“A magazine is like having a pet – it’s sad when it dies,” says Paul Harpin and with a career spanning 30
years, it’s inevitable that some publications he has worked on have folded along the way.  Now, as creative director
of Haymarket publishing, he and his team are responsible for 100 magazines – not bad for a boy who grew up in a coal-mining town.

With a portfolio ranging from Eve magazine to the Architectural Press, it’s clear he knows his way around a
double page spread and describes creating a good design as like “doing a painting”.  Not to put those off who are
a little less skilled in graphic design but his Auntie Vera, he says, can do a magazine cover on Microsoft Word. His role as designer is to achieve the level of finish that she cannot.

While some editors can be great designers and vice-versa, Mr Harpin believes it is the partnership between the two that makes a magazine work – a creative left-brain and functional right-brain working together in tandem, despite any tension between the two disciplines.  His advice is to let the creatives “go wild” and do what they do best.  The role of the editor is then to decide what is best for the magazine.

For the journalism students, who do not have access to teams of top designers, Mr Harpin gave 10 tips to help them visually create their magazine.  To begin with, be aware of the magazine’s competition.  Rivals are delivering to your audience at the moment, but could you do it better?  This links well to another point – satisfying your reader’s desire.  Despite always reaching for originality, delivering what the customer wants, says Mr Harpin, is “very often delivering a clichéd thing, especially to the types of people who come to focus groups for a free glass of wine”.  But sometimes a cliché is a necessity.  Stuff magazine, he says, would be lost in the general interest section if it weren’t for the scantily clad woman on the cover.

Ideas are always important because consumers do appreciate innovation, and it adds to the delight and surprise that keeps
people in love with the print product.  Draw to get them down on paper, he says.  Innovating design that strays from your own formula is an important part of pacing he says.

His advice on the general page furniture is simple:  get to know what a font says, not just in the words it is used to write, and throw away crap images.  These, alongside designing a page either on a centralised grid or asymmetrically, contribute to give the  magazine personality, something more permanent than the designs and which permeate further than just the magazine into a
brand.

Maybe most superficially important is the cover principle.  A good cover shot that brings about the four steps to sell (see me, pick me, flick me, buy me, according to Mr Magazines Dr Samir Husni) should define the magazine simply.  Or if lost, Mr Harpin suggests, a good face, some chocolate or a flash car will always do well.

Three BA Journalism students met up again six months after graduating at the PTC’s New Talent awards, where they were all shortlisted for the Most Promising Student of the Year awards.

Stacey Bartlett, Peter Adams and Lindsay Blair enjoyed the black tie event, where it was announced Stacey had won the title.  The judges said she was a hugely capable winner who shows real promise. Well done Stacey!

Magazine guru Nick Brett travelled nearly the length of the country from Folkestone to Preston to give University of Central Lancashire journalism students insights into how magazines work and where the ideas for them come from.

Nick, who is Managing Director Magazines at BBC Worldwide and chair of the Periodicals Training Council, told students how in his 25 years at BBC Magazines he has made over 50 magazines and built up a subscriber database of over 1 million. Nick explained how they built magazines around a community’s interest and that it was essential to leverage them across multiple platforms to achieve their maximum potential.

He said the biggest successes come from understanding the reader. It is also the most important part of the job, knowing what they want, how they want it and why. Most effort goes into the run-up to the creation of a magazine. “There’s shed loads of work before we can even make the cover,” he said outlining the two routes to creating an original concept, thorough data research and simple good old-fashioned inspiration. And continued testing and refining on potential readers are essential to survival. As he said, you should always ask “if you’re doing well, how can you do better?”

Last November BBC Magazines was wound up and its titles either sold or licensed to Immediate Media. Three magazines remain wholly owned by BBC Worldwide – Top Gear, Lonely Planet and Good Food – but are now produced under contract for BBCW by Immediate.

The journalism students found Nick’s prescription for publishing fascinating, explained their own magazine project concepts and grilled him on how they could follow his footsteps into an exciting industry that maps unchartered territory.

Jack Gaughan

Bolton Wanderers may be struggling in the Premier League but Jack Gaughan who’s been reporting on their progress for The Independent newspaper is on fine form.

Jack, a third year third year newspaper journalism student, spent part of his placement on the national daily’s sports desk filing match reports, profiles and backgrounders.

His work earned him plaudits and an invitation to continue contributing to the paper. “Working for The Independent, writing about the sport I love, is a tremendous experience. As a Blackpool FC fan, being sent to cover their game for a national newspaper was something quite special.”

Jack isn’t the only one from the course to experience the pressure of national deadlines.  Jessica Nightingale who was sent to cover the Leveson inquiry into press standards for Press Association gained bylines in the nationals and regionals.

“It was a fantastic experience being at the inquiry and witnessing big breaking stories,” said Jessica.

Others like Tom Murphy gained valuable experience on Trinity Mirror’s Liverpool papers, The Post and Echo. Among Tom’s stories were a piece about controversial artist Banksy and his latest exhibition at the Walker Art Gallery and some more seasonal material.  Advice on picking the perfect Christmas tree.

“I had a great time. There was always something going on and all the journalists were so friendly; if I asked for help they were more than willing to give a newcomer invaluable advice,” said Tom.

“It’s great that our students get such wonderful placements. We really value our links with the industry and the fantastic opportunities on offer,” said course tutor Delwyn Swingewood.
 

Image courtesy of the Guardian

UCLan journalism student Joseph Stashko has won a prestigious Guardian Student Media Award. Joseph, a third year BA Journalism student won Digital Journalist of the Year at the event held in London.

Joseph has been editing the hyperlocal news website Blog Preston since 2010. He was commended by the judges for breaking local news as well as using social media to cover national stories like the London riots.

Joseph said of the award: “The Guardian Student Media Awards are the only consistently prestigious student media awards so it’s really nice to be recognised in some way.

“I was quite surprised that I won but it’s really great both from a career point of view and also just good to get some positive feedback on the work you’ve been doing. I feel really good, and I’m really honoured and happy with the award.”

Asked how his course has helped him develop, Joseph said: “I guess the fact that I’ve been focused on journalism for three years really helps from the perspective of being able to streamline your efforts.

“I think the theoretical aspects that we’re taught that underpin journalism helped most because they help inform what you’re doing and encourage you to look at things in a different way, rather than being entirely focused on the practice of journalism every day.

Blog Preston has received many accolades and awards since being founded by former UCLan student Ed Walker in 2009. It was recognised as Hyperlocal of the Year at the Talk About Local “unconference” in 2011 and received a grant from NESTA to fund its community journalism activities.

Company editor Victoria White gives UCLan students a magazine masterclass

Victoria White talks to students about pitching feature ideas and the future of journalism. Sarah Allen reports

She was the centre of attention. Sitting glamorously with an iPad on her knee, wearing wet-look jeans, a contrasting Victorian-esque cream blouse and Topshop’s best-selling Ambush boots, Company editor Victoria White was surrounded by eager students wanting to share their feature ideas.

The pitching session instantly proved to be a great insight into the style and readership of Company magazine. With a variety of ideas thrown at her, Victoria gave encouraging and honest feedback to all the students, and identified whether each idea would be appropriate for Company readers or better suited to other titles such as Grazia and Red. Receiving comments, good or terribly bad, from an editor as successful as Victoria, seemed like a big step forward and was a great way to put our knowledge into practice.

After the pitching session, Victoria was surprised to find that word had got around fast as she was greeted by journalism and fashion students awaiting her lecture on the future of magazine journalism. As an introduction to the impact of social media, Victoria said hello to the students who had tweeted her before her visit to Uclan. She mentioned that she is regularly stalked on Twitter, often by students asking for work placements – and it was interesting to see a few reddened faces around the room. Her advice to anyone thinking it would be ok to pester their potential future editor? “Make the most of social networking sites, but don’t use it to replace old-fashioned methods of journalism’’ as you should still write a strong covering letter as opposed to simply tweeting an editor for experience.

Victoria was easy to relate to as a guest lecturer, describing her climb to the top and reminding everyone to be enthusiastic and to keep their options open.

Her optimistic view of the future of journalism was inspirational. She talked about brand extensions and said “although magazines are in decline, brands and content are still needed – we are no longer magazines, we are brands’’. Company’s fashion extension the High Street Edit magazine, published twice a year, is a strong example of a developing a reputable brand. Victoria explained that the key to creating a well-established brand is to treat it as a ‘’business, in order to speak to consumers to sell a print product’’.

Looking to the future of her own career, Victoria talked about how she would like to edit a publication similar to Asos magazine. Victoria said, ‘’in the past contract magazines were the sorts of places you would usually want to go to at the end of your career’’, whereas magazines such as Topshop, John Lewis and ASOS are now becoming big business when it comes to knowing what consumers want.

From an editor’s perspective, Victoria seemed positive about the future of Company. She said: ‘’There are so many facets to everything now…we have got to see how the next phase looks’’. And as a final word to the aspiring journalists and fashionistas Victoria said: ‘’The future of magazines is exciting, we’ve gone through the depression but now we are at the really exciting bit.”

Rob Crossan helps UCLan students produce sparkling travel copy

By Richard Grainger

“Show me a city that isn’t bustling and it probably isn’t a city”, says travel writer Rob Crossan, addressing a large audience of UCLan journalism students.

Rob’s link with UCLan is a post-graduate course in Broadcast Journalism that followed a “totally useless degree” elsewhere. But it was an extended trip to South Africa – Rob’s favourite travel destination – that launched his career in journalism.

After a spell as a stand-up comic, he landed a job with the South African version of FHM and, following his return to the UK, got an editorial post with Front magazine.

Approaching 30, Rob decided that after four years as senior features writer it was almost time to broaden his experience and, five years on, Rob has established himself as a successful freelancer specialising in travel writing.

Starting out was hard, and Rob had to supplement his freelance commissions with voice-overs and subbing shifts for daily newspapers to afford to live in London.

Now, Rob’s features appear in the Daily Mail, Daily Telegraph, Daily Express, Times, Sunday Times Travel magazine and BA High Life. However, he hasn’t quite kicked the “lads’ mag” habit. His work still regularly appears in Zoo and Real Life and he has even had a feature on sexual relationships – from the male point of view – published in Cosmopolitan.

Rob’s natural exuberance and Cockney self-confidence have undoubtedly helped him to thrive in a cut-throat industry in difficult times: “It’s easily possible to survive as a freelance”, he says, “there are so many people out there doing it badly. But diversify – don’t narrow yourself purely as a travel writer.”

When it comes to getting started, Rob advises “do your homework” by reading the magazine, noting the style and length of features. It’s also vital to get your first approach right, with a phone call to the relevant section editor or the assistant editor which should be the hopeful freelancer’s first point of contact.

When it comes to pitching your idea, Rob’s advice is to keep it to one paragraph that “tightly tells the story”. Scrap formality and start with the most exciting part of the trip. Check your spelling and grammar and avoid clichés such as “land of contrasts” or “something for everyone”.

Qualifications are largely irrelevant to an editor, he says: “This is still a meritocracy. ”

Editors want to see that you’ve nurtured ideas for them. Look for something you can take an angle on and try to develop seven or eight totally different angles on one country or region, so that you can approach different publications with a unique piece.

So you’ve been given a commission, now for some free travel you’re thinking?

This is the rub: it doesn’t work like that, says Rob. Commissioning editors will almost never pay your expenses. So unless you have deep pockets, you will need to find a generous benefactor – such as the PR department of airlines and travel PRs, or go through the country’s tourist board. But it’s easier to get help if you have a commission with the Sunday Times, say, than with a small magazine.

Two questions stood out in the question-and-answer session that followed Rob’s talk.

First, how impartial and objective can you be as a travel writer if the country or region you are going to write about is funding your trip?

Err…not very, is Rob’s answer. Maybe if you are accommodated in a really squalid hotel, you could point it out, and sometimes they will even thank you for your comment. Aside from that, it’s clear from Rob that to get on as a travel writer involves a good deal of mutual back scratching.

To justify a complementary airline seat, you will be expected to credit them with how you got there. Ditto for hotels, resorts, restaurants that feed you, tuk-tuk drivers, and so the list goes on. Follow this link Rob’s to recent feature on the new Florida LEGOLAND and you will get the idea:

http://tripideas.co.uk/posts/view/6555.

The second key question was: how much will you get paid? From around £130 in a small magazine to upwards of £750 for a feature in one of the nationals is the answer. Not much – especially if you end up having to fund all or part of it yourself!

And finally …“Read!” says Rob, “You must be a voracious reader – a literary glutton, anything from Hunter S. Thompson to George Orwell.”

An impressive bibliography that but then, pardon the clichés, Rob’s back catalogue is a “land of contrasts” and even a bit of “something for everyone.”

UCLan Sports Journalism students at the BBC, Media City

A group of twenty Sports Journalism students from the University of Central Lancashire headed to Salford for a visit to BBC TV at Media City. The event was organised by the team behind Sports Personality of the Year, or SPOTY as it is known by the insiders, and gave students the chance to see what goes on behind the scenes of one of the biggest BBC sports shows.

The day started with a talk from BBC Sport Outreach Manager Shelley Alexander while clips from last year’s Sports Personality programme were shown on televisions around the room. Next up on the schedule were talks
from SPOTY editor Carl Doran and producer John Nicholson who briefed students on their roles within the show, how both go about their jobs and where they started when getting into the industry. Attendees were given the opportunity to
hear how the ideas for the show came about and how they are developed by the team. A VT was played which had been shown on last year’s SPOTY as John Nicholson explained how the idea started, was developed and how it was received
by the public as well as the national media.

Then students were split into four groups to work with various members of the SPOTY team, Assistant Producer Gabby Cook, Producer John Nicholson, Assistant Editor Steve Lyle and Marc Vesty of SPOTY online. These group sessions were a great chance for students to pitch ideas to the organisers well as gaining invaluable advice and feedback.

Another interesting part of the day was a talk by Matt Visser and Nadia Haif who studied Film and Media and Broadcast Journalism respectively and now both hold successful jobs with the BBC at Media City. Both Matt and
Nadia told students how they got their jobs and gave tips for getting jobs in the future.

Finally, Shelley Alexander gave details of exclusive placement opportunities which give students the chance to work on Sports Personality of the Year itself as well as joining the BBC Celebrate Sport team.

The event gave students a great insight into the world of sports television production and how to get noticed for work within the BBC. UCLan student Hannah Whiteman-Turl said that the visit was “definitely a valuable experience” and
added: “Being able to see how real journalists put together television packages allows me to understand what it would be like to work for such a huge organisation and it has been amazing to see the state of the art facilities on offer at Media City.”

Somebody bravely ventures that the back cover is an advert for face cream, but Tom draws the similarity between this commercial advert and the cover of a magazine.  The cover is an advert for the content inside.  It needs to sell itself or no one will pick it off the shelf.

Tom says there are two types of cover.  The first an image drawn from a feature in the magazine and the second a concept cover, a specially commissioned image to reflect the magazine’s content.  It’s fair to say he is a master of the latter.

His tip for the concept cover is to avoid formulaic designs.  A typical lads’ or glossy mag will always have a cover in a similar style, but he believes that the magazine’s cover content should have the impact of a poster, with its logo or name working as a symbol to identify it.

As an example, Tom shows the room his work on New Scientist.  When he was first hired to transform its image, the magazine’s cover was dull, often without images and more like a contents page than an advert for the magazine.  He thought this did not reflect the content, which was really readable by the majority of people, not just scientists.

New Scientist had a high subscriber rate already, so what Tom aimed for was sales off the shelf,  from each other, varying from illustrations by Peter Brookes (now cartoonist for The Times) and Mick Brownfield  and to models made by the team behind Spitting Image, but all unified under the title of New Scientist.

Creating the cover, Tom says, is not an individual task.  It is a team exercise, one that is contributed to by illustrators, model makers, stylists, photographers – in fact anyone at all involved in the process.  What an art director like himself wants is problem solvers.  He wants people who can offer solutions, not just through technical knowledge, but in terms of creativity and ideas.

However, Tom believes one thing has changed in the industry. He says: “Computers have taken a lot of fun out of our job.”  Indeed many of his anecdotes would not have been had he had a copy of Photoshop.  He remembers trying to create an image of a briefcase in a lifebelt for the budget report issue of Now! magazine.  It had to be shot in a studio, so first that required hiring a huge tank of water.  Then they realised the water would be transparent, unlike the sea.  A studio hand who suggested washing up liquid to cloud the water was subsequently sent out for gallons of the stuff.  But the water was then covered with bubbles, so they had to hire a massive fan to blow them away before they could take the shot.

All of this could have been handled in one click nowadays, however it’s not just ease that can be  a restricting factor.  Hiring all that equipment cost money and when something can be done on a computer,  the accountants will question how you achieve a certain effect says Tom.  “Nowadays creativity often has to overcome smaller editorial budgets as well  as a lack of time,” he concludes. That is the new challenge for an art director.

The Periodicals Training Council annual Magazine Academy is as ferocious, and as career-enhancing, as the movie industry’s Oscars with top quality original magazines and websites  from the UK’s 18 “gold standard” magazine courses competing for three awards.

UCLan postgraduate Mike Moran fought off stiff competition to secure Highly Commended in the Original Concept category for his new breed of gamers’ magazine Pixels which was acclaimed as being of “incredible quality” and a research opportunity with growth.  Sheffield won the category with “superb” Bollywood First Take.

It was a good night for Sheffield who also won the New Student Magazine category with Poppy!,  a magazine for Services’ wives and girlfriends. It was also an interesting choice as UCLan’s army wags’ mag Homefront had been shortlisted at the 08 PTC awards. UCLan won this award for the first time last year for children’s cookery magazine Munchkin.

The big surprise of the night was, however, for UCLan. In the original published shortlist, the PTC had identified just one candidate for the New Digital Concept category .

Lauren O’Callaghan, Sarah Jordan, PTC panel member Mel Nichols of Haymarket, Olivia Pinnock, Stacey Bartlett, Peter Adams and Michael Moran at the 2011 PTC awards

At the event, however, it became a roll call for UCLan’s entries with Inkorporate (an undergraduate  business magazine for tattooists), Outbound (another undergraduate business magazine but for outdoor adventure instructors), Rogue (a postgraduate consumer magazine for teenage girls) and The Arcade (and undergraduate consumer magazine for 8-12-year-old gamers) named in blinding succession – much to the absolute astonishment of those of the editorial teams who were there to support UCLan and Mike Moran. The winning concept was, however, as indicated a professional piece of work: a commercial website called Festival Business set up by non-academic PMA Training.

Delighted course leader Catherine Darby said: “I am full of praise for our teams as they really dominated the digital category even if it was a pity they hadn’t been name checked in the preceding publicity.  They should now add that their original website has been shortlisted by the PTC to their CVs. It will impress digital-hungry employers!”

She added: “Many congratulations to all for a tremendous performance and to my colleague Amy at the digital helm. It confirms and maintains Preston as a leader of magazine training in the world’s best magazine industry.

Senior lecturer Amy Binns said: “It really doesn’t surprise me that UCLan students dominated the digital concept category. I’m always impressed by the way they throw heart and soul into their projects, and the fantastic results they end up with.

“At UCLan we put a great deal of stress on digital journalism, not just on the technical skills but on using the platform intelligently. I do think we are streets ahead of other comparable courses and this shortlist proves it for the second year running.

“Of course, it’s not just about awards. These students will be able to show their websites as proof of their abilities in the competition that really matters: the job market. I can’t wait to see what they’ll achieve over the next few years.

JOMEC division leader Julie Freer said: “Congratulations to Cathy, Amy and everyone involved in this and, of course, to the students for all their hard work.”