Author: Gareth Jones

The spring issue will reveal a bigger and bolder look for the title in response to an increased demand for short stories among readers.

Sales of short story collections rose 45 per cent last year. More than 690,000 short stories and anthologies were sold in the UK in 2017, making these the highest sales since 2010.

The short story “Cat Person”, written by Kristen Roupenian and published in The New Yorker in December 2017, quickly became one of the most read stories on the site.

Popshot ‘s Editors selected 25 stories and poems from more than 800 submissions worldwide.

The Romance Issue offers a punchy look at a topical theme, calling for a Romance Renaissance. Laura Silverman, Editor of Popshot, said: “In the age of Weinstein and Tinder, romance is having a rough ride. We’re calling for its comeback. Our bright and bold issue conjures up a sense of yearning, promise and excitement.

“The flood of interest in romance during a tumultuous time shows a real and sustained desire for connection, passion and tenderness. When can a man approach a woman? Are apps a waste of time? Are all relationships doomed to fail? Without romance, the world would be a poorer, lonelier place.”

Issue 19 includes stories and poems about first love and secret affairs, deep longing and desperate heartbreak. It references all aspects of history and culture – from Tinder to Julius Caesar.

It also features an exclusive preview from Bad Romance, a new short story collection by Emily Hill, published by Unbound.

The birds of paradise cover was designed by illustrator Matt Harrison Clough.

Popshot is an illustrated magazine that publishes short stories, flash fiction and poetry from new literary talent. It has been released twice a year since 2009, but it will now be published quarterly to meet the rise in demand for short stories.

The Chelsea Magazine Company is a boutique publisher based on the King’s Road in Chelsea. It produces content for 17 special interest brands that are published in print and on multiple online platforms.

Now in its seventh year, the luxury bridal show is an event that brings the stylish content of Brides magazine alive for a weekend of wedding planning.

All things bridal will be showcased – from wedding gown designers, to florists, venues and photographers.

Simon Leadsford, Publishing Director of Condé Nast Britain’s Brides, commented: “We’re delighted to be working with the team at Ocean. They have a proven track record of delivering valuable audiences to their events and we’re very confident they can support the ongoing success of Brides The Show. We’re expecting a high-quality attendance and our best show yet in 2018.”

Ocean Media’s brands include the National Wedding Show, Confetti, Bridelux, White Gallery, London Bridal Week, the Harrogate Bridal Show and Bridal Buyer. The next edition of Brides The Show will run alongside the National Wedding Show from September 21-23 at Olympia London.

Zoe Jobson, Portfolio Director at Ocean Media, said: “Brides The Show is established as the go-to event for discerning couples planning a spectacular wedding. Co-locating the show with a national event in September will mean Olympia becomes the destination this autumn for all couples planning a wedding across London and the home counties. We’re thrilled to be working with Jade Beer, Editor-in-Chief of Brides, together with the hugely talented team there.”

Net debt has been reduced to £1.0m (2016: £17.3m) in the 12 months to 30 June.

Earnings before interest, tax, depreciation, amortisation and exceptionals stood at £2.6m (2016: £13.7m). This reflects an increased level of investment in the company’s technology infrastructure – specifically in the development of an ecommerce platform in the company’s Automotive division.

It also reflects a period of uncertainty in 2016 ahead of the outcomes of both the EU referendum and the US presidential election, which impacted on underlying trading performance in some sectors.

Haymarket operates in a number of international territories, including the UK, US, Asia, India and Germany, focusing on core content sectors across b2b and consumer markets, reaching highly affluent and highly engaged audiences. Motoring, Marketing Communications and Medical are among its principal market sectors.

Kevin Costello, CEO of Haymarket Media Group, said: “Our mission is to be the best specialist media company in our chosen markets, while ensuring we are transitioning the business for long-term sustainable growth. This set of results underlines real momentum in deploying our strategy –creating a balanced portfolio of diversified revenues in our chosen markets.

“Print remains an important platform for our loyal specialist audiences, but it is pleasing to note that almost two-thirds of total revenues now come from digital, data and live activity. Our content and technology-led approach means we are investing in innovative new revenue opportunities around paid content and events, as well as new ecommerce platforms – particularly in our Automotive division,” he continued.

In March 2017, Haymarket announced a major £50m investment in developing the digital and ecommerce potential of its Automotive brands, including What Car?, Autocar and PistonHeads, in a UK retail marketplace worth £85bn.

The leadership team has also focused on deleveraging the company’s balance sheet significantly – as a result of proceeds and profits from brand divestment – delivering a healthy net debt of £1m in the period.

Lord Heseltine, Chairman of Haymarket, commented: “Haymarket is a company with 60 years’ heritage. It is rightly renowned internationally for its powerful brands, serving vibrant market sectors containing millions of high value consumers and business professionals. These results reflect a strategy that positions us well for the future – investing in technology to build diversified revenue streams around a raft of new opportunities.”

The site’s content is focused on inspiring homes and design destinations, the latest decorating trends, best products, design classics and designer profiles. Its sleek design provides a premium experience for visitors and acts as an attractive environment for advertisers.

Livingetc.com was designed in-house by Time Inc. UK’s digital and editorial team, led by Digital Content Director Holly Boultwood.

Suzanne Imre, Livingetc Editor, said: “Livingetc is one of the UK’s most iconic interiors magazines. Launching a website that captures the essence of the brand is a natural progression to complete our 360-degree reach to deliver inspiring and useful interiors ideas to a savvy, design-loving audience.”

Sarah Rafati, Digital Business Director, added: “We know through the strong social media engagement with Livingetc that there is huge demand for modern interiors content online. The new site delivers to this customer need brilliantly – and its stylish, fully responsive design provides new and extensive opportunities for our commercial partners.”

The website is now live at www.livingetc.com.

Dennen joins Tatler from The Mail on Sunday, where he holds the position of Features Writer-at-Large. Prior to this, he was Style Writer for The Sunday Times and a columnist for the Evening Standard.

Albert Read, Managing Director of Condé Nast Britain, commented: “Richard Dennen was the standout candidate. A Tatler Editor must possess an almost impossible set of talents – an intuitive connection with the Tatler world, journalistic flair, wit, an appetite for rich, visual indulgence and an instinctive appreciation of fashion and luxury.

“With his remorseless energy and ambition, Richard possesses all these elements and more.”

The new Tatler Editor previously worked for the title for six years, rising up to the position of Editor-at-Large. Dennen has also consulted for the Cliveden Literary Festival and for the fashion brand Max Studio.

“I am thrilled to be returning to Tatler – the original social media. Having admired the way it has covered British society over the last three centuries, I can’t wait to continue that success story. The Tatler I edit will access an even wider world, featuring arresting and impossibly glamorous fashion and lifestyle,” added Dennen.

He takes over the role from Kate Reardon, who stepped down as Editor in December 2017. Dennen will take up his new position on February 12.

Wilson is currently an Assistant Editor at The Guardian and is responsible for global stories, including science, environment, health and technology and the organisation's philanthropically-funded editorial projects.

She previously worked as Editor-in-Chief for The Guardian’s Australia edition and was based in Sydney. Before that, she held various senior roles across both digital and print at The Guardian in London, including time as Features Editor, Digital Network Editor and as G1 Editor, managing the main news section of the paper.

Wilson commented on her new appointment: “I’m delighted and honoured to be joining the brilliant team at New Scientist. Science and technology have never been more important – the need to understand what is going on in the world of science has become ever more central to people’s lives. I think that this represents a huge opportunity for New Scientist and I can't wait to be part of the next chapter in its story.”

New Scientist was launched in 1956. Wilson’s appointment makes her the 11th Editor in the brand’s history and the first woman to hold the position.

New Scientist’s Publishing Director John MacFarlane said: “The role of Editor is pivotal, harnessing the passion, pride, creativity and excitement that already exist in our editorial team. I look forward to working with Emily to produce print and digital media that excite and engage a growing global audience.”

Wilson replaces Sumit Paul-Choudhury, who has been appointed as New Scientist’s Strategy Director. He is currently on sabbatical while he takes part in the Sloan Fellowship at London Business School.

As Deputy MD of Digital, he will continue to manage the Product and Commercial Operations teams, advancing his work to enhance Dennis’s commercial offering, product delivery and revenue diversification.

Flood has held his current position of Product and Commercial Operations Director since January 2017. He has been managing the Product, Ad Ops, Campaign Management and Programmatic teams.

He joined Dennis from CAP Automotive in 2014 as Lead Product Manager and then Head of Product Management. Flood has led a number of key digital projects, site launches and product development across buyacar.co.uk.

Flood commented on his new appointment: “Over the last four years I’ve had the privilege of working on some of the biggest consumer and in-market sites in the UK. I’m looking forward to helping shape Dennis’s future strategy as we develop, innovate and grow our digital businesses.”

Flood will join the Dennis Senior Management Team and the Digital Board, with a focus on strategic growth and innovation within the overall business.

His appointment will help accelerate Dennis’s strategy of revenue diversification and growth. Digital revenues were up 50% and reached £50m in 2017, accounting for 45% of the company’s revenue.

This was driven by buyacar.co.uk, which grew 100% year-on-year, affiliate revenues, which were up over 400%, and lead generation, which increased by 35%.

Pete Wootton, Managing Director of Digital at Dennis, said: “Nick is at the heart of our digital business and negotiates the editorial, commercial and UX requirements of our websites extremely well. He is also forward-looking and his work to combat AdBlock users across our properties has gained industry-wide recognition.

Nick will work with the Digital Board and myself to prioritise the digital teams' resources and focus on innovation and growth. He will also take on an increasing role in both the financial performance and strategy of the digital business.

I know Nick will bring loads of energy and enthusiasm to his new role and I'm confident that he will make a massive contribution to the continued success of the business.”

Flood will take on the new role with immediate effect.

Chapman and McLaren have joined during a period of expansion. As well as a website relaunch at the end of last year, the brand announced the Classic & Sports Car Show in association with Flywheel.

Chapman (pictured left) started his career in car industry consultancy before moving into magazine publishing in 1985. He launched Your Classic magazine for Haymarket in 1989 at the age of 24.

He completed a magazine apprenticeship with Classic & Sports Car during its early days before becoming Editor in 1991. He then moved on to Autocar.

He has written over 40 books on a range of car culture topics.

On his new appointment, Chapman commented: "This is a thrilling opportunity to return to the magazine I love and to use my wide experience to keep it driving forward. Classic cars are about dreams, aspirations and nostalgia, and I'm privileged to have a team of writers and photographers who love bringing this to our readers."

McLaren (pictured right) spent seven years at Stuff, joining as Production Editor in 2010 before becoming Digital Editor in 2014. Prior to that, he was Production Editor at NME. He has worked on brands including Vogue, Glamour and News of the World.

"There's a potentially huge new [online] audience out there – and I'll be working closely with the product and development teams to tap into it. I can't wait to get started," McLaren said.

Alastair Clements, Group Head of Content, added: "I'm thrilled to welcome Giles and Marc to the Classic & Sports Car family. Giles is one of the UK's foremost authorities on classic cars, not to mention a brilliant writer and Editor with huge experience in the publishing industry, while Marc brings with him an enviable reputation as a Digital Strategist and Developer of online communities. Their talents are just what we need as we start to implement our exciting plans for 2018."

The Festival’s aim is to discover the best new fiction and non-fiction titles in UK publishing.

It will incorporate nine Hearst brands, including Good Housekeeping, Cosmopolitan, Prima, Harper’s Bazaar, Esquire, ELLE, Red, Women’s Health and Men’s Health, with each brand being assigned a relevant category.

The Big Book Awards will invite publishers to submit exciting and emerging work, published between June 1, 2017 and May 31, 2018, across these categories.

Judith Secombe, Managing Director of Hearst Brand Services, said: “Books are a natural fit for us at Hearst, with both our consumers and Editors having such an inherent passion for quality content. By creating the Big Book Festival, we’re aiming to help boost the amazing work of authors across the country, as well as offering publishers the chance to amplify their consumer outreach campaigns by having the Hearst stamp of approval.”

She continued, “We want to offer publishers the chance to be involved in a fully authentic retail endorsement campaign – and with 1 in 3 adults who purchased a book in the last 12 months being a Hearst consumer – this is it!”

Hearst will ask its Reader Panel to review the titles selected at the first stage. Following reader feedback, the books that score the highest will be put forward for review by the Editors of the nine participating brands.

Using the combined scores from Hearst readers and Editors, a shortlist of titles in each category will be announced in June.

The final winners will be announced at a celebratory event in summer 2018.

Alongside the awards, Hearst will launch Big Book Live, a series of live experiences in London that focuses on bringing the pages and themes of the shortlisted books to life.

The full list of categories in the Big Book Festival are:

• Crime – Good Housekeeping

• Must Reads – Cosmopolitan

• Page Turners – Prima

• Modern Classics – Harper’s Bazaar

• Biography – Esquire

• Women Writers – ELLE

• Non Fiction and Children’s – Red

• Wellbeing – Women’s Health

• Health and Lifestyle – Men’s Health

The mark is a visual symbol that can be displayed by all 2,500 of the publications that IPSO regulates.

It shows that a particular newspaper, magazine or website is an edited, regulated product that embraces public accountability and is committed to high professional and editorial standards.

This is particularly important when we are living in an era of fake news, with the public becoming increasingly wary of the information they consume through the media – and whether that information is factually and ethically accurate.

The IPSO mark indicates responsible, quality journalism, which is represented in its strapline: “For press freedom with responsibility”.

IPSO’s Chief Executive Matt Tee commented on the announcement: “I strongly believe that IPSO membership helps our publishers distinguish themselves from the unregulated, thereby demonstrating that they choose to hold themselves accountable to higher standards.”

He continued: “The newspaper and magazine industry faces a number of complex challenges over the short term and I firmly believe that one of the ways in which it can thrive and prosper is by its commitment to independent, effective regulation. That means IPSO – and that’s why I’m proud that so many of our member publications will display our mark on their pages.”

The IPSO mark has been designed in partnership with the award-winning agency McCann.

A full-scale advertising campaign will be launched by IPSO this year to raise awareness of its work and services.