1个星期输出2到3条博客，只花5个小时，一条博客至少十几万美金的收入，这一切是怎么发生的？ ...

对电视台主持人来说，搞短视频简直是降维打击。加上前些年企业营销预算充足，自媒体正处流量红利 期，没多久她就组建了自己的拍摄团队。凭借稳定输出的优质内容，她靠口碑不断获得新合作，渐渐拥 有了稳定的客户和业务。 口罩前她生意不要太好，法国波尔多就去了十几回，每回出场费8到10万打底，商务舱往返；这两年媒 体一片低迷，她的变现能力依旧能打：团队里的专职摄影师，月薪平均能拿到5万；就连兼职摄影师， 在她这月收入也有2万～3万。 这样的收入，让绝大多数"媒体老师"自愧不如。事实上，收入反映的只是一种结果，当机构媒体被自媒 体全方位超越，年轻和中年媒体人该何去何从？ 我认识一位旅行生活方式的头部自媒体人，姐们学播音主持出身。十多年前，因为受不了体制内的束 缚，又生性爱玩，她从电视台裸辞。四处游历时，她琢磨着找份能光明正大"旅游"的事业，没想到竟意 外踩中了短视频的时代风口。 傲慢：正在消失的媒体光环 传统媒体人的傲慢，似乎是刻在骨子里的。这种既傲且慢，除了媒体大厂title之外，更深层的根源，在 于曾经牢牢掌握的媒介话语权。 从解决户口到社交体面、头顶光环登堂入室，光鲜亮丽的媒体人曾是被外界仰视的对象。像我当年毕业 就进 ...

今天复盘了一下，我上个月各大自媒体平台的收益，不算不知道，一算连我自己都感到很震惊，因为我上个月，光公众号这一个平台的收益，就已经过万 了。 当然，我现在主要的收益，还是在公众号上，其它平台算是分发平台而已，虽然也有一点收益，但都不高。 文章首发于公众号：福传读书 嘿，你好朋友，我是邢福传~ 今天是10月3号，发现今天是个特别好的日子，因为今天好多人都在办喜事，有的今天儿子娶妻，有的嫁女，有的办入宅等等，光我家收到今天要去的酒席 请帖，就有六七张。 所以在今天这个特别的日子里，我也想公布一下我的一点好事，正如标题所述"我在家办公，每天只工作2小时，也能月入过万"。 这并不是炫耀，更不是标题党，而是我想告诉更多普通人，在正确的道路上持续努力，普通人也能拥有自己心目中，想要的工作与生活。 而公众号这1万块钱的收益里面，最主要的是每天的广告分成收益，和接的一些广告合作收益。 作为一个成熟的自媒体人来说，仅靠广告分成，作为主要收入来源是很不稳定的，而我公众号上个月，仅仅是靠广告分成收益，和合作广告费，就能月入过 万。 其实是因为，我公众号上个月的流量数据非常好，可以说，是我做公众号这六七年以来，数据最好的一个月了。 ...

Core Viewpoint - The rise of AIGC (AI-Generated Content) has significantly transformed the content creation landscape, particularly in the self-media sector, leading to an influx of creators and a surge in content volume, but not necessarily in quality [6][7][10]. Group 1: Impact of AIGC on Content Creation - AIGC represents a shift from professional content generation (PGC) to user-generated content (UGC), and now to AI-generated content, lowering the barriers for content creation [7]. - The self-media industry has become increasingly competitive, with AIGC contributing to a saturation of low-quality, homogeneous content, making it harder for users to find valuable information [9][10]. - AIGC content is characterized by a lack of creativity and originality, primarily serving to aggregate existing knowledge rather than generate new insights [14]. Group 2: Practical Value of AIGC - AIGC has practical applications in various content types, including media dissemination, formal documents, and academic/literary works, particularly in generating routine or template-based articles [16][18]. - While AIGC can enhance efficiency in producing standard content, it often requires significant post-processing to meet quality standards, especially for high-stakes media articles [18][19]. Group 3: Drawbacks of AIGC in Content Creation - A significant drawback of using AIGC is the potential for cognitive dependency, which may diminish creative thinking and writing skills over time [21][23]. - AIGC-generated content can lead to a homogenization of writing styles, resulting in a loss of individual voice and originality among creators [23]. Group 4: Competitive Strategies Against AIGC - To compete with AIGC, content creators should focus on providing unique insights, simplifying complex topics, ensuring comprehensive coverage, maintaining accuracy, and delivering timely information [27][28][29]. - The ability to present technical information in an accessible manner is highlighted as a key competitive advantage over AIGC-generated content [27]. Group 5: Concerns Regarding AIGC - There are concerns that AIGC may undermine human creativity and originality, as it often relies on existing human-created content for training without compensating the original creators [30]. - The efficiency of AIGC poses a threat to human creators, potentially leading to a decline in the quality and diversity of original content available to audiences [30]. Group 6: AIGC's Influence on Video Content - AIGC is also impacting video content creation by lowering production barriers, although high-quality AIGC video content remains scarce [33][34]. - The prevalence of AIGC in video production may lead to a decline in societal appreciation for original storytelling and artistic expression, raising ethical concerns regarding intellectual property [34].

Core Viewpoint - Lovart has rapidly integrated the Seedream 4.0 model, offering significant promotional activities to attract users, emphasizing that providing benefits to users is an effective marketing strategy [2][3]. Group 1: Product Features and Innovations - Lovart and Seedream 4.0 allow users to convert long texts and documents into visually appealing images suitable for platforms like Xiaohongshu, enhancing content creation efficiency [3][6]. - The Seedream 4.0 model can generate modern, flat design infographics based on academic papers, providing a structured visual representation of the content [9][10]. - Users can adjust prompts to optimize the output, with Lovart's system automatically refining requests to improve results [12][14]. Group 2: User Experience and Customization - The Magic Canvas feature enables users to provide feedback directly on generated images, allowing for real-time modifications and improvements [16][18]. - Users can create visually consistent and engaging content quickly, significantly reducing the time required for traditional design processes [21][22]. Group 3: Educational Applications - Lovart's capabilities extend to generating educational materials, such as visual representations of classical Chinese literature, aiding in student comprehension [24][25]. - The platform can also compile information on historical figures, like Su Shi, into a series of informative cards, showcasing key life events and contributions [29][32]. Group 4: Creative Content Generation - Lovart allows for the creation of themed content, such as transforming scientific biographies into a fantasy narrative style, appealing to diverse audience interests [34][36]. - The platform supports various content styles and themes, enabling users to mix and match elements for unique outputs [38][39].

大家好，我是于雯，一个在社交平台上拥有700W粉丝的普通女孩。肯定有人会问：“700万粉丝？你还说自己普通？”但七年前按下发布键时，穿着睡衣对着镜头念台词的我，真没想过今天会被这么多双眼睛注视。没错，今年我25岁，做自媒体已经七年了。 我是个东北女孩，在沈阳出生，和很多同龄人一样经历了九年义务教育，靠着艺考这条被人说是“捷径”的路进入视野。很多人说我幸运，说“最美艺考生”是天赐的标签，但我敢说这绝对不是偶然——被p同学因艺考生身份歧视时，我把舞蹈室的把杆磨得发亮；背台词到凌晨三点，把本子折出深深的折痕；练基本功时撕腿到咬着牙留着泪浑身发抖，数到一百个数才敢停。这段日子里，言语的攻击，练习的恐惧，我的自信心反复被打碎又重建，甚至一度想到上课就生理性的发抖。但那时我就相信，努力最坏的结果，不过是大器晚成。 于雯 自媒体博主 话剧演员 公益志愿者 介绍： 于雯，19岁就经济独立，表演系毕业的她已在自媒体的道路上闯荡了7年，和所有年轻人一样，活跃在网络上的这几年，时常自卑、焦虑，怀疑自己，对未来迷茫。但东北女孩骨子的倔强，让她从不认输“人生没有僵局，只有不敢打破的规则。” 而今她在做博主之余，毅然投身话剧表演和公益项 ...

上一个烧饼界的顶流是 " 武大郎 "，现在长江后浪推前浪，这年头，没点真本事可能连烧饼都卖不动。 这个小哥叫小杨，每天下午 5 点左右，他就会骑着电动车，带着他的 " 神秘军火库 " 出摊。为啥叫 " 军火库 " 呢？ 因为他卖的烧饼，最与众不同的就是造型。 有沙漠之鹰、非洲之心、法玛斯、AK 等各种游戏里才有的枪械造型。 据说第一个爆款就是歼 20，孩子们张口闭口就是要 " 枪 " 要 " 炮 "，还给他起了个外号叫 " 芝麻饼兵工厂 "。 现在的烧饼，已经卷出 3D 立体 " 军事版 " 了，而且卖烧饼的还是个土木系研究生。 说出来你可能不信，有个 95 后的研究生小哥，真凭一手创意烧饼，短短俩月吸粉 40 万，直接火出圈，成了十里八乡的 " 孩子王 "。 除了这些常见的 " 军火武器 "，还推出了 Labubu、Hello Kitty 、皮卡丘、海绵宝宝等超萌的热门卡通形象。 小朋友们看到都走不动道，争相抢购，队伍排得老长，可谓一饼难求。 为了买到心仪的烧饼，甚至有家长带着孩子坐了 40 多分钟的车赶来排队。 随着名气越来越大，小杨的烧饼开始供不应求，仅仅十来分钟左右就能售卖一空。 一块钱一个，确实童叟 ...

Core Viewpoint - The mobile phone retail industry, especially in county towns, is facing significant challenges due to declining consumer demand, increased competition from e-commerce, and changing consumer behavior [4][15][18]. Group 1: Sales Trends - June sales for mobile phones have been particularly poor, with a noticeable decline in purchases following the high school entrance exams, a period that traditionally sees increased spending [4][5]. - The number of customers visiting mobile phone stores has decreased, leading to a shift in focus towards customer service and added value offerings [4][12]. - Sales during festive seasons, which used to be peak times, have not rebounded post-pandemic, with current sales lower than during the pandemic [9][10]. Group 2: Industry Dynamics - The mobile phone industry is experiencing a significant contraction, with many stores closing down and a lack of new entrants into the market [13][15]. - The shift towards online shopping has severely impacted traditional brick-and-mortar stores, with many consumers preferring to purchase from e-commerce platforms due to lower prices [18][19]. - The profitability of mobile phone sales has diminished, with many retailers now operating on razor-thin margins, often selling at or below cost to compete with online prices [18][20]. Group 3: Adaptation Strategies - Retailers are exploring various strategies to survive, including obtaining brand authorizations, leveraging social media for marketing, and diversifying into related products and services [22][24]. - Some stores are beginning to offer second-hand phone sales and repair services as a way to generate additional revenue streams [25][26]. - The establishment of new retail models, such as instant delivery services, has shown some promise in boosting sales, although profit margins remain low [24][26].

Core Insights - The self-media industry is undergoing a profound transformation characterized by the rise of short and mid-length video content, leading to more diverse and professional content creation [1] - Key challenges in the industry include inconsistent content quality, intellectual property protection issues, and the proliferation of misinformation, which require improved regulatory frameworks and innovative technological solutions [1] - Future trends indicate a focus on vertical content specialization, professional content creation, deep application of artificial intelligence, and cross-industry integration between self-media and traditional sectors [1] User Engagement and Preferences - According to a survey by Shangpu Consulting, WeChat Moments leads as the primary channel for product experience sharing, capturing over 85% of user preference, highlighting its central role in social dissemination [1][5] - Content type preferences show that entertainment content accounts for 30%, followed by news and current affairs at 20%, indicating a dual demand for light entertainment and timely information [1][5] - Health and lifestyle, as well as educational content, each represent 15% of user preferences, while fashion and technology content each hold a 10% share, suggesting a stable audience for niche areas [1][5] Trust in Content Creators - The survey reveals that Chinese self-media users have the highest trust in lifestyle-sharing bloggers at 24%, reflecting a strong demand for practical and relatable content [3] - Entertainment celebrity bloggers rank lowest in trust at 16%, possibly due to the nature of their content being more entertainment-focused [3] - News and information bloggers hold a trust level of 21%, while educational and professional experts each garner 19%, indicating a sustained demand for professional knowledge among users [3]

Core Viewpoint - The article discusses the unique journey of Cheng Lingfeng after leaving Tencent, emphasizing his pursuit of creative freedom and the development of his own philosophical framework through the lens of Tencent and broader societal observations [2][49]. Group 1: Cheng Lingfeng's Journey - Cheng Lingfeng transitioned from a Tencent journalist to a self-media entrepreneur, exploring various avenues of self-expression and commercial viability in the digital space [2][10]. - His departure from Tencent was motivated by a desire for freedom and the realization of the potential in self-media platforms like Weibo and WeChat [8][12]. - Cheng's early self-media ventures included innovative monetization strategies such as advertising and reader donations, which he successfully implemented [14][15]. Group 2: Philosophy and Creative Freedom - Cheng emphasizes the importance of creative freedom in media, arguing that true creativity is stifled in traditional media environments due to organizational constraints [16]. - He believes that the current generation of creators operates on a different level, characterized by a more intuitive and less effortful approach to information acquisition [33][35]. - Cheng's philosophical evolution reflects a shift from a focus on resume-based competition to a more profound, philosophical competition, suggesting that understanding systems is crucial for navigating the modern landscape [22][61]. Group 3: Observations on Media and Society - Cheng critiques the media's role in shaping narratives, acknowledging the responsibility that comes with the power to influence public perception [27][48]. - He reflects on the changing dynamics of social media, particularly the distinction between familiar and unfamiliar social interactions, and how this impacts platforms like WeChat and Douyin [39][40]. - The article highlights Cheng's belief that the essence of media lies in its ability to resonate with audiences, rather than merely relying on the creator's fame [19][20].