The A to Z of live-stream advertising.

When a brand posts an opportunity, a creator applies to it. An application is that response, and it is the same object as an offer, born already linked to the brand's campaign.

Applying is free and never uses a creator's pitch allowance, because the brand solicited it. If the brand accepts, the application becomes a booked flight at the rate the creator applied with.

A creator's bookable inventory over time. Publsh treats a day as a sequence of time segments, each independently open or sold, rather than one on or off switch, so a brand can book part of a stream and leave the rest available.

Only one placement runs at a time, so the first booking to land on a segment wins it.

The average audience present while an ad was actually on screen, derived as viewer-seconds divided by on-screen seconds. It is what separates four hours in front of a small room from twenty minutes in front of a huge one, even when the totals match.

It is measured within a single platform and never blended across platforms, since a creator's audiences on different platforms behave differently.

A placement: a full-width, thin strip across the frame, usually along an edge, and the most visible of the three placements. Like the corner and the lower-third, it is presence on the screen while the stream keeps going, not an ad break.

The comparison a rate or an efficiency number is shown against, so a figure has a referent. A price with no context is a guess, not a decision.

Publsh shows a number such as a CPVH beside the median for the same creator category over a recent window. Benchmarks are aggregate and anonymised, never traceable to an individual creator, and only render once the sample is large enough to be meaningful.

A brand a creator has added to their blocklist. Blocking takes effect immediately for new offers and is silent to the advertiser, who simply never gets a response, so a creator never has to fear social fallout for turning someone down. Any flight already running is unaffected.

Safety built into the shape of the deal rather than policed after the fact. Nothing is randomized: a brand picks the creator on purpose, and every creative clears review and the creator's own approval before it can render.

Because a placement only happens when both sides have said yes, there is no bad pairing to catch later. See you approve every ad.

Confirmation that an account is actually operated by the brand it claims to be. It is an identity check, not an endorsement and not a promise the brand is good to work with (the counterparty record speaks to that). Verification is what lets a brand appear in the public directory and post opportunities under its name.

The single thing a creator adds to their broadcast software to run Publsh: one full-canvas, transparent browser source in OBS, added once. The creator never places or swaps an individual ad; Publsh renders booked creatives inside that one source. See the overlay.

The container a brand runs its advertising in. A campaign holds one or more flights and can have an opportunity attached to it. Reporting rolls up across a campaign's flights, including across platforms.

CCV, or concurrent viewers, is the number of people watching a stream at the same moment. Because it is read live rather than counted as a lifetime total, it is the honest size of the room an ad is actually in while it renders, which is why it matters far more to a sponsor than a follower count.

A follower count is cumulative: it adds everyone who ever clicked follow, including people who never come back. CCV is the opposite. It counts who is present right now, so it reflects the audience a placement will actually reach. Two creators with the same follower count can have very different CCV, and the one with more people genuinely watching is the more valuable buy.

CCV rises and falls across a stream, so it is usually reported two ways: an average over a window of time, and a peak. Average CCV is the number to plan a buy around, since it reflects a typical moment; peak shows the ceiling on a big night. Both come from the streaming platform's own live count, on Kick and on Twitch, so they are platform-reported figures rather than something Publsh measures itself.

On Publsh, your CCV is the audience you justify your rate with, not your follower total. You set an hourly rate for each on-screen placement, and your real live audience is what backs it, so CCV is the number a fair rate leans on rather than a lifetime follower count. It is also why a smaller, engaged channel can command a real rate: what a sponsor is buying is the room in front of the screen right now, not a number from years of history.

For the full explainer, read what CCV means on Twitch and Kick.

A placement: a small, roughly 16:9 mark in a corner of the frame. Logo-forward and suited to long, quiet presence. One of the three placements a creator can price and enable.

A brand's track record as someone to deal with: whether it opens opportunities and actually books, whether it delivers creative on time, how its past deals went. It answers "are they good to work with," which is deliberately separate from brand verification (identity) and pre-authorization (can they pay).

Cost per viewer-hour: dollars per 1,000 viewer-hours, or what an advertiser pays for a thousand hours of real, on-screen audience attention. It is an efficiency measure, not a price a creator sets: it lets a brand judge one buy against another on what the audience was actually worth.

The math is simple. Viewer-hours come from viewer-seconds, the live audience multiplied by the seconds a creative was on screen, divided by 3,600; CPVH is then spend divided by viewer-hours, in thousands. Placements themselves are priced by the hour, at a creator's own rate, and CPVH is the lens that turns that spend and delivery into a number two very different buys can be compared on.

Its value is comparability. Because CPVH is dollars per unit of delivered attention, it is platform-neutral: a Kick flight and a Twitch flight are directly comparable on it, and so are a small creator and a large one, which a raw price or a follower count can never be. Where CPM, cost per thousand impressions, rests on a modeled and often boundary-less count for a persistent overlay, CPVH rests on time actually spent on screen in front of a real audience, and can be translated to an effective CPM only for comparison with other media.

The delivery behind a CPVH is labelled by how it was known: on-screen time is measured from the Publsh overlay on both Kick and Twitch, while the audience figures are platform-reported on Kick on both Kick and Twitch. And a CPVH means more next to a benchmark, so where there is a real sample Publsh shows it against a per-platform, anonymized benchmark, and below a genuine sample it says insufficient data rather than inventing one.

For the full explainer, read what CPVH is and how to calculate it.

The sequence a creative must clear before it can render: an automatic platform-eligibility check, then Publsh moderation for policy and technical validity, then the creator's own approval of the artwork on their stream. The order is fixed and the creator is never the moderator. Any edit to a creative sends the new version back through the gates.

How Kick and Twitch sit on one axis. Because delivery is counted in viewer-seconds and compared in CPVH, both of which are platform-neutral, flights on different platforms are directly comparable.

Audience size is always measured within a single platform and never merged into one combined viewer count, since the two audiences overlap in ways nobody can measure.

A multiplier a creator can attach to specific windows, so a Saturday-night slot can price above a weekday afternoon. It is one of the rate-card modifiers, alongside event and exclusivity premiums, applied on top of the base rate.

An estimated CPM, offered so buyers can compare against other channels. A persistent banner has no natural impression boundary, so Publsh defines one impression as one viewer present for 30 continuous seconds of render, publishes that convention, and does not change it silently.

It is a translation for comparison, not a truth about the medium, and it derives from measured exposure.

A period during which a creator agrees to run only one brand in a given category, so a sponsor is not sitting next to a direct competitor on the same stream. It is a term two sides can agree to as part of a deal, not something imposed by default.

Exclusivity is one of the levers that makes a live placement worth more than a scattered impression: a brand can own a category on a creator's screen for a set stretch of time, with the creator's explicit agreement.

The ad-network model Publsh is built against. In a fill model, an ad system drops a brand's creative wherever the algorithm has room, and placement is randomized. Neither the brand nor the creator chose the pairing.

Publsh is deliberately not a fill network. Nothing is randomized: a brand picks the creator on purpose, the creator approves the creative, and both sides consent to the placement before it renders.

A reward for founding creators: once referrals open, bring a brand to the platform and earn a share of what that brand spends with other creators, for a set period, paid out of Publsh's take. See creator pricing.

One creator, one platform, one schedule: the unit of delivery. A flight never spans creators, and it is what a booking or an accepted application spawns. Each flight is measured and settled on its own.

The first 100 creators to claim their handle on Publsh. No booking needed. Founders lock the 8% fee for life. Publsh may add or remove founding creators at its discretion. See creator pricing.

For the full explainer, read how you become a founding creator.

The fee locked in by founding creators: 8% of a settled deal, held for life, versus the 12.5% standard fee. On the founder fee a creator keeps 92% of a deal; on standard, 87.5%. There are no separate listing, placement, or monthly charges on either.

For the full explainer, read what the founder rate is and how it's earned.

The single record of every money movement in a creator's account: settlements in, payouts out, card spend, fees. A creator's balance is derived from the ledger, so what they see is what they can withdraw, and any figure can be traced back to the flight that produced it.

A placement: a wide, short strip across the lower part of the frame, the band where broadcast graphics usually sit. The broadcast standard for a logo plus a promo code. One of the three placements.

The unit Publsh is built on: the time an ad creative was actually rendering on a stream, rather than a count of times it was served. An impression counts a load. Measured exposure is about the seconds the ad was on the screen people came to watch.

Publsh measures the on-screen time on both Kick and Twitch; the audience present is platform-reported. For the full picture, see the measured-exposure pillar.

A figure showing what share of a flight's delivery was fully measured versus estimated from a fallback when live data was missing. It is honesty rendered as a number: rather than presenting every figure as if it were certain, it surfaces how much of it is measured.

The shortest block of time a creator will accept a booking for. Creator-set, above a platform floor, and enforced at booking rather than negotiated.

How close to a stream a brand is allowed to book, set by the creator. It exists to leave enough lead time for creative review, since an ad has to clear approval before it can run.

A specific, dated, priced proposal for one creator that becomes a flight when accepted. Either side can make one: a brand to a creator, or a creator to a brand (a pitch). The offer is the binding part of a deal; any message attached to it is context, not terms.

A creator's minimum acceptable rate. Offers below it are hidden from the main inbox so a creator is not pestered by lowball bids, but they are still counted and viewable, because a filter that removes money should show what it removed.

The total seconds a creative actually rendered on a stream, summed from the overlay's heartbeat and counted only while the channel is confirmed live. It is the raw render time underneath viewer-seconds, measured on both Kick and Twitch.

An open call a brand posts, tied to a named, dated launch or event, publishing a number of slots rather than a price. Creators apply, and an application produces an offer. An opportunity is an invitation; an offer is the deal; a flight is the delivery.

The on-stream ad server: the layer that renders a booked ad over a creator's stream through one browser source in OBS. It is the piece that makes measured exposure possible, because the ad and the stream become the same picture. See the overlay.

A bundle of streams sold together at a discount, for a brand booking a creator repeatedly. The discount is stored as a percentage and the pack price is computed from it, so it stays consistent when the base rate changes.

Moving earnings from a Publsh balance to a bank account. Payouts are free and run weekly. Earnings can also be held in the balance and spent directly, but the door to a bank is always open.

The budget of unsolicited pitches a creator can send, a small number per month by default. A pitch only uses allowance if the brand ignores or declines it; if the brand engages, it costs nothing. This keeps advertiser inboxes from being flooded while rewarding creators who pitch brands they genuinely fit.

The specific spots on a stream where an ad can render. A creator sets a rate for each one, and both sides approve exactly where a creative sits before it runs.

A corner is a compact mark in a corner of the frame. A lower-third is a horizontal strip across the lower part of the screen, the band where broadcast graphics usually live. A banner is a wider strip, typically along an edge. Each is presence on the screen while the stream keeps going, not an ad break that stops it.

A hold placed on an advertiser's payment method when a deal is accepted, confirming the money is there before anything airs. On Publsh, money is the gate for dealing: sending an offer requires a payment method and a passed pre-authorization, which is how a creator can trust a deal without the brand being a household name.

A rate card is a creator's price list and the rules attached to it: a rate for each placement, plus the modifiers, minimums, and packs that shape how it is bought. On Publsh it is not a static document but a live part of your page, so it stays current as your audience and availability change.

The core is a rate per placement, by the hour: a corner logo, a lower third, and a banner strip are worth different amounts, so each carries its own price. Around that sit the rules. Modifiers let you charge more when it is worth more, a daypart premium for peak nights, an event premium, or a category exclusive so a sponsor is guaranteed no rival beside them. Minimums set the shortest booking you accept and how much notice you need. Packs bundle hours at a set discount.

The rate card publishes to two places: your media kit, where a brand you send the link to can read it, and the brand directory, where a brand searching can find it. Every offer a brand sends is priced against it, so there is no opaque negotiation from zero, and both sides start from a number already on the page.

Throughout, the creator always sets the rate. Publsh never sets it for you; it shows benchmarks and fill as context, so you can see whether a number is strong or soft for your kind of channel, but the decision is yours. New rates apply only to new bookings, so anything already booked stays locked and you can raise your price as you grow without breaking a deal.

For the full explainer, read what a streamer rate card is and how to build one.

A figure showing whether a creator actually delivers what they commit to, weighted by the size of past flights. A no-show counts hard against it. New creators show no score rather than a default one, because an unearned number is worse than none, and it depends on measured delivery.

The second-by-second record a flight closes with: what creative ran, in which placement, at what time, and for how long. It is read on the serving side rather than claimed by the creator or inferred from a screenshot.

The serving log is the source of truth for billing. When a stream drops or a card comes off screen, the log records that the ad was not rendering, so that time is not billed. It is how a brand can read a flight line by line instead of taking a total on faith.

When a delivered flight's earnings become the creator's money and land in their balance as soon as they settle. From there the creator can pay the balance out to their bank whenever they choose.

A directory listing Publsh authors for a brand that has not joined yet. It is clearly labelled as not on Publsh and never implies the brand is participating or endorsing anything. The listing becomes the brand's own only if and when the brand claims and verifies it.

The mark on a brand that has passed verification. It says one thing: Publsh has confirmed the account is operated by the brand shown. It is identity, not endorsement, and it points to the counterparty record for how the brand actually deals.

Viewer-seconds divided by 3,600: the same delivery unit, shown in hours for readability once the numbers get large. It is derived from viewer-seconds, so it carries the same provenance: on-screen time measured on both platforms, audience platform-reported on Kick and Twitch.

The primary delivery unit: audience integrated over render time, summed as the concurrent viewers present multiplied by the seconds the creative rendered, moment by moment. Every other delivery figure derives from it.

On-screen time is measured on both Kick and Twitch; the audience is platform-reported.