Asda have a very separate team because it is massive – the magazine has a circulation of 2 million. For example, Asda have an in-store magazine, a website which we feed daily and we run their social channels.ĭo you have separate editorial teams for every brand?Ī bit of both. We draw from all the talent from our brands like Elle and Cosmopolitan, but the content that we produce sits on well-known brands owned platforms. We produce content for brands other than our own brands. Hearst then started to started to work with Asda and that’s when we set up the Hearst Content Agency.Ĭan you describe what the Hearst Content Agency does? That closed about four years ago and I moved to Good Housekeeping to help with their digital presence.
#EDITOR GOOD HOUSEKEEPING MAGAZINE TV#
I went back to LA to be the Bureau Chief for TV Hits, so I did all the Hollywood press junkets, and after that, went back to London to B magazine where I was Deputy Editor, then I moved to Company. I then went to Australia to launch a monthly TV magazine but it didn’t really work and lasted about a year.
I was keen and did everything they wanted me to do, so when I graduated, they immediately put me on the payroll as editorial assistant. She worked for a magazine called TV Hits, which was in Australia and London at the time, so when I got back to London, I got in touch with them, and ended up working on Inside Soap. I was travelling in LA during university and helped out a journalist with some quotes. At university I worked on the student supplement, so I worked hard at the start to get into that industry.Ĭhart your career from the start to where you are now. I always did journalist type work, like at the Newcastle Evening Chronicle and at BBC Look North. I thought that if I worked in magazines, it would get me out of the North and I would be hanging out with popstars all day. I used to read magazines voraciously, like Just Seventeen and Smash Hits and dream of London, popstars and fashion which didn’t exist in Newcastle where I lived. What was it that made you want to work in the publishing industry? "The world of commercial content is incredibly creative and expansive." Lori Leibovich is a contributing editor at Salon and the former editor of the Life section.After years of experience working across the magazine industry, from TV Hits, to Company to Good Housekeeping, Victoria White now works to provide commercial content to brands outside of Hearst as Editorial Director of Hearst Content Agency. "Brands are really hungry for content," she tells me, which can include in-store magazines, websites and social channels. What Nicholson is describing sounds familiar, doesnt it? American editors might want to take a page from the playbook of their colleague across the pond.
"If you landed from Mars and the first thing you saw was a magazine you would think everyone was white, attractive and under 40." "The industry is hideously white, to coin a phrase, and that is reflected in the magazines we produce," Nicholson said. She says this has contributed to the lack of diversity in magazines because middle-class people are the only ones who can afford to work for nothing. Nicholson is also pushing for an end to the practice of making aspiring journalists take unpaid internships, which is also common in the United States. "We've got around 3,000 newsstand titles, many of which present one world view There's so much that's really not being reflected in mainstream magazines - and if I read in one more magazine that women are obsessed with shoes I think I will be sick." "So many publishers seem to think women fall off the edge of a cliff when they reach the age of 40," Nicholson told the Guardian, "and I find that strange." Nicholson is also outspoken about the lack of ethnic and racial diversity in the pages of the U.K.'s glossies. Focusing on women over 40 will be one of her main goals when she takes over the National Magazine Co., which owns a range of magazines from Country Living to Cosmopolitan. She recently scrapped a cover photo of a 20-something model and replaced it with one of 67-year-old Jane Fonda. (Nice work if you can get it.) Nicholson is also an unabashed booster of older women. One of Nicholson's revolutionary tactics was to use the fabled GH Institute, a panel of consumers who test products for the magazine, to evaluate sex toys. According to the Guardian, over the past seven years Nicholson has overseen a "quiet revolution" at the 83-year-old magazine "once dismissed as an anachronism in a post-feminist era." Check out this inspiring profile in the Guardian of Lindsay Nicholson, editor in chief of British Good Housekeeping and newly appointed editorial director of the National Magazine Co.
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