Archive for the ‘News and Views’ Category

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Ryan Dohrn, Owner Of Niche Media Events And Founder Of Brain Swell Media, To Samir “Mr. Magazine™” Husni: “The Problem Is We’re Overly Saturated With Digital.” The Mr. Magazine™ Exclusive…

January 28, 2024

“One of the things that we’ve learned in 2023 is that many advertisers, while they love digital, they just love it, they’re realizing that it’s harder and harder to stand out from the crowd doing only digital. Some differentiating factors have been running in print magazines and running in traditional media, like television and radio.” Ryan Dohrn…

“What I’m trying to get at to share with you is that this whole idea that digital is the future – well, it can only be the future if we can control the saturation and the messaging. The problem is we’re overly saturated with digital and we’re having difficulty controlling the message. But the only way you can really control the message is through traditional media because we get to control our own voice inside the traditional media mechanism.”

Ryan Dohrn knows how to help publishers generate growth when it comes to all revenue channels: print, digital, sales, audience and events. He is the owner of Niche Media Events and the founder of Brain Swell Media, which is a media sales training firm. He knows every facet of the media world like the back of his hand and has trained over 30,000 ad sales reps in 7 countries.

Ryan sells media every day and has been a part of over half a BILLION dollars in media sales. He is a graduate of the Cornell Executive Leadership Program and his 30-year media sales and marketing career includes leadership roles at Disney/ABC TV, Morris Publishing, PennWell Publishing, and The NY Times Company. He is an Emmy Award winner, multiple business book author and has been featured in USA Today and on Forbes.com.  Ryan currently works monthly with over 50 media companies and their related sales and management teams.

I spoke with Ryan recently and we talked about his companies and the energy and synergy they produce. He has a confidence about him that emanates from his speech and makes a person feel instantly in control of whatever situation that’s facing them. It’s a winning quality and one that Mr. Magazine™ thoroughly enjoyed and took advantage of because you never turn down positivity. In any form.

Toward the end of the interview Ryan told me something that sounded very familiar: When you give somebody what they want they’re happy for a short period of time. When you give somebody what they need, you have a customer for a lifetime.

Sounded very familiar…

And now the inspiring interview with Ryan Dohrn, owner of Niche Media Events and founder of Brain Swell Media.

But first the soundbites:

On a recap of 2023, in terms of sales and advertising: One of the biggest things that we learned in 2023 was that those media organizations that were willing to control the narrative out there and were willing to adjust their sales methodologies not only survived in 2023, but they really thrived in 2023.

On whether he thinks artificial intelligence is helping or hurting: It depends upon the circumstance. In the sales business I don’t believe it is helping, because one of the things they’re trying to do is use artificial intelligence (AI) to replace something. Now if we would use AI to enhance things that we’re already doing instead of replacing that would be different. I don’t believe replacing is the right way to think about it at all, especially in media and in media sales. AI can actually help you and make things better.

On where he sees print growing in the future: In the B to B area. I would say in the business world, in B to B manufacturing, any type of business that includes a visceral experience, they’re almost always going to have a good experience with print media.

On what he thinks about the future of city and regional magazines: City and regional magazines are an important part of their communities, but they will need to fight to relevant to thrive. It’s going to be pretty tough because so much of that happens in real time in a city and regional environment, things are happening so quickly that it’s going to be a little bit of a challenge for the magazine component itself to make sure that it stays relevant because things happen so fast in the city and regional environment.

On whether he’s optimistic or pessimistic about 2024: In my opinion, 2024 is going to be a pretty tough year due to the degree of political and economic uncertainty across the country and around the world. I’m already advising my sales clients that you better do your selling in quarters 1, 2, and 3, because by the time we get to the end of third quarter and we’re staring an election in the face, if a salesperson thinks that they can wait until the 4th quarter to save their year, they’re going to be in trouble.

On whether he has more or less clients in 2024 versus 2023: I will have more clients because when things are not good in the world and people need more help with sales, then they call me. When there is a crisis going on in the world; we’ve got Israel at play, Ukraine, you name it, I get busier because people need a lot more help.

On what he was thinking when he bought the Niche Media Conference three years before: People did think I was crazy. They thought I was crazy to buy this business during the pandemic. My mission, and I really feel like it’s one of the reasons God put me on this earth, was really to help people help themselves and help their families. And the Niche Media Conference is a part of my core mission of helping publishers and salespeople make some great money with their business and make some great decisions.

On where his business health comes from: The reason that we’re seeing some real growth is the high level of relevance of all the different topics and information that we’re presenting. So because every day I am knee deep in the media business, I really do know what it is publishers want and salespeople need. I feel like the reason some of the other groups and events have not survived is because they weren’t exceedingly relevant to the immediate needs of these publishers.

On having the Niche Media Awards: I think it’s a good idea and they did in the past. They were called the Nichee Awards and they went away during COVID because it was hard to gather all of that together. But I think we should probably resurrect them because we do need to make sure that we’re awarding people for their excellence in the magazine business. I do believe that we’ve got quite a few more years of this conference ahead.

On the marketing that he’s doing: Yes, the marketing component piece, which you know is core to my heart, sales and marketing, the marketing is an important piece of the puzzle. How do you market to a publisher and not be so overwhelming that it’s kind of too much in their face? But it’s important to be out there.

On what he would hope to tell someone about 2024 a year from now: It was just a mess. I think I’m going to say 2024 was a mess. And I’m hoping from the depths of my heart and the core of my soul, I’m hoping that won’t be the case. But unfortunately as I look across the landscape of the world, I’ve had the opportunity to speak at publishing conferences abroad, and unfortunately I think we’re going to be standing on New Year’s Eve waiting on 2025 and we’re going to say wow! 2024 was a real mess.

On anything he’d like to add: The biggest change I’ve seen is people doing consultative selling, where they’re guiding people toward what they need to do with us as media companies as opposed to delivering on what they want. When you give somebody what they want they’re happy for a short period of time. When you give somebody what they need, you have a customer for a lifetime.

On what keeps him up at night: As I’m getting closer to the other side of my career, I have to fight every day to be relevant. And one of the things I probably think about the most and what keeps me up at night is what will I do this week to be exceedingly relevant to my clients, to other publishers, to my wife, to my children. What can I do to be relevant, because I feel like the moment I lose relevancy will be the moment I should step aside and let someone else be the voice of revenue for the media business. 

And now the lightly edited Mr. Magazine™ interview with Ryan Dohrn, owner of Niche Media Events and founder of Brain Swell Media.

Samir Husni: Can you recap 2023 in terms of sales and advertising? What’s your words of wisdom?

Ryan Dohrn: One of the biggest things that we learned in 2023 was that those media organizations that were willing to control the narrative out there and were willing to adjust their sales methodologies not only survived in 2023, but they really thrived in 2023.

What I’m noticing though is that you have to make changes; you have to be willing to make changes. What’s interesting is, because so many people and advertisers have gone to the digital side of the marketing spectrum, if you will, what’s interesting is the saturation level is really high.

So, one of the things that we’ve learned in 2023 is that many advertisers, while they love digital, they just love it, they’re realizing that it’s harder and harder to stand out from the crowd doing only digital. Some differentiating factors have been running in print magazines and running in traditional media, like television and radio.

I guess what I’m trying to get at to share with you is that this whole idea that digital is the future – well, it can only be the future if we can control the saturation and the messaging. The problem is we’re overly saturated with digital and we’re having difficulty controlling the message. But the only way you can really control the message is through traditional media because we get to control our own voice inside the traditional media mechanism.

Samir Husni: Do you think artificial intelligence is helping or hurting?

Ryan Dohrn: It depends upon the circumstance. In the sales business I don’t believe it is helping, because one of the things they’re trying to do is use artificial intelligence (AI) to replace something. Now if we would use AI to enhance things that we’re already doing instead of replacing that would be different. I don’t believe replacing is the right way to think about it at all, especially in media and in media sales. AI can actually help you and make things better.

So if you look at AI as it can help me be better in sales; it can help me potentially be a better writer, rather than let’s use AI to replace salespeople or to replace writers. That in my opinion is the wrong way to look at it.

Samir Husni: I call 2023 the year of the bookazine because we only had 71 new magazines published, with only one monthly. Where do you see print growing in the future? Or do you?

Ryan Dohrn:. Yes, in the B to B area. I would say in the business world, in B to B manufacturing, any type of business that includes a visceral experience, they’re almost always going to have a good experience with print media.

An example might be, if you look at a magazine like Fender Bender magazine, it’s designed to be read by people who are visceral with their hands, people that repair cars, people that repair dents in cars; the collision industry. I find that with folks who are in visceral experience businesses, magazines tend to be a visceral experience and it seems to work really well.

On the consumer side of things, I get a little more concerned, because it’s difficult for us to create content in a magazine that no one is going to find anyplace else because of the internet. So, I think the consumer side of the business is going to struggle a little bit more than the B to B side where I see magazine media continue to be real strong.

Samir Husni: What about the city and regional magazines?

Ryan Dohrn: City and regional magazines are an important part of their communities, but they will need to fight to relevant to thrive.  I deeply enjoy my C&R clients and their passion for serving their communities. It’s going to be pretty tough because so much of that happens in real time in a city and regional environment, things are happening so quickly that it’s going to be a little bit of a challenge for the magazine component itself to make sure that it stays relevant because things happen so fast in the city and regional environment.

Samir Husni: Are you optimistic or pessimistic about 2024?

Ryan Dohrn: In my opinion, 2024 is going to be a pretty tough year due to the degree of political and economic uncertainty across the country and around the world. I’m already advising my sales clients that you better do your selling in quarters 1, 2, and 3, because by the time we get to the end of third quarter and we’re staring an election in the face, if a salesperson thinks that they can wait until the 4th quarter to save their year, they’re going to be in trouble.

In my opinion, 2024 could potentially be one of the toughest advertising sales years that we’ve seen in quite some time. The reason is because business owners are reluctant to make decisions because they’re concerned about interest rates, the economy, things like that.

We, as media sales professionals, have to control the narrative. If we don’t, as the political cycle season really sets in, and it’s already crazy, it’s going to get even worse. We have to control the narrative and say things like this. Throughout the course of history we have been through economic and political uncertainty before. What we know is that advertisers that consistently advertise through a crisis of any kind almost always come out on the other side of the crisis in better shape. We’ve seen this from the Great Depression all the way through the pandemic.

In the Great Depression we saw Kellogg’s Cereal overtake the giant, Post Cereal Company, and what did they do different, make better cereal? No. They just advertised more effectively. In the pandemic we saw Zoom rise to the top of all communication software for video conferencing as you and I meet here today. What did they do different, have a superior product? Not necessarily. They advertised steadily through the pandemic and now they’re one of the biggest leaders.

So, the secret of this is going to be controlling the narrative and getting people to understand no matter what happens in the world and politically, we have to keep advertising.

Samir Husni: Do you have more or less clients in 2024 than you did in 2023?

Ryan Dohrn: I will have more clients because when things are not good in the world and people need more help with sales, then they call me. When there is a crisis going on in the world; we’ve got Israel at play, Ukraine, you name it, I get busier because people need a lot more help.

What we’re seeing already in 2024, which is something great for you and your customers and listeners, etc., is a lot more marketing summits. I have a lot of clients inviting me and others in to have marketing summits with their advertisers so they can help control this narrative. They bring their advertisers together and say let us show you the latest in marketing trends and technology to help your business and becoming a lot more of a partner with these advertisers. That is a really great idea and I’m seeing a lot of that already in the works for 2024.

Samir Husni: Three years ago you bought Niche Media Conference; were you out of your mind? Conferences are disappearing, what were you thinking?

Ryan Dohrn: People did think I was crazy. They thought I was crazy to buy this business during the pandemic. My mission, and I really feel like it’s one of the reasons God put me on this earth, was really to help people help themselves and help their families. And the Niche Media Conference is a part of my core mission of helping publishers and salespeople make some great money with their business and make some great decisions.

So the reason I bought it is I didn’t want to see it go away. As someone who sells training services to media companies it was the best show of the year for me. I had already been a participant of the event for 18 years, so I decided to buy it and keep it going. Obviously, there’s a need because we’re seeing what used to be 200 people at an event, now we’re at 350 to 400 people, so there’s a big need out there for publishers to gather and to network together. And I think it’s just something important for publishers to be a part of.

Samir Husni: We used to have an abundance of groups like the MPA and Folio, communities such as that. Today we have a noticeable lack of these organizations, they’ve vanished. Where do you get your business health from?

Ryan Dohrn: The reason that we’re seeing some real growth is the high level of relevance of all the different topics and information that we’re presenting. So because every day I am knee deep in the media business, I really do know what it is publishers want and salespeople need. I feel like the reason some of the other groups and events have not survived is because they weren’t exceedingly relevant to the immediate needs of these publishers.

We have a panel of publishers and a panel of advertisers and we make sure that all of the topics are exceedingly relevant to the attendees that are there. The other thing is we work really hard to make it affordable and we also work really hard to only host the event in cities where people can get there in an affordable way. And I call it the Southwest rule: if you can fly Southwest direct, then that’s a good place to have an event. So we try to make it affordable for folks as well.

Relevancy and affordability are the real key components. And then also not overloading the show with sponsors. It can’t be a sales environment; it has to be a learning environment. And that’s an important piece as well.

Samir Husni: Have you considered starting the Niche Media Awards?

Ryan Dohrn: I think it’s a good idea and they did in the past. They were called the Nichee Awards and they went away during COVID because it was hard to gather all of that together. But I think we should probably resurrect them because we do need to make sure that we’re awarding people for their excellence in the magazine business. I do believe that we’ve got quite a few more years of this conference ahead.

Now we are doing a lot more digital-focused tracks and things like that. But are publisher’s track is solely focused on the print media business. And helping those groups not only survive, but thrive. And that really is a core mission of ours.

Samir Husni: It reminds me of a presentation I gave at the Niche Conference, ‘Survive Today To Thrive Tomorrow.’

Ryan Dohrn: Exactly. What’s interesting is you will learn more from your fellow publishers than you will from almost any other conference you attend. So one of the things that we do is a lot of roundtables, people sitting around and talking together. That’s where you really learn a lot.

The other thing that we did that’s different is that we invested heavily in very high end speakers. A lot of conferences you kind of take who you can get – well we actually spend money to bring in top-shelf, name brand speakers because I feel like if someone is going to spend $800 or a $1,000 to attend an event, they should walk away with some really tangible-type information. So we’ve kind of upped that a little bit as well. And then the fun factor; we always want to have a lot of fun at these events. We always try to do a lot of networking and have  a lot of fun.

Samir Husni: I noticed you’re doing a lot of marketing, besides LinkedIn.

Ryan Dohrn: Yes, the marketing component piece, which you know is core to my heart, sales and marketing, the marketing is an important piece of the puzzle. How do you market to a publisher and not be so overwhelming that it’s kind of too much in their face? But it’s important to be out there.

What’s interesting is, all the marketing tools that we use to get publishers to the Niche Media Conference are all the same tools that they should be using to get people to their events and to subscribe to their magazine. What I’ll try to do is stand in front of the group and say: one of the reasons you all are here is because of our marketing efforts, let me tell you how we got you here and how you can use those strategies to get people to your events and to subscribe to your magazine.

We also do something different that others don’t do, we focus on marketing and subscription development. And I believe the heart and soul of this business is subscription development. And not a lot of people talk about it. And so we have an entire track dedicated to marketing and subscription development. That subscription development is core, critical to success. When you look at big city and regional magazines like Our State North Carolina, one of the most profitable in the city and regional space, they are a subscription-based publication. And if they can do it, and they do it well, why can’t others? It’s a great model that they’ve put in place.

Samir Husni: And almost all the CEO’s that I’ve interviewed in the last few weeks are seeing a return to direct marketing and subscription, and they’re seeing a good response to that direct marketing too.

Ryan Dohrn: Yes, I agree. And people tend to subscribe. We are living in a world of subscribers; we subscribe to everything. So why would our media be any different? As you’ve preached for years, if you have the right content people will pay for it. But if you have content that anybody has, most people won’t. And I agree with that and applaud your efforts over the years for trying to make people understand that you can have a very robust subscription business if you have content that people will actually pay for.

Samir Husni: If you and I are talking a year from now, what would you hope to tell me you had accomplished in 2024?

Ryan Dohrn: It was just a mess. I think I’m going to say 2024 was a mess. And I’m hoping from the depths of my heart and the core of my soul, I’m hoping that won’t be the case. But unfortunately as I look across the landscape of the world, I’ve had the opportunity to speak at publishing conferences abroad, and unfortunately I think we’re going to be standing on New Year’s Eve waiting on 2025 and we’re going to say wow! 2024 was a real mess.

But my hope and my prayer going forward is that we will figure out some way to talk together and unite together and work together, because I do think we all have common needs, goals, and desires. If we can focus on those I think that we can have a better society. That and follow the 10 Commandments. That would be good too.

Samir Husni: Is there anything you’d like to add?

Ryan Dohrn: The one thing that has changed dramatically in the ad sales business is that we’ve really changed the way that we sell. From going out and saying Mr. or Ms. Advertiser, what do you want from us and finding out that delivering back is what they want.

The biggest change I’ve seen is people doing consultative selling, where they’re guiding people toward what they need to do with us as media companies as opposed to delivering on what they want. When you give somebody what they want they’re happy for a short period of time. When you give somebody what they need, you have a customer for a lifetime.

And that was the biggest change that I tried to push forward. And I saw it happen in 2023, from fulfilling people’s wants to guiding them toward their needs. And when you can make that subtle change, you’ll have a better and more robust media company and you’ll have advertiser that are happier longer.

Samir Husni: My typical last question; what keeps you up at night?

Ryan Dohrn: As I’m getting closer to the other side of my career, I have to fight every day to be relevant. And one of the things I probably think about the most and what keeps me up at night is what will I do this week to be exceedingly relevant to my clients, to other publishers, to my wife, to my children. What can I do to be relevant, because I feel like the moment I lose relevancy will be the moment I should step aside and let someone else be the voice of revenue for the media business.

Samir Husni: Thank you.

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Andy Clurman, President & CEO, AIM Media To Samir “Mr. Magazine™” Husni: “I Think There’s A Future For Print. It’s One Of The Oldest Forms Of Communication.” The Mr. Magazine™ Exclusive Interview… 

January 22, 2024

“Print is a foundation. Individually, everything we publish in print is profitable. And it’s part of our brand, position, platform, legitimacy, authenticity, all those things. You can get it, but it’s hard to get just in a digital form because there are so many people producing content all day every day.” Andy Clurman…

“We’re managing print as part of the portfolio and we’re doing it happily as long as it continues to contribute. I’ve seen a little bit of growth in print and subscription revenues in 2023, which was gratifying, particularly after the pandemic finally eased up.” Andy Clurman…

If you’re an enthusiast, AIM Media has a magazine for you. One of the world’s largest enthusiast media companies, Active Interest Media (aimmedia.com) produces leading consumer and trade events, websites, magazines, and films and TV shows that reach millions of readers, fans, and attendees in 85 countries. From Fine Homebuilding to Writer’s Digest, AIM has an eclectic mix of titles to entertain you and feed your enthusiasm.

Andy Clurman is president and CEO of the company and firmly behind AIM’s M&A (Merger & Acquisition) strategies, such as the acquisition of The Taunton Press in 2023, a respected consumer media and book business, based in Newtown, Connecticut. I spoke with Andy recently and we talked about the acquisition and how it would expand AIM’s ever-growing enthusiast audience even more. It was an insightful discussion that offered knowledge and interesting concepts. And one that I hope you enjoy.

So now, here’s the Mr. Magazine™ interview with Andy Clurman, president & CEO, Active Interest Media (AIM) Please enjoy…

But first the soundbites:

On how he would evaluate 2023: I say that 2024 is a lot more promising than 2023 was. We didn’t set out a path to make a big acquisition in 2023, but as we got into the year and we saw the results of the increases in cost and the challenges of growing without investing, we thought ok, we need to change the model here. How do you do that?

On the revenue mix of AIM’s digital and print collectible events: We are now about 52% in terms of print revenue and of that it’s about 60/40 consumer revenue to advertising revenue. The remainder is made up of digital revenue from digital products, digital memberships, online education and learning, digital events, which we do a lot of digital events, and then live events. So we still have a good portfolio of in-person events and we’re growing more of those.

On his favorite brand among AIM’s many: It depends on who’s making the most money at any given moment. It’s just like I have three kids and I might tell any one of them, you’re my favorite today. (Laughs) Some are more evolved than others. Where our woodworking business has got 10 different dimensions to it and it’s really incredible to see what’s been built there over the years, some are more one dimensional. It’s fun to have them learn from each other.

On whether they will merge any of the magazines they just acquired, such as Fine Woodworking and Popular Woodworking: We kept them separate and they have thrived in that way. Likewise, with Horticulture and Fine Gardening which are great brands and have big audiences, our belief is that if it is a consumer driven business and consumers have made a choice to be part of a brand and a community, forcing them to join another doesn’t always work out the way you thought it might.

On whether he feels there’s still a future for print: I think there’s a future for print. It’s one of the oldest forms of communication.  And we know from neurological studies that it has a different impact on people when it comes to consuming information. The tactile experience. The ability to curate and surprise people with things they weren’t expecting. And I think the fundamental demand for print is still there; the channels to get it into people’s hands is very challenged, especially from the newsstand standpoint.

On whether he thinks you can trust print more than digital: It’s funny at how print is held at such a different standard than digital, which is a good thing. You can do outrageous things on digital networks and social media networks and suffer no consequences, where if you betray your audience in print, do that at your peril.

On where Writer’s Digest fits in with all of the other titles: There are things that I personally have an affinity for, that goes with my own hobbies and interests. But as a business, where there’s a strong community of people with enough critical mass and high information needs you can build a great business around them;  Writer’s Digest has been doing this for over 100 years.

On what he would hope to tell someone that he had accomplished a year from now: With the combined energy and experience of the AIM and Taunton brands and people, I’d love to be looking back this time next year and say we have achieved some growth in our major lines of business. We don’t need to grow 20% but if we can stay ahead of inflation and  continue to evolve our brands and business we will secure the future. I’ll consider that a good day’s work.

On what keeps him up at night: We have a lot of people relying on us in our company for their welfare and prosperity.  As I tell them that even though we’re not a public company, I consider them shareholders because they’re investing their time, money and career. For us, it’s making sure that we can provide them with a good outcome and a fair return on their investment

And now the lightly edited Mr. Magazine™ interview with Andy Clurman, president & CEO, Active Interest Media.

Samir Husni: Congratulations on acquiring The Taunton Press.

Andy Clurman: Thank you.

Samir Husni: It’s one of the few merger/acquisitions of 2023 that took place in the industry. That being said, how would you evaluate 2023?

Andy Clurman: It was a tough year in terms of managing cost and inflation, all while trying to grow simultaneously. And also trying to unlock some investment dollars while you’re attempting to satisfy everyone’s demands for price increases and more money, which was part of our impetus for the acquisition after spinning off AIM.

I don’t know if I’ve talked to you since this happened, but AIM is now a private company. And that’s great; it’s still a pretty good size. But it occurred to me, in the industry, with the companies that are our relative size, there are a lot of platforms and portfolios that used to be a lot healthier. But now because costs have risen, revenue hasn’t grown and I think they are finding themselves in what I call the ‘subscale zone.’ And that means that you’re big enough that you need to have all of the services and people and platforms to manage a company that’s $25 to $50 million, but with the cost pressures you’re not able to free up enough money to invest in your growth. And if you’re not investing in your growth, then you’re probably standing still.

And standing still is really going backward because everyone wants a raise. The landlord wants a raise; the paper company wants a raise; their staff wants a raise. Somebody told me once that if you’re not growing your revenue, you’re going out of business slowly and that’s absolutely true.

Despite having phenomenal products and people and a lot of innovation, being stuck in that subscale box puts a lot of a pressure on a company. So this acquisition is a great antidote to that. It gets us out of that zone and puts us in a higher revenue tax bracket in terms of the size of the company. It gave us a ton of new, super-talented people that are a lot like our A people coming over from Taunton and they’re super innovative. With limited resources they’re laying a lot of good foundations to grow the business, which we can now do together.

So I say that 2024 is a lot more promising than 2023 was. We didn’t set out a path to make a big acquisition in 2023, but as we got into the year and we saw the results of the increases in cost and the challenges of growing without investing, we thought ok, we need to change the model here. How do you do that? It’s certainly always risky and fraught with lots of other unintended consequences, but we’ve been M&A (Merger & Acquisition)  driven for 20 years and had a lot of great success doing that. The only difference is this one is on my back and my partner’s completely to make it work. We don’t have any outside investors or banks, so we’re operating without a net.  

Samir Husni: But on one hand, I’m sure it’s a relief. The only people you have to congratulate or blame would be you or your partner.

Andy Clurman: It’s a really fun position to be in. And then on the other hand, I’m still very involved with our equine business, which is backed by some great private equity partners and we’ve been going great guns there with the Equine Network. It’s somewhat of a parallel universe, but a little different business model.

Samir Husni: You’re strong on events, digital and print, what’s the end collectibles? And what’s the revenue mix?

Andy Clurman: We are now about 52% in terms of print revenue and of that it’s about 60/40 consumer revenue to advertising revenue. The remainder is made up of digital revenue from digital products, digital memberships, online education and learning, digital events, which we do a lot of digital events, and then live events. So we still have a good portfolio of in-person events and we’re growing more of those.

We’re doing curated gardening tours internationally and domestically, which have been booming. We’re relaunching a woodworking in-person event series. We still have in-person writing events for novelists and screenwriters. We still have some boutique home shows and traditional building conferences.

So I look at the business as we have 36 revenue lines in our P&L’s, not all in equal size and magnitude, and they certainly benefit from each other, but they don’t operate in box step. We look at where the things are that we can grow and put time and investment into those.

Samir Husni: I know it’s not a fair question to ask you, but do you have a crown jewel? Do you have a favorite child among your many?

Andy Clurman: It depends on who’s making the most money at any given moment. It’s just like I have three kids and I might tell any one of them, you’re my favorite today. (Laughs) Some are more evolved than others. Where our woodworking business has got 10 different dimensions to it and it’s really credible to see what’s been built there over the years, some are more one dimensional. It’s fun to have them learn from each other.

But there’s not a template boiler plate for every brand in every market. So what works in wood working wouldn’t necessarily work in super yachts. The strength of the company is in the diversity of the markets, the brands, and the people we have. Unfortunately, I spend most of my time on fixing problems or pushing the envelope on new frontiers, so I probably don’t spend enough time appreciating when the brands are going great and our crown jewels.

Samir Husni: Are you going to merge any of the magazines you just acquired, such as Fine Woodworking and Popular Woodworking? Are they going to be combined or continue as separate entities?

Andy Clurman: It’s interesting, historically I’ve worked for companies like Times Mirror when they owned Ski Magazine and Field & Stream, then bought Skiing Magazine and Outdoor Life. So I’ve worked in companies where you had multiple brands within one category. When those brands were ad businesses and ad driven, then they easily cannibalized each other with the advertisers.

When they’re consumer driven…for example, when we bought Popular Woodworking and Horticulture out of the F+W bankruptcy and we already had Woodsmith and Garden Gate, we thought that we were just going to combine them. But as we got into it and did some research, we found out they both had unique consumer franchises. And you know well, in the magazine world one plus one equals one typically in magazines and magazine brand audiences.

So we kept them separate and they have thrived in that way. Likewise, with Fine Woodworking and Fine Gardening which are great brands and have big audiences, our belief is that if it is a consumer driven business and consumers have made a choice to be part of a brand and a community, forcing them to join another doesn’t always work out the way you thought it might.

We’re going to look at lots of ways to cross-promote, cross-sell, up-sell, and take products that exist in one but not the other. But for now, unless proven otherwise, we think we’re going to keep the brands and manage them independently.

Samir Husni: Are they going to stay in Connecticut or are you moving everything to Colorado?

Andy Clurman: We have both in Colorado and Connecticut. Our official headquarters is Des Moines, Iowa now. After we sold our Healthy Living and Outdoor group to Outside, we don’t really have a critical mass of people in Colorado anymore. Taunton has also been working remotely since the pandemic, so they only had a few people going onto their campus in Newtown. And we’ve been wildly successful working remotely.

We still have offices in Des Moines and we have our woodshop and TV studio there and office space. We’re going to keep the woodshop and office space in Newtown, Connecticut where Taunton is, for the folks who work out of there. A lot of them are producing video, producing television, and doing the hands-on woodworking projects. So we’ve leased that building going forward.

Samir Husni: I call 2023 the year of the bookazines. We’ve seen more than 1,000 SIPs come to the marketplace. A360 put 525 on the shelves.

Andy Clurman: You can thank my friend Doug Olson for that.

Samir Husni: (Laughs) Do you think there’s still a future for print or do you feel it’s changing?

Andy Clurman: I think there’s a future for print. It’s one of the oldest forms of communication.  And we know from neurological studies that it has a different impact on people when it comes to consuming information. The tactile experience. The ability to curate and surprise people with things they weren’t expecting. And I think the fundamental demand for print is still there; the channels to get it into people’s hands is very challenged, especially from the newsstand standpoint.

As much as we still produce a lot of newsstand products and we’re on the newsstand and we produce a lot of print subscription products, we’re trying to evolve the business where we’re not going to be beholden to Google and Facebook, newsstand distribution and the retail system, which I think right now would be algorithmic changes.

I’m hearing from friends of mine who run digital only companies that are seeing these massive audience drops, they’re telling me whatever Google is up to now. And that is consuming their every waking thought. I don’t want to be beholden to one big advertiser or one big platform.

Print is a foundation. Individually, everything we publish in print is profitable. And it’s part of our brand, position, platform, legitimacy, authenticity, all those things. You can get it, but it’s hard to get just in a digital form because there are so many people producing content all day every day.

Samir Husni: Let’s talk about the trust factor; can you trust print more than digital? Because once you print something you can’t change it.

Andy Clurman: Is that a rhetorical question? It’s funny at how print is held at such a different standard than digital, which is a good thing. You can do outrageous things on digital networks and social media networks and suffer no consequences, where if you betray your audience in print, do that at your peril.

I think the things that have a very strong affinity with the audience make people take ownership of a magazine. They say things like don’t do that to my magazine. I know that our editors feel the same way. The people at Fine Homebuilding or Woodsmith or Power & Motoryacht, the editors and designers all feel that responsibility from the audience.

I’m not sentimental about print, however. My first magazine job was at Skiing Magazine in New York City and I’m the one who discontinued it in print a bunch of years ago when the business didn’t work anymore.

So we’re managing print as part of the portfolio and we’re doing it happily as long as it continues to contribute. I’ve seen a little bit of growth in print and subscription revenues in 2023, which was gratifying, particularly after the pandemic finally eased up.

It’s not a line of business that private equity is going to get excited about or Wall Street gets excited about, but it’s a great business as an owner-operated private company where you’re not subject to the expectations and pressures of those kind of investors.

Samir Husni: You have all of these specialized titles with the marine brand, the hallmark, homebuilding brand and others. And you also have Writer’s Digest. Where does it fit in this group of titles that you have?

Andy Clurman: There are things that I personally have an affinity for, that goes with my own hobbies and interests. But as a business, where there’s a great, strong community of people, like my new people, with enough critical mass and information, with community wants and needs, there’s your reason. And not everything works for everyone, but we have the abilities in the people in the company to manage events, to produce online education, to produce all kinds of digital products.

So you can substitute woodworking for writing or car collecting for gardening, but our mentality and strategies are roughly the same across the whole waterfront.

Samir Husni: And it’s your oldest title at over 100-years-old?

Andy Clurman: Writer’s Digest and Horticulture are both well over 100-years-old.

Samir Husni: I wonder if we’ll ever celebrate 100 years with any digital entity?

Andy Clurman: (Laughs) Well, we always hear that Meet The Press is the longest running television show on television. I’m on the board of Yankee Publishing. And compared to Meet The Press, Yankee is the longest, continuously published periodical in America dating back, I think, 275 years. And they still sell over a million copies a year.

Samir Husni: So if you and I were talking a year from now, what would you hope to tell me you had accomplished in 2024?

Andy Clurman: We are expecting, projecting, counting on reigniting some growth in our business after spending last year fighting inflation and figuring out a transformative way to get out of that box I was describing.

Having done that, I hope to follow through with all the plans we have around that. And one of those is, we are in the late stages of building out a much more sophisticated consumer data platform and automated marketing stack, which we built a big organization around to manage that. Then we can launch a whole bunch of even nichier products because even within the audience of writers there’s people who are science fiction writers, screen writers, murder-mystery writers and more..

So we think we can identify new groups of people or smaller groups of people and have an ability to serve more tailored content and services and products of interest to them. In Power & Motoryacht you’ve got people who are center console, offshore fishing people, you’ve got people who are Great Lakes bass boat fishing people.

So even though were already very niche, we still have a pretty big tent within these markets. So being able to serve them efficiently and at a relative scale, and also do a much better job of marketing to people rather than just everybody being the same. And  to have a system set up where you’re speaking more specifically to people’s interests and serving them with a whole array of products around that.

We think that’s a growth path for us. So with the combined energy, people and experience, I’d love to be looking back this time next year and say we have all of the major lines of business growing at some rate. We don’t need to grow 20% if we can stay ahead of inflation instead of going out of business slowly. Instead, securing the future. Then I’ll consider that a good day’s work.

Samir Husni: My typical last question; what keeps you up at night?

Andy Clurman: We have a lot of people relying on us in our company for their welfare and prosperity, even though I tell them that I consider them shareholders because they’re investing their time, money and career. For us, it’s making sure that we can provide them with a good outcome. I don’t think that we’re living on the ragged edge, but we’re risk takers and we’re doing things that are hopefully for all of our benefit.

I feel like the promises have been made and the expectations have been set so that everybody is gratified to be part of this. And is proud of what they’re doing.

Samir Husni: Thank you.

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Eric Hoffman, CEO, Hoffman Media To Samir “Mr. Magazine™” Husni: “We’re Not Running From Print; We Still Embrace It.” The Mr. Magazine™ Exclusive Interview…

January 11, 2024

“I think in a world where we have our phones with us all day, Smart TVs at night, multiple monitors we’re looking at throughout the day, I think the tactile experience of print in itself really is valuable. There are people who need that in their lives.” Eric Hoffman

“Our team has stepped up in incredible ways. We’ve got great people. And it goes back to the legacy that my mom built. As a company, we’ve spent a lot of time in these last few months thinking about why we do what we do. And if you think about when Phyllis started the business 40 years ago, at its core it was to enrich people’s daily lives. And that’s still true today.” Eric Hoffman

Hoffman Media may have started out as the little engine-that-could, where a mother of twin sons took her hobbies of  needlework and sewing to a new path professionally and made it into a business. But that was 40 years ago. While Phyllis Hoffman DePiano dedicated her talent and her determination to making her company what it is today, her sons Eric and Brian Hoffman have kept it focused in the right direction since her passing in July 2023. Today, it is a family owned and operated special-interest publisher based in Birmingham, Ala. that is going strong and poised on a positive course. 

From Southern Lady to Bake from Scratch, Hoffman Media creates some of the most popular and iconic brands in the marketplace today. And Phyllis would be very proud of her sons and what they have accomplished.

I spoke with Eric recently and we discussed his position as CEO of the company. While he is grateful and proud of his mother’s faith in his abilities, he also acknowledges and recognizes her convictions in his twin brother’s creative talents – Brian is the Chief Creative Officer and Co-President of the company. They’re a fantastic team that their mother believed in.

I spoke with Eric about the things that 2023 brought to the company and changed it and to the brothers. The new leadership team, the unfortunate reductions they’d had to make, but also the camaraderie and success they established. It’s an informative interview with a great guy, a loving son and brother, and an excellent CEO. 

So please enjoy the Mr. Magazine™ interview.

 But first the soundbites:

On losing his mother, Phyllis Hoffman DePiano, in 2023: You never really expect to lose a parent, particularly at the age of 69. We worked together for 17 years; she brought me in young, and I had a little bit of experience, but I owe her for everything that I’ve learned about the business.

On how hard it was to assume the title CEO after losing his mother: Leading up to her passing, we had already started to assemble a new leadership team, aligned people across the business differently. So, to her credit, she gave me the full reins to the business. The end of June and July, we just had amazing people that could step up and really left us to focus on ourselves and our grief and everything that came with it.

On continuing to publish frequency magazines in a world where that’s an unusual idea: I think it comes down to the fact that it’s not about the quantity; it’s about the quality. I believe we’ve had this conversation before. (Laughs) We think about being in these niche markets that have this passionate base of readers and followers. If we do our job and we produce high quality, unique content, we think that will stand the test of time.

On why he’s a firm believer in print: I think it’s about following the customer. For example, this year our direct mail campaigns all exceeded budget expectations on response rate. We saw the average revenue per customer going up. So we feel confident that we’re not seeing pressure that would tell us otherwise.

On the trust factor with print: It is about building trust with the customers. We really don’t do a lot of gimmicky offers to get subscribers. I think that’s part of the integrity that you’re building. And the other things that we do: the video components, the events; everything ties back to what that brand is, print is just one component of how we interact and build that relationship.

On the rather high prices of Hoffman’s magazines and whether the audience puts up any resistance: You always do a test when it comes to these things, but my mother was also a firm believer in following your gut. As costs have gone up in the business with overhead, healthcare cost increases, paper increases, postage increases; as we think about how to continue to deliver that experience, we have to be mindful that we need to charge more. But we’re always testing. But so far it’s still a fairly healthy business.

On whether the highlight of his year was his mom naming him CEO: I would say better than that, the closeness my brother and I have been able to develop as business partners really even supersedes that. The fact that we’re a forty-year-old business, second generation, and we’re twins, we really balance each other out very well. The creative force that he is, coupled with my hands-on when it comes to the business side is great. Then seeing our team step up to support us through this year that we’ve had, it was amazing.

On what keeps him up night: I think about our strategic planning meeting that we had as an executive team in December. We probably had 50 ideas on the wall. If we could go do all of these things, what would we go do? And we challenged ourselves to focus on four. And those four things really connect back to our theme for the year on how we’re going to run the business. 

And now the lightly edited transcript of the Mr. Magazine™ interview with Eric Hoffman, CEO, Hoffman Media. 

Samir Husni: Needless to say, 2023 was a very tough year for you and your family. In your own words, can you elaborate a bit on that?

Eric Hoffman: Sure. You never really expect to lose a parent (Phyllis Hoffman DePiano), particularly at the age of 69. We worked together for 17 years; she brought me in young, and I had a little bit of experience, but I owe her for everything that I’ve learned about the business. 

Earlier in the year, one of the highlights of my career was when mom named me CEO. She was sick, but was still coming to the office when she could. Then in one meeting over lunch, she named me CEO, which was incredible and timely in that I think she knew that she was sick, and didn’t want to leave anything unsettled. What it did was set the path for the company to be able to have continuity through what was a horrible transition in July. It allowed the business to really continue to push forward.

Our team has stepped up in incredible ways. We’ve got great people. And it goes back to the legacy that my mom built. As a company, we’ve spent a lot of time in these last few months thinking about why we do what we do. And if you think about when Phyllis started the business 40 years ago, at its core it was to enrich people’s daily lives. And that’s still true today.

Samir Husni: And you did not miss a beat, there was no interruption whatsoever. Everything was published on time. How hard was that for you, becoming the CEO after what happened?

Eric Hoffman: It’s interesting, I called a meeting in the spring and I sat down with my mother to lay out some ideas I had about the business, some strategic things. I would have never asked for the title CEO; I always had deep respect for what she had and what she had built, but that was a very exciting day for me.

So leading up to her passing, we had already started to assemble a new leadership team, aligned people across the business differently. So, to her credit, she gave me the full reins to the business. At the end of July we just had amazing people that could step up and really left us to focus on ourselves and our grief and everything that came with it. 

Coming out of that, I was able to assemble a new leadership team. When I looked at the business I knew that we needed a new executive suite that would really run with great alignment and focus. So I promoted Greg Baugh to Chief Operating Officer, which was my previous job. Greg has been in the business for over 20 years and probably knows more about our business than anybody. He’s just an amazing mind and not only knows the production side, but also looks across a lot of the revenue.

Then we hired our first ever Chief Marketing Officer, Missy Polhemus, who actually worked at Time Inc. when she was younger. She spent five years, from 2008 to 2013, working with us here doing digital marketing and consumer marketing. Then she left and spent the better part of a decade doing other things, such as she helped Shipt, a large company in Birmingham that is a grocery delivery company, build, which ultimately was a fantastic exit. Then she went on to be the Chief Marketing Officer at TaxSlayer.com and so she had a unique perspective. And this past summer, at the end of July, she joined us as our first CMO, so she’s bringing a whole new level of strategy to the business, which is exciting.

We hired and ultimately promoted Laura Sappington as our Chief Financial Officer and she spent 25 years at Time Inc. working in finance, marketing and operations. She had a lot of experience on the Oxmoor House side of the book business. So the financial acumen coupled with the operations is something that we really value.

Then we promoted Brooke Bell to our Chief Content Officer. And this is an amazing story; she’s worked in virtually every aspect of editorial in our business. She’s had continual growth throughout her career. She worked really tight with my brother, Brian, who remains Co-President and our Chief Creative Officer. One of Brian’s passions, as you know, was launching Bake From Scratch, so Brooke works alongside him. Of course, she’s across all the editorial, but she’s really helped bring Bake From Scratch to life. It’s now our most profitable brand. So the energy they have put into that is really exciting to see. 

That leadership team coming together and being perfectly aligned in where we’re going as a business is great. We talked about the Why – to enrich people’s daily lives; the how is that we really are creating content and experiences that inspire people to pursue their passions. 

So  knowing those things; we think a lot about where we are in the media landscape. Everything we do is good and positive. And in a crowded media landscape with politics and negative news, shock value and all that, we get to bring positive experiences to people. We know that when our magazines arrive at someone’s house it’s a good day. One of the few things they’re probably looking forward to. 

Samir Husni: What’s your secret? Other magazine companies are trimming and cutting frequency, including major magazine companies. Yet you’ve stayed the course. That little engine that could that Phyllis started 40 years ago is still going strong. You’ve never cut the frequency and continue with all the publications. You’ve joined the crowded bookazine market; what’s your secret?

Eric Hoffman: I think it comes down to the fact that it’s not about the quantity; it’s about the quality. I believe we’ve had this conversation before. (Laughs) We think about being in these niche markets that have this passionate base of readers and followers. If we do our job and we produce high quality, unique content, we think that will stand the test of time.

I will say that if you look at our revenue mix, one of the interesting things that has changed is that print, subscription and newsstand itself really comprises just a little over half of our total revenue. So what we’ve done is really layer on other business units as ways to further service our customers. 

We launched 83 Press, which is our book imprint, and not only do our magazine brands produce books, but we’ve also really gotten into authored books. We’ve sort of become the publisher for influencers. We’ve done several projects, I think we have five or six under contract for next year; the book business will be probably north of 25% of total revenue. 

And then the consumer events business; we acquired the Original Sewing and Quilt Expos, which is nine shows around the country, we bought that business from F+W Media prior to their bankruptcy. This year we’ve seen recovery there where it’s on a path to be back to pre-COVID levels. 

And we’ve gotten into highly targeted events; we’ll do probably 15 this year, and those look more like 16 to 20 people, week long curated experiences. Bake From Scratch, for example, will probably have a dozen of them. And we call them our baking retreats. We get to do them in places like Paris, France, Italy, San Francisco, Alaska, and we do a handful of them in Birmingham in our new headquarters that we built. So the event business is double-digit growth with fantastic margins. 

We’re not running from print; we still embrace it. We have very healthy brands, but being able to take that customer through a bigger journey we think is interesting. 

And then advertising is really about 10% of the revenue mix, but very valuable in terms of margin and how we think about those brands and categories, it’s all endemic to what we do. We’re actually budgeting double-digit growth in advertising next year because of what we’ve seen. Advertisers are really looking to connect with passionate consumers now more than ever. The mass reach traditional rate base environment is a broken model. And I’ve said that before. What we’re finding out is that our larger clients really want custom experiences. They want to experience our video studios, our test kitchen, and they want a balance across print and digital. We’re now able to offer that. We’ve seen enormous growth in our home and décor category, in particular with Southern Home Magazine.

We’ve had fantastic traction in the travel and tourism business connecting people, whether that’s through southern lifestyle or culinary. We like where we’re positioned for that. 

So the revenue mix in general has changed a little bit, but healthy overall. We’ve seen the most pressure at newsstand. I think the consolidation that’s going on there, in terms of the publishers, the merger and also now having one national distributor; we still very much believe in the single copy business. You did an interview with Doug Olson and I think he kind of highlighted that, but there’s still definitely a place for the newsstand. How you think about it: where it’s distributed, what’s the price point, what are you doing there. 

I think the bookazine, the SIP business, is a pretty robust opportunity for us because we are able to be very targeted in subject matter and it becomes a little bit less of a price point.

Samir Husni: From everything you’ve said, you’re still a firm believer in print. Why? 

Eric Hoffman: I think it’s about following the customer. For example, this year our direct mail campaigns all exceeded budget expectations on response rate. We saw the average revenue per customer going up. So we feel confident that we’re not seeing pressure that would tell us otherwise. 

I think in a world where we have our phones with us all day, Smart TVs at night, multiple monitors we’re looking at throughout the day, I think the tactile experience of print in itself really is valuable. There are people who need that in their lives. And the book business too. The cookbook business is strong; I’ve probably got 100 of them at my house. I enjoy looking at them and reading them. It’s not about being antiquated, it’s really about delivering on that promise of what the brand stands for. 

Samir Husni: What about the trust factor? I’m giving a speech in Germany in May about print and trust compared to digital. Once you print a magazine you can’t go back and change something.

Eric Hoffman: I think about the authenticity that comes around, at least in our experiences. We have people every day who are passionate about what they’re doing. And they’re creating content from scratch. We’re testing recipes in a test kitchen to make sure that they work. The style of photography is shot in such a way that it can’t be duplicated. 

But it is about building trust with the customers. We really don’t do a lot of gimmicky offers to get subscribers. I think that’s part of the integrity that you’re building. And the other things that we do: the video components, the events; everything ties back to what that brand is, print is just one component of how we interact and build that relationship. 

Samir Husni: Your magazines are not cheap, such as Cast Iron, it’s almost $50 for a subscription. Some are $30 for a subscription.

Eric Hoffman: We actually have a sewing magazine called Classic Sewing and it’s a quarterly and it’s $75.

Samir Husni: Is there any resistance from the audience toward these prices?

Eric Hoffman: You always do a test when it comes to these things, but my mother was also a firm believer in following your gut. As costs have gone up in the business with overhead, healthcare cost increases, paper increases, postage increases; as we think about how to continue to deliver that experience, we have to be mindful that we need to charge more. But we’re always testing. But so far it’s still a fairly healthy business. 

Samir Husni: I know it was a tough year for your family, but what was the highlight of your year? Was it that meeting in April where your mom named you CEO?

Eric Hoffman: I would say better than that, the closeness my brother and I have been able to develop as business partners really even supersedes that. The fact that we’re a forty-year-old business, second generation, and we’re twins, we really balance each other out very well. The creative force that he is, coupled with my hands-on when it comes to the business side is great. Then seeing our team step up to support us through this year that we’ve had, it was amazing.

One of the hardest things I’ve had to do this year was implement our first-ever reduction in force that we’ve ever had to do in our 40-year history. That was incredibly difficult, but unavoidable. We tried virtually everything possible, managing costs, everything. 

And what came from that, unfortunately, was saying goodbye to super-talented, incredible people. But after that and seeing the business and our remaining people step up and take an ownership mentality; we’re already seeing the positive from that.

As we think about 2024 and real revenue growth, greater alignment across the business, and then being even more strategically focused, I would say it’s the people. That’s the highlight. It’s going through the adversity, through the loss of the founder, and some difficult choices that had to be made.

I’ll share this with you, in the last two years we were able to retire all of our debt. The business probably had four and a half million dollars of debt. Other than needing a line of credit for just managing working capital, we don’t have a lot of the burdens that many others do. 

Also, we have no outside investors. My brother and I as successors have the business. Don Logan, a legend in this business, he and his sons still own a small portion of the company, but we don’t have that private investor pressure. We have a long view on the industry. And I think it allows us to follow some of these things that we see working, like the event business and videos. 

We built up two video studios in Birmingham and we’ve seen some great things come from that. We formed a partnership with Williams Sonoma. We do a live Monday night baking class. And we’ve done over 100 live classes out of our studios and that’s become a real revenue stream. Each week we might have anywhere between 400 to 1,200 people taking the class. 

So we’ve seen the ability to make those investments into studios, we’ve built new headquarters in Birmingham, we revitalized the property in downtown Birmingham. We’re just taking a patient view of where we are and we think that’s good. There’s not many of us like that in our industry. We’re family run with no outside pressure from investors and a fairly healthy balance sheet. It gives us the ability to withstand a lot. Also lean into where we’re getting growth.

One of the things that we’re doing for the first time in the forty-year history, the company is going to an open book management. Our first town hall is set for January 16th. And through that we’re going to really be communicating to the whole business about just where we’ve been, performance, top to bottom, kind of how the game of business works. And then roll out our budget. 

More specifically is, rolling out an incentive plan where every employee in the business will participate based on our success. So as we develop greater alignment push, responsibility, accountability and authority through the organization, we think that will be an interesting way for us to grow the business and develop opportunities for everyone in the company to reward them financially and professionally. That’s starting this year. I’m excited about it because it’ll be a new approach to how we run the business. We have a lot to do. 

Samir Husni: My typical last question; what keeps you up at night?

Eric Hoffman: Wow! I wish I could tell you. (Laughs) I think about our strategic planning meeting that we had as an executive team in December. We probably had 50 ideas on the wall. If we could go do all of these things, what would we go do? And we challenged ourselves to focus on four. And those four things really connect back to our theme for the year on how we’re going to run the business.

So I guess what keeps me up at night is knowing that there are a lot of good things that we could go do. And maybe it’s getting better at saying no to 10 or 15 good ideas so that we can say yes to some great ones. We’re excited about where we’re going, but creative businesses are interesting because there’s always something new to explore, chase and figure out. You have to decide if it’s a distractor or the next homerun. 

I’d also like to express my deepest gratitude to every one of my employees. I want them to know that leading the business is a privilege and caring on the legacy that Phyllis has left us is a big burden to carry and I can’t do it alone. My brother and I can’t do it alone. It really is everyone in the organization that makes Hoffman Media such a special place. 

Samir Husni: Thank you. 

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TV Guide, TV Insider magazine and tvinsider.com President Tony Frost & Group Editorial Director, Michael Fell Bring Television Coverage In Print To A Razor-Sharp Level – The Mr. Magazine™ Exclusive Interview…

January 5, 2024

“Customers committing to longer term subscriptions and positive customer feedback. So they’re telling us that they want TV Insider, this is the magazine that they’ve been waiting for. We just have to market it on a larger scale and we have to promote it better…” Tony Frost

“You want to give people real content. There was a lot of lists online, but I think the curation is the key. We’ll pick each of the major streamers and other smaller streamers that our readers are interested in and give them an in depth amount of shows and reporting…” Michael Fell

When you think of the name TV Guide, your mind might go back about 40 years to the heyday of television and its printed cohorts, such as the aforementioned golden phoenix. And I call it a phoenix purposely because the frequency print magazine has definitely risen from the digital age’s ink ashes, along with two more great magazines from parent company NTVB Media:  TV Weekly and  now TV Insider (also frequency). While their accompanying websites are very complimentary and, in the case of tvinsider.com, going strong, you can’t emphasize enough that the print version of the magazines are just as prominent, if not more, than their pixels on a screen.

I spoke with Tony Frost, president and Michael Fell, group editorial director of the titles recently and we talked about the need for a printed streaming magazine that focused and curated television information for the readers. Tony and Michael are firm believers in print, much like yours truly. They see a definite want and need for this print magazine, along with the others. It was a refreshing discussion on something we all three love and have in common: print.

So please enjoy the Mr. Magazine™ exclusive interview…

But first the soundbites:

On what he was thinking in launching a monthly print magazine (Tony Frost): As I told you earlier in the year, Samir, Michael Fell, our group editorial director and editor in chief of TV Guide, carried out a very extensive survey of readers. And we got the response that there was a need for significantly more streaming-focused content. So we decided that we would give it a go.

On whether focused curation is the future of print (Tony Frost): Curation is a very  good word; we have experts – TV Guide’s complete editorial team  – who know TV from the inside out. The same team has brought that expertise to TV Insider. Over the whole year, the 12 issues will give you the most comprehensive guide on what to stream and why you  should watch the editors’ recommendations. The choices are carefully curated.   

On cornering the market on TV magazines and the synergy the publications are producing (Tony Frost): TV Weekly, produced out of NTVB’s Troy, Michigan HQ,  is a double issue and TV Guide is a content-laden triple. Both carry grids for regular channels  – in TV Guide’s case they have been doing this for 70 years. And we launched  TV Insider as a monthly for streamers. We’re covering all bases.

On cornering the market on TV magazines and the synergy the publications are producing (Michael Fell): You ask about synergy, I was thinking about how complementary the magazines are. I’ve always found this fascinating since Andy (DeAngelis) and Larry (MacKenzie) came on board; TV Weekly, as far as the grids and listings go are distributed regionally like TV Guide used to be.

On any changes coming up in 2024 (Michael Fell): A lot of 2023 was just seeing what works. Now we know that something like this can be successful and I think we’re going to be a little more focused on our cover choices.

On how the future magazine material might be decided (Tony Frost): In 2023, the emphasis was on what was the biggest show coming out from which streamer during the month that we went on sale. That’s where we started and continued during  2023. And now it might be that instead of doing the biggest show, we’ll still do a big show, but focus on a specific genre. 

On any predictions on streaming (Michael Fell): The reporting really settled into a certain groove post-strike about the contraction of the streaming services, such as not spending as much money, not going crazy with sequels, and being really focused. But we’re all about the consumers. And to me that’s a great thing, because streaming is THIS big and so if it becomes just THAT big, it becomes easier to handle for the consumers and we can in turn be more focused and curated for them.

On what they’d like to say that they had accomplished within the year (Tony Frost): We’re looking to extend our reach; we’re looking to make the magazine more visible; we’re looking for twice as many subscribers, and we’re seeing very encouraging early renewal indicators.

On what keeps them up at night (Michael Fell): I’m sleeping pretty well. (Laughs)

On what keeps them up at night (Tony Frost): There’s not much that keeps me awake at night, let me tell you. (Laughs too) 

And now the lightly edited transcript of the Mr. Magazine™ interview with Tony Frost, president TV Insider, & Michael Fell, group editorial director and editor in chief, TV Guide. 

Samir Husni: I’m calling 2023 the year of bookazines. We have more than 1,000 bookazines published and less than 100 regular frequency magazines. It may be closer to 50, I haven’t had a chance to count mine yet. Yet, if my memory serves me right, you are the only publisher launching a monthly magazine in 2023. Almost all of the new magazines that came out in 2023 are either quarterlies, bimonthlies, or twice a year. But you have launched a monthly. What were you thinking?

Tony Frost: As I told you earlier in the year, Samir, Michael Fell, our group editorial director and editor in chief of TV Guide, carried out a very extensive survey of readers. And we got the response that there was a need for a significant amount of  streaming-focused content. So we decided that we would give it a go.

And so far, it’s been an exciting challenge. We’re undoubtedly producing a very good magazine, getting a lot of praise from the industry and support from subscribers. And a decent number of them have signed up for a two-year deal, not just one. The numbers aren’t huge, but they are very encouraging. Our first subscription issue  was in April and after eight months we hit our first 12 months subs’ target. That is impressive. And we’re going to build on that in 2024.

We recognize the challenges of print magazine economics in the current climate, so we did take a cautious approach with marketing spend. And we decided that we had to make every test dollar count. The same with newsstand; we’ve been very cautious with our retail presence. But we feel there is support for this title. We used 2023 as an experiment  to see what works on the cover. We’ve gone from the launch issue with Kiefer Sutherland in March and his then new action series, to costume drama with Bridgerton. We’ve done the final season of Billions and  Arnold Schwarzenegger’s first  TV role in Fubar. By the way, Arnold,  loved the magazine – he complimented us big time on it. Plus we’ve tested Sci-Fi on the cover with Marvel’s Loki.

They’ve all sold similar amounts at newsstands, but Bridgerton and Loki seem to be the most solid. So we’ve been learning as we go along – in 2024 we aim to put pedal to metal. For instance, I believe we have a new Bridgerton in the spring, is that right, Michael?

Michael Fell : Yep, May is the next season.

Tony Frost: So we’ll be all over that for our readers. And we have The Walking Dead as well!

Michael Fell: Yes, Rick and Michonne are coming back at the end of February. So we’re looking at that as a possible March issue. And if I could add something to Tony’s response to your original question, the why of it all has to do with the volume of programming.

You can go back a year ago and go online and find television guidance, and some of this is still true today. There are a lot of lists where people will recreate the publicity release list of stuff coming up in a particular month. It’ll just be a list of titles with no information. Or a little plot info. You often find 50 best shows on Netflix to watch now. And I’m looking at that list and I’m thinking I know those aren’t the best shows; I can see they’re just adding a few lines to the press release from the titles. I think there was a need that we saw. A curated, focused, structured need for reviews and guidance where we report on the shows. 

You want to give people real content. It wasn’t there online. We’ll pick each of the major streamers and other smaller streamers that our readers are interested in and give them an in depth amount of shows and reporting. But it’s still something that they can understand and appreciate and take hold of, as opposed to the massive lists and surface reporting that was online. I really think curation is the key.

Samir Husni: So do you think focused curation is the future of print in 2024?

Tony Frost:  Curation is a very  good word; we have experts – TV Guide’s complete editorial team  – who know TV from the inside out. The same team has brought that expertise to TV Insider. Over the whole year, the 12 issues will give you the most comprehensive guide on what to stream and why you  should watch the editors’ recommendations. The choices are carefully curated.   

Michael Fell: The services? It doesn’t stop. It keeps coming up. We cover 10 to 12 of the premier streamers. Our readers will often request info about smaller services like Acorn and Britbox. A big part of what the magazine does is provide the library material. Going back, there’s so much volume on television, is a monthly magazine that has a fair amount of library content; is that worth it to the reader? And we decided internally that it was. 

I told Tony this once; just before we were launching the magazine, I was in Tucson, Arizona visiting my brother and we were talking… do you know Mike Flanagan, Samir? He does a lot of shows on Netflix, like The Haunting of Hill House and Bly Manor. We were talking about some of his series and my brother mentioned how Mike Flanagan reuses some of his actors on different shows.

We were talking about Bly Manor and Midnight Mass and I asked him what about The Haunting of Hill House, which was Mike Flanagan’s first big Netflix series. He was like – what! I never even heard of it. And I was staring at my brother who subscribed to TV Guide magazine, was married and had two kids, one in college and one about to go to college, and I told him that his statement was proof to me that a monthly magazine with as much news stuff as we can, which also has a fair amount of library material, would be of major use to readers. He didn’t know anything about The Haunting of Hill House – and he liked Mike Flanagan’s other shows. I told him that I had a magazine for him that would be launching soon. 

Tony Frost: There’s 82 networks, 42 streamers, and 26 production studios currently. Plenty for us to write about. (Laughs) There’s also a bit of reverse engineering here, which I told you about earlier. First we had our well-established website, tvinsider.com, which has 10 million page views per month, so a lot of the work that Michael’s team does is repurposed on the website creating a natural synergy between the two. Also, tvinsider.com has proved to be a valuable source for new subscribers. So one supports the other and that has been a success.

Next year, apart from putting to use what we learned this year editorially and going deeper into that, we will continue drawing in subscriptions through traditional methods, reach new external audiences by direct mail and we’ve taken on a new digital marketing agency, named  salestube, based in Warsaw, Poland, to optimize paid search and social media efforts across all platforms for an even broader reach. That’s very important. 

As exciting as the material is that Michael’s team creates, we need more visibility; we have to get out there. And our website helps with the visibility. It’s very hard to make an impression at newsstand.  As you said Samir, there are so many SIPs out there. We have a small draw at newsstand which we use to really test covers and   editorial content,  as opposed to bringing in any real revenue. Ultimately, we see TV Insider as a subscription model, but that doesn’t mean in 2024 we won’t attempt some bold moves at newsstand.

Samir Husni: Let me ask you about your company, not only TV Insider. You’ve cornered the television magazine market. You have TV Guide, TV Weekly, and now you have TV Insider. In its heyday, TV Guide used to have 18 million in circulation, when there were no digital guides or anything. Is there any synergy in all of these guides you are producing?

Tony Frost: In this day and age, TV Guide magazine has a million subscribers And is jam-packed with content. That number is still very impressive. TV Weekly is doing well and in TV Guide we’ve just launched  “Extra” –  for subscribers to get digital access to a newsletter and grids updated every 24 hours. We are not standing still!

Michael Fell: In our 2024 preview issue we’re launching a newsletter service called “TV Guide Magazine Extra.” This service is just for subscribers and it’s a weekly newsletter serving two purposes. One is to give them access to online grids and listings, which are being updated every single day.

There is still a lot of appointment viewing, watching network and cable television, so we want to make sure that their literal day-to-day guidance is accurate. So this newsletter is going to provide online links to daily updated grids that are substantial with programming information and plot information that you won’t find anywhere else. Even on websites that already have online grids, the detail that will be provided is amazing. 

And also we’ll update them with new news items and articles within the newsletter for programming information, story information that we may not have been on top of in the previous magazine. So we want to make sure they’re completely updated with story and programming information.

Tony Frost: Last year when paper costs were sky high and most other chargesws were going through the roof, we had to make adjustments. The triple issue is a very robust magazine with a lot of content. 

Michael Fell: Going back to your question, you asked about synergy, I was thinking about how complementary the magazines are. I’ve always found this fascinating since Andy (DeAngelis) and Larry (MacKenzie) came on board; TV Weekly, as far as the grids and listings go are distributed regionally like TV Guide used to be. It’s almost ironic that the guys who came and took over TV Guide had their own guidance products which were being delivered regionally, which we know in publishing and printing, the paper and postage end is extremely difficult. But they are able to put Channel 2 for CBS because they’re locally delivered,

Tony Frost: TV Weekly is a bi-weekly listings magazine,  with regional editions just like TV Guide used to have. It is a valuable tool for many traditional TV users.

Michael Fell: Yes, so we take care of that customer who’s looking for really local information.

Samir Husni: Yes, such as mine is the Memphis area.

Tony Frost: Exactly. So TV Weekly is a double and TV Guide is now a triple. And we have TV Insider as a monthly for streamers. We’re covering all bases. 

Samir Husni: As we look forward toward 2024, will there be any major change coming up in the New Year? As compared to 2023?

Michael Fell: A lot of 2023 was just seeing what works. Now we know that something like this can be successful and I think we’re going to be a little more focused on our cover choices. If you look at all the covers, they’re certainly very broad, covering your hit Netflix dramas, Marvel Sci-Fi’s, maybe we’ll think about DC, I don’t know. (Laughs) I try, I really do try with DC and Zack Snyder, but it’s on and off. The biggest star in the world, Arnold Schwarzenegger, a great serial drama coming from Showtime; we’ve covered all kinds of shows. And I can’t tell you what it is right now, but I think what we’re going to be able to do in 2024 is be more focused on the covers. And really drill down on what’s going to work.

Samir Husni: How do you decide what you’d like for the material to be?

Tony Frost: In 2023, the emphasis was on what was the biggest show coming out from which streamer during the month that we went on sale. That’s where we started and continued during  2023. And now it might be that instead of doing the biggest show, we’ll still do a big show, but focus on a specific genre.

Samir Husni: Do you have any predictions about streaming? Will it continue to go up or is it hitting its status quo?

Michael Fell: The reporting really settled into a certain groove post-strike about the contraction of the streaming services, such as not spending as much money, not going crazy with sequels, and being really focused. But we’re all about the consumers. And to me that’s a great thing, because streaming is THIS big and so if it becomes just THAT big, it becomes easier to handle for the consumers and we can in turn be more focused and curated for them. 

There’s still going to be an amazing amount of overwhelming television and if the reporting from the industry says the sky is falling, we’re still thinking more about the consumers’ point of view. Such as number one: they’re not going to notice and two: it’s around the edges. And now streamers are focusing on, hey, maybe we shouldn’t do that fancy show that no one watched but we got to work with this great director. They’re like, let’s make some more shows that people are going to watch. And that’s all good for the consumer, the watcher, the viewer and that’s our audience. We’re not really industry-focused, we cover the industry, but always from the consumer point of view.

So, there will be some contraction, but I think it’s all good for the viewers. There will be plenty to watch. I’m just not crazy about the people feeling overwhelmed, especially if they’re reading our magazine.

Samir Husni: Let’s imagine that we’re in December 2024, what would you like to tell me you had accomplished throughout the year?

Tony Frost: We’re looking to extend our reach; we’re looking to make the magazine more visible; we’re looking for twice as many subscribers, and we’re seeing very encouraging early renewal indicators. Customers committing to longer term subscriptions and positive customer feedback. So they’re telling us that they want TV Insider, this is the magazine that they’ve been waiting for. We just have to market it on a larger scale and we have to promote it better. 

Samir Husni: My typical last question; what keeps you up at night?

Michael Fell: I’m sleeping pretty well. (Laughs)

Tony Frost: There’s not much that keeps me awake at night, let me tell you. (Laughs ,too)

I did want to say that one of our biggest successes over the past couple of years has been Yellowstone. We covered it from the beginning. TV Guide was the first  magazine to put  Yellowstone on its cover. Our  Yellowstone articles have been repurposed for our website tvinsider.com and we did three SIPs under the TV Guide logo. Obviously, the show has been featured in TV Insider magazine on a regular basis. In November we completed our fourth Yellowstone SIP in a partnership with a360, under the subhead The Complete Story – All Four Seasons. It has sold well in a short time with a cover price of  $13.99. We are happy with the results so far – and so are a360. I use this as an example of how important it is for a company like ours to be nimble and smart … always looking for the next opportunity.

Samir Husni: Thank you.

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The Year Of The Bookazine… A Read, Beat, (… And Repeat) Podcast. Steve Tarter Interviews Mr. Magazine™

December 23, 2023

From the Read, Beat, (… And Repeat) podcast by Steve Tarter:

Media folks have been taking questions about the magazine industry to “Mr. Magazine” for decades. Samir Husni, 70, now retired after more than 30 years as a professor at the University of Mississippi, is still the oracle when it comes to magazines with his Mr. Magazine blog (https://mrmagazine.me/).
“It’s the world of bookazine these days,” said Husni, referring to the single-issue publications that turn up at checkout counters across America on subjects from Amazon to Zorro.


In 2023 at least 1,000 bookazine titles hit the marketplace, he said. In addition to filling ballparks, Taylor Swift led in the number of bookazines published this year. “Jesus ran second,” he told Steve Tarter.
The bookazine concept succeeds with consumers despite a high cover price (that now ranges between $14 and $15), said Husni. “It’s just one issue so there’s no long commitment. If you’re interested in going on a cruise, you’ll pay $15 for a copy of ‘Cruises on the Cheap,'” he said.
“The age of the mass magazines is gone,” said Husni, who recently donated his vast collection of magazines (five storage units worth) to his alma mater, the University of Missouri.
While Samir remains a supporter of the great magazines of the 20th century, citing Life, Reader’s Digest, TV Guide, and National Geographic, he’s not ready to shovel dirt on the printed page. “As long as we have human beings, we’ll have print,” he said.

To listen to the podcast please click here.

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Doug Olson, President & Chief Media Officer of a360media to Samir “Mr. Magazine™” Husni: “There’s Always Room For Print.” The Mr. Magazine™ Return Interview…

December 15, 2023

“Magazine advertising and print publications are definitely going to be a part of our mix. Digital is definitely going to grow. It’s not one or the other, it’s both.”

“I think the weekly is now more of a story behind the story if people want to get a little more in depth on what’s going on. It’s also a great summary vehicle, especially on the celebrity and entertainment side of things.”

As I sit in front of my computer today, I have a very deep need to tell everyone how blessed I am. This interview with the inimitable Doug Olson is my first since having a massive heart attack and three stents placed in my heart’s arteries that really showed me how much I love my family, my life, and my work. While recovering, of which I am very thankful to God, I have been reflecting on what makes Mr. Magazine™ Mr. Magazine™, if you will. I have found that the love and care of my entire family is my number one possession in life. And the title of Mr. Magazine™ isn’t just a moniker. It’s also who I am. I’ve missed the words, pages, and smell of ink on paper. It’s in my blood and it’s who I am. And I am very thankful. I’ve missed you all. 

And now Doug Olson.

There is no doubt that Mr. Magazine™ loves interviewing magazine media people and Doug Olson definitely falls under that category. Prior to his role today as President & Chief Media Officer of a360media, the media division of accelerate360, he was President of the Magazine Division at Meredith Corporation, the leading multi-platform media company in the country. Throughout his career, he has held a variety of senior leadership positions in technology integration, strategic planning, and service delivery. In short, the man knows his way around magazines.

In this interview, we talk about magazines and magazine media, what he thinks they mean to the world today and where they’re headed in the future. He marvels at how successful bookazines have become and talks about the cultures that a360 is maintaining. It’s an informative discussion and I invite you to sit down, read and enjoy.

And now the complete interview with Doug Olson…

But first the soundbites:

On 2023, in terms of magazines and magazine media, especially for a360media: I think 2023 was a little bit more like 2022, input costs that went up are still there  and are slowly starting to come down. I would say the consumer has held in there with us, both from a subscription standpoint and at newsstand.

On the amount of weeklies a360media has: Yes, we have a lot of weeklies and obviously that’s something that we’re constantly looking at. As long as the consumer holds in there with us we’ll continue to provide them and when the consumer shows signs that they don’t need a product anymore, we’ll make some changes. 

On the role of a digital weekly in today’s digital age: I think the weekly is now more of a story behind the story if people want to get a little more in depth on what’s going on. It’s also a great summary vehicle, especially on the celebrity and entertainment side of things.

On the different companies they use to produce their bookazines: At the end of the day we want premium content. So we’ve gone to partners. People that have really good content in some of these genres. We think that they can do it at a very affordable price. And they like it because they get paid for their content and we like it because we know we have a better than average chance of it working out for us as well.

On whether bookazines are a reflection of American society: I believe that’s a true statement. If the consumer finds something that they’re really passionate about, what we call enthusiast brands or participation brands, something that they’re really into, they’re willing to pay their hard-earned money for it.

On whether bookazines will dominate a360 next year: In 2024, we’re probably going to reduce our number of releases and put more draw out on things that we think have a high probability of selling. And so would you rather have 500 that sell an average of X or would you rather have 400 that sell at a higher than X average.

On what his hope are for the women’s weekly magazines that a360 has: When you look at Woman’s World and First for Women, we think they have a tremendous upside. The digital properties of those are still relatively small. Both are two of the top-selling magazines in the country from a units and dollars perspective, with Woman’s World being the biggest. First for Women is 17 times per year, a tri-weekly, if you will. So we think they have a big opportunity.

On having ads in the bookazines: That’s really a content play there for the consumer, so you’re not going to see advertising, unless it’s really something special, within the pages of the magazine. Now the covers, especially Cover 4, is something that we have been talking with some of our marketing partners about and they’re really trying it. But it’s working out really well for them. 

On the revenue split between print and digital at a360: Our traditional business is still larger than our digital business. But I will tell you that I believe we will have big growth in our digital business in 2024.

On being at a360 for two years now and whether it has been easy for him: Well, year one, as you know, is nothing but constant inputs going up, so that’s always fun when you’re a magazine-centric, newsstand-centric portfolio. And then year two has really been a lot of Google changes, a lot of Meta changes. As you’ve read, a lot of people’s digital business has kind of stalled out in 2023 and we were not immune to that.

On what he is most proud of accomplishing so far: I would say that the leadership team that we have now in this organization and all of the changes that we’ve made to the culture.

On the future of quarterly magazines with celebrity partnerships such as Drew with Drew Barrymore: I’m a big partnership guy and I love those types of collaborations. Better with Dr. Jen Ashton (now Dr. Jen Ashton magazine) was very successful right out of the gate. Drew has really gotten a lot of great momentum, not only in the advertising community, but with the consumer.

On whether he thinks there’s still room for print in this digital age: Yes, absolutely. There’s always room for print. It’s just smaller and you have to be smart about how you do it. And you have to go where the consumer wants to be. And that’s what we’re trying to do. I think the biggest difference in what we’re doing and others have done in the past is if something isn’t working, we’re willing to give up on it and pivot to something else. 

On whether he ever compares his job at a360media to Meredith: Probably more than some of the people who work for me want to hear. (Laughs) There’s some great people who work now for Dotdash Meredith, people who made me very successful in that role for many years that I would do anything for. So I wish them nothing but success and I think it’s going to take all of us.

On the future of tabloids: I think the tabloids have a very loyal audience. And it’s really a newsstand play. The advertising that they get is more direct response. I think they’ve done quite well through some really difficult times in the economy.

On the trust factor in print: The one thing I always found fascinating, no matter what the person’s background was, they always felt like if they had their own magazine that was the ultimate badge of honor.  

On anything he’d like to add: How did we possibly get through the last several months without Mr. Magazine and his trademark being a part of our lives? In all seriousness, we’re so glad you’re back. Many people have been praying for you. And we missed you.

On what keeps him up at night: The biggest thing that keeps me up at night is what is Google doing? Because all of us trying to build our digital business, keeping up with Google used to be tough. Now it’s a full time job.

And now the lightly edited transcript of the Mr. Magazine™ interview with Doug Olson, President & Chief Media Officer of a360media.

Samir Husni: How would you describe 2023, in terms of magazines and magazine media, especially for a360media?

Doug Olson: I think 2023 was a little bit more like 2022, input costs that went up are still there  and are slowly starting to come down. I would say the consumer has held in there with us, both from a subscription standpoint and at newsstand. 

The nice surprise for us was that print advertising has actually held up pretty well. I know there has been a lot of secular decline over the last 10 years in magazine advertising and we’ve had a good year there. 

And our Specials business continues to grow. We’re doing really well there. I think we’re somewhere at the 35% or 36% of every single unit sold at the newsstand comes from a360 media and about 30% of every dollar spent, all of the revenue, comes from a360 media. So we’ve really done a lot of good work on the newsstand, especially with our Specials.

Samir Husni: And you’re still the only major magazine media company in the States that has nine weeklies? 

Doug Olson: Yes, we have a lot of weeklies and obviously that’s something that we’re constantly looking at. As long as the consumer holds in there with us we’ll continue to provide them and when the consumer shows signs that they don’t need a product anymore, we’ll make some changes. We have made some changes in the last couple of years since I arrived here, but obviously we are keeping a close eye on everything.

Samir Husni: What’s the role of a print weekly in this digital age?

Doug Olson:  I think the weekly is now more of a story behind the story if people want to get a little more in depth on what’s going on. It’s also a great summary vehicle, especially on the celebrity and entertainment side of things. It is hard to keep up with all of the news and who’s doing what and what releases are coming out and who’s starring in what television shows and what streaming services are available. So I think it’s a very good executive summary of what’s going on. But really the stories are more the stories behind the story. \

Samir Husni: You said your bookazines are exploding and yet when I look at them I see the rather large cover price. For example, the latest Taylor Swift with the collector’s poster was almost $18. And you’re also using so many different companies. I see Turnpike Media is doing some, Ten Media, Twenty-Two Media; can you explain how this works?

Doug Olson: That’s a great question and it’s by design. As you know from all the great work you’ve done in the industry, I’m a big believer in this bookazine format, the higher-priced, lower-frequency magazine, if you will. Our whole strategy is real simple: if we have owned and operated premium content, we will put bookazines out there under our owned and operated brands. 

But really at the end of the day we want premium content. So we’ve gone to partners. People that have terrific content in some of these genres. We think that they can create it at a very affordable price. And they like it because they get paid for their content and we like it because we know we have a better than average chance of it working out for us. 

But we take the risk. We take the risk on what the draw should be, where to distribute it, etc.? So it’s kind of a win/win. The content organizations get to be content houses and get paid for their great work and we do what we do and that’s take the risk and evaluate all of this. 

Samir Husni: So it’s more like a freelance? You buy the content from them regardless of the situation?

Doug Olson: We have a couple of different business models, but we certainly have a pure- content house model where we’re just paying them to do content for us. And we also have some partners where they participate in the upside if there’s any profit. We’re very flexible on our approach to this and at the end of the day: if we think it can work for us and if it works for our partner, then we’re all in. So we’ve gone from a couple of hundred bookazines a few years ago to around 525 that we’ve put out this year in 2023.

Samir Husni: Bookazines are technically taking over the market. You have to search for a frequency-published publication anymore. We use to say that magazines were a reflection of American society, but today do you think it’s the bookazines that are the reflection?

Doug Olson: I believe that’s a true statement. If the consumer finds something that they’re really passionate about, what we call enthusiast brands or participation brands, something that they’re really into, they’re willing to pay their hard-earned money for it. 

The trick now is this has all went down really from mass to niche and if you find the right niche… you know as well as I do that Taylor Swift and Barbie and some of these things in 2023 were absolutely on fire. We did way more around Barbie and Taylor Swift this year than we did around the Queen passing in 2022.  We thought the Queen was a big event for the industry, but that was a rounding error compared to what Ms. Taylor Swift has done for the economy. 

Samir Husni: I see you’ve brought out some big names. Are they in-house or are they freelancers? I know Bob Guccione Jr. did a Jesus magazine, he was the editor in chief, Steve Russell did a Cruise bookazine, Keith Blanchard is doing a lot of your own bookazines…are they all freelancers or something else?

Doug Olson: With our bookazines, we have a very small consumer revenue team that works on them. But almost everything else is either a partnership or freelance. 

Samir Husni: It’s surprising to see all these titles; you said 525 this year?

Doug Olson: Yes. 

Samir Husni: And if you add to that what Dotdash Meredith and Hearst is doing, bookazines are now the movers and shakers of the magazine industry. And you’re not only a publisher, but also a distributor. So I ask you, how do you see 2024 lining up? Do you see this trend continuing? Are we going to have 750 bookazines from you next year?

Doug Olson: It’s a portfolio play, right? Not everything you put out is going to be profitable. You hope that the majority of it is, but you never know, You get to a certain size and you are really only limited by display at retail. If you have enough display you can continue to put out a lot of product.

In 2024, we’re probably going to reduce our number of releases and put more draw out on things that we think have a high probability of selling. And so would you rather have 500 that sell an average of X or would you rather have 400 that sell at a higher than X average. 

With input cost being so high, we also have something that we call our fast reprint strategy. It’s really a replenishment strategy. So if you and I come up with an idea and we decide to put a special out around beautiful photography in Mississippi and we put it out there and it sells really well right out of the gate, the first week or two, we’ll turn around and reprint it right away. Then replenish that if we need to, because on average these are mostly quarterlies, they tend to stay out around 80 to 90 days. So if we find something that looks like it’s going to be a hit with the consumer, then we want to do more of it. 

Samir Husni: As I look at your portfolio, I see that you just brought Liz Vaccariello back to be editor in chief of Woman’s World and First for Women after Carol retired. You’re the only owner of  women’s weeklies in this country, what’s your hope for these magazines?

Doug Olson: When you look at Woman’s World and First for Women, we think they have a tremendous upside. The digital properties of those are still relatively small. Both are two of the top-selling magazines in the country from a units and dollars perspective, with Woman’s World being the biggest. First for Women is 17 times per year, a tri-weekly, if you will.  

That audience is quite different than where a lot of our competition is aimed. If you really look at the content of those magazines, it’s really mainstream women, that those products are aimed at; the C & D counties, the more rural areas, the Midwest, not big cities like some of the competition. 

I have a lot of experience with the big city targets as well, but we really think that what we call the Women’s Lifestyle Group has a lot of upside so we brought Liz Vaccariello in and she’s honestly a hall of famer, if you will. With her EIC experience on Prevention, Reader’s Digest, Parents, Real Simple, and PEOPLE magazine; she has a ton of experience in this publishing world and a lot of success. 

And we also brought in  Cece Ryan, who was the publisher at PEOPLE magazine and before that the publisher at Real Simple and she’s going to lead our sales and marketing efforts. So we’re really throwing our shoulder into our Women’s Lifestyle Group because it serves the market really well already, but can serve it even better and be bigger and more important to our portfolio.

Samir Husni: I see some of the bookazines are now carrying a back page ad; is that going to be a change, in terms of starting to have advertising in the bookazines?

Doug Olson: That’s really a content play there for the consumer, so you’re not going to see advertising, unless it’s really something special, within the pages of the magazine. Now the covers, especially Cover 4, is something that we have been talking with some of our marketing partners about and they’re really trying it. But it’s working out really well for them. 

You probably saw Skechers is on the back of several of our specials and bookazines… SAMIR HOLDS UP A BACK COVER OF ONE OF THE SIPS… yes, there it is on Martha Stewart. Skechers has been a great partner of ours and they continue to experiment with new things and I think it’s working out pretty well for them. 

But we’re going to be really respectful. We know that when the consumer is paying that kind of money for a content product that they’re expecting a lot of content, so the advertising will be, at least at this point, really on the covers and we’ll try to make it relevant to why the person is buying it in the first place. 

Samir Husni: Can you give me an idea what the split is in revenue between digital and print at a360media?

Doug Olson: Our traditional business is still larger than our digital business. But I will tell you that I believe we will have big growth in our digital business in 2024. And I would explain it to you this way: I’ve worked on some very large brands that had their fair share and it was really hard to figure out how you were going to get the next five percent out of some of those brands. They were so large and so successful to the advertising community. But we’re still working on getting our fair share. 

When I came into the organization, I brought a lot of very accomplished leaders with me over the last couple of years. And we’re still trying to get our large chunk of “fair share.” So we’re not looking at three or four or five percent growth like everyone else is, we’re looking at how we can get 10, 15 or 20 percent growth. We still have a ways to go to get our fair share in the digital space. It’s definitely smaller than the traditional part of our magazine portfolio. 

Samir Husni: You’ve been at a360 for almost two years now. Has it been a walk in a rose garden for you?

Doug Olson: Well, year one, as you know, was nothing but constant inputs going up, so that’s always fun when you’re a magazine-centric, newsstand-centric portfolio. Then year two has really been a lot of Google and Meta changes. As you’ve read, a lot of digital businesses have stalled out in 2023 and we were not immune to that. 

But we feel like between the people we’ve brought in and the partnerships we’ve developed during the last six months that we’re really positioned well to get our fair share of the digital business. So you’ll see us talking a lot about our digital growth and at the same time, you also saw the growth in our bookazine side of the business has been substantial. And that made up for some of the erosion we’ve seen or secular decline we’ve seen on something like a weekly magazine.

Samir Husni: If you had to pick one thing that you’re proud of accomplishing during your two years at a360, what would that be?

Doug Olson: I would say that the leadership team that we have now in this organization and all of the changes that we’ve made to the culture. Obviously, you get measured as a leader in media today by your financial results. I think all of us are on the hot seat because it’s not a walk in the park, to use your words, to be in charge of these organizations. But we’ve held our own and we’ve put a team of leaders together here that are unbelievably talented and accomplished.  I think the best for us is yet to come. We’re going to have an awesome 2024 and beyond. 

I’m really excited for what they’ve done in a very short period of time. A lot of them have been here less than 10 or 11 months. They and their teams are so collaborative and there are a lot of really good people here. They just needed really good leadership and they now have that. So I’m most proud of the leadership team and all they have done on the softer side of the business as far as changing the culture and getting the people to collaborate and be on board for what we’re trying to do.

Samir Husni: And you were one of the few who launched a few quarterlies besides the bookazines this year, including Better with Dr. Jennifer Ashton, Drew from Drew Barrymore, what do you think the future is for those type magazines?

Doug Olson: I’m a big partnership guy and I love those types of collaborations. Better with Dr. Jen Ashton (Better is now called Dr. Jen Ashton magazine) was very successful right out of the gate. Drew has builtup a lot of great momentum, not only in the advertising community, but with the consumer. The subscriptions with that one are doing great. So we’ll see more of that. I think that’s all part of the mix in this portfolio play that we call bookazines. 

Samir Husni: So you still believe there is room for print in this digital age? 

Doug Olson: Yes, absolutely. There’s always room for print. It’s just smaller and you have to be smart about how you do it. And you have to go where the consumer wants to be. And that’s what we’re trying to do. I think the biggest difference in what we’re doing and others have done in the past is if something isn’t working, we’re willing to give up on it and pivot to something else.  

I think a lot of the big publishers in the past have been really hesitant and by the time they made that decision it was too late. We have a lot of performance indicators that we keep track of. Magazine advertising and print publications are definitely going to be a part of our mix. Digital is definitely going to grow. It’s not one or the other, it’s both.

Samir Husni: Do you ever compare your job at a360media to Meredith?

Doug Olson: Probably more than some of the people who work for me want to hear. (Laughs) There are some great people who work for Dotdash Meredith, people who made me very successful in that role for many years that I would do anything for. So I wish them nothing but success and I think it’s going to take all of us in this industry to do our part. We can’t be fighting each other, we have to keep a united front to the industry so they see that magazines still matter. And they’re still a great base to feed other platforms from a content perspective. 

They’re just so different. We had all of this digital traffic, all of this data, and all of these huge brands when I was at Meredith and they made some decisions about which ones they wanted to go forward and which ones they didn’t, obviously, now that they’re under Dotdash. 

Now I have a different portfolio that has different needs and different wants, if you will. We’re going to try and get our fair share of digital, but at the same time we still think, especially in the bookazine genre, that the consumer is really interested in something that they’re passionate about. And we’re trying to serve them as best we can. So, two different ends of the spectrum. Meredith was very subscription-driven and this organization is much more newsstand-driven. But they both needed advertising. So there’s a lot of similarities, but they come at it from different perspectives. Great people in both organizations.

Samir Husni: Any future for the tabloids? Someone told me the tabloids were the digital of print. 

Doug Olson: I think the tabloids have a very loyal audience. And it’s really a newsstand play. The advertising that they get is more direct response. I think they’ve done quite well through some really difficult times in the economy. I’m not the expert in the tabloid business, but I can tell you that I have a lot of respect for the people who work on those titles. And they have a very loyal audience, so for the foreseeable future, they’re doing just fine. 

Samir Husni: Any comment on the trust factor in print?

Doug Olson: I think I’ve told you this before when we’ve talked, but getting back to the partnership part of the bookazine business, I have always been fascinated. We had a lot of partners that had very successful television shows or other venues when I was at Meredith, someone like Martha Stewart. 

But the one thing I always found fascinating, no matter what the person’s background was, they always felt like if they had their own magazine that was the ultimate badge of honor.  With Joanna Gaines, I think she is most proud of her magazine The Magnolia Journal. At least, when I was there she said that all of the time. And if celebrities had something with their name on it, there was just something special about that. 

I’m a big fan of magazines. We’ve all had to pivot. I don’t think the mass thing is a great idea. I wouldn’t launch a magazine that’s aimed at the masses in 2024. But if you find something 100,000 here or 200,000 there and do something really well, they’ll support it. And advertisers will come as you put together these audiences. It’s just a different way of doing it. You just have to be really patient and selective and put out premium content that the consumer is willing to spend their money on.

Samir Husni: Is there anything you’d like to add?

Doug Olson: How did we possibly get through the last several months without Mr. Magazine™ and his trademark being a part of our lives? In all seriousness, we’re so glad you’re back. Many people have been praying for you. And we missed you. We missed someone in the industry that still believes in it and still organizes all of us. I couldn’t be happier to be your first interviewee on your comeback. And I’m super glad that you’re back on the job.

Samir Husni: Thank you. I really appreciate that. 

Samir Husni: My typical last question, what keeps you up at night?

Doug Olson: The biggest thing that keeps me up at night is what is Google doing? Because all of us trying to build our digital business, keeping up with Google used to be tough. Now it’s a full time job. You have to make sure that your team out in the field knows exactly what they’re doing because everyone is looking for partners, brand safety and everything else, it’s become the number one thing. Keeping up with your digital business is keeping up with Google. 

Samir Husni: Thank you.  Season’s Greetings and the best of the New Year. Below is a picture I took of a Blue jay celebrating the season. See you in 2024.

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R.I.P. Phyllis Hoffman DePiano: How Hoffman Media Built a Multi-Million Dollar Company from Scratch by Focusing on their Audience… A Tribute From The Mr. Magazine™ Vault..

July 11, 2023

A great magazine founder and publisher died yesterday July 10, 2023. Phyllis Hoffman DePiano died yesterday leaving her publishing company, Hoffman Media (the little engine that could), to her twin sons who loved, adored, and worked with their mom. In 2017 Phyllis and her two sons spoke at one of my magazine conferences and my friend Linda Ruth was able to sum and write up their presentation. What follows is a tribute to a great lady and her story.

Phyllis Hoffman DePiano presents with son’s Brian Hart Hoffman and Eric Hoffman

In publishing, founder Phyllis Hoffman began, there are no rules, no manual on how to be a successful publisher. “When we started in 1983 I was clueless,” she told the audience. “I knew that needlework was huge; I knew there were not magazines. And that was pretty much all I knew.” Hoffman was laughed out of every printer but one. They had no concept of direct mail. “What we did was printed up little brochures for shipowners to put into customer bags, inviting the people to be a charter subscriber. We went to Atlantic Media show with nothing but a single poster. We knew our break-even—it would be 3500 subscribers, paid in full up front, and that’s how many we got for the first issue. So we knew we could go one year.” Additional subscribers began to trickle in, till one day, Phyllis remembered, that she went to the post office with her two-year old sons, and the box was empty. Her heart sank—until the postal clerk invited her to retrieve the sacks of mail in the back, too much to fit into her box. By end of first year they had 100,000 subscribers, a 95% renewal rate—and they were turning down advertisers. That’s right—with a 68 page magazine, 70% content, 30% advertising, there just wasn’t room in the book.

Brian Hoffman, one of the two-year-olds at the post office that day in 1983 and now a co-president of the company, took up the story with Southern Lady magazine, Hoffman’s first magazine to branch out from craft to lifestyle. “Our company’s growth has followed our conversation with our customers,” he explained. “We listen to what they want, what they need, and then we work to give it to them.” An important lesson that Brian shared was to be patient. “Creativity is important, and it’s exciting,” he said. “But don’t change for the sake of change. Readers don’t feel the need for constant change; they are looking to you for consistency, to give them what they need and love. It’s easy to get off course, but listening to your readers will put you back on.” Creativity is important, innovation is important, but Brian emphasized the need for creative constraint as well, and for listening to the readers and acknowledging what they want. “Put your content out there. You’ll soon know if it’s a success,” he said. “The readers will tell you.” 

Eric Hoffman—the other twin boy, the other co-president—wound up with advice to the students in the audience. “I asked my young children what they would advise,” he said. “Be patient. Try hard. Work as a team. Help each other figure things out. It’s good advice,” he said. “Here at the ACT Experience, we’re a team, and we’re figuring out some big problems.” The lessons that Hoffman Media can bring include a belief and dedication to quality, in circulation, in editorial, in product, in audience. Hoffman runs each of its revenue streams as stand-alone profit centers—each has to make sense on its own, each must be a strong component of the whole. “The gimmicks built into the magazine business have caused a lot of problems,” he said. “We don’t give stuff away. Not to our subscribers, not to our advertisers. We work with our advertisers and prospects—the ones we believe belong in the mags. Just because they spend money doesn’t mean they belong with us. It keeps our business focused.” It is this focus, this understanding that they cant be all things to all people, that has guided Hoffman Media to a double-digit growth in a down market. 

“This is an amazing business,” Eric finished. “All the dot coms are jealous of what we do. This is what we want to be doing 30 years from now.” 

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The B Magazine Gets An A+. Publisher Michelle Thorpe Petricca, To Samir “Mr. Magazine™” Husni: “There’s Absolutely A Desire For Certain Segments Of A Population To Enjoy The Print Experience.” The Mr. Magazine™ Exclusive New Launch Interview…

June 19, 2023

“We tend to reach consumers over 40 plus or 50 plus, who grew up with magazines, loved the experience of magazines; who miss magazines. They’ll tell you stories of what their favorite magazines were and how they’ve changed.”

“I believe that there are consumers who want to guarantee that this magazine comes to them. That when they go, when the weather turns and the leaves fall and they move to their second home in Florida or California or Palm Springs or back to Boston or back to the city, they want it in their mailbox. And that consumer is absolutely going to pay for it and go to their mailbox.”

The B, a magazine of the Berkshires, is a regional title that is both very well connected to the Massachusetts area and is a new launch. Michelle Thorpe Petricca is the publisher of the magazine and brings immense talent and experience to this position. Michelle has been a fixture at Condé Nast in the past and carries a lot of deeply held beliefs about magazines, especially print ones.

The B celebrates life in the Berkshires and beyond, but also provides entertainment and knowledge about the area for people moving there or visiting. It’s a stylish title with a host of possibilities. Mr. Magazine™ suggests that you find your copy today. 

So please enjoy the Mr. Magazine™ interview with Michelle Thorpe Petricca, Publisher Of The B Magazine.

But first the sound-bites:

On how it feels to work on a smaller-sized publication than she’s used to: I love a launch. And I was part of Condé Nast with the launch of Lucky magazine, from the very beginning. And it has the same energy and the same excitement. Obviously, not the depths of floors of departments and support, however it’s energizing and thrilling for me to be part of that.

On one of her Condé Nast colleagues’ starting his own media company and magazine: I worked with Alan Katz’s wife for years at Self Magazine. I think Alan and Cheryl are just two very talented people. And I think what it shows is that there are stories to be told in this region, and there’s a lot of enthusiasm and passion for this region. And the fact that both are doing very well speaks to this untapped market in many ways. There’s a real hunger to be closer to the community.

On why she thinks people like herself still believe in magazines and in print: There’s absolutely a desire for certain segments of a population to enjoy the print experience. And I would say that that segment of the population in our community is not going to be Gen. Z though they are enjoying it. We tend to reach consumers over 40 plus or 50 plus, who grew up with magazines, loved the experience of magazines; who miss magazines. They’ll tell you stories of what their favorite magazines were and how they’ve changed.

On whether only print can link the past with the future in the present: You definitely found one of the most powerful platforms that we have at The B, and that literally is the archives of the Eagle which are situated in the basement here of the Clock Tower Building in Pittsfield. And if you came to the Berkshires and I brought you down there, your mind would be blown by the files and the archives of the history of Norman Rockwell, of Tanglewood and the Boston Symphony Orchestra.

On whether the magazine was an easy launch: My husband was from the Berkshires. His family has been here for 100 years. His grandfather moved here from Italy, slept in a tent, built a wonderful business that’s going strong. And I didn’t think that this opportunity was possible, to be able to tap this passion I have for print. And I feel so fortunate that the Eagle recognized and held a high value to print and that they invested in me.

Michelle Petricca, right, with editor in chief Amy Conway.

On any challenges or roadblocks they had to overcome: So what have we overcome? I would say that introducing a new print product, you really had to pass a lot of litmus tests here because I think they’ve seen other publications in the area before and they weren’t always done by magazine people. They may have been done by newspaper people ensuring that you were going to deliver what you promised.

On whether the magazine is moving from controlled circulation to subscription: That is in the works. I believe that there are consumers who want to guarantee that this magazine comes to them. That when they go, when the weather turns and the leaves fall and they move to their second home in Florida or California or Palm Springs or back to Boston or back to the city, they want it in their mailbox. And that consumer is absolutely going to pay for it and go to their mailbox.

On the wantedness factor that print inspires: Yes, exactly. I was spending some time in Barnes & Noble in Pittsfield the other day. Magazines seem to still be alive by the number of publications and special interest titles and the ones that are still available to consumers.

On anything she’d like to add: As far as the B, people want a connection to the community, so much so that even on the grounds where we live there’s a massive reckoning going on with the Native American tribes that lived here. Many of the cultural institutions, like Jacob’s Pillow, which is one of the oldest historic dance sites in the country and Beckett Hits in Beckett. Massachusetts; at the bottom of every single of their email signatures, they say we are on the lands of the Munsee Native Tribes, so there’s a whole connection. The good and the painful in our community. That’s why there’s still so many untold stories here.

On what keeps her up at night: From a professional level, it would be to make sure that we got it right. That it was factually correct. We have a responsibility to do it right. And so oftentimes I circulate stories to the editors here, to other people in our community. To have them look through it to make sure it’s right, because the last thing I ever want to do is have any stain that reflects any print  journalist that is here. So getting it right is important. That keeps me awake at night. 

And now the lightly edited transcript of the Mr. Magazine™ interview with Michelle Thorpe Petricca, publisher The B Magazine.

Samir Husni: Congratulations on The B Magazine.

Michelle Thorpe Petricca: Thank you, I appreciate that.

Samir Husni: How does it feel? Moving from magazines like Lucky and Allure with hundreds of thousands in circulation to launch a small-sized publication, a beautiful publication, but one that elevates like fifteen thousand in circulation?

Michelle Thorpe Petricca: I love a launch. And I was part of Condé Nast with the launch of Lucky magazine, from the very beginning. And it has the same energy and the same excitement. Obviously, not the depths of floors of departments and support, however it’s energizing and thrilling for me to be part of that. 

And then I was also part of US Weekly when it turned from a monthly to a weekly magazine. So I was prepared for the unexpected because the unexpected always happens with a launch. But I would say that being a part of the Berkshire Eagle, which is one of the longest continuously run newspapers in the country, it started in 1892, they have the same commitment to facts and credibility and to getting it right. Much like Condé Nast always wanted to do and does and still does. 

Samir Husni:  Your previous colleague, Alan Katz, also started The Mountains magazine. Now there’s two or three graduates from Condé Nast who started and launched magazines outside.

Michelle Thorpe Petricca: That’s right. In fact, I worked with Alan Katz’s wife for years at Self Magazine. I think Alan and Cheryl are just two very talented people. And I think what it shows is that there are stories to be told in this region, and there’s a lot of enthusiasm and passion for this region. And the fact that both are doing very well speaks to this untapped market in many ways. There’s a real hunger to be closer to the community. 

Alan, his focus is seven counties, so it’s broader. He’s got Sullivan County, Catskills, seven counties. I’m focused on three counties, Berkshire County, Columbia County and Litchfield County. So there is a point of difference there. And there’s a point of difference with our voices. But that being said, I think it’s fabulous. I really do. Allen and his team are doing a great job.

Samir Husni: Michelle, it’s so rare to see small, regional magazines bringing in top publishers,  top editors, national folks, like in your case. Like Amy Conway, who’s been the editor of Health Magazine, and Martha Stewart Wedding. Why do you think people like you and Amy still believe in this business, in print and in bringing a magazine into the world?

Michelle Thorpe Petricca: That’s a great question. There’s absolutely a desire for certain segments of a population to enjoy the print experience. And I would say that that segment of the population in our community is not going to be Gen. Z though they are enjoying it. We tend to reach consumers over 40 plus or 50 plus, who grew up with magazines, loved the experience of magazines; who miss magazines. They’ll tell you stories of what their favorite magazines were 

and how they’ve changed. And maybe they’re not happy about some changes. So there was certainly a desire to bring magazines back into their life.

More importantly, they want the things that magazines are, well-written and visually appealing. And it’s interesting, when I worked at Allure and worked for Linda Wells, she would often talk about how a magazine would bring you to this magical place, and Allure would share possible visions of a different self, of all the possibilities that were out there for you. And how you want to present yourself to the world. 

And so that aspiration and that inspiration is found in print, in these glossy, four color magazines. And when you come to a community, particularly like the Berkshires, you’re seeking pleasure. You’re seeking entertainment. You’re seeking visual experience of the outdoors, art, culture, theater. And so they’re pleasure-seekers and magazines bring a lot of pleasure. They’re very proud of where they live or where they have second homes, or where they’re visiting. And they have it in their homes. That is the greatest compliment. When someone says to me. I have guests coming up this weekend, and I made sure The B was in the guest room for them because they want to know more about where they’re visiting. And so print brings you closer to the experience. I think that that’s why it’s resonating with consumers today. 

The other part of my experience was spending time at a company called Modern Luxury, which published 84 magazines in 22 markets. And so I worked at Modern Luxury while I lived here in the Berkshires and I commuted back and forth. I got to see just how personal it was for these city titles to these particular communities. 

I remember it was Erin Lauder at Estee Lauder who wanted us to plan an event in Dallas,  Neiman Marcus for a launch of one of her fragrances. And I heard from her team that these were the dates available in Dallas. So I call up Neiman’s and said this is when we’re going to have the luncheon and they said, whoa, we can’t do it that date. And I’m like, it’s Aaron Lauder, of course you can do it that day. And they explained, oh, no, that’s the Texas/OU football game day. And all the jets fly in from Oklahoma. And there are big Gala’s and parties all around his event. 

So, I was able to bring that information back from the Dallas team of our local boots on the ground, and of Neiman Marcus local and go back to Estee lauder and say, well, here’s why that date doesn’t work. 

So, understanding the ebbs and flows of a local community are really important and it makes you have a better event or better print project product. Or helps you connect brands and advertisers to that community in a more relevant and more powerful way.

Samir Husni: That art of storytelling is so obvious since you are also reaching to the archives of the newspaper from 1789 on and using some of those pictures. Do you think only print can link the past with the future during the present?

Michelle Thorpe Petricca: What a great question. You definitely found one of the most powerful platforms that we have at The B, and that literally is the archives of the Eagle which are situated in the basement here of the Clock Tower Building in Pittsfield. And if you came to the Berkshires and I brought you down there, your mind would be blown by the files and the archives of the history of Norman Rockwell, of Tanglewood and the Boston Symphony Orchestra.

You’re transported when you walk downstairs and you go into these files of pictures that you’re holding that the Eagle owns. And so I don’t have any obstacles of publishing them. And knowing that there are people here that I can turn to… in fact, they have two Pulitzer Prize winning journalists on their editorial advisory board here. And being able to get it right, which is so important here at the Eagle is to tap those archives to connect the past of our community to the present. 

And so when we take a topic, the summer issue right now is at press, and the theme is music. And music plays an outsized role here in the Berkshires, as you can imagine with the home of Boston Symphony Orchestra all summer long. But it goes back even further than that. 

And our goal is, when this magazine comes out, that local mavens who have lived here for generations, to the tourists who happen to be staying at the Red Lion Inn, to a second homeowner from Williams College who loves the Berkshires, is to surprise them and to educate them, to help bring them closer to this community. 

So we literally went into the fields of a place called The Music Inn, which is in Stockbridge, and was part of an old gilded-age estate called Wheatleigh. The Music Inn was a home in the 1960s  of something called the Lenox School of Jazz, where black musicians would teach white musicians who came over from Tanglewood at night. And that school then turned in the ‘70s into something called The Music Inn where Bruce Springsteen played, the Allman Brothers,  BB King, and we literally went for the music issue and spent time in a place called the Potting Shed, which is a home to this woman now who has a plaque to all the musicians that played on those grounds. 

And so being able to walk those fields and give the history and bring the photographers, such as the talented Ben Garver, who is photographer for the Berkshire Eagle really helps bring the music experience to life. And then it also happened that really well known journalists like Tony Gervino, who was the editor in chief of Billboard Magazine and is currently the editor in chief of Jack Dorsey’s Title, a streaming music platform, happens to have a home in the Berkshires, and he’s like, I’d love to write an article for The B. And so when you live in a community where you can tap this talent, it helps make it an even stronger editorial product.

Samir Husni: You sound like you’re on Cloud Nine. Tell me, has the magazine launch been a walk in a rose garden for you?

Michelle Thorpe Petricca: It was really hard for me to leave Condé Nast in 2013. I mean, Allure was on fire. It was just so successful. And I loved the team. And I loved working with Agnes Chapski and Linda Wells and the whole Condé Nast family.  

I moved for love. My husband was from the Berkshires. His family has been here for 100 years. His grandfather moved here from Italy, slept in a tent, built a wonderful business that’s going strong. And I didn’t think that this opportunity was possible, to be able to tap this passion I have for print. And I feel so fortunate that the Eagle recognized and held a high value to print and that they invested in me. 

And then, of course, Amy Conway, our editor in chief, whose voice… it’s what she’s been able to accomplish in such a short amount of time. And you can tell she was Martha Stewart’s right arm for 20 years. And Amy knows how to tell a story. She really does. And she has been a complete joy and delight to work with, and I mean it. We speak the same language, and we were able to tap a local designer here, Julie Hammil, who creates a lot of visuals for a lot of the cultural economy institutions here such as Berkshire Botanical Gardens, or the Berkshire School. And so we were able to really go local here. And that meant a lot. Yes, I am on Cloud Nine. (Laughs)

Samir Husni: Any challenges or roadblocks that you have had to overcome?

Michelle Thorpe Petricca: So what have we overcome? I would say that introducing a new print product, you really had to pass a lot of litmus tests here because I think they’ve seen other publications in the area before and they weren’t always done by magazine people. They may have been done by newspaper people ensuring that you were going to deliver what you promised. 

So it happened fast. I literally was at an event with Hans Morris, who was one of the saviors of the Berkshire Eagle with a few other individuals who saved this incredible historic newspaper brand. And I was at an event with him, I guess maybe September or October. And we started talking. He used to be president of Visa and now is at NYCA Partners in New York and he knew my experience in magazines. He said let’s do it and I asked, seriously? And he said yes. 

So going from October to launching a magazine in basically April was fast without having hired an editor, without even having a name or an editorial calendar, the specs and the press. It was definitely a lot of sleepless nights. But it was so personal. And that would be an obstacle because I didn’t want to walk into my local grocery store and say hi to my butcher or the florist and for them to say it didn’t really work. I really wanted to make them proud and I would say that was an obstacle. Having to deliver, I would say that was a challenge. 

And then advertising, people literally writing checks from their own bank accounts, ensuring that you are going to deliver on what you’re promising. And ensuring trust in you. It is helpful that they knew who I was and they knew my husband. And they knew the Berkshire Eagle. That could be considered an obstacle. But my goodness, we doubled the number of advertisers and revenue in the summer issue. 

But let’s be clear. This is not necessarily a done success. We have three more issues to go with different editorial themes. We’re experimenting with a wedding issue. And so some of these things are unproven. But I do believe that we have the perfect alchemy at the moment and that things look positive, but it’s not done. You know that path, there could still be plenty of obstacles, especially as we try to figure out a formula for subscriptions versus controlled circulation. Figuring and navigating that I’m sure will be an interesting endeavor. 

Samir Husni: Are you moving from controlled circulation to subscription?

Michelle Thorpe Petricca: That is in the works. I believe that there are consumers who want to guarantee that this magazine comes to them. That when they go, when the weather turns and the leaves fall and they move to their second home in Florida or California or Palm Springs or back to Boston or back to the city, they want it in their mailbox. And that consumer is absolutely going to pay for it and go to their mailbox. 

But I also believe that we could do a hybrid model that has some control distribution in places like Canyon Ranch or fine museums or restaurants. And that we can also still sell it in some places because there isn’t going to be an unlimited number of copies floating around. People are going to see it and they’re going to want it. And if they can’t find it, they’re not going to be happy about it. There’s a wantedness to this and there’s a scarcity model to this, so I do believe that a hybrid model will work. 

Samir Husni: I think that wantedness is an important word you mentioned because. Again that’s what continues to differentiate print from the rest of the media that’s out there.

Michelle Thorpe Petricca: Yes, exactly. I was spending some time in Barnes & Noble in Pittsfield the other day. Magazines seem to still be alive by the number of publications and special interest titles and the ones that are still available to consumers. 

I just think that this is personal to people here. And so when it’s personal and you’re writing about their community, they’re not seeing this online. They’re not reading about this really anywhere else. That it means something different and there’s a different value to it. Especially when you’re supporting their causes that are their passion points. We live in a community that wants to give back, that wants to help out, that supports the arts. That is incredibly inclusive. And our intention is always to profile those saints and eccentrics that really romp our beloved County. And people want to support that and want to be part of that. 

Samir Husni: Is there anything you’d like to add?

Michelle Thorpe Petricca: I guess the question is, if you lived here, Samir, or you were a second homeowner, would you subscribe to The B? 

Samir Husni: (Laughs) Of course I would. My wife always asks me, why are you still getting magazines after we donated all our magazines to the University of Missouri where they are establishing the Samir Husni magazine collection in the library?

Michelle Thorpe Petricca: That’s incredible.

Samir Husni: 188,300 magazines. It took two 18-wheelers. 

Michelle Thorpe Petricca: Do you have photos or a video of that happening? 

Samir Husni: Yes. Actually they are doing a video on the whole transfer of the magazines from my storage units to the Library of Missouri.

Michelle Thorpe Petricca: Will it be on your blog?

Samir Husni: Once they send it to me, I will definitely put it on the blog.

Michelle Thorpe Petricca: Thank you! That’s magical. I can’t wait to see that. As far as The B, people want a connection to the community, so much so that even on the grounds where we live there’s a massive reckoning going on with the Native American tribes that lived here. Many of the cultural institutions, like Jacob’s Pillow, which is one of the oldest historic dance sites in the country and Beckett Hits in Beckett. Massachusetts; at the bottom of every single of their email signatures, they say we are on the lands of the Stockbridge-Munsee Community, so there’s a whole connection. The good and the painful in our community. That’s why there’s still so many untold stories here. 

Samir Husni: As long as you continue telling stories, you will continue to thrive and succeed.

Michelle Thorpe Petricca: I hope so. 

Samir Husni: My typical last question, what keeps you up at night?

Michelle Thorpe Petricca: From a professional level, it would be to make sure that we got it right. That it was factually correct. We have a responsibility to do it right. And so oftentimes I circulate stories to the editors here, to other people in our community. To have them look through it to make sure it’s right, because the last thing I ever want to do is have any stain that reflects any print  journalist that is here. So getting it right is important. That keeps me awake at night.

Even when we lay out the magazine, not being sensitive to advertisers as to where they are placed. Maybe that goes back to my Condé Nast days where, and this is probably not an appropriate story, but I was at Self magazine and we were laying out the magazine and we had a Revlon ad and the Revlon ad said, it’s a good hair day, and it was opposite of a Wonder Bra 

ad that said, who cares if it’s a bad hair day. (Laughs) 

And that was probably 1996 and it still haunts me to this day. You have to make sure that you’re sensitive to if I am this architect or this shop  and I’m opposite this editorial, how does that impact me. And that keeps me up at night on a professional level, because I think about it. It’s their business and they care so much about this ad. And it doesn’t matter if it’s a one six or full page, this means so much to them into their budget into their marketing plans that I really 

want to be sensitive to where that message lands.

Samir Husni: Thank you. 

Check out the second issue of The B here.

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The Old Farmer’s Almanac, The Little Engine That Could And Would.  The Mr. Magazine™ Interview With Longtime Publisher Sherin Pierce. 

June 4, 2023

“We really believe that in the end you need to give your customers a choice of how they want to find you. And many of them want print. Our customers want the print product and we offer them four different versions of that.”

“As it gets harder and harder, we have to understand that we’re in this together. And that each of us has a responsibility of making sure we deliver the products to our readers. When we make it accessible to our readers, when we make it plain to them why magazines are important, I think the readers respond really well.”

The Old Farmer’s Almanac has been around for 232 years. It has been present in most of our lives forever. We have come to depend on it and to look for it every year. And it’s still as relevant and significant as it was when it first began.

Sherin Pierce is publisher of the magazine and has been for over 25 years. According to the magazine’s website Sherin leads a team responsible for the long-term strategic planning of the Almanac brand, including new product development, oversight of editorial, and management of the book’s finances and ancillary businesses. She also oversees the Almanac’s robust promotional and marketing activities, including the Almanac’s expansive social media channels. 

In Mr. Magazine’s mind, she puts the magazine out there and meets people where they are, be that on digital or in print, or any other way they want to find it. Something she believes in strongly.

So please enjoy the Mr. Magazine™ interview with Sherin Pierce, vice president and publisher, The Old Farmer’s Almanac. 

But first the sound bites:

On how The Old Farmer’s Almanac has survived almost two and a half centuries: I like to say how it’s thrived all these years is simply because I think when the Almanac started, it started with a very clear and simple premise: to always be useful with a pleasant degree of humor. 

On how important it is for a magazine publisher to stay true to the magazine’s concept and not change with the wind: I think being authentic, being real, and understanding what your mission is and what people expect from you year after year, is absolutely the North Star for us. There are times, especially when people are faced with a pandemic such as COVID or faced with recession or inflation, they turn to things that are simpler and things that will help them in their daily lives.

On the competitors of The Old Farmer’s Almanac: In every publication we do with the name The Old Farmer’s Almanac, we pay so much attention and care to what we are putting out there for our readers. They get the experience of the Almanac in various forms, through calendars, through our gardening books, they get that whole experience, which is what our competitors haven’t been able to do.

On the circulation of The Old Farmer’s Almanac: We distribute 2.5 million copies. We have four different editions: a mass market edition, newsstand edition and two bookstore editions, with a hardcover as well. And why we’ve done this is because we want to make sure that all the different editions serve our multiple channels of distribution.

On having a minute number of editors over the last 232 years: We’ve had 13 editors and our 13th editor is retiring after close to 23 years. We’ve just hired the 14th editor in our Almanac’s history. It really builds the consistency of the product and the voice. People have time to hone what the message should be. We don’t have a revolving door. But to that point, there’s been 13 editors, but 23 publishers. The publishers always get fired. (Laughs)

On whether her job as publisher has been a walk in a rose garden: Oh no, not at all. It’s a walk in the field; it’s a walk in the woods; it’s a walk in deer-filled gardens and vegetable gardens, in shrubs and fruit trees. I think we would have been remiss if years ago we had said we’re going to just stick to print and not bother with the other mediums. But the group publisher in 1996 said we had to go on the Internet. 

On some of the major challenges they’ve had: One of the biggest challenges we’ve had has been in retail. In one part of our retail presence we have our bookstore edition, which has been doing tremendously well, both in stores and on Amazon. We have our own direct distribution to Tractor Supply and to Ace and to the nontraditional bookstore accounts. Again the Almanac, being the type of product that can transfer different types of retail has done very well there.

On whether The Old Farmer’s Almanac is mostly older readers: No, it’s been surprising what readers have come to us for. I think the younger generation, many folks grew up without getting advice on most basic things in life. Look up at the sky, look at the planets. what are the signs of nature? How do you start a little garden? How do you do a container garden?

On 250,000 of the Veggie Garden Vegetable Gardener’s Handbook going into print: Yes, and for a gardening book  that’s a lot. We printed six times. It’s a gardening book, but it came out at the time when COVID stuck in people at home, and they wanted something.

On anything she’d like to add: I think the Almanac is always a surprise. And when people read it, they always say they grew up with it, they always saw it in their grandparents house, or on the farm of a relative or something. And I always urge people to pick it up again for the first time. Remember. McCall’s ad campaign, read it again for the first time, it’s the same thing.

On what keeps her up at night: I think what keeps me up is that I would hope our distribution channels realize that it’s really a partnership. And that all of us have a responsibility of making sure that our publications reach our audience.

And now the lightly edited transcript of the Mr. Magazine™ interview with Sherin Pierce, vice president and publisher, The Old Farmer’s Almanac.

Samir Husni: Recently you were featured on Jeopardy and they asked about the little 

yellow magazine that has a punch hole in the corner. Your magazine, The Old Farmer’s Almanac is almost two and a half centuries old. Tell me what’s going on; how does it survive all of these years?

Sherin Pierce: Well, I like to say how it’s thrived all these years is simply because I think when the Almanac started, it started with a very clear and simple premise: to always be useful with a pleasant degree of humor.

So it started with that premise, to always be useful with a pleasant degree of humor. And I think the one thing that we’ve always tried to deliver ever since the first publication, the first issue in 1792 is to give people the information they need for their daily lives, which was very simple when it first started. The nation was an agrarian nation, and so it talked about the seasons, the calendar, the heavens, any other information that was pertinent, the holidays, the coach roots, everything that was important to people at that time. 

And that’s what the Almanac has continued to do through the centuries, 232 years of continuous publication. It has always looked to see what do people need within the purview of what the almanac provides. We’re very clear about what we provide to our readers. We don’t stray in different directions, we talk about astronomy, the weather, gardening and other things such as food, home remedies, things that are useful to people’s lives. 

We talk about the sunrise and the sunset; how to read the planets, things that yes, are available in many other mediums or in many other ways, but we put them together; we curate them; we fact check; we make sure that we fulfill what our readers expect from us year after year and also give them a little more. The expectations and the surprises are what keep the Almanac front and center and beloved because it fulfills its mission, hopefully, every single year.

Samir Husni: With all the changes that are taking place in society, somehow the Old Farmer’s Almanac has stayed true to its focus. It did not cover COVID: it did not cover the pandemic at all; it didn’t cover any civil war either. So tell me how important is it for a magazine publisher to stay true to the concept and not change with the wind?

Sherin Pierce: I think being authentic, being real, and understanding what your mission is and what people expect from you year after year, is absolutely the North Star for us. There are times, especially when people are faced with a pandemic such as COVID or faced with recession or inflation, they turn to things that are simpler and things that will help them in their daily lives. 

Gardening was huge during COVID. And for us, people came to the magazine wanting to know how to garden. They wanted the most basic advice about how to grow vegetables; how to understand what they should do to fulfill this urge and need to garden and to understand that. 

I think authenticity, building your credibility, and building people’s trust is very important, because that’s how they come back to you year after year in print, and in any way they can access the Almanac. They come back to you because you are curating the best advice and giving that to people. Trust and credibility you have to earn, it’s not something you demand, you earn it. 

Samir Husni: Through the years you’ve had so many competitors, but you’ve managed to grow and grow. How big is this small publication?

Sherin Pierce: Well, first of all, the Old Farmer’s Almanac is our trademark name, as opposed to Farmer’s Almanac, which is a generic term for any farmer’s almanac. And there have been plenty of people who, when you’re the number one in the field, you have a lot of imitators. 

And they say imitation is the sincerest form of flattery, but only if the imitators are good.

I think people have been distracted and picked up and imitated. Again, it goes back to the quality of the information. The care and the quality of what we are gathering together for our readers is really important. And once you see what ours is, as opposed to what the other farmer’s almanacs have been trying to offer, I think people realize that you can’t rest on your laurels and say, well, I’m the oldest, therefore, I’m the best. The competition is fierce and you have to prove it year after year. You go back every single year and prove it. 

And not just the Almanac itself. In every publication we do with the name The Old Farmer’s Almanac, we pay so much attention and care to what we are putting out there for our readers. They get the experience of the Almanac in various forms, through calendars, through our gardening books, they get that whole experience, which is what our competitors haven’t been able to do. 

So as long as we’re able to keep the Mother publication, The Old Farmer’s Almanac, really vibrant and robust, useful and forward-looking, we’re good. We want backward-looking only with respect to the tradition. We want to be in the present and in the future, forward-looking because that’s how we want to take our readers with us to give them the best advice along this journey. Forward.

Samir Husni: And in a day and age where we are seeing circulations shrinking. what’s the circulation of The Old Farmer’s Almanac?

Sherin Pierce: We distribute 2.5 million copies. We have four different editions: a mass market edition, newsstand edition and two bookstore editions, with a hardcover as well. And why we’ve done this is because we want to make sure that all the different editions serve our multiple channels of distribution. 

We also want to make sure that it’s not just retail distribution that we have all our focus on. We have subscription programs as well with the hardcover edition and reprints of the 100 and 200th anniversary edition. As a publication that has an archive that you can pull on and draw on, you can offer these special type of programs within The Old Farmer’s Almanac. We also have the Almanacs in a gardening club and an almanac club. So we’ve tried to find different ways of producing the Almanac. In total, with all the different editions, we’re 2.5 million copies.

Samir Husni: I think one of the reasons for your success and longevity is that consistency in the mission and in the concept. You don’t have a revolving door for editors. You don’t change editors every month. For the last 232 years, you have had twelve editors?

Sherin Pierce: We’ve had 13 editors and our 13th editor is retiring after close to 23 years. We’ve just hired the 14th editor in our Almanac’s history. It really builds the consistency of the product and the voice. People have time to hone what the message should be. We don’t have a revolving door. But to that point, there’s been 13 editors, but 23 publishers. The publishers always get fired. (Laughs)

Samir Husni: Is your job as publisher of The Old Farmer’s Almanac a walk in a rose garden?

Sherin Pierce: Oh no, not at all. It’s a walk in the field; it’s a walk in the woods; it’s a walk in deer-filled gardens and vegetable gardens, in shrubs and fruit trees. I think we would have been remiss if years ago we had said we’re going to just stick to print and not bother with the other mediums. But the group publisher in 1996 said we had to go on the Internet. We had to have our own website: almanac.com. We started that in 1996 and it really taught us a lot. We didn’t take the whole Almanac and put it on the website. Almanac.com gave us an opportunity, 24/7, to talk about all the various elements in the Almanac that you can’t cover in print and update because it’s an annual publication. 

We could update that personally. We could give you your weather forecast based on your zip code. And we could do a lot of other things that you can’t do in print. So we found ways to pull people into The Old Farmer’s Almanac. The website sent people to print and print also promoted the website. They worked together, hand in glove, in tandem. Really enhancing one another. 

Also on the website and through our email newsletters, we could talk to our customers and readers every single day. So that became important again because they had ways to reach out to us and to talk to us through feedback. 

Social media just accelerated that or accentuated that more through Facebook. We have close to 1.7 million social media followers, Instagram and Pinterest too of course. What we do is make sure that people have access to us online in social media. But we also bring them back to our print products. 

So everything we do, whether it’s our Veggie Gardener’s Handbook, which is a bestseller and Amazon’s number one vegetable gardening handbook,  everything we do we’re able to cross promote and cross pollinate the information so that in our world all boats rise when you talk about everything. It’s not just we’re going to abandon print because print is dead as they said 15 years ago. Everything’s going to be on EPUB. When we have the Almanac as a Kindle publication or an iPad or Nook, we have that for people who want to access us that way. 

But we really believe that in the end you need to give your customers a choice of how they want to find you. And many of them want print. Our customers want the print product and we offer them four different versions of that. 

So we’ve had to listen and adapt and continually change some error to be a relevant part of the marketplace. And that’s what we’ve had to do as a small company with our limited resources, we’ve had to really be flexible and nimble and keep adapting.

Samir Husni: Being flexible is one issue you’re dealing with, but what are some of the major challenges you’re facing today?

Sherin Pierce: One of the biggest challenges we’ve had has been in retail. In one part of our retail presence we have our bookstore edition, which has been doing tremendously well, both in stores and on Amazon. We have our own direct distribution to Tractor Supply and to Ace and to the nontraditional bookstore accounts. Again the Almanac, being the type of product that can transfer different types of retail has done very well there. 

And I’m really thankful for that because the newsstand as you know, of which we’ve always been a huge supporter and part of, has really presented a lot of challenges and a lot of increased expenses in terms of distribution costs, which every publisher is facing, every publisher. And we’ve all had to in the face of the supply issues. distribution cost, distribution to the store’s cost, and then the wholesaler distribution cost. Being constantly asked about increasing a discount.  All these things, we’ve had to face all of that and figure out how do we fit in this newsstand marketplace where these huge wholesaler groups that are controlling our destiny.

For us, it’s been a huge curve over the last year that’s been the challenge that everybody’s facing. We’ve had to really review all our print orders and floor display programs. We don’t sell a single display for the Almanac without another product being in it. There’s always going to be an Almanac for kids or a calendar to help us offset and increase our sales so we can face some of these increased expenses. We’ve had to make those changes as well and push back and say no, this is as much as we’re going to be able to do. and this is the type of configuration we’re going to sell And that’s been our challenge. 

And despite the merchandising problems that everybody experienced last year, the Almanac sales on the newsstand have been down 4 percent. But without those merchandising problems 

we would have equaled or exceeded our 2022 numbers. So I’m really hopeful about 2024. Merchandising should hold. These are things beyond our purview, but last year that was a double whammy, the logistics fees and the merchandising problems. But we are able to still make our way through. We don’t want a repeat of that, at least the merchandising problems. And that’s the challenge. 

So my advice always is make sure you have diverse channels of distribution so you’re not dependent on anyone for your success in distribution. That’s really important. And that’s really helped us.

Samir Husni: People keep on saying that only old people now care for print or look for print. Yet you have The Old Farmer’s Almanac for kids. Are all your readers mostly older? 

Sherin Pierce: No, it’s been surprising what readers have come to us for. I think the younger generation, many folks grew up without getting advice on most basic things in life. Look up at the sky, look at the planets. what are the signs of nature? How do you start a little garden? How do you do a container garden? 

All these most basic things have not been passed down recently. It’s like saying, well my grandfather taught me this.  Everyone’s been so busy. And life has been so challenging and evolving, constantly on the move. 

People haven’t had time to really master the basics and some of the basics that we can teach really well, they come to us for through online, through social media. People have come back to print. Proof is in the pudding. The veggie gardener’s handbook, which is a book, is now in its 6th printing. Over three years we’ve printed 250,000 copies and when you read the comments of people who are buying it, so many are like I was looking for basic information to teach and guide me as to how to do something. And this explains everything so clearly. I can follow it and it gives me confidence to do what I need to do. 

And that’s what has been amazing. It’s young families, people starting out. They care about the environment. They care about sustainability. They want to know what kind of food they’re feeding their families. You have something within your control. You can do that. We can help you do that. 

Reading, now that you get feedback very quickly through your social media, on almanac.com. I read the comments on Amazon all the time to see what people are saying when they’re reviewing the books. There’s so many ways people get back to. You know that the demographic that’s reading The Old Farmer’s Almanac is far younger than one would imagine it to be. And we are guiding another generation and saying, there are ways to do things. You don’t always have to have the biggest and the best. Sometimes you start small, you have success and you grow.

Your first little success grows into something bigger. But it’s a confidence in the advice and the truth. What people are looking for.

Samir Husni: And you said 250,000, right? 250,000 of the Veggie Garden Vegetable Gardener’s Handbook has been in print?

Sherin Pierce: Yes, and for a gardening book  that’s a lot. We printed six times. It’s a gardening book, but it came out at the time when COVID stuck in people at home, and they wanted something. 

So we’ve already licensed the Veggie Gardener’s Handbook to a publisher in New Zealand. And that’s our first foreign license. And now I got an inquiry to license it to a publisher in Italy as well. It’s just a common theme: how to grow vegetables? What are the pests? What are the things about the soil?  You start with soil. That’s the most important thing. We have places where you can make notes and you can journal in the book. So it becomes a very interactive book in print. People have a level of comfort. How do you do companion planting; it’s all  there. 

Samir Husni: Before I ask you my typical last question, is there anything else you would like to add?

Sherin Pierce: I think the Almanac is always a surprise. And when people read it, they always say they grew up with it, they always saw it in their grandparents house, or on the farm of a relative or something. And I always urge people to pick it up again for the first time. Remember. McCall’s ad campaign, read it again for the first time, it’s the same thing. 

People think they know it, but when they actually settle down with it and can read it in small chunks, they don’t have to read it in this one big binge, they’ll find that it is always so useful. It’s going to guide you in your life. It’s going to tell you; it’s going to give you that reassurance that every year, every day, the sun is going to rise, and the sun is going to set. And you’re  going to know that every single day. 

The seasons, you’re going to have four seasons. And no matter what happens, there’s a certain continuity to life. And that’s what the Almanac gives you. It gives you that optimism and that hope that you can get through anything. And I hope in each of our publications, our voice, and how we present the product, good value is what you’ll see running through each of the publications.

Samir Husni: My typical last question, what keeps you up at night? 

Sherin Pierce: I think what keeps me up is that I would hope our distribution channels realize that it’s really a partnership. And that all of us have a responsibility of making sure that our publications reach our audience. 

As it gets harder and harder, we have to understand that we’re in this together. And that each of us has a responsibility of making sure we deliver the products to our readers. When we make it accessible to our readers, when we make it plain to them why magazines are important, I think the readers respond really well. 

But in these times when there’s a lot of trouble, when everyone’s faced with all the challenges, we need for everyone to understand that we have to work together. And it’s not a combative thing. It’s like understanding all the pressures that all of us have. But we have to work together to ensure that magazines stay a relevant and significant part of people’s lives. 

That’s what worries me, but that’s why on the Almanac we found different ways of making sure that people find that little Yellow Book. (Laughs) That they can find it and can look at it and refer to it throughout the year.

Samir Husni: Thank you. 

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Steve Tarter Of Read Beat (… And Repeat) Podcast Interviews Samir “Mr. Magazine™” Husni

May 20, 2023

I recently was heard on Steve Tarter’s podcast, Read Beat (… and Repeat). What follows is what Steve wrote followed by the link to the podcast. Hope you will enjoy and thank you Steve Tarter:

Show Notes

Samir Husni has the distinction of being known as “Mr. Magazine,” a title bestowed on him by a grateful student in 1986. Having made magazines his focus as a professor at the University of Mississippi for 37 years before retiring last year, Husni is now the founder and director of the Magazine Media Center.
Husni told Steve Tarter that he picked up his love for magazines in his native Lebanon as a child, developing a love for publications involving ink and paper that has never wavered.
Husni recently donated his extensive collection of magazines–two truckloads worth–to his alma mater, the University of Missouri where they will be stored and maintained to serve students and those with an interest in media, he said.
Magazines, like newspapers, have gone through numerous changes in the digital age, said Husni. Consolidation of the companies that publish magazines has resulted in fewer titles coming to press, he noted.
While 535 new magazines hit the market in 1996, only 74 new titles appeared in 2022, noted Husni, pointing out that newsstands are also disappearing from the American scene.
Husni wrote the obit for the old-fashioned newsstand in 2014. That was the place that usually sold tobacco products along with magazines and newspapers. At that time he pointed to the new newsstands springing up in groceries and bookstores.
Now those outlets are shrinking while the average price of an individual magazine (now at $11) continues to climb, he said.
While the pandemic wiped out reading material in waiting rooms and airline magazines, subscription sales for a number of periodicals went up during that time, he said. 
One of the trends in magazine publishing today is the bookazine, said Husni. “This is a book made to look like a magazine,” he said. Subjects are chosen to grab public interest. It might be the Titanic or a rock group like Journey, anything  that people might be willing to spend $14.99 on, Husni added.

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