More About Me

Get an audio summary of my skills and experience below:



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 also 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 as its International Officer. 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", "Will WOW Go From Las Vegas Residency to an Even Higher Level?", and "How WOW’s 'Human First' Digital Strategy Works in 2026" were endorsed by WOW - Women Of Wrestling on social media in August 2025, October 2025, and June 2026, respectively. In May 2026, my article, "An Education on The Enlightened: WOW's Psychological Supergroup," was endorsed on social media by the group's founder, Samantha Smart, which was followed by an exclusive Q&A with her, which she shared on social media. My articles, "WOW Superhero Spotlight: Jessie Jones & Big Rig Betty - Southern Attitude", "WOW Superhero Spotlight: Gabriella Cruz - A Brazilian Bombshell With Lucha Libre Influence", "Why Florida Makes a Perfect WOW Superhero Stronghold", "Miami’s Sweet Heat on Beast Games Season 2: A Major Win for WOW", "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 November 2025 and December 2025, WOW's official website saw a 122% increase in monthly visits, as my analyses initiated search traffic that the official domain then converted into brand engagement.

My article, "How World Woman Pro-Wrestling Diana Is Succeeding Globally," was endorsed by World Woman Pro-Wrestling Diana President Taishi Fuwa. I have also written event previews/wrestler spotlights and done social media for Diana.

Many of my articles have been cited as sources in online encyclopedias Wikipedia, Grokipedia, and Hubbry entries on topics including Women of Wrestling, the Global Wrestling Federation (GWF), Michinoku Pro Wrestling, Kyushu Pro-Wrestling, MLW, 3PW, Japan's MMA business, WWE house shows from a business perspective, Right to Censor, the York Foundation, the history of wrestling commentary, Hisashi Shinma as WWE President, the true power of joshi puroresu, the history of wrestling in South Carolina, Alex Shelley, Mad Man Pondo, the early history of WWE video games, WWE Raw on Netflix, Strong Style Pro Wrestling, and more.

My articles have been used in research. My 2013 interviews with the original cast of GLOW (Gorgeous Ladies of Wrestling) served as a primary historical resource for The Telegraph in their coverage of the true stories behind the hit Netflix series. Also, my article on the evolution of social media in professional wrestling was cited in an Indiana University thesis submitted by a student to the faculty of the Graduate School in partial fulfillment of the requirements for the degree Master of Interdisciplinary Studies in the School of Social Sciences.

My work has been used as a resource on learning platforms. My ebook "The Business Side of Wrestling: A Look Behind the Curtain" has been available for lending internationally, across two major library systems: CLEVNET Library in Ohio and Dubai Public Library in the Middle East. My article, "The History of American Wrestling," has been used in Google Classroom by an educator.

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 platform averages over 300,000 monthly impressions across the digital ecosystem. This includes direct traffic, high-authority visibility on Google, Gemini, Bing, ChatGPT, Yahoo, Claude, DuckDuckGo, and Perplexity, as well as significant engagement from networks like Facebook, LinkedIn, X, Threads, and Reddit.

My rate typically falls within the range of $500 to $800. info@harold-williams.com

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. My insights on this frontier have been recognized by wrestling-related outlets, including Fightful, which cited my deep dive into specific applications of AI in wrestling as a key resource in an article.

I am a subject matter expert in the business side of Japan's MMA, baseball, soccer/football, lacrosse, and other sports.

In addition, I am 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.

The $500 Launch Phase: Why Your Promotion Isn’t Growing (And How to Fix It)

In the professional wrestling industry, there is a massive gap between a high-quality in-ring product and a global digital footprint. Many promoters want to take things slow, but in a digital-first economy, slow often leads to being invisible.

When I work as a Strategic Communications Consultant, I don’t only offer marketing. I offer a 30-Day Launch Phase designed to turn local promotions into international destinations. Here is the blueprint I use to bridge that gap.

1. Stop Being Local and Start Being Global
If your digital reach is limited to your local zip code, you’re leaving money on the table. My background in the US (working with promotions like WOW - Women Of Wrestling) and Japan (like being the International Officer of Michinoku Pro and a strategic contributor for World Woman Pro-Wrestling Diana) have shown me that fans internationally are hungry for new content- they just need a reason to care about that content.

- The Strategy: Position your brand as a premier destination by framing it through a business lens. If a promotion features international stars, their reputations should be leveraged to ensure the promotion's digital reach matches the talents' in-ring reputations.

2. Leverage Search Authority Over Social Media
Social media is rented land. Search authority is real estate. Most promotions have YouTube channels with solid foundations, but they aren't converting that into ticket sales.

- The Strategy: Use a high-ranking global platform to create strategic event previews. By funneling active search traffic from fans looking for a specific style of wrestling product directly to your ticket pages, you create a measurable ROI.

3. The Power of the Narrative
For unique promotions, growth is about more than the matches; it's about the presentation.

- The Strategy: If it's a medium-size or larger promotion, frame it as an evolving entertainment property. If it's a charity organization, highlight its charitable impact so that it becomes eligible for community-focused media coverage that traditional promotions can't access.

4. Making Small Look Large
By creating high-impact brand analysis, a promotion can be made to appear bigger than it actually is. This can take it from a venue that seats 50 fans to one that seats 600.

- The Strategy: It’s about search authority. If your promotion looks like an international property online, the fans (and sponsors) will treat it like one.

The Bottom Line
If you're driven by a desire for growth, you need a digital strategy. My Launch Phase covers content optimization, search authority, and media syndication for a flat fee, ensuring the work pays for itself through increased visibility and sales. Reach out at info@harold-williams.com

Why Pro-Wrestling Promoters are Switching to Flat-Rate Box Office Software

Ticket sales are a cornerstone of revenue generation for wrestling promotions. A strong advance gate covers venue costs, insurance, and talent deposits before the doors even open. Yet, many promotions struggle with low online conversions, leaving them dependent on unpredictable walk-up crowds. A solution to securing their revenue while at the same time streamlining operations is shifting from the ticketing agency model to flat-rate office software.

Eliminating Checkout Friction and Gate Anxiety

Standard ticketing agencies add fees at checkout to make their own profit, which usually leads to fans purchasing the tickets at the event to avoid the extra cost. This creates a lot of anxiety for a promoter who cannot gauge the event's turnout in advance, calculate logistical needs, or know whether they are going to make a profit from the event. Plus, between the time that a fan could purchase a ticket online and the day of the show, they might decide to go to a different promotion's show.

Alternatively, flat-rate platform Ticket Tailor in particular wouldn't charge your customers a handling or service fee, and would instead bill you (the promoter) directly for using their software. In addition, it's generally much easier and faster to buy tickets through a flat-rate platform than from a traditional ticket agency, which turns casual online browsers into fans of your promotion who become guaranteed advance ticket holders.

Fee Control: Direct Billing vs. Commission Deductions

If you've ever hosted an event and sold tickets via a ticketing agency, then you probably have experienced being charged percentage commissions on the total ticket cost. Ticket Tailor never takes a percentage commission from your ticket sales. With Ticket Tailor operating strictly on a flat, fixed fee per ticket, you control the revenue. Ticket Tailor makes the same amount whether you sell a ticket for $15 or $150.

Since you would be billed directly, this model would completely preserve your pricing integrity while you retain 100% control over your ticket pricing. If you choose to absorb the flat fee as a minor cost of doing business, the price the fan sees is exactly what they pay. If you choose to pass a small, transparent fee onto the buyer to keep your base gate untouched (canceling out costs from software, credit card processing, and venue facility expenses), you dictate the exact amount- not an outside agency.

Zero Upfront Risk to Launch

Ticket Tailor does not require any initial membership, signup, or subscription fee. It is completely free to create an account, build your event page, and launch your box office. You would only be charged when you actively process a paid ticket, aligning your software expenses perfectly with your actual revenue generation.

Trusted by over 73,000 Event Creators across 120 countries, Ticket Tailor makes it simple and affordable to sell event tickets online, thanks to industry-leading low fees, important features (time-slot ticketing to seating charts, self-serve and hundreds more), and 24/7 support. Last year, the platform processed 25M tickets for events of all sizes. Discounts are available for charities, low-price tickets, PTA's, not-for-profits, and B Corps. Free tickets are free.

If you're a promoter looking to eliminate checkout friction, protect advance gate revenue, and regain complete control over your fee structures, sign up via this article, and you will receive 50 free ticket credits. In addition, your promotion will be spotlighted on Harold-Williams.com

The Spectrum of Suffering: A Complete Guide to the Mist in Wrestling

In professional wrestling, few weapons inspire as much intrigue as the mist. It's often a subject of debate regarding whether the story behind it is related to ancient dark arts, demonic corruption, or specialized physiology. No matter the mist's origin, once it's spewed out of the wrestler's mouth into their opponent's face, the complexion of the match changes. But the exact way that it changes depends on the individual color of the mist.

Here is the definitive guide to the mist and its effects.

1. The Green Mist: The Blinding Venom
Effect: Immediate temporary blindness. Upon making contact with the eyes, the victim is instantly robbed of their sight, as they instinctively clutch their face in disorientation, prime for a pinfall. The green mist is the best-known mist, and the one that has been used most often during matches.

2. The Red Mist: The Burning Toxin
Effect: Burning skin pain and systemic trauma. Along with temporarily blinding the victim, the moment the red mist hits their skin, throat, or nasal passages, it triggers a painful burning sensation. Since the red mist is intended to injure instead of only temporarily blind (as the green mist does), it's usually leveraged when the wrestler is starting or engaged in a feud with someone.

3. The Black Mist: Long-Term Impact
Effect: Severe injury, and sometimes a change of psyche. Exposure to the black mist results in an eye injury that could take weeks or longer to heal. Wrestlers who use the black mist usually have dark personas, and it's possible for their victim's persona to become dark as well.

4. The Blue Mist: The Toxic Fusion
Effect: Blindness and neurological overload. Like a combination of the green mist and the red mist, blue mist blinds the victim while over-stimulating their nerves, sending the maximum possible pain signals to their brain all at once.

Notable Users of the Mist

Some of the most notable users of the mist include:

The Great Kabuki

The mist first made its appearance in pro-wrestling in the 1980s via The Great Kabuki while he was a part of the Southern wrestling scene, where he used both the green mist and the red mist as weapons.





The Great Muta

When The Great Muta made his WCW debut in 1989, he was introduced as The Great Kabuki's son, which enabled Muta to seamlessly utilize the green mist as a part of his character. With WCW being the second-biggest company in the industry at a time when wrestling was at a peak of popularity in the United States, Muta became the wrestler who is most associated with the green mist.

The Great Muta also attacked with the red mist later in his career, in NJPW, ROH, and WCW.





Killer Khan

Killer Khan received the most recognition in his career when he began wrestling for WWE in 1987. Although it was for only one year, Killer Khan made a big impression during his time in the company. With the devious Mr. Fuji as his manager, Khan would brutalize his opponents, before finishing them off by spitting the blinding green mist in their eyes and delivering a flying kneedrop.





Poison

From The Toxic Parts Unknown, WOW Superhero Poison was the result of a lab experiment that gave her the ability to spew temporarily blinding venom in the form of a mist.





TAJIRI

TAJIRI introduced ECW and WWE's Attitude & Ruthless Aggression Eras to the green mist. Along with utilizing the green mist and the red mist in WWE, he showed the damaging power of the black mist by spewing it into Nidia's face during a match against her boyfriend, Jamie Noble. As a result of the attack, Nidia was blinded for weeks.

Asuka

A WWE Superstar who was influenced and inspired by The Great Muta, Asuka has attacked with the green mist during her career, as well as with the blue mist.





Malakai Black

The dark and mysterious Malakai Black displayed the full power of the black mist in AEW after spewing it into the left eye of Julia Hart. Wearing an eye patch for months, the usually upbeat Hart gradually became increasingly gloomy as her mind was slowly being corrupted, which culminated in her giving in to the dark side and joining Black's House of Black faction.

Julia Hart

After her full persona change, Julia Hart began using the black mist as a weapon while a member of the House of Black faction. She later transitioned to the Triangle of Madness faction, where she continues to use the mist. In April 2026, Hart spewed it in Persephone's eyes to help fellow Triangle of Madness members Skye Blue & Thekla win a tag team match, injuring Persephone's left eye and putting her out of action until June 2026.


Upon her return, Persephone's eye was still not completely healed.

Shinsuke Nakamura

In late 2023, WWE Superstar Shinsuke Nakamura went from his usual calm, cool, and collected persona to adopting a sinister one, utilizing the red mist in a feud with Cody Rhodes. By late 2024, Nakamura had traveled deeper down an evil path and began using the black mist during a feud with LA Knight.





Naraku

Using his brilliant, Stanford-educated mind, WWE NXT Superstar Shiloh Hill has been researching the nature of the mist- and Naraku has taken offense to Hill attempting to figure out its dark secrets. Naraku has promised to unleash every color of the mist upon Hill if he continues his research- which may include colors we have not yet seen.

THE MIST 😮 pic.twitter.com/reDyMgiN1w

— WWE (@WWE) September 9, 2026

The mist is arguably the ultimate equalizer in professional wrestling. Whether it's blinding green, burning red, mind-altering black, nerve-overstimulating blue, or a color that has yet to be revealed, the mist can be even more effective than a chairshot to the back or going through a table.

Wrestler Spotlight: VertVixen - No More Games

Pro-wrestling is the perfect industry for VertVixen: She loves entertaining people and has always wanted to be an athlete. As a pro-wrestler, she has the opportunity to do both- and while her career was heavily built on a love for gaming, her recent trajectory indicates that she's no longer playing around.

With black belts from the American Taekwondo Association and the National Taekwondo Association, VertVixen had a great foundation for pro-wrestling capability when she trained at America’s Academy of Pro Wrestling in 2019, learning from veterans including Lil Evil (her original trainer), Dustin Rhodes, Jazz, Rodney Mack, and Daga. In addition, VertVixen receives ongoing mentorship from Allison Danger.

Every time VertVixen steps in the ring, she displays a high-speed and precise moveset, whether it's in an independent promotion or on national television for AEW, where she first began appearing in December 2020 and is now seen often, as well as in ROH.

The independent scene continues to be a part of VertVixen's pro-wrestling career as well, which provides a different experience from wrestling on television. While cameras are the main focus at shows that are broadcast on national television, she can connect with the fans in attendance at independent events easily.

VertVixen also has valuable international experience on her resume, which includes tenures in Japan. In 2023 and 2024, VertVixen wrestled in Tokyo Joshi Pro-Wrestling (TJPW). Being brought in and utilized by the promotion was a large stamp of approval on her skills, as it signaled that she is a standout in the American style. Making her debut while the inaugural Women's Champion of the US-based DEFY Wrestling, VertVixen was highly respected and viewed as a powerful and formidable foreign challenger who was a true test.



TJPW's confidence in VertVixen as a talent was evident when the promotion hosted a match where she defended the DEFY Women's Championship against former International Princess Champion Hikari Noa.

VertVixen's TJPW tours have been good opportunities/experiences for her, and like other wrestlers who have had the "Gaijin Dream", it signifies a commitment to her craft.

The original inspiration of VertVixen's character was gaming, which first became a part of her life during her childhood. VertVixen's entrance gear, ring attire, and overall presentation were frequently inspired by video game characters.

However, VertVixen has recently experienced a change of attitude. Deciding that it’s now time to make a bigger impact on the pro-wrestling industry, her mindset is more aggressive than it has ever been before, and she's showing the world that she’s not playing games anymore.

Grateful for all the love and new people here, but I'm no longer playing games.

Say hello to the N̶E̶W̶ VertVixen. pic.twitter.com/DpGJ3518ql

— VertVixen - ヴァート・ビクセン (@VertVixen) August 27, 2026

TikTok's 2026 Changes and Pro-Wrestling’s Digital Strategies

Since 2016, professional wrestling promotions and wrestlers have utilized short-form online video platforms, with TikTok being among the most notable. It has become a platform that is utilized to reach younger audiences. Along with short-form videos, trending sounds, and creative challenges are common. Wrestlers and promotions use TikYok to showcase their personalities, create segments, and promote upcoming events. A ten-second GIF of a high-flying maneuver, a five-second clip of a character taunting, or eleven seconds of a brawl was once enough to be added to users' feeds, creating viral moments and helping with social growth- but in 2026, TikTok's rules have changed.

TikTok's algorithm now prioritizes 60-to-180-second vertical videos. While roughly 70% of viewers must watch almost the entire length of a shorter video for it to achieve maximum algorithmic reach and hit main feeds, the algorithm adjusts its expectations for longer content, rewarding videos based on total cumulative watch time.

As a result, WWE, AEW, and WOW - Women Of Wrestling have adapted their TikTok strategies. Along with continuing to show match highlights and the endings of matches that guarantee immediate loops and high retention, they also publish clips that are longer than 60 seconds. By pairing quick, high-retention videos with long ones, the three companies satisfy both ends of TikTok's 2026 algorithm.

TikTok's changes have influenced how the talent in WWE, AEW, and WOW use the platform well. In addition to showing short clips, they post longer vertical video content, such as promos and segments that further present or develop their character.

On the independent wrestling scene, TikTok's platform changes have created an operational gap. Without the budgets of integrated media companies with major distribution deals, independent promotions are not always able to afford to produce original, TikTok-dedicated content. Meanwhile, TikTok now restricts off-platform promotion, enforces commercial content disclosures, and suppresses unoriginal or unedited clip sharing. Because these changes create obstacles for independent promotions that want to funnel viewers toward ticket sales, merchandise purchases, or external streaming services, many independent promotions are moving on from TikTok-reliant models.

I always advise pro-wrestling promoters to leverage the power of social media, but also caution them that it's rented land and that search authority is permanent real estate. To build a sustainable digital presence, independent promotions and wrestlers must understand the fundamentals of TikTok's changes, and promotions need to use their platform or a platform that ranks higher globally to avoid being added to the list of promotions that are shutting down.

When you only build your audience on social channels, you're building on a foundation you do not control. Their feeds should never be your planned final stop. TikTok should be treated strictly as a tool to draw readers to your own platform or a platform that belongs to someone who is working with you.

To put the longevity of search real estate into perspective: although my platform receives significant engagement via organic social, the majority of my traffic is direct, and my direct, organic search, and AI assistant traffic is growing at a faster rate than my organic social traffic. And blog posts have a longer visible lifespan than social media posts- five of my most viewed blog posts of the past 12 months are The 30 Year History of Michinoku Pro, The History of Wrestling in North Carolina, Remembering the Global Wrestling Federation (GWF), The History of Women's Wrestling in Japan, and Independent Wrestling's Secret Weapon: Tech Tools You Need to Know- all of these posts were published over a year ago. Meanwhile, the visibility lifespan of TikTok videos peaks within days or a few weeks.

My platform generates over 300,000 monthly impressions across the digital ecosystem and reaches an active base of over 200,000 unique monthly readers globally. Leveraging a high search ranking, it acts as a direct search bridge between fans and promotions. I've used my platform to drive measurable brand engagement for properties like WOW - Women Of Wrestling and several promotions in Japan, including Michinoku Pro and World Woman Pro-Wrestling Diana. By working with me for search authority, a wrestling promotion gains access to an established marketing engine that is indexed across all major search engines, AI discovery platforms, and social channels.

As for independent pro-wrestlers- you should educate yourself on tech tools and streaming strategies to build a personal brand, connect directly with fans, and showcase your skills globally, but you should also have your own website for independent bookings. Your website could feature an introduction of yourself and your character, information regarding what promotion(s) you have wrestled in, pictures of yourself, and video(s) of you, which could be shown when you contact a promotion. If you need help finding & reaching out to promotions, or promoting yourself, contact me at info@harold-williams.com

The Toxic Trap: How Social Media Prioritizes Attention Over Quality in Pro-Wrestling

If you track platform metrics, digital analytics, or web traffic distributions, you already know that social media is one of the primary discovery engines on the internet. For promoters and wrestlers alike, social channels offer quicker visibility and real-time interaction than other digital platforms. However, relying on social platforms as a main home for your audience would be a big mistake.

I always advise pro-wrestling promoters to leverage the power of social media, but also caution them that it's rented land and that search authority is real estate. But in addition to that, there is a fundamental structural flaw in how these platforms operate: because of how social feeds are architected, they highlight content that creates friction over informative, high-value content.

To build a sustainable digital presence, promotions and wrestlers must understand the fundamentals of the toxic trap, and promotions need to use their platform or a platform that ranks higher globally to avoid being added to the list of promotions that are shutting down.

Spotlighting Toxicity

At their core, social media platforms are ad-delivery mechanisms. The longer a user stays on the platform reading, commenting/replying, scrolling, or watching, the more ad money the platform makes.

It's human nature to react quicker to negativity than positivity- in order for us to react differently, we have to put a lot of work into that changing in any way. We naturally pause, pay attention to, and react to threats, insults, hot takes, blatant lies, and attempts to start conflicts. On social media, this is expressed with likes, shares, and comments/replies. These reactions show social media algorithms that the content captures attention, so the system places these posts into your feed so that you can engage with it as well- even just spending time reading a debate that was triggered by a post is enough to signal to the system that the post held your attention.

The Cost to Informative and Analytical Content

This algorithmic structure of a social media platform puts informative content at a disadvantage. Reading informative content requires the user to digest and think about it, whether it's a link to an informative article, news/information about a promotion, information about an upcoming show, a promotion's DVDs, etc.; All of this content is designed to inform the reader, not trigger an immediate negative reaction.

Because calm, informative content doesn't create friction on a social media platform, it suffers within an engagement-first distribution model. Since it doesn't trigger a wave of instant emotional engagement, the algorithm ranks it lower than something negative and non-productive that was posted at the same time. So by comparison, the informative content receives crickets in terms of engagement.

Over time, many promotions and wrestlers that rely entirely on social media begin altering their voice in order to increase their visibility, becoming triggering or controversial. When negativity on a platform is beneficial, the overall environment becomes non-productive, as informative content gets buried, lowering the perceived value of the platform for career purposes.

How This Proves That Social Media Is Rented Land

When you only build your audience on social channels, you're building on a foundation you do not control. If the platform spotlights toxic engagement, publishers of quality content have to either change or they will see their reach decrease.

Furthermore, social media content usually has a visibility lifespan of only hours before the social media platform's algorithm moves on to new content. This is one of the reasons why I advise promotions to post 3-5 times a day- it's the only way to retain a consistent level of visibility on a social media platform.

Owned Media and Search Authority

Social media platforms' feeds should never be your planned final stop. They should be treated strictly as tools to draw readers to your own platform or a platform that belongs to someone who is working with you. And remember, social media can be one of the best or worst things to happen to your promotion, so use it wisely, or hire someone who can.

Using myself as an example, although my platform receives significant engagement via organic social, the majority of my traffic is direct, and my direct, organic search, and AI assistant traffic is growing at a faster rate than my organic social traffic. And blog posts have a longer visible lifespan than social media posts- one of my most viewed blog posts of the past 12 months is The Role of Tech in Connecting Wrestling With Other Media, which was published in 2024.

My platform generates over 300,000 monthly impressions across the digital ecosystem and reaches an active base of over 200,000 unique monthly readers globally. Leveraging a high search ranking, it acts as a direct search bridge between fans and promotions. I've used my platform to drive measurable brand engagement for properties like WOW - Women Of Wrestling and several promotions in Japan, including Michinoku Pro and World Woman Pro-Wrestling Diana. Essentially, by working with me for search authority, a wrestling promotion gains access to an established marketing engine that is already indexed and active across all major search and social channels.

As for pro-wrestlers- you should educate yourself on tech tools and streaming strategies to build a personal brand, connect directly with fans, and showcase your skills globally, but you should also have your own website for independent bookings. Your website could feature an introduction of yourself and your character, information regarding what promotion(s) you have wrestled in, pictures of yourself, and video(s) of you, which could be shown when you contact a promotion. If you need help using a website to promote yourself, contact me at info@harold-williams.com

Social media platforms are great at generating rapid awareness, but their algorithms are not aligned with informative content, as they spotlight unproductive content that users' actions generally give the impression that they prefer to engage with. Recognize these platforms for what they are: useful, temporary megaphones on rented land. Use them to introduce you or your product to new readers, but consistently direct them to your own platform or one that you are affiliated with- where depth, clarity, and genuine authority matter.