The Ambies, podcasting’s leading dedicated awards, are currently open for submissions (until November 6). For today’s issue, I interviewed Ami Thakkar, executive director of The Podcast Academy, the organization behind the awards.
Also in this issue:
Nominations are open for Project C’s second annual creator-journalist list
A study on how Americans define “creator”
Job openings at a leading creator management business.
— Francis Zierer, Lead Editor
You could be done by now.
It's Sunday night. Two scripts due, the Tuesday issue half written, thirty brand emails you keep opening and closing, and a caption you've rewritten four times.
Wispr Flow is a voice-to-text app. You talk, it types. The script in Google Docs, the issue in beehiiv, the reply in Gmail, the caption in Instagram, in any app on your phone or computer. It takes out the ums and the false starts, so it reads like you sat down and wrote it. Four times faster than typing.
So the Tuesday issue gets said on the drive home, and the desk is for editing.
This is an advertisement.
The Ambies elevate podcasting and podcasters
The Ambies, the premier podcasting awards, will hold its seventh edition in 2027. Submissions are open now and close November 6.
Earlier this week, I caught up with Ami Thakkar, who took on the Executive Director role earlier this year at The Podcast Academy, the Ambies’ parent organization.
I met Ami because, full disclosure, The Podcast Academy and beehiiv have a collaborative relationship. I wanted to talk to her on record because organizations like hers are crucial to formalizing and maturing the creator economy.
I spoke with Ami for most of an hour; I've condensed, formatted, and edited the following interview for clarity.
Francis Zierer: What’s the mission of TPA? I’m sure I can find the mission statement on your website, but for you — and the four of you [on staff] — what aligns you? What’s the purpose of this organization?
Ami Thakkar: “I was a creator for a very long time. I struggled in my basement — or attic — for many years, and I understand how much creators are already investing of their time and energy. It takes a lot to build a podcast, and to understand the evolution of where podcasts are going. Every six months, I felt like, okay, what do I need to do? What’s the new thing?
What creators need now, because this is a maturing industry — I think of TPA as infrastructure that can support the industry with access, opportunity, and recognition. What would I tell creators who want to join? Can we help you with a connection you haven’t made otherwise? Can we introduce you to a new way of building your business? Can we bring attention to your work? Can we give you the recognition you deserve?
I want them to know we’re not just an industry organization — we want to support them in ways I’m seeing and hearing that people need. That even includes jobs. We started a program this year called TPA Talent Connect. It’s so easy to have a job board on your website — but where does that resume go? Who knows?
Our first partner was Oxford Road, and we connected our members with actual human beings that are hiring. It was a two-and-a-half-hour session, breakout rooms, discussions, and it was overwhelmingly successful.
I came to this job with a few of my own goals.
One was Talent Connect.
The second is international — expanding outside the US; most members are from the US, we have 15% internationally — through the Podcast Show London, and we worked with Radio Days Asia for the first time.
The third pillar — I have two kids who aren’t in college yet, but I think about my kids — there are so many universities now with programs focused on the creator economy or podcasting, so how can we support these young creators once they get out? It’s slowly building — a coalition of educators and professors to figure out how to help support them.”
FZ: Who are the members? Is it people working on big popular shows, the hosts? Producers? Give me a picture of the breadth — the typical TPA member, or a few archetypes. Who’s in TPA?
AT: “All of it. It’s the Spotify executive, it’s the independent creator who has one episode. It really is a platform for all — I’m not just saying that to get out of the question.
We’re the one organization that brings together that breadth of who’s involved and what their role is in the industry. Let me give you an example. When I started as a member at TPA six years ago, no one knew me. I had like three episodes out — my mom maybe heard one. I joined the mentorship program, and my mentor was Marshall Lewy, who was one of the top guys at Wondery and is now at Audible. I would never have thought I’d have access to him.
If you look at our board of governors in the past, it’s many of these top executives connecting with amazing creators who may not have access — and the middle guys, the ones now building audiences and growing, who may not be that big celebrity or have that big network but are on the pathway to get there. We really do have support for all phases.”
FZ: We haven’t really talked about the Ambies. My understanding is part of the original purpose was access, opportunity, and recognition — and the Ambies, as recognition, give people something to glom onto; an award show exists because the awards increase the respect this industry receives. The 2027 edition will be the seventh. How has the meaning or significance of this award changed over the years?
AT: “Podcasting deserves the same level of recognition as any other creative industry — the Oscars, the Emmys, the Grammys.
The Golden Globes has the podcasting category now, which I know has been controversial, but I think it’s great that it highlights it — I look at all these things as positive.
The Ambies has evolved like the industry has evolved. It’s not just a ceremony; it really is a platform for recognizing talent, and it connects the industry that night. I’ve seen it create opportunities for shows that are nominated, that have won. Especially with On Air Fest — because it brings creators for the whole week, we’ve been able to bring together creators and leaders and the broader podcasting community.
We’re expanding this year, adding a few more categories, because every year we’re trying to keep up with the evolution. Winning can be powerful for independent creators — it adds credibility, visibility. Maybe it doesn’t get you a big paycheck, but the main thing about the Ambies is it opens doors. And that can lead to so many places. I’ve seen it with many shows.”
Nominate creators (even you!) for The Project C 100
Another organization serving a certain segment of creators — Project C. We interviewed the founder, Liz Kelly Nelson, in 2025. I’ve interviewed a number of people connected to the community and admire what the group does for creator-journalists.
Last year, Project C published a list of “The Top 50 Creator-Model Journalists”, including people like former Spotlight guests Ryan Broderick, Caitlin Dewey, and Alicia Kennedy; and other popular folks like Cleo Abram, Johnny Harris, and Kyla Scanlon.
This year, they’re doubling the list to 100.
I share this because Project C wants you to nominate your favorite creator-journalists. I’ve already done so and encourage you to do the same. Organizations like this legitimize the creator economy and the people working in it — but only if we participate.
I’ll share a couple details from their announcement:
Nominations are open through Friday, November 13 at 11:59 pm ET.
The list comes out in January.
Who should you submit?
No account is too big or small. Audience size matters less than quality and audience engagement.
Medium and business model agnostic. Newsletterists and YouTubers are equally welcome, as are subscriber-supported and ad-supported businesses.
Innovation matters. Creators can do journalism in a way newsrooms sometimes cannot!
The person does not have to be a trained journalist, “as long as you trust that you're getting rigorous, fact-based information about your world from them.”
You can nominate as many creators as you like.
You can nominate yourself.
Jobs and a study
Two more things that landed on my desk this week I thought worth sharing:
A nearly 1,000-person study about the definition of “creator”
Job openings at an influential creator management business
The study
The Syracuse University Center for the Creator Economy is American higher education’s most comprehensive investment in the creator economy to date.
Crucially, it’s not just about training creators — the Center is focused on “training students to become the next generation of operators, talent managers and agents, and financial and infrastructure visionaries,” says executive director Ryan Schramm in an article on their website.
They recently began publishing original research — including a report, this week, aptly titled “Creator, Defined.”
The headline finding from the Syracuse University CCE’s study.
A quick note on methodology. First, they interviewed 20 creators and 20 industry professionals. Then, they surveyed 989 “U.S. adults aged 18 and older who use at least one social media or video platform weekly.” Here’s some of what they found.
83.7% of respondents agreed with this statement: “What separates a true creator from a casual internet user who posts is a sustained commitment to their craft over time.”
66.7% of respondents “see a difference between a creator and an influencer.”
64.7% of respondents “say changing content to chase sponsors compromises integrity.”
The jobs
Whether you know the name Smooth Media or not, you’re probably familiar with some of their work. Do you subscribe to Colin and Samir’s The Publish Press? That’s part of Smooth Creative Holdings alongside Smooth Media, which is focused on talent management, specifically working with knowledge creators.
One of my contacts at Smooth shared a few job openings I felt worth passing along:
They’ve a few more openings, but note that all are in-person roles in New York City.
