GEP

As a Laguna distributor and with lots of  full timer Potter friends I hear things.
Right now custard feldspar due to supply issues is now at 200#s per customer (including me) with Laguna clay
I'm in the ordering mode this week  so I found out about the 200# limit per customer on Custar
.There are rumors  Custar may be going aways but they are just rumors at this point.So thats a heads up. If I where able to by a lifetime supply  right now I would .Just saying
The other news is Kemper tools may not be around for long as the owners are selling the property they have been on for many decades in fact at least since 1947
Now someone could set up and buy the equipment and supplies and move the business but I would not hold my breath on this. The tool business has been defuzed in the past 20 years with so many other tool makes as well. So I ordered what kemper tools i like and there are only a few like the pro needle tool thinking its my last kemper order. So if  you use kemper tools just beaware they may go away soon or not if its bought up.
Well sorry to have such bad news but thats what I have heard all in the past few days after being away on a long trip and just returned.
 

It’s called G-Floor, a heavy duty vinyl flooring meant for garages. It has held up very well at the 10 year mark. The only deterioration is some minor buckling around the legs of the kilns, I guess from the heat of the kilns. But overall I am very happy with it. 

On my IPad, the facebook “add a comment box” is right in the middle of the page, obscuring text. The dropdown menu also tends to not want to disappear automatically: I don’t know if this is part of the template code, or if it’s something you are able to adjust on that platform.
I don’t know if you need every click within your website to open a new tab in the browser. It’s a good idea to use that setting if you’re sending people to outbound links, but it clogs up a browser unnecessarily when navigating “in house.” 
The formatting on your blog page appears to have a spot that’s supposed to hold a thumbnail image or a logo next to your name. It’s showing as a question mark.
Other than that, it functions like it ought to, as far as I can see. The format doesn’t have a lot of unnecessary negative space and everything is legible.
 
Other suggestions, which you can take or leave as you see fit:
Navigation-wise, I’d suggest clarifying for yourself what you want the website to do for you and how you want to structure your online presence. Right now you have a combo of casual/personal stuff that I’d expect to speak to an audience you’ve personally cultivated, and some more formal elements we learned in art school but aren’t super relevant outside of what I’d call an institutional art audience. (Gallery system, academia, etc.)I would suggest tailoring your website to whichever of those groups interacts with and buys from you the most. It makes it easier to write website copy and make design choices.
If that audience is mostly institutional folks, tidying the bio and statement to be more in line with those expectation and moving your more casual stuff exclusively to social media. If your audience is more a group you’ve personally cultivated, consider removing the larger bio and statement, and leaning into the story you have in the Flower and Ash section currently. You can still incorporate your credentials into that writing, but I think that’s the piece that will land best with the wider public. It’s a lovely bit of storytelling. 
I also noticed a mention on your blog that you thought you should be blogging once a month as opposed to posting more frequently on FB.  While blogs have a bunch of pros over social media, I think you should do whichever one you can make consistent. If a more casual FB post gets made every week or every couple of days, that’s better than a spotty blog you do because “that’s what real artists do.” 
Whichever audience you choose:
-I’d pick one font for the whole website and using it throughout. It’s a small detail, but it’ll tidy things up a surprising amount. Right now the home page has 2 fonts, and the sans serif header and sub header are outweighed by the serif text font. There’s no emphasis on one piece of info as more important than the other.
-The header image on the home page wasn’t taken with incorporated text in mind. If you don’t have an image you can crop to have 2/3-3/4 negative space in those dimensions so the text is the focus, it’s worth taking one for the purpose. Or changing some layout choices on that page.
-The one place everyone should be really UN-creative is with your menu names. They should be as clear and concise as possible. Eg, Miss Elainie is a great name for a jewelry line…or maybe your cat, who might be instagram famous as your cheeky studio sidekick. While I 100% support a studio pet picture gallery if it brings everyone joy, if I’m new to your page or on a mission for something, the lack of clarity is a barrier to me finding what I want. The dropdown title should be Jewelry, and the subtitle on the page can be “Miss Elainie Jewelry Line” with a 2-3  sentence blurb. And of course, images. 
In that vein:
-Studio is a bit too broad: I suggest retitling it “gallery” with listings of “Jewelry” “wood and raku” “new work” (when it’s ready), and consider combining “Before and After” into “Studio Shots” for a look at the artist in her environment.
-Consider using the same format for all the gallery pages. Right now you have a slideshow for wood and raku, but all the rest are stationary gallery pages. Some of the transitions in that template are odd. 
-Under About, I love that you actually put your face on there! Not enough folks do. I don’t love the picture you’ve chosen though. You’ve depersonalized it by using a shot of your own computer screen. Please consider enlisting a friend to help take a bio pic during the golden hour. You’re such a vibrant person, and that image seems colder thanu the Lee we know here. 
-Unless you’re talking mostly to a Fine Art/gallery clientele, the expanded bio under About isn’t necessary. You can talk about some of your background in blogs or on social.
-Your artist statement is extremely well written and should be on your home page, not buried under About. It doesn’t need to be formally titled as your artist statement if you do this. 
-Again about heading clarity, I’d retitle Flower and Ash in the dropdown to “Philosophy” or “Background on the Work” and have the Flower and Ash be the title of the page. 
-I think shop policies should be easy to get to, but not the first thing you see when you arrive on a website. Having their own header listing suggests you’re anticipating a bunch of problems right out of the gate. A lot of people have a footer menu now, with things like shop policies, an FAQ list and social links. If you don’t want to create a footer menu, put a “shop” header title in the policies spot for your eventual update, and put the policies under that. 
 
 
 

I have been throwing chalice stems for many years, and have found a few skills that make it easier to throw a long narrow stem. In the case of a stem bottle with a bellied out bottom with a long neck, I would start by throwing a tall narrow cylinder with thicker walls than normal.  Then I use a curved throwing stick to belly out the bottom 3rd to the shape for the final vase. then I  use the thumb first finger webs to collar the stem narrower (faster speed) ,  when I cannot get narrower because of corkscrewing I use a long narrow throwing stick to pull the stem thinner and to remove the corkscrewing (slower speed). I don't allow the corkscrew to get extreme. I finish the shaping with a wooden spoon shaped rib and slow speed.
 
best,
Pres

Oh no, Babs, don't fail on us now, we love you and need you. So, what did I ever write about elements and glazes... where do I begin...
A cursory review of the infamous Orton cone tables shows 3 columns of temperatures for each of the basic types of cone. The first column of temperatures is for a slow ramp over the last 2 hours into the final temperature, the middle column is for a medium speed ramp into the final temperature, and the third column is for a fast ramp into the final temperature. A slow ramp will bend the cone at a lower final temperature than a fast ramp, as a fast ramp must continue to a higher kiln temperature before the heatwork has penetrated the ceramic and the cone bends. Elements, as they wear out, produce less and less heat, which means the kiln will heat slower and slower (i.e., take longer and longer), particularly at the higher temperatures of mid-fire and high-fire clay bodies and glazes. A Bartlett or Orton kiln controller (Skutt controllers and the L&L DynaTrol are private label Bartletts, and the Paragon Sentry line is a private label Orton) that is programmed using a custom ramp-hold sequence to finish at a particular ramp rate to a particular temperature will continue to fire to the assigned temperature regardless of the actual ramp rate the elements can achieve in their weakened state (until the elements are so weak they just can't manage any increase in the kiln temperature, and then you get the dreaded E1 failure). Thus, if you are running a program with a set point of 1222℃ at 60℃/hour expecting it to produce a nice cone 6 per the Orton chart - but your elements are so worn that they can only manage 15℃/hour at the end - the kiln still will go to 1222℃ because that is what is programmed, but at the slower rate because that's all the kiln can do. Looking further in the Orton cone table, 1222℃ at 15℃/hour is cone 9, seriously overfired. (I'm just pulling these numbers from the table for the purpose of discussion, your studio practice and kiln condition may be different.)
All that said about custom ramp-hold programs, there is the other side of the Orton and Bartlett controllers - the cone-fire method. You enter a speed and a cone number via the keypad, and the controller knows what to do. The cone-fire method on both these controller types contains some hidden adaptive programming that monitors the actual ramp rate in the final segment in real time. If the kiln is lagging, the controller will adjust the set point down using a proprietary algorithm from Orton so that a proper bend of the cone will occur at an appropriately lower final temperature. Using the above example, if you have set a cone 6 medium speed firing, but the elements are so worn they can only manage 15℃/hour at the end, the controller will stop at 1185℃, 37 degrees early, for a perfectly bent cone 6. Similarly, if you set a fast firing and your elements are still sufficiently robust to accomplish the higher ramp rate, the controller will automatically proceed to a higher temperature.
Note that this adaptive behavior is only available in the cone-fire method. If you are using custom ramp-hold programming, you need to watch your cones and adjust your final set point to match the cone behavior. And when you install new elements that can actually maintain the ramp you set, you need to watch your cones and adjust your final set point to match the cone behavior. But alas, I repeat myself.
Keep calm and carry on. Especially carry on .

Self-employed.
From my perspective (one who makes my income at art fairs and craft shows), I think most who rely on pottery for income are as well, though many have other supplemental incomes streams, such as teaching or another day job. But the pottery operation itself is a small business where the potter is the boss. 

Self-employed.
From my perspective (one who makes my income at art fairs and craft shows), I think most who rely on pottery for income are as well, though many have other supplemental incomes streams, such as teaching or another day job. But the pottery operation itself is a small business where the potter is the boss. 

I’ve also found that having a shipping included price on the website eliminates confusion. I never use the words free shipping, because shipping isn’t free, and especially in Canada you can’t afford to just eat any part of it. 
Back when I had my etsy shop, they were beginning the push for all vendors to have “free” shipping. I was annoyed with the whole thing, and thought that people were smart enough to recognize that shipping charges would be extra, and that it wouldn’t affect buying behaviour. I was so annoyed, I decided to run a test in my own shop just to prove it. I made listings for my mugs, some with shipping included and some without. I wound up eating crow, because people absolutely bought the $60 mugs over the $40 + $20 mugs.  

My elements are failing, oy about half an hour to an hour longer. I have ordered new ones, over $1000 Aus. , an increase of over 60%
My least favourite job is element replacing followed closely by shelf grinding, more confident shelf grinder... Anyway , rising in the night to e there when kiln shuts down, I remembered reading sthing that @Dick White wrote re glazes maturing in a failing element situation. SO, sorry @oldlady, starting with a So, and plus I wanted to return to bed, I switched off about 1180 instead of going through to end.
I already ramp 80°C for final hour but on opening kiln, perfect, glazes loved it and no shelf drips from usual customers!!! Now toying with new elements, less electricity used with the present setting, albeit for just a while.

Even if it’s older than 5 years, an L&L really holds its value. Selling the small kiln will be easy no matter when you’re ready to upgrade. 

Great question, Pres! From my perspective as someone who has been self-employed since my mid-20s, as a designer and as a potter, my approach to insulating myself from the occasional “deal gone wrong” is to make sure I never have too many eggs in one basket. In other words, I would not undertake a deal that would force me to forsake too many of my other clients/customers, making me overly dependent on one client/customer. That way, if one deal goes belly up, it doesn’t hurt me that much. 
Having all of the terms in writing is also essential, but this is not always a guarantee, just a another layer of safety. Any legitimate business partner will have no problem with putting things in writing. Anyone who balks at this should not be viewed seriously at all. In all of these years, using simple one-page boilerplate contracts with my design clients, and with wholesale galleries, I can count on one hand the number of times I got stiffed on a payment.  
These days as a potter, the largest orders I deal with are when a customer wants to get a full set of dinnerware. Several different items x8, or x12. At most, it will total about $1500. The terms are discussed by email, so I have it in writing. But I never take a deposit, and I make clear that they can cancel or change the reservation at any time. So by making it clear that I don’t NEED them to show up for the pickup, because somebody else will buy the pots instead, that’s my leverage. Again, I can count on one hand the number of customers who have cancelled, for reasons such as an unexpected trip out of town, or an unexpected surgery. 
If some hypothetical commercial customer wanted to buy such a quantity of my work that would force me to drop my usual schedule of shows and customers, I would say no. Because I don’t want all of my eggs in one basket. And knowing the pottery landscape like I do, I would view the customer as being naive or inexperienced. 
I would advise any aspiring  potter to not expect to find a big customer that represents a big leap forward financially. That customer probably doesn’t understand ceramics, which means the deal is doomed. A pottery business is built out of little blocks. 

Great question, Pres! From my perspective as someone who has been self-employed since my mid-20s, as a designer and as a potter, my approach to insulating myself from the occasional “deal gone wrong” is to make sure I never have too many eggs in one basket. In other words, I would not undertake a deal that would force me to forsake too many of my other clients/customers, making me overly dependent on one client/customer. That way, if one deal goes belly up, it doesn’t hurt me that much. 
Having all of the terms in writing is also essential, but this is not always a guarantee, just a another layer of safety. Any legitimate business partner will have no problem with putting things in writing. Anyone who balks at this should not be viewed seriously at all. In all of these years, using simple one-page boilerplate contracts with my design clients, and with wholesale galleries, I can count on one hand the number of times I got stiffed on a payment.  
These days as a potter, the largest orders I deal with are when a customer wants to get a full set of dinnerware. Several different items x8, or x12. At most, it will total about $1500. The terms are discussed by email, so I have it in writing. But I never take a deposit, and I make clear that they can cancel or change the reservation at any time. So by making it clear that I don’t NEED them to show up for the pickup, because somebody else will buy the pots instead, that’s my leverage. Again, I can count on one hand the number of customers who have cancelled, for reasons such as an unexpected trip out of town, or an unexpected surgery. 
If some hypothetical commercial customer wanted to buy such a quantity of my work that would force me to drop my usual schedule of shows and customers, I would say no. Because I don’t want all of my eggs in one basket. And knowing the pottery landscape like I do, I would view the customer as being naive or inexperienced. 
I would advise any aspiring  potter to not expect to find a big customer that represents a big leap forward financially. That customer probably doesn’t understand ceramics, which means the deal is doomed. A pottery business is built out of little blocks. 

Great question, Pres! From my perspective as someone who has been self-employed since my mid-20s, as a designer and as a potter, my approach to insulating myself from the occasional “deal gone wrong” is to make sure I never have too many eggs in one basket. In other words, I would not undertake a deal that would force me to forsake too many of my other clients/customers, making me overly dependent on one client/customer. That way, if one deal goes belly up, it doesn’t hurt me that much. 
Having all of the terms in writing is also essential, but this is not always a guarantee, just a another layer of safety. Any legitimate business partner will have no problem with putting things in writing. Anyone who balks at this should not be viewed seriously at all. In all of these years, using simple one-page boilerplate contracts with my design clients, and with wholesale galleries, I can count on one hand the number of times I got stiffed on a payment.  
These days as a potter, the largest orders I deal with are when a customer wants to get a full set of dinnerware. Several different items x8, or x12. At most, it will total about $1500. The terms are discussed by email, so I have it in writing. But I never take a deposit, and I make clear that they can cancel or change the reservation at any time. So by making it clear that I don’t NEED them to show up for the pickup, because somebody else will buy the pots instead, that’s my leverage. Again, I can count on one hand the number of customers who have cancelled, for reasons such as an unexpected trip out of town, or an unexpected surgery. 
If some hypothetical commercial customer wanted to buy such a quantity of my work that would force me to drop my usual schedule of shows and customers, I would say no. Because I don’t want all of my eggs in one basket. And knowing the pottery landscape like I do, I would view the customer as being naive or inexperienced. 
I would advise any aspiring  potter to not expect to find a big customer that represents a big leap forward financially. That customer probably doesn’t understand ceramics, which means the deal is doomed. A pottery business is built out of little blocks. 

Even if it’s older than 5 years, an L&L really holds its value. Selling the small kiln will be easy no matter when you’re ready to upgrade. 

Even if it’s older than 5 years, an L&L really holds its value. Selling the small kiln will be easy no matter when you’re ready to upgrade. 

I tend to prefer simple and inexpensive tools. If I was being forced to spend $150, I would spend it all on various ribs. Different sizes, shapes, and materials. 
The one expensive tool that I would buy again in a heartbeat is the Giffin Grip. 

I tend to prefer simple and inexpensive tools. If I was being forced to spend $150, I would spend it all on various ribs. Different sizes, shapes, and materials. 
The one expensive tool that I would buy again in a heartbeat is the Giffin Grip. 

My 50 years experience (about 40 with Laguna most as a direct  supplier) is the same story. This may sound weird but its only 1 bad ton.
I have had it happen to more than a ton a time . My fellow potter friends (all full timers) have all had this happen over time. It never the suppliers fault-thats always the same story. The box of most clays lists this on the outside and say to test it.
One had a ton with lots of  inch silicone caulk chunks in it. They did know about iot and sent him another ton-they do not want the clay back ever
I'm sorry for this but for me its been a lot more than a ton.
Rawa materials are going thru some strange times now as well.
If you want all my tips just  check your PM and I will send you my # and lets talk a bit-I have some ideas
Now on a great story about bad clay from the later 80s .I once got many tons of bad porcelain clay from laguna (these where elery days for them). It bloated a lot at my usual mcone 10 soft 11 gas fires . I had lost 3 35 cubic foot car kilns loads. They asaid I was niot bisquing hot enough and not drinking enough tea and rubbing my head to much and using to much water and whatever else you could make up. It was a crital point for me and I knew I could not get satisfaction from them so it dawed on me I needed to feel better. Now I had met the owner and knew his dad as well I should add. I got three huge color TV boxes (you know thw old large TUBE TV boxes. I loaded 2 kiln loads of fired pots in those three boxed and used no padding at all in boxes and really tappeed them up. They filled my 3.4 ton truck bed and took them to UPS and sent then directly to the owner of Laguna. It cost well over 100$ in 1980 money. I felt great afterr that.Decades later I was at a wood fire gallery opening and my old Laguna friend (clay body guy John Pacina was there and after decades of phone talking we meet face to face at the opening in Eureka Ca,) I told him my old story-little did I know UPS took those huge heavy boxes upstaire to the owners office and left them. He came to work next day and got really mad as he had to pack them all to the dumpsters downstairs . He said I was famous after that incident at Laguna.I felt it needed doing as a full time who knows how to bisque and rub my head while drinking tea. I later became pretty good friends again with him but I will add I always felt better after sending those bad clay pots.He did have better respect for me after that
It made my point and they made some body changes and that fixed it for some more years
I ordered some red clay for a friend in so-cal last year and it was fuba as well. Saved him as they only had a small amout =so he got shorted with only a smaller amout of the stuff.
That said it can go sideways ina second.
 

I have after a lifetime of art show/fairs retired from them except my one local show which I am a board member on and this fall will be its and my 49th annual North Counrty Fair. in September.I still have a few shows that want me but I turned them down at this point in life. its been 50 years now of selling pots.
Other than that show I still have my local outlets which still sell an amazing amount of work. Two are wholesale (orgainic food markets)  all within 15 minutes of home. My work is on a high traffic end cap in each. They order via email when needed about every 4-6 weeks. Orders are usually average $800 or more
I still sell to a few gallery /gift shops wholesale as well and I still have after many decades a few consignment shops that send checks monthly . These are many decades old and well trusted. These are a 50/50 shop and a 40/60 shop
I also have a large pottery gallery that  only  sells pottery that is 10 hours away that buys an huge amount of wholesale twice a year.He is my best costomer and best business person I have ever dealt with.I drop that order off at his brothers about 4.5 hours away.
I have a 100$ minimum on my web site to slow mail order down (which worked well during covid buying craze) . I still ship a fair amount of pots to customers all over the USA via Pirate ship UPS via my web site. One customer I just finished making for ordered 41 mugs (well over 1k order) so when I'm dead and gone he still could have a morning coffee from his favorite my mug as his teens break about 3-4 a year. This order he will pick up later in summer in SFO area from my partner when she visits her brother in SFO area. That way the packing is loose and easy like a fair packup.
So far in life the new Etsy and other sites have not even been a thought for me which is great as I can focus on sellin g larger amounts at a time.
I would develop your local sales over any internet sales site first as these tend to last a lifetime or at least for me they have. If you live in the middle of nowhere than the net is your only option unless you travel with the work. Art fair shows are good if you like people and are good with them.-Not for everyone. In 50 years of shows I have a few stories to tell for sure.

I once had to remove some stuck wheel heads in the classroom where I used to teach. They were Pacifica Wheels. We were advised by Laguna to put on some sturdy and grippy work gloves. Make sure all the set screws were loose or removed. Then have a strong person grab the wheel head with the gloves on, and twist counter clockwise while also stepping on the pedal. It worked!

Good to have the correct info re GB. 
If the EPK supply does turn into an issue a really good sub would be to use Pioneer Kaolin in place of it. Chem is really close, only thing to really be of note is the titanium is higher,  EPK is 0.01 (in unity formula) vs Pioneer at 0.05. It's from Georgia so supply should be okay unless of course it's a rainy night.

I agree with you on the jabs and removed them as this place is not for that -sorry as I degressed .I thank you for that reminder as well. Its all about clay nothing else .
Now on point Laguna has a 3 year supply at current consumption rates of Gretsly Borate. The mine is played out and this supply is all that will be ever.
In terms of The EPK shortage-yes it real and Laguna says it a weather supply mine/ chain issue. Its also happening to red clay and other materials this year due to  wacky weather issues they said. Storms and rain he said are so bad its really affected many products they use (we use in clay). One can assume as weather is a changing in many spots  on the planet this will only get worse.
The best policy is to stock up when you can.
 

Someone on this board once gave me the idea of having a "gallery" line in addition to my production line.  I've sold a few higher priced pieces since that time.   For me that's $200 - $450.   Ok, I am going with this interior designer in Atlanta.    They will just put my pieces in houses they do and add the price, itemized.   The deal is that I will do hand built only for them.   At the moment, they only want 2 colors, both white matte with accent colors.    Currently they get a 30% discount from places like Restoration Hardware.    They are just adding one piece per house, and are taking a 30% commission, at a price that is way way above what I would ever mark my items here.   I'll post a picture of the first sale I made.   I picked Atlanta because my family travels to Atlanta at least once a month.     I've leaving 4 or 5 pieces with them and they will send me a check upon sale.    They just mailed me a check for this item (check to avoid cc fees) and it will be delivered when someone goes to Atlanta.    I'm confident this is a trustworthy source, due to the houses I've been in that they have done.  I have agreed to just sign the items Sharon A. Grimes (no Dirt Roads).   And I will do a small bio poster to put with the work and a website SharonAGrimesartist.com for their exclusive promotion.   I will refer all calls to them.    Let me go take a picture.

I used to do a lot of wholesale work via trade shows, so I’ve worked with dozens of galleries. They come in a wide range from “grifters” to “well-intentioned incompetent” all the way to “craft industry superhero.” So whether this particular opportunity is a good idea depends a lot on the quality of the humans behind it. 
If it’s consignment, I would ask for a contract that allows you to take the work back whenever you want, for any reason. If they haven’t paid for it, they shouldn’t be able to stop you from having it back. 
If it’s wholesale, then just make sure to charge a wholesale price for the first order that satisfies you, whether the relationship becomes more fruitful or not. Then see how it goes. 
Ultimately I decided that selling my work wholesale was not worth the discount, and I made a much better profit selling directly and without a middleman. However, the margins were better for the higher end pieces (large platters and such) than they were for the mugs. So if that’s the type of work they want, and they have a customer base that will buy it, then there’s good potential. 

To answer the question most directly.:
Personally I do a combination of online (my own website) and in-person. The online is a supplement to my in-person income, and adds up to the equivalent of a medium sized show every year. I don’t promote it as much as I should, or it would be doing better. I discontinued my Etsy shop because I found I was directing 60% of my own traffic, and 100% of my conversions were from my own sources, not Etsy. Also, they started charging a percentage fee on money collected on shipping and I thought that was absurd.
The Longer Answer:
There is no online marketplace that is a set it and forget it scenario. There are only marketing methods that work for you and your business and ones that don't. What works for you depends heavily on what you need your business to do. The ideal thing for a side hustle or an invested hobbyist will be different from full time business best practice. 
There's no getting away from putting some time and effort into marketing, whatever level you’re working at, and the payoff always takes way more time than anyone likes. You can either do the bulk of your marketing yourself, or you can pay someone in some capacity to help you with getting your product into your customers' hands. Paying someone else can look like using Etsy, paying in-person show booth fees,  paying for social media ads or some combination thereof. Usually the lower the price point to entry, the more work you have to do yourself.
In terms of actual software or platforms, your best bets online remain Etsy if you want convenience or to add an income stream, or your own website if you want to own your digital assets.
If you're building your own website, use one that's designed for e-commerce. If I were building from scratch, I'd tell people to save time and energy and go straight to Shopify. Square is less money and is serviceable if you need a lower cost entry point, but customizations are very limited. As someone with a Square website, it’s kinda ugly, tbf.
Whichever platform you use, it's heavily advisable to make sure you also build an email list. You can add social media platforms according to your energy levels and what you find fun or helpful.