Collaborative Management and Organization of Digital Media in
Spain. Case Study of
El Salto
,
CTXT
and
La Marea
Gestión y organización colaborativa de medios digitales en España. Estudio de
casos de El Salto, CTXT y La Marea
doxa.comunicación |
nº 35, pp. 127-147
| 127
July-December of 2022
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Rodríguez Pallares, M. and Pérez Serrano, M. J. (2022). Collaborative Management and Organization of Digital Media in Spain. Case Study of
El Salto, CTXT
and
La Marea
.
Doxa Comunicación
, 35, pp. 127-147.
https://doi.org/10.31921/doxacom.n35a1572
Miriam Rodríguez Pallares.
PhD in Journalism, Master’s Degree in Journalism and Scientic Dissemination, Diploma
in Library and Information Science. Professor in the Department of Journalism and Global Communication of the
Faculty of Information Science at UCM. Member of the research group
MediaCom
UCM. Accredited as Associate
Professor (ANECA). She has one six-year research period recognized by CNEAI.
Complutense University of Madrid, Spain
[email protected]
ORCID: 0000-0002-5486-0298
María José Pérez Serrano.
Bachelor’s Degree in Journalism, PhD in Information Science, Extraordinary Doctorate Award,
and an MBA with a specialisation in Financial Management. Specialist in management, organization, and direction of
news companies, she is also a University Professor in the Department of Journalism and Global Communication of
the Faculty of Information Science at Complutense University of Madrid. Moreover, Professor Pérez Serrano has an I3
Certicate as well as one six-year research period (CNEAI).
Complutense University of Madrid, Spain
[email protected]
ORCID: 0000-0002-2190-7619
Abstract:
e communication sector and, especially, the media sector suered
severely from the consequences of the economic crisis that began in
2008, and is witnessing, once again, the complicated situation derived
from the Covid-19 pandemic. Bad strategic decisions; the decrease in
advertising investment; the excessive dependence on the nancial sector,
or the culture of total free of charge typical of the national idiosyncrasy
are some of the causes of the emergency situation that drags written
journalism in Spain. rough in-depth interviews, innovative actions
related to the organization, nancing and the product in the journalist
sector of digital media in Spain are analysed. Specically, the cases of
Resumen:
El sector de la comunicación y, en especial, el periodístico sufrió du
-
ramente las consecuencias de la crisis económica iniciada en 2008
y está asistiendo, otra vez, a la complicada situación derivada de la
pandemia Covid-19. Malas decisiones estratégicas; el descenso de la
inversión publicitaria; la excesiva dependencia del sector nanciero,
o la cultura del gratis total propias de la idiosincrasia nacional son
algunas de las causas de la situación de emergencia que arrastra el pe
-
riodismo escrito en España. A través de entrevistas en profundidad, en
este artículo se analizan acciones innovadoras vinculadas a la organi
-
zación, nanciación y producto en el sector periodístico de los nativos
Received: 03/12/2021 - Accepted: 17/02/2022 - Early access: 04/03/2022 - Published: 01/07/2022
Recibido: 03/12/2021 - Aceptado: 17/02/2022 - En edición: 04/03/2022 - Publicado: 01/07/2022
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Collaborative Management and Organization of Digital Media in Spain. Case Study of
El Salto, CTXT
and
La Marea
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
1. Introduction and theoretical framework
In the 21st century, businesses dedicated to communication now face a new challenge that goes beyond the already accepted
technical foundation and reaches the core of their commercial nature and social impact (McNair, 2012). e challenge involves
positioning a company in a market, specically the communications market, which has been described as disruptive (Sádaba,
Martínez-Costa y García-Avilés, 2016; Carvajal, García-Avilés y González, 2012; Salaverría, Martínez-Costa, Breiner, Negredo
Bruna, Negreira Rey and Jimeno, 2019). Moreover, if this market was complex in the past, it is even more so today. As pointed
out by Jarvis (2018), the dicult barriers to market entry have disappeared, generating a cluster of smaller, post-monopoly
news companies, businesses, and social structures that have increased competition in the market, even though they have not
become complete substitutes of goods and services.
Finding the right strategy to place a news or communication product within the audience’s preferred range of choices (Vázquez-
Herrero, 2021; To and Nielsen, 2018; urman et al, 2018; Feezell, 2018; Just and Latzer, 2017), together with taking into
consideration direct and indirect competition, ultimately involves analysing the fundamentals of an organisation’s business
model (Alcolea-Díaz and Pérez Serrano, 2015; Drucker, 1954; Campos-Freire, 2010; Roses, 2010), and anchoring it to innovation
(Stevenson and Jarillo, 1990). In this sense, innovation has been almost inextricably linked to technology, digitisation, and
online consumption in recent decades. As such, the impact of innovative solutions aects journalistic practices and media
management, which has repercussions that bring us back to the business model (Zott and Amit, 2009; Magretta, 2002).
is ambition toward innovation has given rise to journalistic transmedia and cross media narrative techniques (Jenkins, 2008),
adaptation to mobile consumption (Canavilhas, 2015 and Westlund; Frädigh, 2015), and the use of virtual reality (García and
Herrera-Damas, 2019; Kishore et al. 2016). Moreover, the media ecosystem has become fragmented in the digital environment,
and news service providers now have to deal with new intermediary actors, such as Google, or the ever-growing catalogue of
El Salto, CTXT and La Marea are analysed. e results are presented
divided into six study variables: historical perspective; nancing and
participation; income diversication; organizational structure; brand
equity, and competition. Although the analyzed examples dier in
aspects such as legal personality, all of them coincide in appealing to
a traditional, reective, and with procedural guarantees, they bet on
horizontal organizational structures and base their income model on the
subscription. e main conclusions show the emergence of initiatives
that, faithful to traditional journalistic values, seek to dierentiate
themselves through strategies and brands whose economic, nancial
and readership shares are inextricably linked to the concept of niche.
Keywords:
Organizational structure; media management; innovation; revenue
model; business models; journalism.
digitales El Salto, CTXT y La Marea a modo de case studies. Los resul
-
tados se presentan divididos en seis variables de estudio: perspectiva
histórica; nanciación y participación; diversicación de ingresos;
estructura organizativa; valor de marca, y competencia. Aunque los
ejemplos analizados divergen en aspectos como la personalidad jurí
-
dica, todos coinciden en apelar a un periodismo tradicional, reexivo
y con garantías procedimentales, apuestan por estructuras organizati
-
vas horizontales y basan su modelo de ingresos en la suscripción. Son
iniciativas que buscan diferenciarse a través de estrategias y marcas
cuyas cuotas económicas, nancieras y de lectores están indisoluble
-
mente ligadas al concepto de nicho.
Palabras clave:
Estructura organizativa; gestión de medios; Innovación; modelo de
ingresos; modelos de negocio; periodismo.
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news aggregators (Edo, Yunquera and Bastos, 2019; Chiou and Tucker, 2017), and they even have to face interference from
social networks in fullling their objectives of gaining the public’s attention or obtaining advertising revenue.
Paradoxically, compared to the trend toward business concentration that emerged after World War II and reached its peak in
the last decades of the 20th century, new journalistic ventures are constantly emerging in the digital environment which, in the
case of Spain, seems to have already become overcrowded. Moreover, on many occasions there are no clear dierences in the
products oered that would allow them to glimpse a future without turbulence.
However, in this context, sometimes innovation does not imply novelty in the strictest sense, but instead entails discovering
how much novelty there is in that which is classic. In terms of information, this involves strengthening the traditional values
of journalism, which imply reinforcing the dening principles and identifying features of the social and societal structures
that are the main components of the socio-economic sector of communication. e ultimate goal is clear: the focus is on
content, not only in terms of substance, but also with regard to form, so that it can be shared, thereby extending its reach
(see Su, Liu and McLeod, 2019; urman et al., 2018;
Ödmark
, 2018; Ross and Dumitrescu, 2018; Anderson, 2011). However,
far from pursuing only the recognition and recall of their target audiences, the concern for content involves the ambition
to convert it into revenue (Casero-Ripollés, 2016), which might allow for continuity and the increase of its intrinsic value
without pursuing grandiloquence (Amoedo, Vara-Miguel, Negredo, Moerno and Kaufmann, 2021; Albarran, Mierzejewska
and Jung 2018; Albarran, 2017; Agirre-Maiora, Murua-Uria and Zabalondo-Loidi, 2020; Parra Valcarce, Edo Bolós and Marcos
Recio, 2020; Campos-Freire, 2015; Tejedor and Pla Pablos, 2020), and might even achieve synergy with the diverse media
environment (Nielsen and Ganter, 2018; Neuman, 2018; Campos-Freire, Aguilera-Moyano and Rodríguez-Castro, 2018), in
which now more than ever, there is synchronous coexistence between the large and the small, the one-person initiative and
the more established corporation, and the problematic, intra-corporate histories of yesteryear and the sectoral movements
that possibly seek to do something dierent.
2. Objectives
Since 2010, along with other markets, Spain has experienced a proliferation of information undertakings never seen before.
is massive increase in supply has weakened the pillars on which the press has been founded until now, and consequently,
media groups have lost a large part of their identity. While the description and analysis of this deconstruction process has been
widely analysed, the study of creativity has not been carried out at the same level, which provides a stimulus to emphasise the
concept of innovation applied to journalism as a trend encouraged by these new communication ventures (Bruno and Nielsen,
2012).
Along these lines, our objectives are as follows:
O1. To outline a clear vision of digital, journalistic initiatives, which are known to have a competitive advantage, and therefore
nd themselves in a formidable position in the market.
O2. To establish correlations between the three media analysed with regard to history and trends.
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Collaborative Management and Organization of Digital Media in Spain. Case Study of
El Salto, CTXT
and
La Marea
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
O3. To draw conclusions regarding the business model and strategic sustainability of ventures such as
El Salto
,
CTXT
(
Contexto
)
and
La Marea
.
3. Methodology
is research is based on the analysis of information companies (Nieto; Iglesias, 2000) and provides “scientic knowledge of a
specic nature that focuses on the functioning of such business units, which implies critical interpretation of the situation of
the communication industry, a sector that has attained great prominence in the Global Information Society, and in which the
use of new technology is able to transform business decisions that aect citizens in their ability to engage in free choice and
opinion” (Peinado-Miguel, Fernández-Sande, Ortiz-Sobrino and Rodríguez-Barba, 2011).
Given this background, the research herein has been carried out using a qualitative methodology along with a case study
model (Walker, 1983), whose epistemological basis, according to Stake (2007:46), is “existential (non-deterministic) and
constructivist”, and places the emphasis on interpretation. e case selection was based on non-participant observation and
the identication of business models that prioritise a type of long-form journalism and the building of communities around
brand value. e second reason for their selection was that the three media were identied as direct competitors.
Table 1. Outline of the public information of the three media analysed
BLOCKS
KEY
ASPECTS
El SaltoCTXT La Marea
Organisational
structure
Type of
company
Publishing
Cooperative
Revista Contexto
, Ltd.
(Limited Liability Company)
MásPública
, Cooperative
Year
founded
201720152012
No. of
subscribers
NDA
5,000 (December 2017)>6,000 (May 2021)
Economic structure
(in €)
YearNDA201520162017201820132014201520162017201820192020
Operating
income
NDA48,375220,989380,000528,056179,981185,316158,128277,512240,406274,400196,472305,753
Operating
costs
NDA132,711250,967377,637504,842278,972201,083242,711261,793280,904273,727256,130299,484
Results for
the year
NDA-84,336-29,9782,36323,214-98,991-15,767-84,58315,719-40,498673-59,6586,269
Source: Orbis. Accounting records; prepared by the authors
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e review of sources has been complemented by the application of semi-structured, in-depth interviews with the managers
of the three companies selected. Given the objectives of the study, this research technique is considered especially useful, as
it allows for delving into the issue as deeply as possible.
e interviews were designed according to four thematic blocks: descriptive, nancing and investment; organisational; as well
as multimedia and prospective-valuative. e number of questions varied slightly in each block for purposes of adaptation to
the specic situation of each of the media analysed, according to the information oered publicly by each of them on their
corporate websites, which reveals their level of transparency and clarity in terms of external communication in the rst level
of analysis.
Table 2. Semi-structured interviews
BLOCKS
KEY ASPECTS
No. of questions
El Salto
No. of questions
CTXT
No. of questions
La Marea
Descriptive,
nancing, and
investment block
•
Business establishment process
•
Legal status
•
Management model and decision-making
•
Information transparency
•
Revenue model
•
Lines of business
142324
Organisational
block
•
Sta analysis
•
Established organisational structure
•
Flexible organisational structure
•
Agreements and strategic alliances
1072
Multimedia block
•
Informative services and format oering
681
Prospective-
valuative block
•
Assessment of the history of the medium
•
Robotic view of the target audience
•
Future prospects and critical appraisal of the
journalistic model in Spain
344
•
Total number of questions
334231
•Interviewees
Pablo ElorduyVanesa JiménezMagda Bandera
•
Interview date
7/12/202020/01/202122/02/2021
•
Total interview time 1h 13m 10s1h 29m 24s1h 23m 56s
Source: prepared by the authors
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La Marea
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4. Results and discussion
4.1. Historical perspective of El Salto, CTXT, and La Marea
e three media analysed converge in many aspects, yet perhaps the most relevant is their intention to appeal to a journalistic
spirit that is traditional, reective, and analytical, and that oers procedural guarantees, which they transfer to the digital
environment due to the barriers to entry into the printed press sector, impelled by the eects of a severe economic recession
that has hit the press especially hard (Negredo, Martínez, Breiner and Salaverría, 2020).
From their beginnings, they have targeted highly segmented audiences and established communities with them based on
loyalty and a sense of belonging (Canavilhas, 2015), both at the communicative and business levels. ey have made use
of slow journalism (Albalad, 2018; Neveu, 2016; Masurier, 2015; Barranquero and Rosique, 2015; Rauch, 2011; Greenberg,
2007), as well as narrative and investigative journalistic practices (Requejo-Alemán and Lugo-Ocando, 2014). However, CTXT
is possibly the medium that is most prolic in elevating this concept to a priority by avoiding, though not denying, up-to-the-
minute journalism or submission to the immediacy of information (Blanding, 2015), as part of its DNA (Jiménez, 20/01/2021).
Both
El Salto
and
La Marea
have been established as cooperatives which, according to current legislation, are companies
consisting of “people who are associated in a system of free membership and voluntary withdrawal, to carry out business
activities aimed at satisfying their economic and social needs, as well as their aspirations, with a structure and system of
operations that are democratic, in accordance with the principles formulated by the international cooperative alliance” (Law
27/1999, of 16 July, on Cooperatives, 1999).
For its part, CTXT was established as a Limited Company in 2015, but given its corporate statutes, all of the founding members
have proportional amounts of the share capital initially contributed, which is 1,000 euros; the non-worker “shareholders”
contributed amounts ranging from a minimum of 500 euros upward, and they have the right to participate in the company’s
decisions as well.
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Figure 1. Historical Perspective of
El Salto
,
CTXT
, and
La Marea
Figure 1. Historical Perspective of
El Salto
,
CTXT
, and
La Marea
Source: prepared by the authors
4.2. Trends in financing and
investment
In the search to differentiate themselves from the traditional
mainstream
media
, and having a
clear
dependence on banking entities and partners outside the communication sector
,
in many
cases
the
organizations
we have analysed, which could be considered as
“
part of a new generation
of cyber media
”
(Marquez
and Peña Marin, 2020), seek economic independence through
alternative sources of financing that inevitably involve investment from the general population.
Even with this premise as a
conditio sine qua non
, the business models under study differ
slightly
,
as suggested by the following
aspects:
El Salto
was not founded through the use of crowdfunding, which is an alternative they see as
“
circumstantial
, linked to a project
,
and not so much as something structural
”
(Elorduy,
7/12/2020). The distinctive nature of this medium, which is a renewed continuation of
Diagonal
,
entailed
a paradigmatic financing process: contributions were made through bank transfers
,
and
Diagonal's
subscriptions were transferred to
El Salto
. This resulted in putting the months
on hold
between the closure of one project and opening of the other. Moreover, given its legal
structure
as a
cooperative
, becoming a subscriber does not automatically imply the status of a cooperative
member, although an administrative process regulated by law is required
.
However, subscribers
Source: prepared by the authors
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Collaborative Management and Organization of Digital Media in Spain. Case Study of
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and
La Marea
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
4.2. Trends in nancing and investment
In the search to dierentiate themselves from the traditional mainstream media, and having a clear dependence on banking
entities and partners outside the communication sector, in many cases the organizations we have analysed, which could be
considered as “part of a new generation of cyber media” (Marquez and Peña Marin, 2020), seek economic independence
through alternative sources of nancing that inevitably involve investment from the general population. Even with this premise
as a
conditio sine qua non
, the business models under study dier slightly, as suggested by the following aspects:
El Salto
was not founded through the use of crowdfunding, which is an alternative they see as “circumstantial, linked to a
project, and not so much as something structural” (Elorduy, 7/12/2020). e distinctive nature of this medium, which is a
renewed continuation of
Diagonal
, entailed a paradigmatic nancing process: contributions were made through bank
transfers, and
Diagonal’s
subscriptions were transferred to
El Salto
. is resulted in putting the months
on hold
between the
closure of one project and opening of the other. Moreover, given its legal structure as a cooperative, becoming a subscriber
does not automatically imply the status of a cooperative member, although an administrative process regulated by law is
required. However, subscribers have the option of being represented in decision-making, either in face-to-face assemblies or
through streaming, or by proposing online surveys (generally carried out using Google Forms), as well as discussion forums
through which the audience is heard from the perspective of a study, yet not from an executive point of view.
As a cooperative,
El Salto
is required to hold an annual general assembly where accounts are rendered. Moreover, the
assemblies are open to all types of members, including workers, collaborators, and consumers, and each group has the right to
vote with a weight of 1/3 in the nal decision. e rst in-person assembly was held in Madrid with a large turnout; the second
took place in Malaga, where attendance was lower, and in which a streaming model was introduced. is format simplied
subsequent events, which were forced to use this method due to health requirements.
CTXT
was founded by journalists with extensive professional experience yet scarce management training. ere were 14
founding journalists, who contributed approximately 1,000 euros per person to the share capital, yet they were not paid during
the rst year of the project’s life. ey were joined by a wide range of people from diverse elds, including philosophy, lm,
acting, sociology, law, and others, who took on the role of “companions”, or promoters, and contributed between 500 and
3,000 euros in capital. ey even formed part of the journal’s rst editorial board. One year after the medium was established,
only three of the initial 14 founders remained due to obvious reasons linked to the project’s protability. In the beginning,
the organization considered using crowdfunding through Verkami, with the intention of defraying the costs involved in
launching an entirely online project, mainly expenses related to IT, (between 25,000 and 30,000 euros were raised); later,
another crowdfunding project was carried out with the Goteo platform, aimed at survival or consolidation, or in other words,
the objective was to guarantee the salaries of the media workers (around 72,000 euros); its third major crowdfunding venture
moved away from structural issues in favour of a specic project, which was aimed at producing a documentary about
Billy
the Kid
.
La Marea
is an initiative that was undertaken by a group of former employees of the newspaper
Público
. As they were grouped
together on the platform
Más Público
, and supported by the cooperative known as
Xarxa Integral de Professionals i Usuaries
,
they made a bid to take over
Mediapro’s
newspaper after it was subjected to bankruptcy proceedings in 2012. Despite having
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signicant popular support through Verkami, the cooperative lost the auction bid, which was won by the very recently created
Display Connectors, a real estate company linked to the newspaper’s former owners. is setback led to an initiative to launch
a new media outlet under the umbrella of the
Más Público
Cooperative, composed of workers and users. e people who had
supported the initiative to buy
Público
on Verkami were invited to participate in a new project, whose rst two publications
were linked to the call name
Más
Público
, and later to
La Marea
, which aimed to disassociate itself from
Público
(
Mediapro
)
and become a magazine with a constant online ow. e members of the cooperative who were workers were legally obliged
to contribute 3,000 euros, and the cooperative members who were users had to pay 1,000 euros initially, an amount that
was reduced over time to adapt to the characteristics of the target audience. ey currently have 3 worker members and
approximately 80 user members. On the premise of dignifying the profession, this situation became permanent after one
year, yet the paradox was that the workers did not want to be cooperative members, since the wage conditions were radically
dierent, and in fact are negative in the case of an organisation that has not yet achieved stability in the market: due to legal
requirements, workers who are members of the cooperative do not have a set salary, but instead must rely on a corporate
advance, which varies according to the performance of the production unit; workers who are
not
members of the cooperative
do have a set salary in accordance with the general wages agreement which, in addition to greater security, is a deterrent to
taking the step to becoming a cooperative member and assuming the economic risk in doing so. In order to solve this anomaly,
the option being considered is that after the one-year contract expires, either the worker will become a cooperative member
or will not be oered a permanent position (Bandera, 22/02/2021). Given the nature of a cooperative, becoming a member
implies a justication of motivations, as in the case of
El Salto
. Decisions are taken by representative bodies of workers and
users; the former have a qualitative vote in the event of a tie, but the voice and vote of all members of the cooperative is
guaranteed.
Regardless of their legal structure, the three media analysed have chosen micro-patronage on multiple occasions to a greater
or lesser extent, mainly through Verkami and Goteo. Projects such as
Cimática
,
IBEXtigo
, #portodas (
La Marea
), the
Billy the
Kid
documentary (
CTXT
), and the opinion survey on the Spanish Monarchy (
Plataforma de Medios Independientes
[1]
), have
been possible due to economic collaboration through crowdfunding, or participative nancial strategies, which means there
is no dependence on micro-patronage platforms.
4.3. Trends in revenue diversication
Large mass media companies are mostly dependent on advertising revenue. e 2020 INFOADEX study estimated that
advertising investment in Spain had decreased by 17.9% compared to the previous year, and in controlled, or formerly
conventional media, there was a general decrease with the exception of the digital environment. e three organizations
analysed use advertising, but in no case does it represent their primary source of income, which is mainly from subscriptions.
In any event,
El Salto
,
La Marea
and
CTXT
manage advertising investment according to the rigid ethical criteria published on
their websites. e rst claim among the criteria is the rejection of any persuasive content that goes against their corporate
1
Created in 2020 by 16 independent media outlets:
Alternativas Económicas, Carne Cruda, Catalunya Plural, Critic, CTXT, Cuartopoder, El
Salto, La Marea, La Voz del Sur, Luzes, Mongolia, Norte, Nueva Tribuna, Pikara Magazine, Praza,
and
Público.
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values (human rights, feminism, environmental defence, etc.); secondly, they are clearly opposed to hidden advertising;
nally, they are completely opposed to advertising content that could aect their journalistic freedom. e case of
CTXT
is
perhaps the most divergent, given that they have a strategic alliance with the newspaper
Público
, according to which they
relinquish their advertising inventory (except for the front page) to be marketed jointly. ey have an additional publication,
El Dobladillo
, which also uses advertising, and unlike
El Salto
and
La Marea
,
CTXT
uses sponsored content as well, but with
a win-win criterion, and only after reviewing the conditions. For example, they currently have this type of agreement with the
Observatorio de La Caixa
.
Subscriptions are the main source of income for all three media: this consisted of approximately 70% of
El Salto’s
income in
2020; 53% of the income of
CTXT
in 2017; and 75.9% of the income in 2019 of the combined sales of
La Marea
, newsstand
books, magazines, and merchandising. is undoubtedly conrms the implementation of a strategy based on loyalty and
community building. is coincides with the increasing trend toward paying for online news content in Spain (Vara-Miguel,
2020). However, in these cases, it is more similar to a membership model, given that the content is not closed, but instead the
aim is to promote the survival of the media.
Figure 2.
El Salto
subscription models in 2021
Regardless of their legal
structure
, the three
media
analysed have chosen
micro-patronage
on
multiple occasions to a greater or lesser extent, mainly through Verkami and
Goteo
. Projects such
as
Cimática
,
IBEXtigo
,
#
portodas (
La Marea
),
the
Billy the Kid
documentary (
CTXT
),
and
the
opinion survey on the Spanish Monarchy (
Plataforma de Medios Independientes
[1]
), have been
p
ossible due to economic collaboration through crowdfunding
,
or participat
ive
financial
strategies, which means there is no dependence on
micro-patronage
platforms.
4.3 Trends in revenue diversification
L
arge mass media companies are mostly dependent on advertising revenue. The 2020
INFOADEX study estimate
d
that advertising investment in Spain ha
d
decreased by 17.9%
compared to the previous year, and in controlled, or formerly conventional
media,
there
was
a
general decrease with the exception of the digital environment. The three
organizations
analysed
use
advertising, but in no case does it represent their primary source of income, which is mainly
from subscriptions. In any
event
,
El Salto
,
La Marea
and
CTXT
manage advertising investment
according to the rigid ethical criteria published on their websites. The first claim among the
criteria is the rejection of any persuasive content that goes against their corporate values (human
rights, feminism, environmental defence, etc.); secondly, they are clearly opposed to
hidden
advertising;
finally, they are completely opposed to advertising content that could affect their
journalistic freedom. The case of
CTXT
is perhaps the most divergent, given that they have a
strategic alliance with the newspaper
Público
, according to which they
relinquish
their advertising
inventory
(
except for the front page
)
to be marketed jointly. They have an additional publication,
El Dobladillo
, which also uses
advertising
, and unlike
El Salto
and
La Marea
,
CTXT
uses
sponsored content as well, but with a win
-
win c
riterion
, and only after reviewing the conditions.
For example, they currently have this type of agreement with the
Observatorio de La Caixa
.
Subscriptions are the main source of income for all three
media
: this consisted of approximately
70% of
El Salto's
income in 2020; 53% of the income of
CTXT
in 2017; and 75.9% of the income
in 2019 of the combined sales of
La Marea
, newsstand books, magazines
,
and merchandising.
This
undoubtedly confirms the implementation of a strategy based on loyalty and
community
building
. This coincides with the increasing trend toward paying for online news content in Spain
(Vara-
Miguel, 2020). However, in these cases
,
it is more
similar
to a membership model, given
that the content is not closed, but instead the aim is to
promote
the survival of the media.
Figure 2.
El Salto
subscription
models
in 2021
Source: elsalto.es
1
Created in 2020 by 16 independent media outlets:
Alternativas Económicas, Carne Cruda, Catalunya Plural, Critic,
CTXT, Cuartopoder, El Salto, La Marea, La Voz del Sur, Luzes, Mongolia, Norte, Nueva Tribuna, Pikara Magazine,
Praza,
and
Público
.
Source: elsalto.es
All three cases analysed propose dierent subscription models that vary according to periodicity, access to online and
oine content, and the inclusion of value-added content as well, whether it involves merchandising and discounts (García-
Santamaría, Pérez-Serrano and Maestro-Espínola, 2016), or monetising their own content (Rodríguez-Pallares, 2014, 2015,
2020).
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Figure 3.
CTXT
subscription models in 2021
All three
cases
analysed
propose different subscription models that vary according to periodicity,
access to online and offline content, and the inclusion of value
-
added content as well, whether it
involves merchandising
and
discounts (García
-
Santamaría,
Pérez-
Serrano and Maestro
-
Espínola,
2016), or monetising their own content (Rodríguez
-
Pallares, 2014, 2015, 2020).
Figure 3.
CTXT
subscription
models
in 2021
Source: agora.ctxt.es
In all cases, an option is available for giving a subscription as a gift and making a donation in the
amount of your choice to make the project viable without committing to a regular payment. For
the moment, there is free access in
a
ll cases, or in other words, payment does not imply access to
c
losed content, but instead
guarantees
the survival of the media.
Figure 4. Subscription models of
La Marea
in 2021
Source: agora.ctxt.es
In all cases, an option is available for giving a subscription as a gift and making a donation in the amount of your choice to
make the project viable without committing to a regular payment. For the moment, there is free access in all cases, or in other
words, payment does not imply access to closed content, but instead guarantees the survival of the media.
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Figure 4. Subscription models of
La Marea
in 2021
All three
cases
analysed
propose different subscription models that vary according to periodicity,
access to online and offline content, and the inclusion of value
-
added content as well, whether it
involves merchandising
and
discounts (García
-
Santamaría,
Pérez-
Serrano and Maestro
-
Espínola,
2016), or monetising their own content (Rodríguez
-
Pallares, 2014, 2015, 2020).
Figure 3.
CTXT
subscription
models
in 2021
Source: agora.ctxt.es
In all cases, an option is available for giving a subscription as a gift and making a donation in the
amount of your choice to make the project viable without committing to a regular payment. For
the moment, there is free access in
a
ll cases, or in other words, payment does not imply access to
c
losed content, but instead
guarantees
the survival of the media.
Figure 4. Subscription models of
La Marea
in 2021
Source:
Kiosko.lamarea.com
In the struggle to survive in the market and to guarantee the dignity of the labour force, the possibility of reaching agreements
among media outlets with similar values in order to propose joint subscriptions is being debated, possibly by using the Platform
of Independent Media (
Plataforma de Medios Independientes
). is idea was still being envisioned at the beginning of 2020
(Jiménez, 20/01/2020), and it was launched in 2021 through an initiative involving
El Salto
and
La Marea
, which joined forces
under the banner “United Against Hate”, in a campaign for joint subscriptions. For its part,
El Salto
(Figure 2) occasionally
collaborates with ventures that are in line with its corporate identity, an example of which is the clothing shop
Pantera
, which
was opened by the
Manteros
Union.
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Figure 5. Joint subscription models for
La Marea
and
El Salto
in 2021
Source: Kiosko.lamarera.com
Furthermore,
El Salto
,
La Marea
and
CTXT
have alternative sources, and despite not representing the bulk of their income, they
collaborate actively with these sources, and above all, with their engagement and visibility.
El Salto
has an online section called
“
tienda
” (shop) where it sells illustrated editorial resources aimed at children and youth, and publications from collaborating
media such as
Pikara
, promotional packs that include its own content in paper format, merchandising, and documentaries.
La Marea
has a similar section where it sells books and old editions in paper or digital format of its own publications, as well
as those of
Climática
, which is a new, independent venture that focuses on climate change, founded in 2019.
CTXT
also has
a “
tienda
” (shop) section, where it is possible to nd everything from merchandising, eBooks, videos, and books from the
Contextos
collection, to copies of
El Dobladillo
, a bimonthly publication created by
CTXT
, which is occasionally published
ad
hoc
for requesting institutions after reviewing conditions and content.
Apart from these options, perhaps one of the most signicant features shared by all three media analysed, to a greater or
lesser extent, is the oer of education and training.
El Salto
is possibly the media outlet that uses this option the least on its
website, as it currently oers only a course entitled
Crisis, transnacionales y lavado verde. Claves y alternativas para desandar
el laberinto capitalista
(Crisis, transnationals and greenwashing. Keys and alternatives to unravelling the capitalist labyrinth),
in collaboration with
OMAL
(Observatorio de multinacionales de América Latina
),
Carro de Combate
,
REAS
(
Red de Economía
Alternativa y Solidaria
), and
El Salmón Contracorriente
.
La Marea
also oers several one-time courses on aspects linked to its
corporate values, such as the gender perspective, journalistic activity, political analysis, and the climate crisis.
CTXT
focuses
its online training courses on journalistic activity, but it has its own facilities on
Calle Juan de Austria
in Madrid as well, where
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a specic team of its sta organises workshops related to issues of interest to its target audience, yet these installations can
also be rented to individuals and institutions for events that to a greater or lesser extent increase its income. It also bears
mentioning e Feminist Macro-Congress, promoted by
CTXT
in Zaragoza. is event gathered more than 600 people and was
nanced by Bankia, among others. In all three cases, it is evident that these educational/training and informational oerings
are not only attended by the media’s current audience, but also by the potential target audience that has not yet become
engaged, which leads to the conclusion that this medium is of interest to a social group that is likely to become an ally of the
media, if a good communication strategy is carried out.
Despite not being comparable to those of the large mainstream media, these value-added options have become sound
opportunities for small media companies, who are managing to benet from gaps in the market and build loyalty among
segmented audiences who share their values.
e ight of banks and large advertising companies is a unanimous guarantee of a certain degree of independence when it
comes to selecting and dealing with content. However, the three media analysed point out that even though this is true, the
lack of nancial support from large banking and advertising players limits their coverage due to a lack of resources, which in
the end aects their daily activity, not by direct order, but as a result of economic restraints.
4.4. Trends in organisational structure
In a context of relentless change in which companies are obliged to reinvent themselves and constantly learn (Senge, 2005),
organisations search for dynamism, and in accordance with new organisational structures (Bueno, 1996) they have a smaller
permanent sta and collaborate through contracts only on occasion.
El Salto
has several unique features. On the one hand, it is a medium composed of territorial hubs, which are operationally
integrated into the day-to-day structure of the main newsroom, and even though they initially functioned as independent
media, they now operate as a single medium with dierent territorial areas. is decentralised, or territorialised structure, is
aected by the inability to have suciently large newsrooms, which encourages remote work. Since December of 2019, only
two editions have been printed in paper format: the general edition and
Hordago,
of
El País Vasco
and
Navarra
; on the web,
the sections of the territorial hubs have been maintained (
Andalucía
,
Extremadura
,
Galicia
,
La Rioja
, and
País Valencià
),
which previously had their own print editions, but these were nancially unsustainable. On the other hand,
El Salto
can be
considered a media outlet, as many independent media collaborate with this organisation, such as
Pikara
and
Soberanía
Alimentaria
. In addition, this media’s website supports more than 70 blogs, whose characteristics dier considerably. e
relationship between blogs and the medium is a win-win situation: blogs gain visibility on the website and social networks of
El Salto
, they can access its archives, and the medium expands its thematic coverage as a result. Nevertheless, this model works
inconsistently: in addition to dierences in periodicity, some blogs combine this platform with their own websites, while
others can only be consulted from
El Salto’s
site (Elorduy, 7/12/2020).
CTXT
has a very small, centralised sta of around 15 people, yet it has a hub of permanent collaborators as well as another
group of sporadic collaborators. Management of the topic-based specials is planned with three outlets in mind: the web,
El
Dobladillo
, and workshops (debates, training courses, etc.) (Jiménez, 20/01/2021). With regard to production coordination,
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CTXT
has the support of the following associated media:
Público
, which has a framework agreement that was established
more than two decades ago to optimise the scheduled purchase of advertising, as well as an editorial alliance, which involves
the dissemination of at least four
CTXT
stories per day on
Público’s
networks;
e Buer
, which relinquishes part of its
publications to
CTXT
, with the latter being responsible for language translation in exchange for visibility; other associated
media include
Jacobin
,
e Nation
,
Atlantic,
and
Anbia
, with similar agreements. Another category includes organisations
considered “media friends”, which implies a good relationship, yet there are no previously conrmed agreements. Instead,
agreements are made on an
ad hoc
basis for the transfer of content or collaboration. Examples include
Ytali
,
Inpiù
,
La Voz del
Sur
,
El Estornudo
,
El Tercer Puente
,
Political Critique,
and
Nueva Sociedad
.
La Marea
only has two full-time and six part-time professional workers, who are responsible for managing
Climática
as well.
erefore, a signicant percentage of the workforce is hired by project (Bandera, 22/02/2021). Moreover, in this case, media
partnerships have been agreed upon, an example of which is
Carne Cruda
.
In this regard, the search for exibility inherent to a networked, organisational structure has been completed.
4.5. Trends in brand value as a continuous feature in a multi-format environment
Multi-channelling is imperative for today’s media, whose presence on the Internet is absolutely essential, although digital
natives might possibly be excluded from this proposition. However, it is interesting to see that the three cases analysed
combine an online presence, or ow, with a print version, and variable periodicity, depending on each organisation. e
reason seems to lie in the prioritisation of slow journalism, as well as the leisurely, reective reading style of its target audience,
which expresses a preference to be well-attended, with meticulously developed editions, and a high level of respect aimed
at readers (Elorduy, 7/12/2020; Jiménez, 20/01/2021; Bandera, 22/02/2021). Although the reduction of print production and
longer periods of time between printings are being pursued for economic and environmental reasons, the total elimination of
paper versions is not being considered at the moment.
As far as the multiplicity of web formats is concerned, the cases analysed display signicant divergence.
El Salto
constantly
feeds its website with video and audio content: at the present time, video programmes such as
Plano Maestro
and
Periferias
are
part of the media outlet’s oering, which also centralises the videos of its news coverage on the same page of the website; with
regard to podcasts, which have an independent budget and are increasingly popular among the under-45 year old audience
(Amoedo, 2020), there are also programmes with a certain regularity, such as
Área
Subterránea
and
Postapocalipsis Now
, with
a focus on technology. e medium is trying to increase its multi-format, or multimedia oering, if only in a humble way given
the high costs of such modes, yet it is constantly searching for an association with the brand.
Even though
CTXT
has a video section (CTXTán TV), mainly with interviews and documentaries, and another for podcasts
(
Cultura en rojo y blanco
), the medium openly states that “We are not a multimedia channel, we are text”, which functions best
with its audience (Jiménez, 20/01/2021).
At
La Marea
, other priorities need to be attended before making the leap to multiformat, although they admit to giving special
importance to illustration and intend to promote video, having conrmed that their audience values this format. is medium
does not plan to enter the podcast world, yet they do have a reporter who is coordinating an audio series on the 15 M movement
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with
Carne Cruda
, which might lead to some visibility on their site at an intermediate point, somewhere between
El Salto
and
CTXT
.
In any case, the search for identiable brand value is the key to the productive activity of the three media analysed, regardless
of the format –in other words, the aim is to establish a brand in the market through their principles and ways of doing things.
4.6. Trends in competition and market niches
Factors that inevitably link
El Salto
,
CTXT
and
La Marea
to very limited segments of the population include the following:
nancial diculties; the commitment to covering news events in depth rather than always following the last-minute rush; and
avoiding the aspects that predominate the agendas of the mainstream media. is situation prevents them from competing
with large national newspapers, which is not among their aspirations in any case, yet it oers them the possibility to have an
audience that is faithful, loyal, participative, and committed. As mentioned above, the selection of the three media analysed is
not an inconsequential matter, nor is it the result of logic applied by the authors of the study herein –instead, it is a response
to the statements made by the interviewees themselves, who eventually mentioned each other as direct competitors, although
with greater or lesser clarication. It is quite possible that the question now is the following: Will the three media survive
independently, or will they succumb to consolidation, which has been the usual case since the 1980s, with all the advantages
and disadvantages entailed in that process?
5. Conclusions
Information has been described as the “fundamental activity of the human being” (Eydalin, 1971). If one did not know that
this quotation was made half a century ago, one might think that it was written during these pandemic times. For this reason,
and due to the fact that media organisations are specically dedicated to information (Conesa, 1978), it is essential for such
companies to be endowed with innovative features that will allow them to continue serving as the vehicle of information, but
that will also allow them to link such information to the market, where it must necessarily develop.
is research has striven to complement previous studies, including those of Márquez and Peñamarín, 2020, and Tejedor and
Pla, 2020, and to outline some of the most distinctive characteristics of a new journalistic model that operates in an era that
one might call
post-digital
, in which the aim is no longer to be present, but to optimise that presence and build the loyalty of
demanding audiences by combining dynamic professional practices (Deuze and Witschge, 2017). e media analysed, which
are digital natives that have emerged from a process of reinvention, as well as from the eorts of professionals who have been
aected by the crisis that has ravaged the press since 2008, epitomise a new way of carrying out journalistic work in which
these organisations do not attempt to compete with titanic media companies, but instead, they try to nd a space of their own,
which they have achieved, though not without having to overcome obstacles.
Despite having divergent features, all three media concur in the implementation of new organisational structures that tend
to be horizontal, as well as innovative professional roles and routines, new collaborative organisational cultures (Rodríguez-
Pallares and Pérez-Serrano, 2017), and enhancement of their brand value. Moreover, there is one specic challenge that they
all have in common: the search for funding sources. is overwhelmingly involves social micronancing, the avoidance of
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banking institutions and other players with values contrary to their own (to a greater or lesser extent), and the diversication
of income. In a context in which online journalistic initiatives are constantly emerging, the features mentioned immediately
above can be considered distinctive characteristics that have managed to build communities and add viability to the projects
analysed in this study.
6. Acknowledgements
Article translated by Charles Edmond Arthur.
7. Specic contributions from each author
Name and Surname
Concept and design of the workMiriam Rodríguez Pallares and María José Pérez Serrano
Methodology
Miriam Rodríguez Pallares and María José Pérez Serrano
Data collection and analysisMiriam Rodríguez Pallares and María José Pérez Serrano
Discussion and conclusionsMiriam Rodríguez Pallares and María José Pérez Serrano
Writing, formatting, revision and approval of versionsMiriam Rodríguez Pallares and María José Pérez Serrano
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