More About Me

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Since the "About Me" section of this blog is limited to a specific number of characters, I decided to write a post that discusses more about what I have done in the pro-wrestling industry, beginning with when I first started in it and leading up to now.

Technically, I started back in the 1990s, contributing to "Pro Wrestling Illustrated" and then "Pro Wrestling Torch". In 1997, I contributed to The Official Website of the NWO. That same year, I briefly published my own newsletter, "The Wrestling Express".

In 1998, I taught myself how to design websites and served as a consultant for various independent promotions. That next year, I worked as a website designer/maintainer for Dylan Summers (Necro Butcher), who was running the Texas-based Power Pro Wrestling Federation, and later was involved with Texas Outlaw Promotions.

During the period of 2000-2002, I was involved in many different projects at once. I was working as a website designer/publicist for talent, contributing to WCW.com, writing columns for independent promotions and the website of former WCW star The Stro, and writing for a variety of pro-wrestling media sites (including WrestlingObserver.com and PWTorch.com). In 2003, I began running my own website, World Wrestling Optimum, which consisted of news, articles, and interviews.

From 2001 to 2013, I worked as a Sports Desk Assistant for Southern Westchester BOCES Athletics, responsible for inputting schedules and assigning officials for all public high school athletic events in the greater New York metropolitan area. This gave me an opportunity to hone my skills in organization and logistics. I acted as in-house technical support.

In 2004, I started working for the Michigan-based Ultimate Championship Wrestling as a publicist/columnist. They were an affiliate of American Wrestling Association Superstars Of Wrestling, and I soon became the publicist/columnist of the main governing body of AWA as well. During my time working for UCW, I played a major role in bringing in new talent, due to my having come into contact with many talents being underused and going unnoticed in the industry over the years. Also, attendance increased by a significant amount.

In 2005, I started doing a column for 3PW. With DVDs sold nationwide, they had the potential to become much bigger than they already were at the time, and they were very open to my ideas. I pushed for many changes behind the scenes. I had encouraged management to improve the production quality of their DVDs, which led to them dealing with a different production company. 3PW management had planned on waiting for its fan base to increase before getting TV for 3PW. I explained how getting TV for 3PW is what would increase its fan base, and I was then given the green light to find networks that were interested. Two networks were very interested, and I encouraged 3PW management to meet with them as soon as possible. Unfortunately, the owner of the company instead opted to shut 3PW down, due to losing interest. Working for 3PW put me in connection with the UK-based 1PW, where I worked as a columnist.

After 3PW shut down, I began working as a publicist for independent promotions, including CHIKARA. I also worked as a columnist for CZW. Interestingly, though, it was 2006 at this point, yet I was still most recognized for the work that I had done for 3PW and AWA/UCW.

In 2007, I started working as a columnist for XCW, a promotion that was seen nationally on MAVTV, had a national DVD deal, and also had PPV events. Working for a promotion of national status was my biggest achievement at that point, and two years later, I reached a bigger achievement- Big Japan Pro-Wrestling. Along with working for them as a columnist and an Administrator for their Facebook page, I helped bring Big Japan Pro-Wrestling together with Combat Zone Wrestling to form a working relationship after a previous working relationship between the two promotions had fallen apart. This new working relationship led to Big Japan Pro-Wrestling having its first event in the United States.

In October 2009 I assisted publicity & promotions company MGM Management with the HULKAMANIA- Let the Battle Begin tour by distributing their press release to pro-wrestling news sites that are popular with Australian fans, and conducting an interview with Solofa Fatu Jr. (better known as, "Rikishi"). Also, in 2012, I wrote a number of columns for Women Superstars United, which was known as Women Superstars Uncensored at the time.

In May 2018 I did social media for Great North Wrestling.

In April and May 2021, I did blogging and social media for Kyushu Pro Wrestling. During that time, the promotion gained 220 new subscribers and 52,746 new views on its official YouTube channel.

Recently, I have done blogging and social media for Yanagase Pro Wrestling. Since the time I began writing for them, Yanagase Pro Wrestling has their anniversary events at a venue where they have had 300 fans. All previous Yanagase Pro Wrestling events took place at a 50-seat venue.

I have also recently written for the China-based Middle Kingdom Wrestling in a Publicist capacity. My work is an essential piece in the multilingual activation, with it being adapted to traditional Chinese for readers in China. I am the first native English writer to have written for a Chinese wrestling organization in history.

In 2019, I began writing for Michinoku Pro Wrestling, in charge of international wrestling. Since the time that I began writing for them, Michinoku Pro stopped choosing Shin-Kiba 1st Ring for its Tokyo events and began focusing on the much larger Korakuen Hall for its Tokyo appearances. The Korakuen Hall is known as a place where many historical moments in the Japanese pro-wrestling scene have occurred. It's to Japan what Madison Square Garden is to the pro-wrestling scene in the United States. Michinoku Pro had a sellout, standing-room-only event on December 13, 2019 at the Korakuen Hall. The event had an attendance of 1,890. That was the highest reported attendance at the Korakuen Hall to date for a pro-wrestling event since April 2015.

In addition, I have blogged for the Allied Independent Wrestling Federations.

My articles, "A Look at the History and Future of WOW" and "Will WOW Go From Las Vegas Residency to an Even Higher Level?" were endorsed by WOW - Women Of Wrestling on social media in August 2025 and October 2025, respectively. My articles, "WOW Hits the Jackpot: Women Of Wrestling Secures Season 4 & Groundbreaking Las Vegas Residency", A History of Women's Wrestling in America", "The 11 Most Must-See WOW Matches Right Now", "A Potential Game-Changer for Sophie Cunningham: The WOW Opportunity", "Independent Gaijin Dreams and the Japanese Experience of WOW's Superheroes" and, "A History of Wrestling Managers" were endorsed by WOW as well.

In July 2025, I developed the core corporate communications and original strategic press release for the founding team of youth sports platform True Lacrosse announcing their strategic partnership with the incoming Private Equity partner, TZP Group, launching the new national platform, True Sports. The final deliverables were used as the basis and foundation for the final, official, public-facing, published corporate release and announcement. The document passed final approval by the founders and TZP Group.

After living in Japan for ten years and writing English content for Asian companies during that time, I am currently based in the US and open to new writing opportunities in the US, Japan, and globally, from event previews & results reports, to press releases, to wrestler spotlights & social media. I offer sponsored content and an international audience. Check out my samples and see how I can take your brand to the next level:
https://harold-williams.com/2012/05/samples-of-my-work.html


My rate typically falls within the range of $350 to $800. info@harold-williams.com

Google has created a knowledge panel about me and my work: https://g.co/kgs/x4pMxp1

I graduated from university with a major in Business and a minor in Computer Applications, which makes me an asset not only as a writer but in a business and technological capacity as well.

I am also a Technology Writer specializing in AI, VR, AR, NFTs, 5G, Web3, streaming, and the metaverse in the context of wrestling, and a subject matter expert in the business side of Japan's MMA scene, soccer/football scene, and other sports.

In additon, I am currently working for TELUS Digital as an Online Data Analyst, developing and improving AI models by contributing data, assessments, and insights via writing and data collection/annotation/labeling.

If you would like to support me and my blog, a valuable resource for anyone interested in learning more about the pro-wrestling industry, here is the link to my Cash App: cash.app/$HaroldWilliams131313

US-Based Writer With Global Experience Ready for New Opportunities

Get an audio summary of my skills and experience below:



After living in Japan for ten years and writing English content for Asian companies during that time, I have returned to the United States. I have extensive international experience that includes writing for the pro-wrestling industry in the form of everything from event previews and results reports to press releases. In addition, I have experience with news analysis of the American wrestling scene and coverage of the Japanese wrestling scene, with in-depth knowledge beyond the major promotions.

Outside of the pro-wrestling industry, I have experience with other types of content and copywriting needs in the staffing/recruiting, bar, sports merchandise, and luxury bike industries.

I graduated from an American university with a major in Business and a minor in Computer Applications, which makes me an asset not only as a writer but in a business and technological capacity as well. I also used my knowledge in the education industry during my time in Japan, giving tailored English instruction to Asian students, focusing on daily vocabulary and professional terminology for business and technology professions.

I am open to opportunities in the US as well as in Japan and other countries around the world. I can be contacted via info@harold-williams.com, and you can see samples of my work here:

https://www.clippings.me/haroldwilliams

https://www.clippings.me/haroldwilliams2

https://www.clippings.me/haroldwilliams3

https://www.harold-williams.com/2012/05/samples-of-my-work.html

Miami’s Sweet Heat on Beast Games Season 2: A Major Win for WOW

Laurie and Lindsey Carlson, collectively known as Miami’s Sweet Heat and record 5x WOW Tag Team Champions, are heading into season 2 of Amazon Prime's reality competition show Beast Games, and this announcement validates the core belief that today, success in professional wrestling is defined not only by championship reigns and records, but also the ability to elevate one's personal brand into mainstream, non-wrestling media.

One of a wrestler's goals is to always maximize their exposure, and with two of WOW's top Superheroes being on a show available in more than 240 countries and territories, the company will indirectly gain access to millions of viewers, which will include people who currently don't watch wrestling.

The viewers tuning in for drama, fitness, or reality TV will see Laurie and Lindsey Carlson, who are proven winners in WOW - Women Of Wrestling, and will undoubtedly present themselves with that same aura of confidence and clear intention. This organic, unforced validation establishes WOW as a source of elite athletic talent and can direct non-wrestling fans straight to the WOW product.

WOW's action is defined by its athleticism, and participating in Beast Games -a show focused on physical challenges- is undebatable third-party proof that Laurie and Lindsey Carlson are built for pressure. This outside endorsement adds significantly to their credibility and strengthens the images that they have already built in WOW.

For Laurie and Lindsey Carlson, this is important brand diversification- their value as performers is now linked to not only a successful career in WOW, but also a run on Beast Games. For WOW, every external accomplishment potentially increases their talent's leverage and drawing power into the purple ring. The next time Miami's Sweet Heat steps into the ring after Beast Games Season 2, they will be bigger public figures, multiplying the monetization avenues (sponsorships and public appearances) for the entire organization, extending beyond the wrestling scene. This kind of crossover is a win not only for the twins but for the entire concept of the WOW brand.

The Economics of Pro-Wrestling Schools

For aspiring professional wrestlers, a wrestling school is the crucial gateway to the industry. For the owner, however, it is a complex business enterprise balancing high overhead, regulatory risk, and an unpredictable product: potential talent. The successful wrestling school operates on a thin margin, relying on three key pillars: consistent tuition revenue, managed facility costs, and the value of its brand and graduate network.

A wrestling school's primary income source is tuition, which typically falls into two major models. The first is the flat-rate, fixed-term contract, where a student pays a lump sum (often $3,000 to $6,000) for six to twelve months of training. This model provides the school with immediate capital and a predictable cash flow for a specific period. The second model is the monthly recurring subscription, which ranges from $200 to $500 per month. While offering less immediate cash, the monthly model reinforces long-term retention and allows the school to smooth out student loss. A reputable school may offer lifetime or graduate programs at a premium, promising unlimited ring time and continuous advanced access, creating a strong, high-value informal partner. Furthermore, leveraging these successful graduates as guest coaches or seminar leaders offers a highly cost-effective staffing strategy; the school secures high-prestige training for current students through a temporary stipend, trading on the alum's established brand equity without committing to a permanent, high-level salary.

Unlike many service industries, wrestling schools face substantial, specific overhead costs. The single largest ongoing cost is the facility itself. Leasing or owning industrial space large enough to house multiple rings, crash pads, and a gym area is expensive, often driven by a want for heavy-duty flooring, high ceilings for maneuvers, and ventilation, categorizing it as light industrial real estate.

Equipment is another significant expense. A quality professional wrestling ring can cost more than $8,000 and requires continual maintenance (replacing ropes, turnbuckle covers, and padding). Coaching staff must also be paid, whether through a fixed salary for head trainers or stipends for veteran wrestlers who oversee specialized classes.

While tuition pays the bills, the school’s ultimate economic product is not training hours, but marketable talent. The school's reputation, or brand equity, is built entirely on the success of its graduates. When a graduate has worked in either a major promotion or wrestled internationally, the school's perceived value increases. This creates a powerful cycle: a strong graduate network attracts higher-level prospects, enabling the school to justify raising its tuition rates, which, in turn, allows for better facility investment and higher-quality coaching if need be.

The most critical -and often underestimated- cost is liability insurance. Given the inherent risks of physical training, a comprehensive insurance policy is necessary and represents a considerable continuing financial burden that cannot be overlooked. The complexity and high price of liability insurance for a wrestling school stem from the mandatory need for two distinct coverage types, which significantly elevate the overall risk profile and premium. While General Liability (GL) is required to cover routine business risks like customer slips and falls or property damage unrelated to training, this standard policy, in all cases, excludes injuries sustained by participants actively engaged in the core contact sport activity. Therefore, the school must also secure specialized and very costly Participant/Athlete Injury Coverage, which protects the business from liability related to the natural dangers of wrestling itself -such as broken bones or concussions from high-impact maneuvers- making the combined insurance burden a major economic concern.

Many schools are also directly affiliated with a small promotion, using weekly shows as a way for their students to gain important live-crowd experience. This affiliation is a showcase, making the school itself an integrated part of the independent wrestling ecosystem and providing value beyond teaching how to bump and how to take & perform wrestling moves. The economics of a wrestling school are, for that reason, less about selling classes and more about trading on the future value and network potential of its graduates.

The Business Model of Selling Merchandise at Independent Wrestling Shows

For wrestlers on the independent circuit, merchandise sales are not only extra money, but they are also the primary, immediate revenue stream that makes a trip more profitable. Unlike major promotions, where wrestlers earn a downside guarantee and, in some cases, additional bonuses, a big part of an independent wrestler's pay involves their ability to sell inventory at the merchandise table. For independent wrestlers, merchandise sales are the most immediate form of revenue, functioning as a kind of face-to-face selling performance bonus that instantly validates their connection with the audience.

Understanding this micro-economy is key to understanding part of the survival and financial health of independent wrestling talent.

1. The Anatomy of an Independent Wrestling Merchandise Sale
The entire transaction, from manufacturing to the final sale, is driven by the wrestler, making them their own designer, supply chain manager, and salesperson.

The best-selling item is almost always the T-shirt, as it provides the most profitable balance between production cost and fan appeal.

2. Inventory and Design Strategy
Independent wrestlers cannot afford to sit on inventory. Effective design and inventory management are crucial for minimizing financial risk.

A. Inventory Risk: The Hidden Cost of Excess
The true cost of a t-shirt isn't only the eight dollars paid to the printer; it's the capital tied up in that shirt that hasn't sold. Inventory risk is the danger that unsold goods will become obsolete or too costly to store before they can be liquidated.

- Capital Sink: Every dollar spent on inventory is a dollar that cannot be used for travel, training, or living expenses. Buying 100 shirts requires $1,000 in upfront cash. If those shirts sit for six months, that capital is effectively frozen, which can severely limit a wrestler's ability to operate.

- The "Graveyard" Effect: This refers to the overabundance of non-standard sizes (e.g., 3XL and Small) or niche, specific-event designs that don't move. While Medium, Large, and XL sell out, the residual stock consumes valuable space in storage and at the merchandise table, cluttering the presentation and rarely recouping their initial cost.

Outdated: Wrestling merchandise is highly dependent on current events. A shirt tied to a specific, heated feud becomes worthless once that feud ends or the wrestler undergoes a major character change (a turn). This means inventory must be cleared quickly, often through steep discounts, before the design's shelf-life expires.



B. The "Three-Shirt Rule"
Wrestlers rarely carry more than three distinct shirt designs at one time. This keeps the inventory manageable and reduces the initial manufacturing investment. Designs often fall into specific categories:
1. The Signature Logo Shirt: Simple, immediately recognizable brand/catchphrase.
2. The Event/Feud Shirt: A design specific to a current feud or main event.
3. The Utility/Non-Wrestling Shirt: Something related to the wrestler's persona (e.g., a cartoon logo or a joke).



Size management is necessary. Wrestlers quickly learn that Medium, Large, and XL are the fastest sellers. Overstocking small or 3XL shirts ties up cash that could be used for more popular sizes. Successful wrestlers use pre-orders or limited runs to gauge demand for specialty items like hoodies or joggers.

3. The Maintained Role of Physical Media (DVDs)
While the popularity of DVDs on the independent wrestling scene has decreased with the rise of streaming services, they still maintain a notable role. Independent wrestling promotions and talent continue to sell DVDs at their live shows primarily because it serves as a direct and high-profit revenue stream with very low overhead costs once the master is created. Selling physical media directly to someone who attends an event allows the promotion/talent to keep nearly all the profit from each sale, which is beneficial for their small-scale business model. Furthermore, the physical DVDs are valuable merchandise and tangible collector's items for fans, allowing independent wrestling promotions and talent to sell compilation matches, interviews, or highlight reels. Today, their purpose has shifted from a primary revenue driver to a premium, nostalgic, or collectible item.

- The COGS Advantage: The margin on a printed DVD is generally high (around 75%), making it profitable. However, the volume of sales is much lower than apparel and photos- especially in Japan, where signed photos often outsell physical media by a large margin.

- The Collector's Market: These days, DVDs are now largely bought by collectors or people who want a physical souvenir of a specific match or event, owning a piece of history.

- The "Legacy" Item: For veterans or distinctive wrestlers (puroresu, joshi puroresu, hardcore/deathmatch, lucha libre, comedy), a career retrospective DVD holds significant value to many people and can command a higher price point than a standard shirt.

- Digital Integration: Many wrestlers now treat DVDs as a bonus. They might include a QR code on the DVD sleeve that links to their official streaming platform (either a dedicated wrestling platform or their own VOD store), pushing the customer toward repeated digital revenue alongside the one-time physical purchase.

4. The Digital Safety Net: Print-on-Demand (POD)
Print-on-Demand (POD) services, with Pro Wrestling Tees being the most prominent industry-specific example, represent a major digital aspect of an independent wrestler's business. They provide a vital safety net by almost entirely eliminating inventory risk.

5. Merchandise Table as a Marketing Opportunity
The merchandise table is simultaneously a retail outlet, a meet-and-greet area, and an essential marketing touchpoint.

A. The Personal Touch
Unlike shopping online, the transaction at the independent merchandise table is personal. Fans are buying not only a shirt, but a direct, full interaction with the performer. This is where word-of-mouth marketing begins.

- Wrestlers charge extra for photo ops and autographs (often bundled with a purchase), turning the sale into an experience.

- The conversation at the table allows the wrestler to directly gauge which merchandise sells best, which designs are resonating, and what the crowd thought of their match.

It's worth mentioning that in Japan, merchandise tables being utilized as meet-and-greet areas doesn't only take place at shows hosted by local promotions- notable promotions do it as well, including Stardom, NOAH (at least in the past), BJW, Sendai Girls, ZERO1, Michinoku Pro, and WAVE. This proves its value as an engagement tool across borders.



B. The Secondary Sales
Wrestlers often leverage the merchandise table to drive secondary revenue streams:

- Digital Content: QR codes leading to their Twitch channel, Patreon, or online store (Shopify/Pro Wrestling Tees) for the full catalog.

- Future Appearances: Announcing their next show dates to encourage repeat business.

In the independent wrestling ecosystem, the wrestler is their own small business. The charm, efficiency, and strategic planning applied to the merchandise table directly translate into financial sustainability and the ability to travel to the next town.

Want the Full Financial Breakdown?
The difference between profit and loss for an independent wrestler often involves a few dollars per shirt. In the full analysis, available exclusively to paid subscribers, I explain:

- The Full COGS Table: Exact dollar costs for every type of item and the specific profit calculations.

- The 3-Day Budget Breakdown: A line-by-line financial analysis showing how a $465 merchandise profit turns a $50 loss into a $415 net gain.

- Advanced Inventory Formulas: How to calculate the most favorable bulk order size to maximize cash flow and minimize inventory risk.

Subscribe now to gain access to the proprietary data and master the economics of the independent wrestling scene.

Beyond the Couch: Interactive Wrestling Viewing

We're entering an era where fans are no longer only spectators, but active participants in the action. Interactive viewing experiences are revolutionizing how they engage with professional wrestling, blurring the lines between the digital and physical realms.

One of the most fundamental interactive elements is the live chat. Comment sections during streams are no longer only spaces for post-match reactions. They're very active communities where fans share real-time commentary, debate, and connect with fellow enthusiasts. This creates a sense of shared experience, making viewers realize that they're a part of something.

Beyond chatting, live polls are becoming increasingly popular. Imagine predicting the outcome of a championship match, or even voting on match stipulations- This concept of fan voting isn't entirely new to wrestling. On July 9, 1994, "WCW Saturday Night" introduced "WCW Interactive", where fans could vote for the main event. WWE also had interactive Premium Live Events (Taboo Tuesday/Cyber Sunday) from 2004 to 2008, where fans voted online or via text message on opponents and match stipulations.

This drive for fan participation combined with a new level of fan desire for it, even while limited by the technology of the time, confirmed that participation promotes investment, and paved the way for more sophisticated interactive experiences in the future. Today, we're seeing integrated approaches in this new degree of interaction, that empowers fans and makes them feel invested in the outcome. Q&A sessions with wrestlers or commentators further bridge the gap between performers and their audience, creating a more personal and intimate connection.

With that said, interactive viewing goes beyond polls and chats. It's about gamifying the entire experience. Some platforms are experimenting with features that allow viewers to earn points for correctly predicting match outcomes or completing challenges. These points can then be redeemed for exclusive content, merchandise, or even virtual meet-and-greets.

Beginning in the fall of 2025, ESPN's new direct-to-consumer service became the exclusive U.S. domestic home of all WWE PLEs, as a part of the company's multi-platform domination, and it provides a strong base for future interactive and gamified viewing. The ESPN App's core utility includes integrated game stats and multiview options, which are standard features designed to level up engagement with live sports. Importantly, the platform has a separate agreement with DraftKings as its exclusive sportsbook and odds provider, creating a potential pathway for WWE to integrate live polling, prediction, or betting-style game features alongside the live action on the same viewing screen. This partnership enables the kind of real-time fan engagement seen in DraftKings' popular fantasy and prediction contests, directly integrated into the viewing experience.

For AEW, a significant portion of their current interactive and gamification strategy is centralized in their console video game, AEW: Fight Forever, which, while not a direct streaming integration, acts as a complementary interactive hub. This arcade-style wrestling game allows fans to directly engage with the AEW roster through various modes, including a Road to Elite career mode that simulates the life of an AEW wrestler. The game further implements gamification through various non-wrestling minigames (like "AEW Pop Quiz") and a Stadium Stampede battle royale mode, offering a highly interactive experience separate from their live weekly broadcasts.

While not officially integrated into the streaming services, dedicated third-party platforms like DropTheBelt add a layer of strategic depth and competitive excitement to the viewing experience as an example of fantasy wrestling gamification, driving engagement with weekly programs from promotions like WWE and AEW. This platform enables fans to draft teams and awards points based not only on match wins, but on specific in-show actions that encourage deeper viewing, such as a Backstage Beatdown, using a Foreign Object, or putting an opponent Through The Announcer Table. The system scores shows the same night, making it a real-time, high-stakes viewing experience for fantasy league participants.

Imagine a fantasy wrestling league integrated directly into a streaming platform.

The future of interactive wrestling viewing is even more immersive. Virtual reality (VR) and augmented reality (AR) technologies hold immense potential. Imagine watching a live event from a ringside perspective, or even stepping into the ring as a virtual wrestler.

AR could overlay interactive elements onto live broadcasts, such as wrestler profiles, real-time statistics, and even virtual merchandise that fans can "try on." The metaverse opens up even more possibilities, allowing fans to create their own virtual wrestling worlds and interact with other fans in immersive environments.

Implementing interactive features requires careful planning and execution. Platforms must ensure a seamless and user-friendly experience, while also mitigating the risks of online harassment or disruptive behavior. Moderation and community guidelines are essential.

Furthermore, promotions must find a balance between interactive elements and the core drama and spectacle of wrestling. Interactivity should enhance the viewing experience, not take away from the foundation of the industry.

Interactive viewing is not only a trend; it's a foundational shift in how we consume entertainment. By embracing these technologies and creating a feeling of togetherness, wrestling promotions can create a more engaging and immersive experience for fans, having long-term success in the digital age.

Best Practices for Streaming Wrestling Events

The modern professional wrestling industry relies heavily on live streaming, not only for major events, but also for weekly television. Streaming wrestling events can expand your audience and generate revenue, but it requires more than just pointing a camera at the ring. Moving beyond simply hitting the "Go Live" button, successful streaming requires a strategic approach. To deliver a professional and engaging experience, follow these best practices:

1. Pre-Production Planning Is One of the Priorities:

Define your target audience:
Who are you trying to reach? This will influence your production style and marketing efforts, so identifying and understanding your target audience is crucial for tailoring your promotional efforts to their preferences and interests, reaching your desired audience effectively. Are you targeting marks, smarks, casual fans, or a mixture? One of the main goals for your promotion should be to increase how much money it makes, and the key to doing that is knowing what style of promoting will make your target audience willing to spend money, increasing your promotion's earnings.

Choose the right platform:
YouTube, Twitch, or dedicated wrestling streaming services (like Japanese live-streaming video service Twitcast)? Consider your budget, technical capabilities, and the geographic reach of your target audience.

A professional wrestling stream must be stable primarily. Ensure a dedicated, hardwired Ethernet line serves as the primary connection. Also, target a consistent output bitrate between 4.5 Mbps and 6 Mbps for a crisp 1080p stream- this range balances quality with stability, minimizing the risk of dropouts. Also, utilize RTMP (Real-Time Messaging Protocol) for the distribution platform.

If you need help with any aspect of streaming, I offer a variety of consulting services. I can help you choose the right streaming service, create a streaming strategy, promote your events on streaming platforms, and generate additional revenue from streaming. To learn more about my consulting services, contact me directly at info@harold-williams.com

Develop a production schedule:
Plan your event timeline, including pre-show content, match order, and post-show interviews to guarantee a professional flow.

Secure necessary equipment:
High-quality cameras, microphones, lighting, and streaming software are essential.

Use dedicated hardware encoders (preferred for reliability) or high-performance software encoders (like OBS Studio on a powerful PC) with professional settings.

Test and have a disaster recovery plan: Conduct thorough technical rehearsals to ensure smooth streaming and audio quality. Always run a private, hidden test stream 30 minutes before going live to confirm latency, bitrate stability, and audio/video sync.

Always have a backup internet connection (e.g., bonded connection or cellular hotspot) and a UPS (Uninterruptible Power Supply) for critical streaming equipment. Include a plan for quickly broadcasting a "Technical Difficulties" screen or an intermission video if the main feed fails.



2. Marketing and Promotion are Key:
- Promote your event on social media and other relevant channels.
- Incentivize potential viewers to purchase tickets or subscriptions in advance.
- Partner with other promotions and cross-promote your events to reach a wider audience.
- After the event, write a results report and make the replay available for viewers who missed the live stream.

I have a proven track record of writing detailed, compelling content that elevates a pro-wrestling promotion's brand, builds a stronger fanbase, and helps a product prove its value to a larger audience. For example, my work with the Michigan-based Ultimate Championship Wrestling in the past led to a notable increase in event attendance. Although I am currently US-based, I have global experience, having lived in Japan for a decade. There, my digital content for promotions like Yanagase Pro Wrestling and Kyushu Pro Wrestling has helped drive a notable increase in YouTube views and event attendance. I've also helped build international bridges by assisting in the formation of a working relationship between Big Japan Pro-Wrestling and Combat Zone Wrestling. My experience includes writing various content types, such as event previews, results reports, and press releases, and I have a proven ability to provide news analysis and in-depth coverage of both the American and Japanese wrestling scenes. My work as a technology writer has also given me unique insights into how to leverage new technologies like AI, VR, and the metaverse to help a promotion grow and engage its fanbase in new ways. You can reach out to me via info@harold-williams.com, and you can see samples of my work here:

https://www.clippings.me/haroldwilliams

https://www.clippings.me/haroldwilliams2

https://www.clippings.me/haroldwilliams3

https://www.harold-williams.com/2012/05/samples-of-my-work.html



3. Production Quality Matters:

Multiple camera angles: Use multiple cameras to capture the action from different perspectives. Switch between angles to keep viewers engaged.

The look and feel of the stream must reflect the quality of the wrestling product. This means avoiding single-camera shots if possible and leveraging production elements. A basic professional setup is best with three cameras:

Camera 1 (Main Hard Cam)- Centered, elevated shot behind the commentary table. This is the primary shot for 90% of the match.

Camera 2 (Opposite Corner/Tight Cam)- A lower-angle, mobile camera used for tight facial reactions, signature move setups, and near-fall drama.

Camera 3 (Entrance/Utility)- Primarily for entrances, but also used for wide crowd shots, brawls outside the ring, and capturing post-match celebration/havoc.

Clear audio:
Audio is 50% of the product, so invest in good microphones to capture clear commentary and ring sounds. Minimize background noise.

Place shotgun mics (or similar directional microphones) above the ring to capture impact sounds, chops, and wrestlers hitting the mat. This helps the physicality be heard. In addition, use wide-pattern condenser mics pointed at the audience to capture atmosphere and heat. Mix the crowd noise high enough to sound exciting, but low enough that it doesn't drown out the commentary or ring action.

Professional lighting:
Ensure enough lighting to create a visually appealing stream. Avoid harsh shadows or glare.

Graphics and overlays:
Use graphics and overlays to display match information, wrestler names, and promotional messages.

Your graphics should be clean, legible, and consistent with your brand colors. Standardized graphics for wrestler names, weight, and hometown (lower third)- these should be quick to cue and change smoothly. There should be a consistent template for displaying the match type and participants before the bell. In addition, a clean, easy-to-read on-screen clock is fundamental for matches with time limits.

Smooth transitions: Use smooth transitions between camera angles and segments to maintain a professional flow.

Utilize replays- professional replays reinforce the impact of the action, enhancing its impressiveness and allowing the audience to process key moments. But only run replays during pauses in the action (e.g., when a wrestler is applying a wear down hold) or immediately after a definitive, match-ending move. Also, use slow-motion to emphasize the force or athleticism of the move being shown.



4. Engage Your Online Audience:

- Encourage viewers to share their experiences.

- Have commentators who are knowledgeable, engaging, and passionate about wrestling. Their goal should be immediate, real-time adaptation and emphasis on feuds, using their commentary to reinforce important situations or character developments as they unfold, giving the show a distinct and cohesive feel.

- Show exclusive pre-recorded segments (vignettes, backstage interviews, profile videos) during intermissions and transitions to add production value to the stream.

If you want to learn how promotions monetize their content without angering their paying subscribers, why promotions invest heavily in unique documentaries and original programming to drive subscriptions, and what TNA, NJPW, Stardom, and Diana do to carve out valuable niche audiences, read my full industry analysis/overview, which is available by subscribing to my paid Substack, and can be read by clicking here.

By following these best practices, you can create a professional and engaging streaming experience that will attract viewers, build your brand, and generate revenue. Remember to continuously improve your production and marketing efforts to stay ahead of the curve in the ever-evolving world of wrestling streaming. And to learn more about how wrestling promotions interact with the world of streaming, as well as ticket sales, merchandise branding, TV rights, talent relations, technology, and more, check out my ebook/audiobook, "The Business Side of Wrestling: A Look Behind the Curtain".