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This is a good question that requires a rather in-depth answer. Ok, I'll cut to the chase. Magazine ad rates are based on a concept known as CPM or Cost Per Thousands. You might be wondering, why the ‘M’ and not a ‘T’? Well, the ‘M’ is in reference to the Roman numeral M which is 1,000. You will also come into contact with this ‘M’ when you receive an offset press printer’s quote for your magazine. You will see somewhere near the bottom: "Addl M’s" or Additional Thousands. This is in regard to the cost for printing an additional thousand magazines over your quoted print run. When you’re creating your ad rates, you want to consider the CPM which is the cost associated with reaching a thousand readers. Now, this is not an exact science but you will find, once you’ve analyzed media kits from possible competition, that the average CPM for many consumer magazines teeters around $100 but it can vary widely predicated upon a magazine's total circulation, market, influence, competitors, etc. What does this mean? Let’s say that you have a magazine circulation of 15,000. The open rate, the rate that an advertiser would pay for just one ad placement in one issue of your magazine, for a single page 4 color ad would be $1,500 dollars (100 X 15). Do you follow me? This is just a general example but the CPM can vary greatly between similar magazines based upon the demographic they serve, if it’s a niche market, value added offers, etc. I highly recommend that you get at least 10 different media kits from publications that are similar in scope to your magazine. Another factor to take into consideration will be your CPI or Cost Per Issue. The CPI is all the costs that are directly associated with the production of each copy of your magazine. Essentially, it is the net cost for each copy of your magazine; not the cover price! What do I mean? Well, let’s take this general example of some costs associated with producing each issue of a 32 page magazine with a print run of 15,000: 1) Graphic Artist: $1,200 2) Stock Photography: $350 3) Freelance Articles: $250 4) Misc. Expenses: $300 5) Offset Printing: $10,000 Total: $12,100 Now, let’s take this number and divide it by the print run: 15,000. When we do this, you will get this number: 80.666. Thus, the CPI is 80.6 cents. So, the net per copy is just under 81 cents. You can further divide this number by 32, the total number of pages, and you'll get 2.53 or just over 2.5 cents per page. This will give you a better picture of possible profit margins per page, per copy and per issue of your magazine. You will have to take into account all these factors when determining your ad rates per dimensions and page. This, of course, is just a rough sketch, if you will, but the CPI will be instrumental in not only determining your ad rates but also your cover price and is an obligatory component of your business plan!! #Magazines, #US Magazines, #Start a Magazine, #Magazine Startup, #Launch a Magazine, #Love magazine, #Design magazine, #Interior design magazine, #Fashion magazine, #Inspiration magazine, #Style magazine, #Art magazine, #Small business magazine, #Motivation magazine, #Foodie magazine, #Home decor magazine, #Travel magazine, #Photography magazine, #Beauty magazine, #Food magazine, #Real estate magazine, #Wellness magazine, #Fitness magazine, #Lifestyle magazine, #Home magazine, #Architecture magazine, #Skincare magazine, #Luxury magazine, #Entrepreneur magazine

Though there will be plenty of people who may disagree, the answer to your question is a resounding no! I’m assuming that your question is in reference to print magazines. Print magazines are still a very viable way for a business to promote its services and to reach its targeted demographic. With that said, however, the business that desires to place an ad in a print magazine should, as a prerequisite, possess the following two things: 1) have a solid consumer profile of the business’ consumer base and 2) have a media kit of the magazine in which the ad will be placed. I have answered a question similar to this one previously. The question was: “Where is the best location to place an ad in a newspaper?” Since there is considerable overlap, I will just post my response again. Well the short answer is, it depends on what you are trying to sell! Newspapers, like magazines, have various sections, departments and columns that appear in each issue of the paper. They are usually static. By this I mean they appear in the same place (page location) in each issue of the newspaper. Many advertisers often request “special placement” when reserving an ad space. Special placement is when an advertiser requests to be next to or near a particular section, department, or column in a newspaper. For example, let’s say that one newspaper section is called “Computer World.” As its name implies, this section does product reviews on the latest home and laptop computers. This section may fall under the department “Inside Tech,” which looks at all things related to technology of which home and laptop computers are a subset. Lastly, there may be a column called “Tech Reviews,” in which the columnist provides reviews on various technological gadgets on the market. Now, let’s say that you are trying to sell computer flash drives and external hard drives. Your first step, of course, will be to determine your consumer demographic. It is your responsibility to obtain as much information as possible in regard to your consumers as this will ultimately determine the type of newspapers you should target with your ad. Once you have obtained specific metrics; i.e gender, age, race/ethnicity, individual income, household income, educational attainment, geographic region, etc. to develop a very specific consumer profile, you can then contact newspapers whose circulations coincide with the demographic profile and geographic region of your consumers. You will want to contact these newspapers to request a media kit. Most newspapers and magazines have online media kits in PDF that can easily be downloaded from their websites. It will be incumbent upon you to analyze the various newspaper media kits in order to ascertain which ones make the best media buy. Essentially, you want to see evidence that the demographics of the newspaper’s readers overlap with your consumer base. If there is a good match then this newspaper(s) will provide you with the best ROI (Return on Investment) and that is what advertising is all about. So, since you sell computer flash drives, you will want to make sure that your ad is in the part of the newspaper where people who may be interested in your product will see it. This is where special placement comes into play. Essentially, you will submit a request to the newspaper to have your ad next to one of the sections, departments or columns that deal with computers or technology. Thus, you may want to request an ad placement next to the section Computer World, since this section deals specifically with home and laptop computers. Special placement increases the probability that the newspaper’s readers who are interested in all things computers will most likely see and/or take an interest in your ad. Requesting special placement usually incurs an additional charge that will vary depending upon the size of the ad, word count, and the particular section and/or department; especially as it relates to the location of the section and/or department in the newspaper.

This is an excellent question that is confusing for a lot of people. Briefly, the circulation is the total number of magazines that is sent out (distributed) to a given demographic. Although a publisher may print 25,000 magazines, for example, the actual total qualified circulation may only be 20,000. Perhaps 5,000 magazines may be utilized for other purposes; such as expos, special events, promotions, etc. Readership, which is also referred to as the “audience,” is in reference to how many people actually read the total number of magazines that is circulated. One can not presuppose that just because 20,000 magazines are circulated, this must be indicative of a readership of at least 20,000. The actual readership has to be ascertained via surveys on the demographic and one of the most efficient ways of doing this is by having a magazine’s circulation audited by a major auditing bureau. The act of ascertaining a magazine’s readership is a rather nebulous affair that is tantamount to another term that is thrown around by the magazine publishing community in the hopes of influencing potential advertisers: the “pass along rate.” This is the supposed number of times that each copy of a magazine gets “passed along” to another reader.A more accurate picture of a magazine’s readership is painted via the magazine’s circulation and distribution method(s). With this said, however, one should not, of course, confuse a magazine’s print run with its total circulation for the two are not necessarily one in the same. Let’s be clear; “circulation” answers the question: “How many?” and is synonymous with the total number of magazine copies that is made available to the magazine’s demographic via a distribution method. The term “distribution” answers the questions: “Where and How?” and is indicative of the total number of points/locations to which the magazine is sent (and by what means: paid, free, etc..) for the targeted reader demographic. The print run, on the other hand, is simply indicative of the total number of magazines printed per each issue. If, as in Darren’s case with Campus News, the print run is 10,000 copies, that does not tell a potential advertiser how many magazines are actually circulated. Advertisers will calculate a magazine’s “ad rate base;” which is the actual number of magazines that is circulated per issue to the targeted demographic, predicated upon the total number of magazines in the magazine’s circulation mix. What do I mean? Well, let’s look at this terse hypothetical magazine circulation mix example:Print run: 10,000Subscriptions: 2,000Expos & Special Events: 1,500Paid distribution: 6,000Miscellaneous: 500From this example, the ad rate base would be predicated upon the 2,000 subscribers and the 6,000 copies circulated via paid distribution. Ad media buyers would not necessarily be inclined to include the 1,500 copies utilized for Expos and Special Events unless it could be clearly demonstrated that these events are specifically geared towards the magazine’s core reader demographic. The 500 miscellaneous copies would also be excluded. Thus, the ad rate base in this example would be 8,000 magazines. Simply put, the advertising rates for this magazine should be calculated on a CPM (Cost Per Thousands) based upon 8,000 magazines per issue and not 10,000 magazines; the effective print run! It’s worth stating that it is incumbent upon the magazine publisher to specifically state, usually in the Ad Rates section of a magazine’s media kit, what the actual ad rate base is, so that potential advertisers, and especially ad agency media buyers, can compare CPMs of various magazines to ascertain, in conjunction with other analyzed metrics, which magazines offer the best media buy for their clients. To be sure, one way to effectively assuage the trepidation of would be advertisers and ad media buyers is to have a magazine audited by a major auditing bureau such as ABC, BPA Worldwide and VAC. A magazine that has an auditing report from any of these auditors has invested a lot of time, and a considerable amount of money, to assure potential advertisers that their circulation is not based upon fluff but, on the contrary, is indeed quite factual.

Beloved science fiction magazine Omni is rebooting from its reboot. The new, quarterly edition of Omni has quietly launched, after being announced over the summer. It’s the first new print issue since the 1990s, and the second attempt to revive the Omni name, after a confusing legal fight over an unrelated predecessor called Omni Reboot. Like the original Omni, it publishes a mix of fiction and nonfiction futurism: the first issue includes coverage of a space ark project and stories from Nancy Kress, Maureen McHugh, and Rich Larson. Omni is being published by Penthouse Global Media, which returns it to its original home; the magazine was created by Penthouse publishers Bob Guccione and Kathy Keeton, who ran it in print from 1978 to 1995, and online until 1998. Its ownership remained murky until 2013, when a company called Jerrick Media — which had acquired Omni archival material from Guccione’s estate — launched Omni Reboot with writer and musician Claire Evans as its editor-in-chief. Evans left Omni Reboot in 2014, however, and the site drifted for years, dogged by criticism of its treatment of writers. Former (and now current) Omni editor Pamela Weintraub eventually reregistered the magazine’s trademark, and Penthouse sued Jerrick Media for copyright and trademark infringement in a larger battle over the rights to Guccione’s estate. Omni Reboot’s web address now directs to a similar-sounding Jerrick Media venture called Futurism, although Jerrick is still listed as the publisher of Omni back issues for sale on Amazon’s Kindle Store. #OmniMagazine #Sciencemagazine #GlobalMedia #Penthousemagazine #JerrickMedia

For five years, Katie Driscoll of Palos Park, Ill., worked day and night trying to persuade retailers to use more children with disabilities in advertising. She flew all over the country offering photo clinics to parents of children with special needs so they would have images to use while promoting the mission as well. She emailed, called and met with dozens of corporations that told her “no” — which only inspired her to email, call and meet with them again. So this month, when a Facebook friend posted a photo of an advertising banner hanging above the seasonal aisle at Walgreens depicting an 8-year-old girl with Down syndrome holding a fuzzy chick, Driscoll probably shouldn’t have been caught off guard. “Is this Grace?” the Facebook friend asked, referring to Driscoll’s daughter, her youngest child and the inspiration for all her efforts. “I was shocked,” Driscoll recalled. “I definitely did not expect for her to be in such a visible position.” Much has changed since 2012, when Driscoll, 42, launched ChangingtheFaceofBeauty.org from a makeshift photo studio she opened in her suburban Chicago garage. Back then, the stay-at-home mother of six thought she was creating an online gallery of images of children with disabilities — a place where advertisers could see children with special needs and consider casting them in a campaign. But in a few short years, Changing the Face of Beauty has surprised even Driscoll with its success; she’s now bombarded with images and inquiries from around the world. The organization has landed big-name corporate partners, including Matilda Jane Clothing, The Land of Nod and Nordstrom. Driscoll and Grace have been featured on the “Today” show and will appear in an upcoming photo spread in Women’s Health magazine. Editors from American Girl magazine have asked for a meeting. The success mirrors, and is likely one of the reasons for, progress in the way people with disabilities have been represented in the media in recent years, said Gail Williamson, a talent agent at Kazarian/Measures/Ruskin & Associates, one of the few casting agencies in Los Angeles that has a department designated for landing jobs for people with special needs. Williamson represents five of the seven actors with Down syndrome featured on the Emmy Award-winning A&E reality program “Born This Way.” “For 25 years, I’ve been saying there’s a wave coming and we have to be ready to catch it,” Williamson said. “It feels like the wave is starting a little bit.” For the last three years, Williamson has had one or two actors with disabilities called in for auditions each year. This year, nearly 30 have been asked to audition. And there are more shows than ever featuring characters with disabilities: Two shows have characters with autism, two have characters with Down syndrome and two have characters who use wheelchairs, Williamson said. Still, while companies may be showing interest in hiring people with disabilities as actors or to promote their products, another setback still exists: Most talent agencies in Chicago and across the U.S. do not yet choose to represent people with special needs in their portfolios, Williamson said. Some of the lack of inclusion from talent agencies is due to long-standing stereotypes about people with disabilities not being able to perform well. Another reason is that talent agencies may be fearful of offering up a person with disabilities if one is not specifically requested. For her part, Williamson is working to cast people with disabilities in the background of as many scenes as possible. She believes that in doing so, the public will become so accustomed to seeing people with special needs as part of the landscape that they will eventually not do a double take when the same people are seen in main roles. “Baby steps,” Williamson said. “I don’t know if (casting agents) will ever all ask for people with disabilities. But I do think we’ll see more and more roles.” At Changing the Face of Beauty, Driscoll has hired three staff members to help with the many ongoing efforts. In the next six months, the organization is scheduled to hold 10 “head shot clinics” around the country in which parents may pay a small fee to have professional photographs taken of their child with special needs. They are creating the first “stock imagery database” for people with disabilities. The database will allow photographers to showcase photos of people with disabilities and advertisers to purchase the images to promote their products, Driscoll said. And Driscoll is working with representatives from the Chicago-based advertising company Ogilvy & Mather to prepare a presentation for talent agencies that will encourage them to understand the importance of using people with disabilities in their work. “We have to change the business world out there,” Driscoll said. “Because if (people with disabilities) are valued as consumers, then they’ll be valued as potential employees.” With so many ongoing projects to promote using people with disabilities in advertising, Driscoll had papers scattered around her kitchen counter on the day her Facebook friend noticed the photo of Grace hanging at her local drugstore. Walgreens executives have worked for more than a decade to integrate people with disabilities into the organization. Until recently, the bulk of those efforts were focused on creating job opportunities and central roles for people with disabilities at its distribution centers and within stores, said Steve Pemberton, global chief diversity officer for Walgreens. Last fall, the company requested that one of the models for an upcoming photo shoot be a child with disabilities. Amanda Gray, whose company, Amanda Gray Productions, does casting for Walgreens, said she was delighted when she saw the request but had to borrow headshots — provided by Changing the Face of Beauty — from another agency because she didn’t have any of her own. Walgreens advertising officials didn’t know they were choosing Driscoll’s daughter when they selected her for the sign, which is now hanging above the Easter aisle in more than 8,000 stores across the U.S., Pemberton said. “I feel the most powerful message here is perhaps what we are not seeing — this is not in celebration of the Americans with Disabilities Act, it’s simply, “Happy Easter,’” Pemberton said. It’s a message that makes Driscoll very happy. “I wanted to cry,” Driscoll said. “I eat, breathe and sleep this change. So it’s a profound feeling when it’s your own child out there changing the face of beauty.” #kidswithdisabilities #KatieDriscoll #disabilitiesinadvertising #magazineadvertising #MatidaJaneClothing #Walgreens

Teenage girls who dislike the frank sexuality of Cosmopolitan and the left-leaning politics of Teen Vogue but still want a magazine to give them tips on fashion and hairstyles (not to mention advice on abstinence) are in luck. This month Focus on the Family has relaunched Brio, a glossy teen magazine shut down in 2009. The organization’s conservative Christian ethos animates Brio, which its publisher, Bob DeMoss, said has so far attracted over 56,000 subscribers through ads sent directly to Focus supporters. Its goal is to address the topics found in mainstream teen magazines from “a biblical worldview,” Mr. DeMoss said. Focus on the Family has long been known for its opposition to abortion, sex outside of marriage and rights for transgender and gay people, who it has said can “leave” homosexuality or change their gender identity by embracing Jesus Christ. But within the evangelical community, its name is synonymous for many with parenting tips like those found in “Dare to Discipline,” the 1970 book by its founder, James Dobson. “What would the Bible have to say about bullying or peace-making or peer pressure or sexual purity?” Mr. DeMoss said. “Focus on the Family would say and Brio would reflect: ‘Hey, sex was God’s idea so why not follow the game plan that he laid out in the Bible?’ And you’re not going to get that in the pages of ‘Seventeen,’ let’s be clear.” Indeed, a quick flip through back issues of Brio quickly reveals how different it is from other teen magazines, with covers featuring stars like Selena Gomez and breathless updates on Kylie Jenner’s dating life. The only celebrities to grace Brio’s cover are those who espouse the Christian worldview of Focus on the Family, like the 19-year-old “Duck Dynasty” star Sadie Robertson, who appears on its May cover and has marketed a line of “daddy-approved” prom dresses. It has also promoted Christian musicians like Kyle Matthews and urged readers to shun singers like Eminem (a music columnist once advised readers to seek guidance from Philippians 4:8 and 1 Thessalonians 5:21-22 instead). An article in the first issue focuses on Bruno Mars. And while Teen Vogue recently published a guide to gifts you can buy a friend after an abortion, Brio has featured reader testimonials on how to avoid the temptations of premarital sex (“I began struggling to keep my thoughts godly when Satan tried to draw me out of my purity,” wrote Leah, age 16, in 2009.) The magazine’s promotional materials are directed more at adults shopping for young people than at teenagers themselves. That’s because nostalgia is an important ingredient in the magazine’s relaunch, said Susan B. Ridgely, a professor of Religious Studies at the University of Wisconsin-Madison. “Kids who grew up with Candace Cameron are now parents,” she said, referring to the “Full House” star who was the magazine’s March 1992 cover girl. “Just like Netflix is trying to get those viewers with ‘Fuller House,’ Focus on the Family may be trying to get them with the return of Brio.” The magazine had roughly 260,000 subscribers at the end of its 19-year print run in 2009, Mr. DeMoss said, making it one of Focus on the Family’s top-selling publications. The relaunched version is one of five magazines published by the group, which also draws almost 6.3 million listeners a week on over 1,000 American radio stations. Sorcha Brophy, a sociologist at the University of Pittsburgh who grew up reading Brio, said the magazine aims to “normalize being a Christian teen” by telling readers it can be cool to go to church and shun drugs and partying. But she said its emphasis on moral uprightness can also create a lot of pressure. As an example, Ms. Brophy pointed to a feature she encountered during her research: a pop culture quiz that deducted points from a reader’s score for correctly answered questions about mainstream music videos and celebrity gossip. “There’s no suggestion in the magazine that teenagers should completely remove themselves from pop culture and mainstream society, but at the same time there is an expectation of constant vigilance about how you engage with those things and about what you’re consuming and how you’re consuming it,” she said. “A lot of work is expected out of teenage readers.” Ms. Ridgely said the magazine has traditionally “modeled what Focus sees as the right kind of behavior” and avoided mentioning things of which it disapproves. It may be unlikely to mention abortion at all unless it profiled “a young woman with a young baby and everything is going swimmingly,” she said. “With homosexuality, for girls especially, lesbianism almost never comes up in any of their material. Girls aren’t depicted as people with a sex drive. Their whole job is to keep young boys’ sex drive under control.” Mr. DeMoss, a writer and longtime “youth culture specialist” who is vice president for content development at Focus on the Family, agreed that the new incarnation of Brio was unlikely to cover gay or transgender issues, even though they have become far more socially accepted since Brio’s first issue in 1990. For example, he said, Brio probably would not have joined other magazines in profiling the reality star Caitlyn Jenner when she came out as transgender last year. “If those topics ever come up in the pages of Brio they will be handled in a non-shaming, grace-filled, welcoming — and by welcoming I don’t mean ‘hey, we have no standards’ — way,” Mr. DeMoss said. And what are those standards? “We use the Bible as a standard,” he replied, before quickly changing the subject to topics like music reviews and human trafficking. When it was suggested that he was avoiding the topic, Mr. DeMoss laughed and said “we have more than one instrument in the band.” He elaborated, “From what I’ve read, if you take all the transgender, all the L.G.B.T., you know, community and the gender fluid and, you know, that entire population — you’re looking at maybe 3 to 5 percent of the entire population of the United States,” a figure broadly in line with a 2012 Gallup survey. “We would rather communicate to the 95 percent or so who are not dialed into that as a regular kind of thing,” Mr. DeMoss said. The magazine has no digital plans, Mr. DeMoss said, and costs about $20 per year for 10 print issues. The name means “vigor, full of life,” Focus on the Family explains on its site, promising a mix of entertainment and do-it-yourself features along with “exciting, vivacious, faith-based articles” and “more fuel to energize their life.” The first copies should arrive in the mail this week. #Christianmagazine #teengirlsmagazine #Briomagazine #Cosmopolitan #TeenVogue

Winter Mendelson: This issue definitely signifies our evolution in ideology, content, and quality. When Posture launched as a blog in 2013, it was actually a blog for “queer women,” whereas now we take a holistic and inclusive approach to identity. I started to realize the problematic nature with gendered language, but also I think a lot of Posture’s evolution was related to my personal identity. I grew to realize that I was genderqueer/nonbinary (versus lesbian and/or female-identified), and I continued to meet more and more people like me, so I wanted to work on a project that reflected reality as well as what I believe to be the future. Our tagline is “the creative exploration of identity,” and what that means is that we feature creative people whose work addresses what is means to survive, dismantle, and/or succeed in a society that is created for the hetero, cis white male patriarchy. Posture is purposefully inclusive and not focused on particular labels. After putting out two print issues, our network widened a lot, and we were able to work with so many talented people for Issue 03 (The Boss Issue). I have a two-person core creative team comprised of Phil Gomez, our Fashion Art Director, and Asher Torres, our Photo Art Director, and having a talented and dedicated team has impacted the brand significantly. We’re still a small grassroots kind of magazine, but are able to make magic happen with minimal resources. We went from printing 200 copies to being nationally distributed, and I am beyond excited to put important stories and perspectives on bookshelves across the world. Up to this point the print has been the centerpiece of the brand, but we’ve got some big plans for digital as well coming up in 2017. This issue is titled “The Boss Issue” ― what does this mean to you? Why did you choose this theme? I felt like our second print issue, The Ornamentation Issue, was heavily focused on challenges certain communities face and emphasized a lot of negatives. This perspective is crucial and important, but I wanted to create an issue dedicated to people who are working to “succeed” — ie: create personal brands, build companies, become widely known artists, produce massive projects, etc — to show that there are a lot of women of color and queer/trans folks who do wish to “make it” so to speak, on their own terms or within existing industries. On the one hand we have people who rebel against capitalism as much as they can, and some who want to infiltrate problematic systems in order to inspire change. Both goals are valid in my opinion, and The Boss Issue is about celebrating artists, designers, and activists seeking to make global impact. How did you chose the subjects you featured in this issue? Each issue is an organic process when it comes to deciding who will be featured. I sit down with Asher and Phil and we reference our existing database of potential features, and also start adding people that come to mind that would be a perfect fit for our theme. It can take over a month to determine exactly who we want. A lot of the process comes from paying attention to what’s happening in the world and pinpointing exactly who we want to work with. Why are publications like Posture so crucial during times of political and social turmoil like we’re in right now? The first thing that comes to mind is the importance of power and ownership. The majority of global media companies are owned by white hetero cis men, even many sites dedicated to women’s fashion or issues. In my opinion it is extremely important to have companies owned and run by LGBTQIA+ and POC entrepreneurs because that affects everything at the core. Posture is a project of longevity, we don’t exist to be tokenized or to give outlets cool points. This is a matter of basic human rights. It’s about proclaiming to society that we’re not going anywhere and deserve to be recognized for the important and ongoing cultural contributions made throughout history by marginalized communities. Posture is crucial because we represent a demographic who are not only on the forefront of innovation and trend-setting, but are the pioneers of change and revolution. Our content has no filter. We publish important perspectives and projects made by communities who are the most targeted always, but especially during what we’re facing now in the Trump Era. What do you want people to take away from this issue of Posture? I want people to know that we exist to support the people who are not always seen or heard for the right reasons. We’re a community first and foremost and are always open for submissions or collaboration so please reach out to us with any ideas! #QueerCreatives #PostureMagazine #LGBTQ #womensfashion

Well, although the times have changed somewhat, contrary to what you may think, there are still quite a few reputable magazine subscription agencies around. The first place you would want to start is with EBSCO. It's a very reliable MSA that deals with the US Govt, colleges and universities, public and private libraries and even the military. In addition, there are two more that you may want to consider: Magazine Clearing House and Subscription Agency. The links are provided below. EBSCO https://www.ebsco.com/ http://www.myclearinghouse.com/ http://subscriptionagency.com/ #magazines #magazinesubscriptions #EBSCO

The new Oakland publication explores artistry and vulnerability. Mike Nicholls finally created the magazine he's always wanted to read. One of Mike Nicholls' all-time favorite publications is Emigre, a Bay Area graphic design magazine that ceased printing in 2005. A self-described magazine geek, Nicholls loved the fonts as much as the immigrant voices in Emigre, and he never found comparable conversations in another outlet after that. In 2006, living in Philadelphia, Nicholls came up with the idea for Umber. He envisioned it as a printed magazine for designers and other creatives, told from the perspective of people of color. Nicholls always adored magazines. PORT Magazine, Juxtapoz Magazine, and Belle Sf are some of his other favorites, although he grew up snatching his mom's copies of ELLE Magazine. At an early age, he showed a talent for illustration. He'd draw the models from ELLE, only he'd reimagine them as Black women. Lack of representation has long been on his mind. Over the years, Nicholls kept thinking someone would put out a magazine like Umber. He wanted to find a publication that truly spoke to him — something that showcased creative nuance and people of color while also not explicitly drawing attention to their backgrounds. He wanted to read about Black designers like him — not because they were Black, but because they were great designers. High art and design magazines that he otherwise admired rarely seemed to feature people of color. "I felt like this particular kind [of magazine] I wanted wasn't there yet," Nicholls said. "I waited, waited, waited. Nobody does it." He moved to Oakland in 2008. A creative director by trade, he even went as far as mocking up a prototype for Umber five years ago. But with a full-time job and a young son, he never got around to pursuing it further. Then, Donald Trump won the presidential election. "If I'm gonna do something, this is the time to do it," Nicholls said. More than 10 years in the making, the first issue of Umber was finally released this fall. The name refers to a brownish hue, and the entire magazine is printed exclusively in black and brown ink as a nod to its writers and concept. The biannual magazine is 50 pages long and printed on quality paper with a matte finish via Solstice Press in Oakland. The concept, design, illustrations, editing, and some writing was all done by Nicholls. Even though it's full of other voices, Umber is very much a personal work. The cover is a bold, graphic version of one of his dad's paintings, one that Nicholls has kept since his father first gave it to him at age 2. It traveled from New York, where Nicholls was born, to North Carolina, Georgia, Illinois, Pennsylvania, and finally to California. His father wasn't really around when Nicholls was growing up — he stayed in New York, an artist-turned-minister who has recently come back into Nicholls' life. When he started planning the content for Umber, Nicholls quickly realized his dad needed to be the featured artist, that the painting he held onto for so long needed to be its cover art, so that he could move forward. He has spent his whole life comparing himself to his father — they're both artists and even have the same full name — and, thanks to Umber, Nicholls finally feels like that's behind him. "I realized our stories are similar. He didn't grow up with his dad. I didn't grow up with him," he said. "What better way to be vulnerable and give up yourself than talk about the relationship between you and your dad, and lack thereof?" Nicholls asked his dad to contribute a written piece that explicitly discusses their rocky history. It felt appropriate. Nicholls wanted the entire first issue to explore vulnerability as a way for artists to grow. "As an artist, you're always vulnerable," he said. "You want to let people know you do art but you don't want to be criticized or judged, so you just keep it to yourself. ... Even the whole process of making Umber was vulnerable because I was doing everything for the first time." Even though Nicholls has contributed to magazines such as Playboy and Jazz Times, the process of creating, fundraising for, and selling a new publication has been a different challenge. He successfully raised more than $10,000 through a Kickstarter campaign this summer, and now his virtually ad-free magazine can be found in bookstores and museums as far away as the United Kingdom. In Oakland, it's available at Issues Shop, East Bay Booksellers, Owl N Wood, and the Oakland Museum of California's gift shop. Eventually, Nicholls hopes Umber can become his full-time gig. He realizes he'll need to sell more advertisements for the second issue, which he hopes to release in the spring, but he won't sacrifice his design aesthetics for them. Like the magazines Monocle and Lucky Peach, ads will need to look like seamless parts of Umber. He's also imagining online content and videos — any growth that happens organically is good, he said. But there will never be Umber without the print magazine. Nicholls is wholly dedicated to the medium, and always with a matte finish. "I want you to feel the tooth of the paper, like skin," he said. "To experience Umber is to hold it in your hands." #Umbermagazine #MikeNicholls #peopleofcolor #magazinelaunch

I have a 32-page magazine that is a companion to a web site my company just purchased. The production cost is being supported by 4 main advertisers, but there are 12 pages that go unsold each month. There is a lot of opportunity for sales, and I want to make sure that the Ad Rate Sheet I build is optimal. This is a good question that requires a rather in-depth answer. Ok, I'll cut to the chase. Magazine ad rates are based on a concept known as CPM or Cost Per Thousands. You might be wondering, why the ‘M’ and not a ‘T’? Well, the ‘M’ is in reference to the Roman numeral M which is 1,000. You will also come into contact with this ‘M’ when you receive an offset press printer’s quote for your magazine. You will see somewhere near the bottom: "Addl M’s" or Additional Thousands. This is in regard to the cost for printing an additional thousand magazines over your quoted print run. When you’re creating your ad rates, you want to consider the CPM which is the cost associated with reaching a thousand readers. Now, this is not an exact science but you will find, once you’ve analyzed media kits from possible competition, that the average CPM for many consumer magazines teeters around $100 but it can vary widely predicated upon a magazine's total circulation, market, influence, competitors, etc. What does this mean? Let’s say that you have a magazine circulation of 15,000. The open rate, the rate that an advertiser would pay for just one ad placement in one issue of your magazine, for a single page 4 color ad would be $1,500 dollars (100 X 15). Do you follow me? This is just a general example but the CPM can vary greatly between similar magazines based upon the demographic they serve, if it’s a niche market, value added offers, etc. I highly recommend that you get at least 10 different media kits from publications that are similar in scope to your magazine. Another factor to take into consideration will be your CPI or Cost Per Issue. The CPI is all the costs that are directly associated with the production of each copy of your magazine. Essentially, it is the net cost for each copy of your magazine; not the cover price! What do I mean? Well, let’s take this general example of some costs associated with producing each issue of a magazine with a print run of 15,000: 1) Graphic Artist: $1,200 2) Stock Photography: $350 3) Freelance Articles: $250 4) Misc. Expenses: $300 5) Offset Printing: $10,000 Total: $12,100 Now, let’s take this number and divide it by the print run: 15,000. When we do this, you will get this number: 80.666. Thus, the CPI is 80.6 cents. So, the net per copy is just under 81 cents. You can further divide this number by 32 and you'll get 2.53 or just over 2.5 cents per page. This will give you a better picture of possible profit margins per page, per copy and per issue of your magazine. You will have to take into account all these factors when determining your ad rates per dimensions and page. This, of course, is just a rough sketch, if you will, but the CPI will be instrumental in not only determining your ad rates but also your cover price and is an obligatory component of your business plan!! #magazineadvertising #magazineprintads #magazineproductioncosts #magazinecirculation #stockphotography

Whether you desire to write for Scholastic News, Time magazine, O Magazine, Vogue, Cosmopolitan, or any other type of publication, it would behoove you to request at least two items from the magazine for which you intend to write. First, request a copy of the magazine’s latest media kit. This has become fairly easy these days since most magazines keep a copy of their media kit readily available in a PDF which can be downloaded in a matter of seconds. The media kit, if it is done properly, will contain pertinent information related to the magazine’s readership; such as its demographic profile: median age, sex, race, individual income, etc, and, most importantly, an editorial calendar. The editorial calendar will provide a terse overview on all the sections and departments of the magazine and allow you to see in advance the subject matter that will be covered in future issues. This information will be most helpful in allowing you to tailor-make your article pitch to the magazine and present an article idea that will be relevant to the magazine’s readership. The second item that you will need is the magazine’s submission guidelines. The submission guidelines, as its name suggests, are specific guidelines for would be freelance writers who desire to submit articles to the magazine. The submission guidelines will list all the sections, departments, columns, etc. where freelance writers can submit stories. In addition, the submission guidelines will specifically delineate the word count per section and/or department, for feature stories, lead stories, etc. It is also in the magazine submission guidelines that you will find the monetary compensation, if any, that the magazine offers for the type of articles that it publishes. Unlike media kits, the submission guidelines are not as ubiquitous on magazine websites. Some magazines will actually include the submission guidelines in their media kit or provide a section on their website specifically for article submissions. However, it is more common that you will have to contact the magazine to request that a copy of their submission guidelines be sent to your attention. #ScholasticNews, #Magazine media kits, #Time Magazine, #O magazine #submission guidelines, #Magazines, #US Magazines, #Start a Magazine, #Magazine Startup, #Launch a Magazine, #Love magazine, #Design magazine, #Interior design magazine, #Fashion magazine, #Inspiration magazine, #Style magazine, #Art magazine, #Small business magazine, #Motivation magazine, #Foodie magazine, #Home decor magazine, #Travel magazine, #Photography magazine, #Beauty magazine, #Food magazine, #Real estate magazine, #Wellness magazine, #Fitness magazine, #Lifestyle magazine, #Home magazine, #Architecture magazine, #Skincare magazine, #Luxury magazine, #Entrepreneur magazine

Well, for starters, I took the meaning of this question as follows: What is the difference in the kind of advertising that appears in a magazine vs that which appears in a newspaper? First, it’s worth stating that newspapers, in general, tend to have a much broader readership (and diverse demographic) than most consumer magazines. In regard to the kind of ads that appear in magazines vs newspapers, there are some differences. Magazines, especially those with large circulations, tend to focus on corporate accounts; major corporations that produce products that are marketed to a specific consumer demographic. Newspapers, on the other hand, not only have advertisers that are much more diverse, but they also have a greater variety in the type of advertisements that they offer to those who wish to advertise in their publications. Newspapers, like magazines, also have the major corporate accounts. These companies take out what are called “display ads;” these ads usually have artwork/pictures as well as “copy” or text. Another type of ad that is common in newspapers is “classified ads.” I think we’re all pretty familiar with classified ads for services and/or products; especially since this type of ad has migrated very successfully to the internet with sites like Craig’s List and others. Classified ads tend to have more “copy” than pictures and these ads aren’t very common in most magazines. Some magazines will reserve one page or perhaps two in the very back of the magazine dedicated to “junk ads,” as they are commonly called. Classified ads aren’t very lucrative for magazines and they are widely viewed as “cheapening the quality” of the magazine; hence they are put in the very back of the publication. In addition to display and classified ads, a lot of newspapers will also have a business directory section for advertisers where one will find many business card ads. It’s also worth stating that a lot of newspapers will have advertisement inserts or “blow ins;” postcard size to 8 1/2″ X 11″ promotional advertisement material like coupons, etc. While “blow ins’ are also possible in magazines, they tend to be less common and are usually more expensive. Lastly, I would be remiss not to mention that it is also possible to have a magazine inserted into a newspaper! With that said, however, this option is only available in large circulation newspapers that have a significant page count. In addition, the magazine will have to have a low page count; usually 48 pages or fewer and most newspapers will impose a weight restriction and require a mandatory insertion minimum. However, inserting a magazine into a well established newspaper could be an effective way to increase overall advertising revenue by piggybacking off the circulation/readership of the newspaper. #magazineadvertising #newspaperadvertising #magazinecirculation #classifiedads