channels off it. You inherit the audience understanding, format knowledge and packaging instincts you already paid for. That's a genuine head start, unlike starting fresh somewhere unfamiliar.
  • Cover every vertical angle of a market before you move on. Dominate it properly. The instinct to move to a new niche the moment one works is the same shiny-object problem that keeps beginners at zero, just at a higher income level.
  • Volume turns into an operations problem faster than you expect. At peak I was running around 40 uploads on an average Saturday across the portfolio. That's a management and quality-control challenge, not a creative one, and it will break you if the systems aren't there first.
  • Systematise before you scale, not after. SOPs around each stage of production are what make VAs viable. Without them you're not scaling a business, you're multiplying the number of things only you can do.
  • Get production on lock before adding channels. Nothing else scales until the team can reliably produce daily across everything you already own.

How should you treat this legally and financially?

Like a business, because it is one — even if you own exactly one channel.

  • Set the company up properly, get a good accountant, and pay what you owe while legally minimising what you can. This is the least exciting advice on the site and it protects more money than anything else here.
  • Faceless YouTube attracts a young audience, and young plus fast money is how bad decisions happen. I've watched a lot of people and a lot of dreams get wrecked over the last decade — not by the algorithm, by not taking the business seriously.
  • The tax bill arrives years later, when the money is gone. People ride the wave up on internet money, spend like the wave is permanent, and get destroyed by a bill they never planned for. This is the single most common way I've seen people lose everything they made.

    This is the failure mode I've watched destroy more people in this space than any algorithm update or demonetisation wave combined. The revenue feels like income because it lands in your account every month, so it gets spent like income. Then the bill for two years of it arrives at once, against a balance that's already gone.

  • I've been through the first dropshipping wave, the first automation wave and the first ebook wave. The pattern repeats identically every time, with different people who each believe their version is different.
  • We're here to play the long game. Act like it early and the money you make stays yours.

How do you tell a real operator from a grifter?

Ask what happens if they lose everything. It's the cleanest filter I've found in a space full of people selling something they've never done.

  • If everyone you follow went to $0 overnight, how many would climb back? That question separates the two groups almost perfectly, and you can usually answer it for people without asking them.
  • Stick around long enough and anybody hits a lucky run. I've been in online money communities for half my life and I can't overstate how many people made $100–200K once, peaked there, and lost all of it. The run isn't the skill.
  • The number who can start from zero and rebuild is far smaller than you think. That's the actual competence, and it's invisible from the outside during a bull run.
  • Check whether their own numbers exist. A lot of self-proclaimed experts don't clear $5K a month from their own long-form channels while selling you a system for doing exactly that.
  • Fake testimonials and stolen results are routine in this space. I've had my own name attached to a course I had nothing to do with. Verify before you buy anything from anyone — me included.
09

Mindset & Execution

The part that decides whether any of the rest of this matters. Focus, identity, and why consistency is the most overrated advice in the game.

Why can't you focus?

Because your life is designed for distraction, not because you lack discipline.

  • You already focus for twelve hours a day, you just don't call it focus. When you're scrolling, it's automatic. When you're playing a game, you don't need motivation or a productivity system — you just do it. The capacity isn't missing. It's pointed somewhere else.
  • The guilt you feel is information, not a character flaw. That dull background anxiety exists because your subconscious knows you could be doing better, so it punishes you with fatigue and low-grade dread. Your mind isn't broken. Your environment is.
  • Focus isn't something you create, it's what's left when everything else is removed. That's why "try harder" never works and why changing your surroundings does. Build a physical, mental and spiritual environment where doing the work is the path of least resistance.
  • Four blockers cause most of it:
    1. Purpose. You don't know what problem you're solving, so your mind defaults to society's script and you drag your feet through a life you didn't choose.
    2. Environment. Surrounded by people, opinions, noise and digital junk you control but never remove.
    3. Metabolism. Big meals push you into rest-and-digest mode, so energy goes to digestion instead of output. Experiment with smaller meals, lighter mornings, eating later.
    4. Knowledge. Sometimes you're stuck because you genuinely lack the skill. Bake learning into the work — audiobooks on walks, lectures instead of scrolling.
  • Rip the band-aid off rather than tapering. Take a day, throw out everything that distracts you, and don't hesitate about it. Not eventually. Now.

Is consistency actually the answer?

No, and this is where most advice has it backwards. Consistency is how you maintain progress, not how you make it.

  • People worship consistency because it sounds mature. It sounds responsible. It sounds like advice from someone who has never done anything difficult. And if you are only consistent, you're not moving forward — you're staying busy, and stagnation isn't neutral.

    And it is genuinely good advice for holding onto something you've already built. It's terrible advice for building it. If you're doing the same volume at the same quality every week for a year, you haven't been consistent — you've been stationary, and calling it discipline just makes it harder to notice.

  • Real progress is non-linear and you already know this from the gym. You don't gain identical muscle every year for ten years. You get newbie gains, then plateau, then bulk and cut, then life hits, then you regain momentum and build more in year ten than in year three. Business, writing, your body and your mind all work the same way.
  • The cycle is perplexity → curiosity → intensity → consistency. Most people fail because they don't know which phase they're in. They think being lost means they're broken, that intensity should last forever, and that consistency is the whole game. It's a loop, and you're either navigating it or trapped at the start of it.
  • Intensity is where the non-linear jumps happen. A three-to-six month stretch where you're not forcing anything — you're bingeing it, because you finally found something worth obsessing over. That's when twelve-hour days happen naturally rather than being scheduled.
  • Intensity has a trap: try to stay there permanently and you burn out. Consistency is the recovery phase where you stabilise and keep the machine running.
  • The goal isn't higher highs, it's higher lows. Baseline, spike, baseline, spike — with each baseline higher than the last. That's the actual win.

How do you break out of feeling lost?

Get bored, then get curious. Perplexity is the phase most people live in permanently, and the exit isn't thinking harder — it's moving.

  • Boredom is the doorway, not the enemy. The moment you feel it you fill it — phone, games, whatever gives relief. The moment you feel anxiety, you fill that too. Stop filling it and your mind is forced to start searching.
  • The solution to boredom is building. A skill, a brand, your body, your mind, your social life. Anything at all. It genuinely doesn't matter that you don't know how — that's the entire point. You learn, act, and discover your way out.
  • Your purpose is just your biggest current problem. Out of shape? That's your purpose. Broke? That's your purpose. Lacking skills? Same. Solve the problem in front of you and a bigger one appears — that's what progress is. Feeling lost between stages is normal.
  • Problems and purpose sit on the same spectrum. Purpose can't exist without a problem and a problem can't exist without purpose. Solve the shallow ones first — that's survival — and your mind opens up to deeper ones.
  • In the curiosity phase, shiny object syndrome is actually useful. You're supposed to explore, try things, see what sticks. Clarity doesn't come from thinking, it comes from movement.

What actually changes your output?

Identity. You don't fail because you're lazy — you fail because you're still the person who would fail.

  • A goal you merely like won't survive contact with difficulty. If you want to love working toward something, it can't be a goal you're fond of. It has to be who you are. Your identity is a web of ideas built by years of conditioning, and it will quietly override any plan that contradicts it.
  • Reprogram the inputs deliberately. Follow people with the goals you want, listen to the podcasts, read the books, buy the courses, put your money where your mouth is. Overload your mind with the inputs that build a different default perception until the new one takes.
  • Think bigger, act smaller. Throw yourself into chaos, then create order one block at a time. Big goals are for motivation, small goals are for clarity, and confusing the two is why people either drift or burn out.
  • Do something extreme enough to break autopilot, because autopilot is the prison. It doesn't have to be 4am — waking early gives you three or four hours nobody else experiences, but staying up two hours later works if that's when you're sharp. The point is the pattern break, not the schedule.
  • Attention is what actually controls your life. People don't just work jobs, they become them. They don't just hold beliefs, they defend them — which is why questioning someone's lifestyle makes them angry. They're not defending logic, they're defending identity. If you don't control your attention, something else will.
  • You cannot build a rare life while living an average day. That's the whole thesis in one line.

What's the protocol for actually getting the hours in?

Twelve-hour days aren't forced, they're earned by building a life where focus is the default. Here's the sequence.

  • Step one — write your anti-vision. Everything you hate about your life and everything you don't want. Be shallow about it, it's completely fine. You can build meaning on top of it later.
  • Step two — write your vision. Body, lifestyle, location, mind, money, relationships. Don't censor it. Your vision is the destination, and without a destination you're on the wrong journey by definition.
  • Step three — reverse engineer it. Ten-year direction, one-year goal, monthly goals, weekly goals, then today's priority tasks. Then work on today's priority tasks and let everything else exist purely so you don't go insane.
  • Step four — use Lego blocks, not one heroic stretch. Aiming for twelve hours straight is ego. Stack one-to-two hour blocks through the day with breaks, walks, gym and food between them. That's how you get eight to twelve hours of real output without hating your life.
  • Step five — run a weekly review. What went well, what didn't, what am I grateful for, what are my focus projects. Then refine. Intelligence is iteration: low intelligence quits when feedback is negative, high intelligence adjusts the system and continues.

Why do most people never get ahead?

Because they never stop to think. They follow the same path as everyone else, work hard, stay busy, and still feel stuck.

  • Most people live inside systems they never chose. Your job title, beliefs, goals and habits all came from systems you were born into. If you never question the rules of the game, you'll spend your whole life playing a game you can't win.
  • They inherit their goals too. Get a safe job, make enough money, stay comfortable, avoid risk. It's predictable and empty, so distractions replace direction and entertainment replaces meaning. Years pass and nothing changes.
  • Society is built like a pyramid and the ladder is crowded. You're told to climb, but it's packed at the bottom and narrow at the top. Hard work helps and the odds are still bad — most people never escape because they're climbing someone else's ladder instead of building their own.
  • When you're stuck, zoom out instead of in. People who struggle focus on the problem directly in front of them. The ones who succeed step back and ask why this is happening, what's causing it, and what the bigger picture is. Seeing a problem from several angles solves it faster than grinding at one.
  • Focus on actions, not outcomes. You don't control results, you control what you do. Your life today is the result of past choices and your future is the result of today's.
  • The real difference is that some people choose. What matters, where their attention goes, which problems are worth solving. Build your body, build your mind, build your income. Everything else is noise.

What separates the people who make it here?

Showing up after it stops being exciting. That's most of it.

  • Less overthinking, more experimenting. People spend months researching a niche they'll never start and call it preparation. The information you need is on the other side of uploading something.
  • Every upload is an experiment, so results are data rather than verdicts. That reframe is what lets you keep going after a video dies, and being unable to make it is why most people quit at ten videos.
  • The compounding is invisible early and obvious late. I've gone from $3/hour to $300/hour inside a single day off the back of daily uploading — but that day only arrives after the reps nobody sees.
  • A lot of the people making money now have been in this bubble for a year. The only difference between them and you is that they kept showing up day after day while other people rotated to the next thing.
  • Stay focused for a few months and your life can look very different. That's not motivation, it's just what happens when you stop resetting the clock every three weeks.
  • Nobody is coming to hand you reach. It's not the audience's job to find you and it's not the algorithm's job to distribute you. Build something structurally compelling enough that the numbers force its hand.