Brian - Unit 13 LO5 - Evaluating Feedback

OCR - Level 3 Cambridge Introductory Diploma in Media - Unit 13:

Candidate Name: Brian Miguel Insua Candidate Number: 6055

Centre Name: St Andrews Catholic Secondary School Centre Number: 64135

• Pitch Report/Feedback Analysis • Production Plan • Legal & Ethical Issues • Summary

UNIT 13 - LO5 Using Feedback Gained to Inform the

Development and Planning of an Original Print-Based Media Product

PITCH REPORT/

FEEDBACK ANALYSIS

• Publisher Interview • Feedback & Survey

Results • Strengths & Improvements • Summary & Conclusion

EVALUATIONUNIT 13 LO5

UK Magazine - Evaluation Prepared for: Mr Crafts, Publisher

Prepared by: Mr Insua, Charm Representative

Candidate Number: 6055

Centre Number: 64135

18 March 2015

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EVALUATION OF FEEDBACK FROM PITCH Table of Contents • Introduction • Publisher Interview • Survey Results • Strengths • Improvements • Conclusion

Introduction The aim was to deliver an effective pitch for a music magazine to a publisher. On December 9, 2014 at 11:45 am in the MS1 classroom, using Prezi I delivered a presentation to the publishers pitching an idea for a new monthly rock music magazine called Charm. Limited to 10 minutes, I used primary and secondary research to pitch a new UK based music magazine which included a proposal, a budget breakdown, a production plan, the target audience, the advertising strategy and a mock front cover and double page spread. The pitch clocks in at just over 10 minutes and is available to watch on YouTube here: (https://youtu.be/tK1EZhPL7iM).

Interview with Publisher

The interview with the publisher, which took place and was recorded on Tuesday January 6 2015, provided me with valuable feedback about my pitch (see Publisher Interview.MOV). The first question asked how well the pitch sold the idea of Charm magazine. Overall, the publisher (Mr Crafts) felt that the pitch sold the idea of Charm magazine “extremely well”. He was particularly impressed with the fact that Charm magazine was so similar to music magazines currently on the market yet also providing something “unique” and “innovative”.

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The next question focused on how well the pitch conveyed all the necessary information to the publisher. He agreed however he felt that some of the pre-production materials (in terms of the process of designing and creating before the finished product) could have been covered in more detail. For instance, the image plan - in terms of the images I planned to take and the manipulations in post - and the magazine flat plan. He commented that aside from those two areas, the pitch covered all the information extensively.

The third question focused on the materials/resources/information that the pitch lacked. The publisher commented on the aforementioned lack of coverage in regards to the pre-production materials such as the image plan and the flat plan in addition to the fact that he felt that perhaps the spending power of the target consumers could have been touched upon in a little more detail and to show the research that led to the decision to price Charm magazine at £3.99. He did note that the 4C’s were covered extensively.

The fourth question focused on the strengths of the pitch. The publisher found some areas particularly impressive. For instance, he chose to comment on the social media and promotion coverage, which he thought was “very, very impressive”, commenting that he got a very clear idea of how Charm magazine was going to be promoted.

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Screenshots of the Image Plan, which was missing in the original pitch and has now been added to the new pitch.

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Screenshots of Charm’s social media pages.

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The penultimate question investigated how effective the pitch was overall. Mr Crafts felt that the pitch was “extremely effective” and praised the attention to detail - in particular, he was particularly impressed with the fact that I could expand more on some of the key areas of the magazine.

The final question asked whether the pitch convinced him to invest in the idea of Charm magazine, to which he replied, “Absolutely. Pure and simple.”

Survey Monkey Results Following the pitch, I sent out a survey to all the publishers to collect feedback and their opinions in regards to the pitch. The six question survey focused on the overall effectiveness of the pitch in conveying the idea of Charm music magazine as well as how effective the pitch was at selling the idea of Charm music magazine. The questionnaire also asked for the particular strengths and areas for improvement and whether the pitch convinced the publishers to invest in the idea of Charm.

The first question asked how well the pitch communicated the idea of Charm magazine to the publishers. This question investigated the effectiveness of the pitch in regards to giving those present a clear idea of what the magazine is, what it is about, the genre and content of the magazine, the budget and predicted profit/loss breakdown, the sample pre-production materials produced and production plan of the magazine. Overall, out of the 12 in attendance, two-thirds felt that, following the pitch, they understood the idea of Charm magazine completely whilst a-third felt that they understood most of the idea - which tells me that there were details about the magazine that were not covered during the pitch – which left some without a completely clear idea of what Charm magazine is. After collecting feedback from the publishers through interviews and surveys, it is determined that these details are primarily the image plan, which demonstrates a walkthrough of planning, taking and manipulating the images for the magazine; the flat plan (which was included but could’ve been improved with more coverage) and the mood board, which was a collection of images, logos and strapless which inspired Charm music magazine. The publishers also commented that they would have liked to have seen a little bit more coverage of the target consumer’s spending power.

The second question focused on the information communicated during the pitch. Similar to the first question, this question investigated the information conveyed during the pitch in regards to giving the publishers a clear idea of what the magazine is, what it is about, the genre and content of the magazine, the budget and predicted profit/loss breakdown, the sample pre-production materials produced and production plan of the magazine. However, the first question focused on the effectiveness of the pitch in conveying the idea of Charm magazine whilst this question focuses on whether all the information required by the publishers in order to gain a crystal clear understanding of Charm magazine was conveyed in the pitch. Exactly like the first question, out of the 12 in attendance, two-thirds felt that, following the pitch, all the information was conveyed within the pitch whilst a-third felt that not all the information was in the pitch - which reinforces the feedback from the first question: that there were details

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about the magazine that were not covered during the pitch which left some without a completely clear idea of what Charm magazine is.

The third question focused on the particular details and pieces of information that was not included in the pitch. This question aims to delve deeper in to the responses of the previous two questions and find out why the pitch did not leave all with a crystal clear idea of Charm magazine following the pitch. Out of the 8 who left responses, exactly half of them felt that “everything was good” and that there were no details left out of the pitch whereas the other half of respondents pointed out that there were some key elements missing, most notably the mood board and the spending power of the target audience. One response commented that the planning that went into taking and manipulating the images in post was also lacking.

The fourth question attempts to summarise the previous three questions by investigating the quality of the pitch overall, taking into account the effectiveness of the pitch and the details/pieces of information that the pitch did not convey to the publisher. Out of the 12 respondents, 42% felt that the pitch was faultless and gave a rating of 10/10 and another 42% felt that the pitch was excellent and gave a rating of 9/10 whilst 17% felt that the pitch was a solid 8/10.

The penultimate question, question five, focused on whether the pitch was effective enough to have convinced the publishers to invest in Charm magazine. Again, this question builds on the previous questions and investigates whether the pitch met the success criteria: which was to sell the idea of Charm magazine to the publishers. Out of 12 responses 17% felt that, following the pitch, are extremely likely to invest in Charm whilst 25% felt that they are very likely to invest in Charm and finally the majority (58%) felt that they were likely to invest in charm following the pitch.

The final question, question six, gave respondents an opportunity to provide any other feedback in regards to the pitch. Entirely optional, 9 respondents left a comment. The majority of the comments (7/9) didn’t have any other questions or concerns, a few of which left comments praising the presentation. One respondent felt that more eye contact with the publishers would have improved the pitch whilst another felt that the target consumer was mentioned in detail the pitch did not sufficiently reference the audience characterisation of Hartley’s Subjectivities.

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Particular Strengths The publisher commented on how in-depth and detailed the content covered was, with the pitch covering

almost all the necessary information required by the publisher, including the basic details such as the magazine

genre, the competitors of the magazine, the content of the magazine, the frequency and price of the magazine

as well as detailed information regarding predicted sales, the budget breakdown and the promotion and

marketing of the magazine. In particular, the publisher commented on how well the promotion and marketing

strategy of Charm was presented, with the publisher being provided with detailed insight into the push and pull

marketing strategy that Charm will utilise as well as the target audience, detailed in the form of the 4Cs (Cross

Cultural Consumer Characterisation) - leaving him with a very clear idea of how Charm will be promoted.

Screenshots of the 4C’s and Push & Pull Marketing Strategy.

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Suggested Improvements The publisher commented he would’ve liked to have seen more coverage of the pre-production materials - in

terms of the process of creating the pre-production materials (for instance, the planning behind the images,

and how I went about capturing and manipulating the images). The publisher also would’ve liked to see the

inspiration behind the magazine and the pre-production materials in the form of a mood board. The publisher

also pointed out that he would also have liked to have seen more information about the spending power of the

target consumer for Charm magazine.

Client Requirements & Expectations The expectations and requirements of the client, which were outlined in the brief at the beginning of the

project, were to plan and produce a UK music magazine - producing a plan of what the magazine will look like

and sample materials to visualise this vision as well as a plan on producing the magazine itself and it’s

associated conventions (for example, images, articles, marketing and promotional materials etc.). Additionally,

legal and ethical issues had to be considered before pitching the idea to a publisher. Feedback was then

collected through questionnaires and survey monkey before being implemented.

Screenshots of the Moodboard.

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Based on publisher feedback, the expectations and requirements of the client have been met. I have planned and produced a UK print product in the form of a monthly music magazine entitled “Charm”. I have conducted in-depth research on other music magazines of the same genre (rock), namely Mojo music magazine, then analysed the style and conventions used before incorporating some of the ideas gained into my own magazine (for example, Charm borrows elements from Mojo such as sharing a few colours in it’s colour scheme, borrowing magazine conventions and layout elements and using similar font styles to name a few).

Similarly, I was expected to plan the magazine, using other magazines for inspiration (such as Mojo, Kerrang and Q) to produce mind-maps and mood boards; presenting various ideas before picking the best ones. In addition, I was expected to conduct research (through survey monkey and questionnaires) into the target audience for my planned magazine. Once I had researched these ideas and the target audience, I was then required to design the look and layout of the magazine front cover and double page spread. Furthermore, I was expected to produce a magazine flat plan to show the content that would go on each magazine page. Feedback from the publisher was positive. The designs that I had produced were detailed and provided the publisher with a clear idea of what the magazine would look like and how the magazine as a whole would appeal to the target audience. Likewise, the research conducted into the target audience gave the publisher a clear idea of who the magazine is aimed at - namely their music taste, spending power, age, gender and how they listen to music. This research enabled me to cater to the young audience (who were more inclined to listen to music in a digital format such as iTunes, YouTub and Spotify) and the older audience (who were more inclined to listen to music in a physical format such as a CD).

Upon researching and planning the look, content and target audience of the magazine, I was expected to examine the logistical side of the producing a magazine. I was required to produce a production plan that would analyse the key personnel, the office space and equipment needed to produce the magazine as well as how to publish the magazine. Moreover, I was expected to research the various possible sources of income for the magazine and finally produce a production schedule that would show how long it would take to produce the magazine, which staff would need to be involved and at what stage and finally provide a general overview of the magazine production process. The publisher thought that the research and analysis that went into examining the logistical side of producing the magazine was very well researched. The publisher felt that the requirements had been met as he fully understood who would be required to produce the magazine as well as what equipment would be needed, how the magazine would be printed and how the magazine would generate income. This enabled him to gain a better understanding of the logistical side of producing the magazine.

Finally, the publisher expected a detailed report on the legal and ethical issues for producing and publishing the magazine. This included analysing the Independent Press Standards Organisation (formerly the Press Complaints Commission) and how that would affect the magazine as well as investigating the Advertising Standards Authority (Advertising, Promotional Materials etc), the Intellectual Property Office (IP, Copyright, Trademarks etc) and the Health & Safety Executive (Health and Safety of employers, employees and members of the public) and how these bodies would affect the production and publication of Charm music magazine. After researching how these bodies would affect the production of the magazine and informing the publisher, the publisher felt that he gained a very clear understanding of the legal and ethical issues to producing and publishing the magazine, successfully meeting the expectations and requirements for this section.

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Conclusion In conclusion, overall the pitch successfully conveyed a clear idea of Charm music magazine to the publishers, ultimately convincing them to invest in the idea of Charm. The pitch was praised for the intricate detail for most aspects of the magazine, in particular the marketing and promotion of the magazine. Consequently, in this aspect, the pitch met the needs and requirements of the client. However, based on feedback, the pitch could be improved by covering the pre-production materials in more detail - namely the magazine flat plan, which was talked about briefly during the pitch however the publishers felt that an in-depth explanation of certain aspects of the magazine flat plan would have improved the overall pitch and provided the publishers with an even clearer idea of Charm. Similarly, the same could be said if the image plan, where the publishers would have liked to have seen more on a mood board, test photography, the plan for taking the images and evidence of retouching and manipulating the images in Photoshop.

As mentioned earlier, the publishers liked the attention to detail in most aspects covered during the pitch, especially singling out the promotion and social media aspect of Charm. The publishers were also very impressed by how Charm utilised many conventions that make other music magazines so successful yet also bring something new and unique to the table, which could ultimately affect whether or not Charm will be able to compete in the market with Mojo. The publishers also pointed out how impressed they were with the extensive coverage of the 4Cs. However, as summarised above, the publishers felt that the image plan, the flat plan and the moodboard could have been covered in more detail. In addition, the publishers felt that the spending power and lifestyle of the target consumers could have been touched upon in a little more detail and to show the research that led to the decision to price Charm magazine at £3.99.

In terms of the content, the publishers thought that the content, form and style of Charm was suitable with all the other aspects proposed in the pitch. The content is suitable for the proposed target audience and the form, style and other conventions match the proposed target audience in this regard. The sample materials, such as the future issues were also picked out as it gave the publishers a much clearer idea of the future of the brand and how the issues will develop.

In regards to changes that must be made before starting production on the final product, the implementation of promotions to coincide with calendar events (for instance, special events and holidays) would increase consumer appeal, further enticing consumers by capitalising on calendar events. For example, the second issue of the magazine is to be released in December - therefore, taking advantage of Christmas by creating a special promotion (such as a free compilation CD of Christmas songs) for the occasion could potentially boost sales. Subsequently, in future issues, this marketing strategy will be implemented.

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CHARM PRODUCTION

PLAN• Production Timeline • Key Personnel • Office Budget • Publication Costs • Income (Advertising) • Overall Budget • Profit/Loss Breakdown • Launch Date

PRODUCTION TIMELINEWeek Commencing (November 3, 2014)

Monday Tuesday Wednesday Thursday Friday

• Meeting with team to establish publication date of magazine.

• Create production schedule.

• Editorial meeting to decide content ideas for upcoming issue, including features, articles, images, interviews.

• Decide budget, allocating finances and resources for content acquisition and production.

• Content acquisition - commission in-house/external/free lance writers and editors to create content for magazine. (Includes research by journalists & reporters for stories, conducting interviews, producing images/illustrations/graphics etc.)




Deadline Deadline Deadline Deadline Deadline(End of Day November 3, 2014)

(End of Day November 14, 2014)




Week Commencing (November 10, 2014)



• Sub-editing/quality control - editors/sub-editors check accuracy of facts & information, spelling, punctuation & grammar, ensure all pages follow house style.

• Sub-editing/quality control - editors/sub-editors check accuracy of facts & information, spelling, punctuation & grammar, ensure all pages follow house style.

• Layout - Layout team work on magazine layout and house style (utilising Desktop Publishing Programs such as InDesign or Pagemaker for layout and typesetting articles)







PRODUCTION TIMELINE




• Proofreading & Finalise magazine - sample hardcopy printed for editorial team to review, scrutinise & correct on DTP file.

• Printer Proofs & Pre-Press - DTP file sent to printing company, including resources namely fonts & images - printing company to print of several review copies for editors for final checks. Once finalised, mass printing commences.

• Mass Printing of magazine - mass published ready for consumers.

• Distribution - printing company to package and distribute to warehouse, where copies will be shipped/delivered/distributed to consumers/retail.












• Magazine Delivery Day - available in retail stores/delivered to consumers.





(Beginning of Day November 28, 2014)

KEY PERSONNEL (CONTENT ACQUISITION)

• In terms of content acquisition for the magazine, one of the methods of obtaining content would be to hire freelancers, who work on a job-to-job basis rather than a constant annual salary. Freelance fees vary depending on experience and ability however the average freelance fee per 1000 words is £420 on a relatively small publication and £700 for a large publication. Similarly, for freelance photography work, rates should start at £400 per day and no photographer should work for less than £250 per day.

• Hiring magazine journalists who are just entering the industry at graduate level would earn a starting salary of approximately £15,000 to £26,000 - which could be as low as £12,000. These include staff writers, graduate writers and journalism trainees.

KEY PERSONNEL (EDITORIAL)

In regards to the editorial side of the magazine production process, the following personnel required are:

• Editorial Assistants. Starting salaries for editorial assistants range between £15,000 and £23,000. However they vary depending on the type and size of the publication.

• A Copy Editor. A Copy Editor can expect to earn a starting salary of around £16,000 with those who are experienced earning over £25,000.

• Starting salaries for designers are between £15,000 - £19,000 per year, with more experienced designers and lead designers earning between £25,000 and £50,000.

• With experience, salaries for senior staff are averaging between £18,000 and £35,000. These include those working as a senior staff writer or sub-editor.

• In terms of salaries for a magazine features editor, the smallest publication can pay as little as £18,000 however the typical salary is around £25,000 to £40,000. Those at senior level (with 10-15 years of experience) can expect to earn around £35,000 to £65,000.

• Those who work on a major publication or as an editor-in-chief can expect to earn anything from £22,000 to over £65,000.

KEY PERSONNEL (ADMINISTRATION)

For the marketing and publishing aspects of the magazine production process, personnel to take charge of the marketing (for instance selling advertising space) and publishing (for instance managing the printing and publication) are required.

• Marketing managers usually earn between £25,000 and £40,000 with senior managers and marketing directors earning over £50,000 a year.

• A publishing rights manager can expect to start with a salary of £17,000, with the average salary being £22,000 to £35,000 - with copyright/rights directors aiming between £40,000 and £50,000.

• A print production planner typically starts with a salary of £20,000 to £25,000 with those who have several years of experience earning between £30,000 and £40,000. At senior level (over 10 years experience), they can earn between £45,000 and £56,000.

BUDGET (OFFICE)• Using a site called

findalondonoffice.co.uk, I was able to get a rough estimate of how much space I would require in order to house all the required personnel needed in order to produce the magazine, which came out at just over 2,700 square ft. The website also provided an estimated cost, priced at £231,200 annually. This office space does not include space for freelancers. It does however provide office space for all the 20 staff required to produce the magazine as well as an office for the Editor-in-Chief, an open plan space for up to 20 employees, a meeting room with a capacity of 16, a small reception, a privacy booth, a small break out area, a small kitchen, a small server room and a small store room.

http://findalondonoffice.co.uk

BUDGET (OFFICE)

• In terms of the software requirements for the magazine personnel, Adobe offer a two-year contract where the Adobe Creative Cloud membership, which includes all Adobe programs, could be available for £30.17 when more than five licences are purchased - a suitable package for the magazine.

BUDGET (OFFICE)• In terms of providing

workstations for personnel, Apple’s Macs are perfect for those working in the creative industry. Thus, the business section on the Apple store offers a range of MacBooks, with the cheapest being £899 and the most expensive being £1,999. There are also options for leasing (ranging from £37.46 for a 2 year lease and up to £83.29 for a 2 year lease.)

BUDGET (PUBLICATION)• Printing costs can vary from company

to company. For instance, The Magazine Production Company (www.inpublishing.co.uk) offer a fixed price of 32 pence per page (minimum). However, the options are not as flexible in comparison to other companies, who offer options such as paper weight in gsm. Blurb (www.blurb.co.uk) offer options for 89gsm coat gloss paper with a matt cover for £5,242.50 for 10,000 60-page copies and a higher-quality 118gsm matt paper with a semi-gloss cover for £8,992.50 (10,000 60-page copies). Blurb also has the added benefit of being able to easily convert the magazine to digital format for mobile optimisation.

BUDGET (INCOME)• In terms of sources of income for the music

magazine, the primary source of income will be selling advertising spaces within the magazine. In terms of pricing for each space, magazine advertisement slots are typically sold in page fractions. Advertising space inside the front cover, inside the back cover and the back cover itself are considered prime advertising spaces by advertisers and command a significantly higher fee as a result. Magazines typically charge less per advertisement when a commitment is made to run the ad in more than one issue.

• Taking into account that my magazine has not established a readership and reputation that matches my magazine of inspiration, Mojo, the advertising rates will be significantly lower. Below is a screenshot of the press pack Bauer provide for potential advertisers for Mojo. Consequently, my magazine will sell advertising space for 50% of Mojo’s rates.

£3,777£3,434£1,889£4,464£7,176£6,524

£4,464£8,481£2,455

£33£33£23

BUDGET (INCOME)• As the target audience for my magazine is

primarily intelligent individuals in the ABC1 demographic (focusing on the younger bracket of 16-25 and the older bracket of 40+) advertisements will be tailored to said target readership. The advertising found in Mojo music magazine is catered to those with a passion for music - for instance HMV adverts are prominent in Mojo.

• In terms of the advertising space available for purchase within Charm, there are 7 Full Page ad spaces, 6 Half Page ad spaces, 2 Double Page Spread ad spaces, 1 Inside Front Cover ad space, 1 Inside Back Cover ad space and 1 Back Cover ad space.

• Depending on whether advertisers want ROP (which means that the advertiser does not designate the placement of the ad) or FH (which means that the advertiser wants preferred placement), advertising income margins can vary.

£3,777£3,434£1,889£4,464£7,176£6,524

£4,464£8,481£2,455

£33£33£23

BUDGET (OVERALL)General Costs Total

Estimated Cost

Staff Selection

Editorial (Content)• Freelance Work• Journalists (x3)• Editorial Assistants (x2)• Sub/Copy Editors (x2)• Features/Associate Editors

(x2)• Editor in Chief (x1)

Editorial (Design)• Freelance Work• Designers (x2)• Creative Director (x1)

Business• Publisher (x1)• Marketing Managers (x2)• Marketing Director/Executive

(x1)• Publishing Rights Manager

(x1)• Copyright/Rights Director (x1)• Print Production Planner (x1)

Cost

• £420 - £700 per 1000 words• £12,000 - £26,000 per year• £15,000 - £23,000 per year• £16,000 - £35,000 per year• £18,000 - £60,000 per year• £22,000 - £65,000 per year

• £250 - £400 per day• £15,000 - £50,000 per year• £60,000+ per year

• £25,000 - £52,000 per year• £27,000 - £47,000 per year• £30,000 - £60,000 per year• £22,000 - £35,000 per year• £40,000 - £50,000 per year• £20,000 - £50,000 per year

Approximately between:£437,000 (excl. freelance work)and£720,000 (excl. freelance work)per year

Office Selection

Equipment• Workstations (Macbooks)• Software (Adobe Creative

Suite)• Office Supplies

Office Space• Renting Space

Misc• Printing Cost

Cost

• £899 - £1,999 per Macbook (x20)

• £30.17 per month per user (x20)

• £2,400 per year on average

• £231,200 per year • £8,992.50 per order (60 pages, 10,000 copies) (Blurb)

Minimum £552,150

Maximum£835,150

PROFIT/LOSS BREAKDOWN

• The predicted profit/loss for the first year of the magazine is for the Charm to turn a profit as high as just shy of £200,000 and a loss of no more than £3,000. The numbers for the second year are significantly better, with an estimated increase in revenue to as high as £950,000 and as low as £830,000.

• Income - Overall Expenditure = Annual Revenue Year 1 = £751,719/832,809 - £552,150/835,150 = £+199,569/-2,841Year 2 = £1,503,438/1,665,618 - £552,150/835,150 = £+951,288/+830,468

LAUNCH DATE

• The proposed launch date for the magazine is December 2014.

• The production process ends at the end of November ready for retail for December.

CALENDAR EVENTS• As the magazine is set for a

December release, Christmas is the biggest calendar event of that month.

• Consequently, a marketing strategy that incorporates Christmas-themed promotional events to take advantage of the holiday season should provide further incentives for consumers and subsequently boost sales.

• Similarly, a marketing strategy that incorporates special events and holidays such as Easter and Halloween will provide extra incentive and potentially boost sales.

LEGAL & ETHICAL ISSUES

• Copyright Issues • PCC/IPSO • Intellectual Property • Safe Working Practices

LEGAL & ETHICAL - HOW IT AFFECTS CHARM

• Before the magazine can be published, there are legal and ethical issues that need to be addressed beforehand.

• For example, issues regarding the health and safety of those working for Charm, the rights and correctness of Charm’s content, and the intellectual property of Charm itself.


• Copyright/IP -

• Affects ownership of content, trademarks, logos, brand, images… Ensuring rights belong to Charm will prevent legal issues (i.e. obtaining permission to use an image of an artist).


• PCC/IPSO -

• Affects acquiring content such as images, interviews and stories in a legal and ethical manner to avoid sanctions from the law (i.e ensuring permission has been given before taking images, conducting interviews, being accurate and reporting facts).

COPYRIGHT• The Copyright Law gives the creators of

content rights to control the ways in which their materials can be used. The law covers original works such as writing, music, drama, art and photography works are all protected by copyright.

• Copyright belongs to the person who created the original work and, if created as part of their job, belongs to the employer. Copyright can be transferred or licensed by the copyright owner. The use of someone else’s work without permission is copyright infringement. However, there are some exceptions to the copyright law, where permission is not required, such as for educational or private use.

COPYRIGHT• Types of work protected:

• Literary - song lyrics, manuscripts, manuals, computer programs, commercial documents, leaflets, newsletters & articles, etc.

• Dramatic - plays, dance, etc.

• Musical - recordings and score

• Artistic - photography, painting, sculptures, architecture, technical drawings/diagrams, maps, logos, etc.

• Typographical Arrangement of Published Editions - magazines, periodicals, etc.

• Film - video footage, films, broadcasts and cable programmes, etc.

COPYRIGHT• Restricted acts:

• It is an offence to perform any of the following acts without the permission of the owner:

• Copy the work.

• Rent, lend or issue copies of the work in public.

• Perform, broadcaster show the work in public.

• Adapt the work.

• The author of a work, or a director of a film may also have certain moral rights:

• The right to be identified as the author.

• Right to object to derogatory treatment.

COPYRIGHT• Exceptions:

• Private and research study purposes.

• Performance, copies or lending for educational purposes.

• Criticism and news reporting.

• Incidental inclusion.

• Copies and lending by librarians.

• Acts for purposes of royal commissions, statutory enquiries, judicial proceedings and parliamentary purposes.

• Recording of broadcasts for the purposes of listening to or viewing at a more convenient time (“time-shifting”).

• Producing a back-up copy for personal use of a computer program.

• Playing sound recording for a non-profit making organisation, club or society.

COPYRIGHT• In most cases, the magazine or the author of

the article holds the copyright to the article text, and the text (or any portions thereof) cannot be reprinted or reused without permission. In order to copyright material in a magazine, contracts with employees or “work for hire” contracts with freelancers will ensure that the institution owns the copyright to the works. However, as content produced for a job belongs to the employer, a contract is not required by law.

• Once content (in the form of images, articles and creative expression) is produced, registering the copyrights with the UK Copyright Service will ensure that the magazine and its content will not be used improperly and/or without permission. The copyright then lasts for 70 years from the year of publication or creation.

COPYRIGHT• Usage Guidelines for Copyright

Symbol:

• When the copyright symbol is placed on your work, that denotes that the copyright licence for that piece of work belongs to you. The copyright symbol should always be placed in an obvious spot. The word “copyright” and copyright symbol should then be followed by the date (the year the work was created) your name and then the statement “all rights reserved”

PRESS COMPLAINTS COMMISSION (PCC)

• The Press Complaints Commission was originally a voluntary regulatory body for printed media in the UK. It consisted of representatives from major publishers until it was closed on 8 September 2014 - and replaced with the Independent Press Standards Organisation.

• The PCC had no legal powers - all the publishing companies voluntarily contributed to the costs of the regulatory body and adhered to it’s rulings - thus making the industry self-regulating.

INDEPENDENT PRESS STANDARDS ORGANISATION• The Independent Press Standards

Organisation is the new independent regulatory body for printed media in the UK. Replacing the now defunct Press Complaints Commission (which was the regulatory body in the UK for printed media since 1990), the IPSO was launched on 8 September 2014 and is tasked with upholding the the standards of journalism and maintaining the standards set out in the Editor’s Code of Practice - handling any complaints regarding breaches of the Editor’s Code of Practice.

NEWSPAPER AND MAGAZINE PUBLISHING IN THE U.K.

Editors’ Code of PracticeThis is the newspaper and periodical industry’s Code of Practice. It is framed and revised by the Editors’ Code Committee made up of independent editors of national,regional and local newspapers and magazines. The Press Complaints Commission, which has a majority of lay members, is charged with enforcing the Code, using it toadjudicate complaints. It was ratified by the PCC in January 2011. Clauses marked* are covered by exceptions relating to the public interest.

The CodeAll members of the press have a duty to maintain the highest professional standards.The Code, which includes this preamble and the public interest exceptions below,sets the benchmark for those ethical standards, protecting both the rights of theindividual and the public's right to know. It is the cornerstone of the system of self-regulation to which the industry has made a binding commitment.

It is essential that an agreed code be honoured not only to the letter but in the full spirit. It should notbe interpreted so narrowly as to compromise its commitment to respect the rights of the individual,

nor so broadly that it constitutes an unnecessary interference with freedom of expression or preventspublication in the public interest.

It is the responsibility of editors and publishers to apply the Code to editorial material in both printed andonline versions of publications. They should take care to ensure it is observed rigorously by all editorialstaff and external contributors, including non-journalists.

Editors should co-operate swiftly with the PCC in the resolution of complaints. Any publication judgedto have breached the Code must print the adjudication in full and with due prominence, includingheadline reference to the PCC.

1 Accuracy

i) The press must take care not to publishinaccurate, misleading or distortedinformation, including pictures.

ii) A significant inaccuracy, misleadingstatement or distortion once recognisedmust be corrected, promptly and with dueprominence, and - where appropriate - anapology published.

iii) The press, whilst free to be partisan, mustdistinguish clearly between comment,conjecture and fact.

iv) A publication must report fairly andaccurately the outcome of an action fordefamation to which it has been a party,unless an agreed settlement states otherwise,or an agreed statement is published.

2 Opportunity to reply

A fair opportunity for reply to inaccuraciesmust be given when reasonably called for.

3 * Privacy

i) Everyone is entitled to respect for his or herprivate and family life, home, health andcorrespondence, including digitalcommunications.

ii) Editors will be expected to justify intrusionsinto any individual's private life withoutconsent. Account will be taken of thecomplainant's own public disclosures ofinformation.

iii) It is unacceptable to photograph individualsin private places without their consent.

Note - Private places are public or privateproperty where there is a reasonableexpectation of privacy.

4 * Harassment

i) Journalists must not engage in intimidation,harassment or persistent pursuit.

ii) They must not persist in questioning,telephoning, pursuing or photographingindividuals once asked to desist; nor remainon their property when asked to leave andmust not follow them. If requested, they mustidentify themselves and whom they represent.

iii) Editors must ensure these principles areobserved by those working for them andtake care not to use non-compliant materialfrom other sources.

5 Intrusion into grief or shock

i) In cases involving personal grief or shock,enquiries and approaches must be made withsympathy and discretion and publication

handled sensitively. This should not restrict theright to report legal proceedings, suchas inquests.

* ii) When reporting suicide, care should betaken to avoid excessive detail about themethod used.

6 * Children

i) Young people should be free tocomplete their time at school withoutunnecessary intrusion.

ii) A child under 16 must not be interviewed orphotographed on issues involving their own oranother child’s welfare unless a custodialparent or similarly responsible adult consents.

iii) Pupils must not be approached orphotographed at school without thepermission of the school authorities.

iv) Minors must not be paid for material involvingchildren’s welfare, nor parents or guardians formaterial about their children or wards, unlessit is clearly in the child's interest.

v) Editors must not use the fame, notoriety orposition of a parent or guardian as solejustification for publishing details of a child’sprivate life.

7 * Children in sex cases

1. The press must not, even if legally freeto do so, identify children under 16 whoare victims or witnesses in cases involvingsex offences.

2. In any press report of a case involving asexual offence against a child -

i) The child must not be identified.

ii) The adult may be identified.

iii) The word "incest" must not be usedwhere a child victim might be identified.

iv) Care must be taken that nothing in thereport implies the relationship betweenthe accused and the child.

8 * Hospitals

i) Journalists must identify themselves andobtain permission from a responsibleexecutive before entering non-public areasof hospitals or similar institutions topursue enquiries.

ii) The restrictions on intruding into privacy areparticularly relevant to enquiries aboutindividuals in hospitals or similar institutions.

9 * Reporting of Crime

i) Relatives or friends of persons convicted oraccused of crime should not generally be

identified without their consent, unless theyare genuinely relevant to the story.

ii) Particular regard should be paid to thepotentially vulnerable position of childrenwho witness, or are victims of, crime. Thisshould not restrict the right to report legalproceedings.

10 * Clandestine devices and subterfuge

i) The press must not seek to obtain or publishmaterial acquired by using hidden camerasor clandestine listening devices; or byintercepting private or mobile telephonecalls, messages or emails; or by theunauthorised removal of documents, orphotographs; or by accessing digitally-heldprivate information without consent.

ii) Engaging in misrepresentation orsubterfuge, including by agents orintermediaries, can generally be justified onlyin the public interest and then only when thematerial cannot be obtained by other means.

11 Victims of sexual assault

The press must not identify victims of sexualassault or publish material likely tocontribute to such identification unless thereis adequate justification and they are legallyfree to do so.

12 Discrimination

i) The press must avoid prejudicial or pejorativereference to an individual's race, colour,religion, gender, sexual orientation or to anyphysical or mental illness or disability.

ii) Details of an individual's race, colour, religion,sexual orientation, physical or mental illness ordisability must be avoided unless genuinelyrelevant to the story.

13 Financial journalism

i) Even where the law does not prohibitit, journalists must not use for theirown profit financial information they receivein advance of its general publication, norshould they pass such information to others.

ii) They must not write about shares or securitiesin whose performance they know that they ortheir close families have a significant financialinterest without disclosing the interest to theeditor or financial editor.

iii) They must not buy or sell, either directly orthrough nominees or agents, shares orsecurities about which they have writtenrecently or about which they intend to writein the near future.

14 Confidential sources

Journalists have a moral obligation to protectconfidential sources of information.

15 Witness payments in criminal trials

i) No payment or offer of payment to a witness- or any person who may reasonably beexpected to be called as a witness - shouldbe made in any case once proceedings areactive as defined by the Contempt of CourtAct 1981.

This prohibition lasts until the suspecthas been freed unconditionally bypolice without charge or bail or theproceedings are otherwise discontinued; orhas entered a guilty plea to the court; or, inthe event of a not guilty plea, the court hasannounced its verdict.

* ii) Where proceedings are not yet active but arelikely and foreseeable, editors must notmake or offer payment to any person whomay reasonably be expected to be called as awitness, unless the information concernedought demonstrably to be published in thepublic interest and there is an over-ridingneed to make or promise payment for this tobe done; and all reasonable steps have beentaken to ensure no financial dealingsinfluence the evidence those witnesses give.In no circumstances should such payment beconditional on the outcome of a trial.

* iii) Any payment or offer of payment made to aperson later cited to give evidence inproceedings must be disclosed to theprosecution and defence. The witness mustbe advised of this requirement.

16 * Payment to criminals

i) Payment or offers of payment for stories,pictures or information, which seek toexploit a particular crime or to glorify orglamorise crime in general, must notbe made directly or via agents to convictedor confessed criminals or to theirassociates – who may include family, friendsand colleagues.

ii) Editors invoking the public interest tojustify payment or offers would need todemonstrate that there was good reason tobelieve the public interest would be served.If, despite payment, no public interestemerged, then the material should notbe published.

PCC Guidance NotesCourt Reporting (1994)

Reporting of international sporting events (1998)Prince William and privacy (1999)

On the reporting of cases involving paedophiles (2000)The Judiciary and harassment (2003)Refugees and Asylum Seekers (2003)

Lottery Guidance Note (2004)On the reporting of people accused of crime (2004)

Data Protection Act, Journalism and the PCC Code (2005)Editorial co-operation (2005)

Financial Journalism: Best Practice Note (2005)On the reporting of mental health issues (2006)

The extension of the PCC’s remit to include editorialaudio-visual material on websites (2007)

Copies of the above can be obtained online at www.pcc.org.uk

Press Complaints CommissionHalton House, 20/23 Holborn, London EC1N 2JD

Telephone: 020 7831 0022 Fax: 020 7831 0025Textphone: 020 7831 0123 (for deaf or hard of hearing people)

Helpline: 0845 600 2757

The public interestThere may be exceptions to the clauses marked * where they can be demonstrated tobe in the public interest.

1. The public interest includes, but is not confined to:

i) Detecting or exposing crime or serious impropriety.

ii) Protecting public health and safety.

iii) Preventing the public from being misled by an action or statement of anindividual or organisation.

2. There is a public interest in freedom of expression itself.

3. Whenever the public interest is invoked, the PCC will require editors todemonstrate fully that they reasonably believed that publication, or journalisticactivity undertaken with a view to publication, would be in the public interest.

4. The PCC will consider the extent to which material is already in thepublic domain, or will become so.

5. In cases involving children under 16, editors must demonstratean exceptional public interest to over-ride the normallyparamount interest of the child.


ii) A significant inaccuracy, misleading statement or distortion once recognised must be corrected,promptly and with due prominence, and - whereappropriate - an apology published. In casesinvolving the Commission, prominence should be agreed with the PCC in advance.


iv) A publication must report fairly and accuratelythe outcome of an action for defamation towhich it has been a party, unless an agreedsettlement states otherwise, or an agreedstatement is published.

The Press Complaints Commission is charged with enforcing the following Code of Practice which was framed by the newspaperand periodical industry and was ratified by the PCC in December 2011 to include changes taking effect from 1 January 2012.

Editors should co-operate swiftly with the Press Complaints Commission in the resolution of complaints.Any publication judged to have breached the Code must publish the adjudication in full and with dueprominence agreed with the Commission’s Director, including headline reference to the PCC.

There may be exceptions to the clauses marked * where they can be demonstrated tobe in the public interest.






3. Whenever the public interest is invoked, the PCC will require editors todemonstrate fully that they reasonably believed that publication, or journalisticactivity undertaken with a view to publication, would be in the public interestand how, and with whom, that was established at the time.



Code of Practice 2012:Layout 3 22/12/11 16:35 Page 1

INDEPENDENT PRESS STANDARDS ORGANISATION• The Editor’s Code of Practice

provides the printed media industry in the UK with a guide which has a firm set of principles to follow. The Code of Practice provides the IPSO (previously the PCC) with a framework with which to regulate the industry and handle complaints/breaches accordingly. Established in 2003, the Code of Practice states that:








1 Accuracy







3 * Privacy





4 * Harassment








6 * Children













8 * Hospitals












12 Discrimination



























Helpline: 0845 600 2757


























INDEPENDENT PRESS STANDARDS ORGANISATION

• Accuracy - states the press must take care not to publish content that is inaccurate or misleading - any statements deemed inaccurate, misleading or distorted must be corrected immediately with the possibility of an issued apology - the press is free to partisan (political influence) however comment, conjuncture and fact must be distinguished clearly - press must also give a fair opportunity for replies to inaccuracies when reasonably called for.

• Privacy - states that everyone is entitled to respect for his/her private life, family life, home & health - editors are responsible and must justify intrusions into private affairs without consent - images of individuals in private places/private property taken without consent is unacceptable.








1 Accuracy







3 * Privacy





4 * Harassment








6 * Children













8 * Hospitals












12 Discrimination



























Helpline: 0845 600 2757



























• Harassment - states that journalists must not engage in intimidation, harassment or persistent pursuit - must not persist in questioning, phoning, pursuing, photographing once requested to desist - nor remain on the property when asked to leave - not to stalk individuals - editors must ensure these principles are observed and take care not to use non-compliant material from other sources

• Intrusion to grief/shock - states the press must handle cases involving personal grief/shock with sympathy and discretion when making approaches & enquiries - and that publication be handled sensitively - when reporting suicide, care should be taken to avoid excessive detail about method used.








1 Accuracy







3 * Privacy





4 * Harassment








6 * Children













8 * Hospitals












12 Discrimination



























Helpline: 0845 600 2757



























• Children - states young individuals should be free to complete time at school without unnecessary intrusion from press - must not be photographed or approached at school without permission from school authorities - under 16’s must not be interviewed/photographed on issues involving their own/other child’s welfare unless custodial parent/guardian/adult is present - editors must not use fame/notoriety/position of parent/guardian as sole justification for publishing details about a child’s private life - press must not identify children under 16 who are victims or witnesses involving sex offences.

• Clandestine Devices & Subterfuge - states the press must not seek to obtain or publish material acquired through hidden cameras, clandestine listening devices, intercepted calls/messages/emails, accessing unauthorised documents/photographs or accessing digitally-held private information without consent.








1 Accuracy







3 * Privacy





4 * Harassment








6 * Children













8 * Hospitals












12 Discrimination



























Helpline: 0845 600 2757



























• Discrimination - states the press must avoid prejudicial or pejorative (derogatory) references to an individual’s race, colour, religion, gender, sexual orientation or to any physical/mental disabilities - these details must be avoided unless genuinely relevant to the story.

• Financial Journalism - states the press must not use financial information they receive for their own profit or that of close family/relatives, nor should the information be passed to others if received before it’s general publication.


• A complaint can be made by anyone on the IPSO website. When the “Make a complaint” button on the navigation bar of the IPSO website is clicked on, the webpage loads a form, where the IPSO requests that the user provide information firstly on what the complaint is about. Here, there are three options, namely:

• the behaviour of a journalist and/or photographer

• material published in a newspaper/magazine

• material published on a newspaper/magazine website

• (Other complaints such as those regarding advertising, content on tv or any other types of complaints are referred by the IPSO to the appropriate regulatory body - The IPSO exclusively deals with complaints regarding print media)


• Next, the IPSO asks whether the user has already been in contact with the publication, requiring that the user includes the name of the publication. Furthermore, additional information that is requested (not required) is the date of the first article and an image of the headline.


• The next stage in the complaint procedure is to provide the IPSO with the specific reasoning behind the complaint, with the IPSO providing the option to select which section of the Editor’s Code of Practice has been breached by the publication.


• When a section is selected, the specifics of that particular section are explained before the IPSO request an explanation for how the user believes that the aforementioned section of the Code has been breached.


• The next step in the complaint procedure is to fill in details about yourself. This contact information will allow the IPSO to contact you, which is required in order to make the complaint.


• The final step in the complaint procedure before the complaint can be submitted is to review the complaint. Here, a summary screen is made available to be viewed, which contains all the information about the complaint and the person making the complaint. This is the last opportunity to edit any information/details before the complaint is submitted to the IPSO for review.

INTELLECTUAL PROPERTY• Intellectual Property, known as IP,

refers to the creations of the mind. Protected by law, these include inventions, literary and artistic works, designs, symbols, names and images. Patents, Copyright and Trademarks allow individuals to earn recognition or financial benefit from what they create. Intellectual Property is something unique that you physically create - an idea alone is not intellectual property (for instance, a book is not intellectual property however the words written within them are).

INTELLECTUAL PROPERTY• You own intellectual property

if:

• You yourself have created it and it meets the requirements for copyright, a patent or a design.

• You bought intellectual property rights from the creator or the previous owner.

• You have a brand that you can trademark.

INTELLECTUAL PROPERTY• Intellectual Property can have more than one

owner. IP can also be sold or transferred. Intellectual Property won't belong to you if you were employed/created it as part of your work. IP is protected by law. The type of protection the IP will get depends on what has been created.

• Copyright (automatic right) - literary works, art, photography, films, TV, music, web content, sound recordings

• Trademarks - Product names, logos, jingles

• Patents - Inventions and products (i.e. machines and machine parts, tools, medicines)

• Registered Designs - Appearance of a product including shape, packaging, patterns, colours, decoration

INTELLECTUAL PROPERTY

• Non-disclosure agreements allow you to discuss your IP with someone and stops them from telling anyone else about it or use it for themselves however a non-disclosure agreement cant protect IP once it’s available in public.

INTELLECTUAL PROPERTY• The Intellectual Property Office

is the official government body responsible for Intellectual Property rights in the UK. These include patents, designs, trademarks and copyright. Formerly The Patent Office, which was set up in 1852 to grant patents, in April 2007 was changed to the Intellectual Property Office. The IPO provide a free online service called Ipsum, which allows users to check the status and access information on UK patent applications.

SAFE WORKING PRACTICES

• Safe working practices when using the desktop publishing software (such as Photoshop) include using the tools available within Photoshop to streamline the production process and to ensure that the magazine design remains consistent.


• For instance, the use of the eye dropper tool within Photoshop ensures that the colours used in the magazine remain consistent - this is done by sampling the colour of a pixel in an image - thus ensuring that the colours used within the magazine remain consistent with the colour scheme and the overall house style of the magazine.


• Photoshop provides two palettes for selecting colour: the colour palette and the swatches palette. The swatches palette shows a range of default selectable generic colours. However, the swatches palette allows users to load custom swatch collections - which means that previously saved colours can be used again.

• This, along with the aforementioned eye dropper tool enables the same colours to be used and as a result, maintain colour consistency throughout the magazine and subsequent future magazine issues.


• Another example of safe working practices when working with desktop publishing software would be the use of the ruler tool. This tool allows the user to establish margins as well as rulers that can be manipulated in order to position certain elements or plan the layout of particular conventions.

• Consequently, this tool is used to ensure that the layout and positioning of conventions, such as the masthead or the cover lines, is consistent and straight. Similarly, this tool ensures that elements are not placed in the area of the page that won't end up being printed.


• Organising layers is an essential working practice. This ensures that elements are easy to find and can be ordered easily to overlap certain elements. Grouping layers into folders allows users to better organise and consequently find the layers they are looking for.

• Similarly, linking layers makes manipulating the positioning of certain elements much easier. Likewise, hiding layers allows users to focus on certain elements without having to see everything in the document.

• Layers also allow non-destructive editing - which allows for adjustments and manipulations to be made on layers rather than the elements/images themselves - which in turn means that the original image remains untouched and easily accessible.


• One essential working practice is the backing up of data and files. Computers can crash, files can be corrupted, hard drives can fail - there are many risks that could result in data loss. Consequently, the importance of storing duplicate copies elsewhere ensures that loss of work will not have a severe effect on the production of the magazine.


• Contingency plans implemented into the production schedule will ensure that the magazine is published without delay. Allocating contingency days throughout the production of the magazine ensures that unforeseen circumstances/events that could potentially cause delays will not impact the publication date of the magazine.


• Additionally, identifying risks through conducting a risk assessment will ensure that the health and safety of those in the workplace. Risk Assessments, particularly at the work place and on-location during photo shoots identifies the possible risks that could potentially cause harm to people and take reasonable steps to prevent this. These are required to be carried out by law.

• Similarly, the creation of a locations recce is used to assess the suitability of a location for shooting. The primary reason for a location recce is for health and safety - identifying the environment, equipment, logistics and staff for health and safety reasons.

UNIT 13 LO5

about the magazine that were not covered during the pitch which left some without a completely clear idea of what Charm magazine is.

The third question focused on the particular details and pieces of information that was not included in the pitch. This question aims to delve deeper in to the responses of the previous two questions and find out why the pitch did not leave all with a crystal clear idea of Charm magazine following the pitch. Out of the 8 who left responses, exactly half of them felt that “everything was good” and that there were no details left out of the pitch whereas the other half of respondents pointed out that there were some key elements missing, most notably the mood board and the spending power of the target audience. One response commented that the planning that went into taking and manipulating the images in post was also lacking.

The fourth question attempts to summarise the previous three questions by investigating the quality of the pitch overall, taking into account the effectiveness of the pitch and the details/pieces of information that the pitch did not convey to the publisher. Out of the 12 respondents, 42% felt that the pitch was faultless and gave a rating of 10/10 and another 42% felt that the pitch was excellent and gave a rating of 9/10 whilst 17% felt that the pitch was a solid 8/10.

The penultimate question, question five, focused on whether the pitch was effective enough to have convinced the publishers to invest in Charm magazine. Again, this question builds on the previous questions and investigates whether the pitch met the success criteria: which was to sell the idea of Charm magazine to the publishers. Out of 12 responses 17% felt that, following the pitch, are extremely likely to invest in Charm whilst 25% felt that they are very likely to invest in Charm and finally the majority (58%) felt that they were likely to invest in charm following the pitch.

The final question, question six, gave respondents an opportunity to provide any other feedback in regards to the pitch. Entirely optional, 9 respondents left a comment. The majority of the comments (7/9) didn’t have any other questions or concerns, a few of which left comments praising the presentation. One respondent felt that more eye contact with the publishers would have improved the pitch whilst another felt that the target consumer was mentioned in detail the pitch did not sufficiently reference the audience characterisation of Hartley’s Subjectivities.

Page ! of !6 9

S U M M A R Y

Learning Objective 5

• Analysed and evaluated feedback of the pitch from the publisher interview and questionnaire conducted on Survey Monkey, focusing on the strengths of the pitch, possible improvements and the requirements and expectations of the client and whether they have been met.

UNIT 13 LO5

EVALUATION OF FEEDBACK FROM PITCH Table of Contents • Introduction • Publisher Interview • Survey Results • Strengths • Improvements • Conclusion

Introduction The aim was to deliver an effective pitch for a music magazine to a publisher. On December 9, 2014 at 11:45 am in the MS1 classroom, using Prezi I delivered a presentation to the publishers pitching an idea for a new monthly rock music magazine called Charm. Limited to 10 minutes, I used primary and secondary research to pitch a new UK based music magazine which included a proposal, a budget breakdown, a production plan, the target audience, the advertising strategy and a mock front cover and double page spread. The pitch clocks in at just over 10 minutes and is available to watch on YouTube here: (https://youtu.be/tK1EZhPL7iM).

Interview with Publisher

The interview with the publisher, which took place and was recorded on Tuesday January 6 2015, provided me with valuable feedback about my pitch (see Publisher Interview.MOV). The first question asked how well the pitch sold the idea of Charm magazine. Overall, the publisher (Mr Crafts) felt that the pitch sold the idea of Charm magazine “extremely well”. He was particularly impressed with the fact that Charm magazine was so similar to music magazines currently on the market yet also providing something “unique” and “innovative”.

Page ! of !2 9

S U M M A R Y


• Outlined the magazine production plan, the key personnel (job roles) needed to produce the magazine, the budget requirements for the production process and the launch date & calendar events.

S U M M A R Y


• Analysed and outlined the legal and ethical issues involved with the production, printing, publication and advertising of the magazine, namely issues with copyright, the Press Complaints Commission, the Independent Press Standards Organisation, Intellectual Property and safe working practices.

Education

Brian - Unit 13 LO5 - Evaluating Feedback