Masthead Blogs
Thursday, March 23, 2017
Words of Inspiration
Industry Guest Blogger

The Panama Papers: For people who love journalism, it’s a “good-news bad-news” story. It’s a good news story because this work demonstrates that despite declining newspaper revenues, shrinking television audiences, and a global, hyper-competitive business environment, excellent investigative journalism can still be done, and be done across borders of employment, medium, and nationality. 
 

 

 

But the Panama Papers are also bad news because the rise of consortiums like the ICIJ (itself a project of the Center for Public Integrity), are the result of mainstream news outlets suffering under rapidly declining revenues and being unable to fund large-scale reporting ventures by themselves. The success of the Panama Papers represents the failure of a business model, and it’s the model that has paid for most of the serious journalism we in North America have relied upon for most of the twentieth and early twenty-first centuries. 

 

Here in Canada when Postmedia slashed 90 jobs and merged competing newsrooms in Ottawa, Calgary, Edmonton, and Vancouver, the word everywhere was “business.”  Implicitly or explicitly, we heard: It’s a business decision. Specifically, Postmedia must think of its bottom line. The situation in Canada’s broadcast world is similar. As viewership declines, television newsrooms are cutting staff. For reasons of economic efficiency, Global News now routinely partners with the Toronto Star for investigative pieces. So broadly speaking, the news business is in trouble. 

 

But we need to stop having this discussion, as if the only thing at stake is company profits.  Yes, journalism is a business. For most of our recent history, it has been a part of a capitalist enterprise. However, a true democracy needs tough, independent, outspoken media—regardless of platform—to hold publicly elected officials, and publicly funded institutions, to account. Journalism is more than big business; it’s a sacred trust. 

 

To Subsidize or not to Subsidize 

Many Nordic countries have subsidized newspapers for most of the 20th century because they recognize that papers play a unique political and social role that’s invaluable to their democracies.  Instead of throwing up their hands and expecting the market to solve the printed press’ waning readership, countries like Sweden are actively searching for effective ways to maintain support of news media and the social benefits they provide. 

 

Over the last year, the Swedish government held an inquiry into the conditions of its daily press, and introduced a new bill to its Riksdag. To be clear, it’s not that Sweden supports only its newspapers; public broadcasting had a monopoly until the early 1990s, but the current focus of inquiry is on newspapers. Riksdag’s website outlines how the bill contains proposals aimed at creating greater incentives for daily papers with operational subsidies to increase readership revenue, while promoting technological development and the innovative business models, so the functions vital to democracy are sustained over the long term. 

 

The Way Forward 

The kind of journalism that ICIJ is doing, through the Center for Public Integrity, is paid for by donations from foundations and individuals. The ICIJ does not accept money from governments. Generally, these journalists publish their work on ICIJ’s website, and distribute to NGOs and other interested outlets. Because of the size and impact of the data from the Panama Papers, the Center interested a consortium of newspapers and other media outlets, including the CBC, which were willing to commit staff and resources, and publish the results of the investigation. 

 

While the Panama Paper collaboration offers one positive model, and a future for investigative journalism, it’s not without its drawbacks. Because of the project’s magnitude, Robert Picard of the Reuters Institute at the University of Oxford noted that many people and media organizations were interested in being involved, and in funding this particular work. “But for work that’s theirs and theirs alone,” he said, “they [ICIJ] need more funding. Until you have endowments in place, and they are earning their own income, you have to spend money on what your funders want you to spend it on.” 

 

This might mean that stories that are equally important, but less popular, may not get covered. Again, the model is one that can be motivated entirely by profit and not by considerations of what is in the best interests of the public in a democracy.

 

Here at home, we need to stop blaming the Internet and harkening back to a golden age of consumer support for news that never was. Given media’s singularly indispensable role, we must acknowledge that other factors besides media demand can influence their profitability and stop pretending that they’re just another business. We need a policy whose purpose is not to shore up existing enterprises, but only the ones that ensure our democratic needs are met. 

 

While newspapers are on the decline, journalism doesn’t have to be. This is an idea that those of us who teach journalism need to push because declining newspaper and legacy media opportunities have led to declining enrollments.

 

While none can predict the future, the Reuters Institute published a study in 2014, outlining the results of what a sample of news professionals from the U.S. and Europe imagine their profession will look like in years to come. Picard notes sadly, “There is a lot of fear.”  The report itself suggests that as institutional employment diminishes, there is a rise of entrepreneurial journalism—where journalists establish small or medium-size enterprises that produce and distribute their own content through websites, or sell syndicated material to other outlets. Usually, these undertakings support one person, or a small co-operative of people, and are focused on local coverage or highly specific topics.  

 

While this model is clearly having some success, as J-Source outlined recently in a piece titled, “journalism startups carve out niches for themselves,” there are concerns about the precarious nature of this labour.  “Many people believe the future of journalism is one that will be practiced part-time, or by people who have a partner or a spouse with benefits,” said Picard, about the musings of those in the Reutersstudy. 

(This posting is an excerpt from an artcile published in the Spring 2016 issue of Media Magazine published by the Canadian Association of Journalists. You can read read the whole artcile at this link)

 

 

 

Romayne Smith Fullerton is an associate professor in the Faculty of Information and Media Studies at the University of Western Ontario and the current ethics editor for J-Source. Along with Chris Richardson, she is the editor of Covering Canadian Crime: What Journalists Should Know and the Public Should Question (University of Toronto Press, 2016). At present, she is working on a book that compares crime coverage practices in North America with those of select Western European countries.

 
Tuesday, March 14, 2017
Covers Sell
Scott Bullock
 

It seems that the German magazine Der Spiegel has a bit of a Nazi guilt complex that they are trying to assuage/and are a bit obsessed with Donald Trump.    Check out these covers…what fun.  It sure makes Time Magazine’s covers look, well, rather timid in comparison.

According to Wikipedia:  Der Spiegel is a German weekly news magazine published in Hamburg. It is one of Europe’s largest publications of its kind, with a weekly circulation of 840,000.

It was founded in 1947 by John Seymour Chaloner (de), a British army officer, and Rudolf Augstein, a former Wehrmacht radio operator who was recognized in 2000 by the International Press Institute as one of the fifty World Press Freedom Heroes.

Der Spiegel is known in German-speaking countries mostly for its investigative journalism. It has played a key role in uncovering many political scandals such as the Spiegel scandal in 1962 and the Flick affair in the 1980s. According to The Economist, Der Spiegel is one of continental Europe’s most influential magazines.

 
 
 
 
Tuesday, March 14, 2017
Covers Sell
Scott Bullock
 

Canadian Woodworking has just posted fabulous newsstand sales growth for 2016. While industry averages show newsstand sales in Canada were down 11.8% last year, Canadian Woodworking posted a 49% increase in sales!

Five of their six bi-monthly issues posted gains in 2016.

The distributor is Coast to Coast, with Ron Sellwood acting as the account executive.  Working with consultant Colleen Moloney, the magazine gained dealer coverage which helped give the magazine needed exposure.

The Dec/Jan 2016 issue (Tablet Stand) was up 62%

The Jun/Jul 2016 issue (Small Shop) was up 79%

The Oct/Nov 2016 issue (Patio Chair) was up 125%

And the first issue of 2017, Dec/Jan 2017 (Smartphone Holder)  is on track for a 20% gain, on top of last year’s huge improvement!

Congratulations to the team at Canadian Woodworking.

 
 
 

Tuesday, March 14, 2017
Magazine Media Brandaid
Norm Lourenco RGD

Social media and the management of it, is the topic of a lot of our conversations these days. Whether your goal is to sell more copies at the newsstand or to gain new subscribers, building a strong brand for your magazine is still the key. Your ability to gain new readers, and engage with your current, devoted readership, comes from your brand’s authority - and one of the best ways to build that is through the savvy use of social media.

You may be thinking that social media is the last thing on your to-do list and we hear from publishers regularly that they don’t have the time or manpower to dedicate to it. But it doesn’t have to be a crazy, arduous task. With some strategy and planning, creating your social content can easily be incorporated into your magazine timeline, resulting in that sought-after brand authority.

As magazine publishers, you are actually in an ideal position for populating social channels as you are already engaged in a dialogue with your audience. Social media is a natural extension of that conversation. Think of it like a dinner party with your audience; you wouldn’t read them a whole article from your magazine over dinner but you might casually bring up a great piece and give them a highlight or two.

Getting your magazine out there in the social universe doesn’t have to be a reinvention of your content - you already have the copy and images to work with. We suggest to our clients, that for efficiency and to maintain intent, it is optimal to create the content for your social channels while you are creating the magazine. Here are some strategies we follow when planning for a magazine’s social:

1. Choose your channels wisely.
You already know who your audience is so you can easily figure out what social channels they’re on and you can choose to be there too. Check out Futurpreneur.ca (http://www.futurpreneur.ca/en/2016/a-breakdown-of-social-media-platforms-and-their-uses/) for a great breakdown of who is hanging out where. We suggest that you only commit to the channels that you can maintain on a regular basis and if you find that you can’t keep up with one, delete it rather than letting it get stale.

2. Use a Strategy Roadmap.
(We have a template that is available upon request to hello@k9-sd.com) A roadmap will allow you to clearly define goals, objectives and initiatives. Having a plan for each channel is helpful - at K9, for example, we use Facebook for our fun, team-based posts and Twitter and LinkedIn we keep more business focused.

 

3. Define your voice for each social media channel.

Remember that this is the more casual dinner party chat so we recommend that you keep it short, simple and channel specific - what works for Facebook may not work for SnapChat for example. Give some thought to being consistent with both content and image treatment.

4. Create shareable content.
By creating useful and shareable content, you widen your reach as your followers repost, retweet, and ‘like’ your posts. This is incredibly valuable for your brand authority and recognition. Have a look at this example from Forbes Magazine - they’ve taken an article from their publication and created smaller, bite-sized pieces with related images. These are more appropriate in length for social and they are also shareable by their audience.
 

 

5. Be SEO ready.
For Search Engine Optimization, when you post an image to a social channel, you have an opportunity to create a title and description. We advise using words that relate to the topics that your audience is searching for. This is a great way to drive readers back to your social channels, website and ultimately convert them into magazine buyers. Look for our post on this blog next month for a more in-depth look at SEO and your magazine brand.

When in doubt of whether or not a post is appropriate for a social channel, ask yourself if it’s inline with your magazine brand. We have created a handy checklist for ourselves that we use in-house for our social content with questions like, ‘Is this information useful for my audience?’ and ‘Is this something my audience would share with their friends?’. With your brand voice front of mind, and some dedicated time to your strategy, you will be able to post consistently and grow your audience.

Tuesday, March 14, 2017
Words of Inspiration
Industry Guest Blogger

Canadian supermodel Coco Rocha stars in 35 unique cover art combinations

 

A Canadian first, FASHION Magazine showcases supermodel Coco Rocha looking fierce on not one, but five different cover images for its April 2017 issue.

Featuring a unique five-cover perforated “flip book” approach, the interactive issue allows readers to play with the cover and customize their favourite look on Coco Rocha for up to 35 unique combinations. Celebrity makeup artist for L’Oréal Paris USA Sir John Barnett worked with FASHION’s Beauty Director, Lesa Hannah, to curate and execute each of Rocha’s unique and on-trend beauty looks.

“This is a great example of two brands coming together to create an exceptional content collaboration that provides surprise and delight for our audiences across all platforms,” says Jacqueline Loch, Vice-President & Group Publisher, Women’s Brands at St. Joseph Communications. “L’Oréal Paris is a wonderful partner and a true innovator in beauty. They are the perfect brand for an editorial integration of this scale, embracing our vision while enabling us to bring the concept to life.”

 

Rocha—a noted chameleon—brought each look to life, illustrating a different mood for each portrait. The looks are featured on the cover execution and in the 10-page fashion and beauty feature in print as well as in a behind-the-scenes video. The live cover shoot was captured on social media via Instagram, Facebook Live and Twitter, leveraging FASHION’s 2.6 million social media audience and Coco Rocha’s 1.1 million Instagram followers.

“The cover and the issue theme is grounded in the concept of ‘IRL vs. URL,’ a narrative on the In Real Life moments we experience versus our digital dreams,” says Noreen Flanagan, Editor-in Chief, FASHION. “Understanding how and when our IRL and URL lives intersect — or don’t — is the inspiration for this issue.”

The interactive cover pays tribute to this idea via its unique ability to be manipulated based on the reader’s preferences. The issue also takes readers beyond the page with video features that drive to how-to makeup tutorials with Sir John from the photo shoot. “We want to invite our readers to have some fun and celebrate the joy of beauty, and we wanted to create a memorable real-life experience,” says Flanagan. The April cover challenges readers to have their own faceoff with Rocha and post their favourite combination on Instagram with the tag #FMIRLvsURL.

The April issue of FASHION Magazine features photography by Owen Bruce and styling by George Antonopoulos. The print edition of FASHION’s April issue hits newsstands in Canada on March 13 and at select Barnes & Noble locations in the U.S. on March 28. For the full story and behind-the-scenes content from the April 2017 issue, please visit fashionmagazine.com.

 

Most Recent Blog Comment
Marty Seto says:
Hi Steven, these are created by the client directly and booked like they would an ad. The new copywr...