Leveraging Directories for Publishers

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Directories are one of the oldest and most common print resources in existence. They are also diverse, covering everything from Yellowbook to tourist guides, but some of the most successful registries are those owned and managed by local magazines and newspapers. That said, there are not as many publishers capitalizing on directories as there should be.

The value of local directories

Local publications thrive by being the “local source of information” for their audience. The more information publishers provide, and the more versatile that information, the more footholds a publisher has in their local community. Directories are a great way to provide added value and promote the actual community, helping establish that greater foothold without compromising or straying from the content a publisher would already be producing. Not to mention, directories provide a chance for profits too.

During a crisis, directories take on an entirely different value, but one equally as important. People need clear and concise information during difficult times to help them make informed, rational decisions. Directories meet that need perfectly. Publishers can do away with the profit model of the directory temporarily, and update the directory to provide the most accurate and up-to-date information to better serve their audiences in that time of need. This ties back into the idea of supporting the community as the “local source of information,” which in turn causes the community to rally behind the publication and help them push through their own difficult times. Baltimore Magazine’s COVID-19 roundup is a great example of putting this into action.

How to leverage a directory

Producing a local directory takes time and effort – collection of data, design and layout, distribution, maintenance and updating, etc. That is why, if a publisher is going to maintain one, they need to do it right, and get the most value out of it.

A good directory starts with a focus, one that aligns with the natural theme of the publication; unless the publication covers everything, directories are not meant to be a catch-all of every business in the area, but a summarization of the types of businesses a publisher’s audience might need most. For example, a city magazine will probably cover things that would attract tourists, like historical sites, restaurants, and unique stores. A horse magazine, on the other hand, may cover local stables, farrier shops, feed lots, and veterinarians. 

Publishers then need to think about recouping the costs involved with a directory. As stated, it takes quite a bit to produce one, so it needs to generate profit. Luckily, the directory model is already built similar to the advertisement model by providing an opportunity for smaller, simpler ad spaces that have high exposure, due to them being in a format that audiences use when they are actually searching for businesses. Further, the publisher may choose to limit certain categories in the directory. This not only helps cap the costs of the directory by limiting its size, but also reduces the supply of spaces for purchase, and thus increasing demand and driving price.

One of the more unique ways to leverage a directory is to turn it into a visual resource, like a local map. This not only gives the community a new way to interact with the content, but also allows it to serve as a greater resource for tourists and other out-of-town visitors, making the value of the spaces in the directory increase. Publication Printers works with a few publishers that do just this, such as Discover Estes, a map and directory guide for Estes Park, CO.

One of the other major benefits of directories is their long shelf-life. Most businesses and local entities that are listed within directories make limited changes to their information, meaning that, while there is upfront costs to develop a directory, maintaining them long-term requires minimal effort, but continues to provide long-term profits. That content also happens to be valuable information that readers look to, making it a branding benefit too.

Directories and publications that are not “local” focused

The value of a directory does not go down just because a publication’s geographic audience is wider. However, the ability to provide that sense of local benefit takes greater effort the larger the geographic area is, and it may even take multiple directories to provide the value appropriately. It is a greater undertaking for publishers of larger publications to do, but if leveraged well, the same benefits on a larger scale can take place.

Gannett, the well-known publishing group, actually made the move to create a digital directory on a large, yet geo-segmented scope to help support its audience. Support Local, as they named the platform, allows their audience to connect with local businesses and access special services. Support Local was built to help during the COVID-19 pandemic, but its value and potential benefit to Gannett will persist long after the pandemic ends.

Further Information

To learn more about how to monetize niche content, including directories, click here. If you would like more great content from Publication Printers and the Publication Printers Marketing Group, click here.


Are Your Subscribers Loyal to Your Brand?

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The concept of a “loyal reader” has always been an important metric for magazines and newspapers. However, what actually constitutes a loyal reader, and how many loyal readers are really normal for a publication?

There are several different definitions for a loyal reader, most of which focus around the idea of a reader that comes back for more content, and is presumably consuming content due to the consistent exposure. The issue with these types of definitions is that it relegates a publication’s readership to a statistic; the loyalty of the audience is based solely on web traffic events or purchase consistency.

In more recent years, a particular metric has become easier to track, and it is much more telling of loyalty: engagement. Engagement is still a complicated thing to measure, as it involves tracking a lot of different outlets and types of connection with content, but it is a more accurate measure of a reader’s loyalty.

With this new, more realistic definition of a loyal reader in mind, it brings up an important question for publishers: are your subscribers loyal to your brand? In order to measure that, it is important to understand more about engagement and what it means in regards to subscription.

First, exposure to content does not mean that content is being consumed, so a subscriber is not inherently a loyal reader. However, subscribers do have more exposure to content due to their higher grade of access, and they have opted in. That is why measuring who engages, whether they are a subscriber or not, is important.

Second, habitual engagement, where a reader engages with new content as it is released, shows consistent connection to the publisher, and actually confirms that their frequent exposure results in something. If that reader is a subscriber, then they would qualify as loyal. If they are not yet subscribed, then they are a representation of who that publisher should be targeting.

Tracking engagement is a process that takes time and effort, and sometimes additional support or costs to do properly. With that kind of spend, what does a publisher get in return for being able to measure the percentage of loyal readers amongst their subscriber base?

Content Insights, a professional organization specializing in data collection and analysis, recently aggregated data on readership loyalty based on engagement as part of a study, which was a first in the content analytics industry. Their research covered data from 10 different publications over the course of a month, and the data was quite surprising.

  • Only 3.8% of readers qualified as “loyal” based on the habitual engagement definition.
  • In comparison to “ordinary” readers, “loyal” readers consumed an average of 5x more content.
  • “Loyal” readers averaged 4x the web visits of “ordinary” readers, and in each visit consumed 29% more content in general, and read an average of 14% more text on singular articles.

The Content Insights study also elaborates on this data with some real-world scenarios that show the major impact that loyal readers have in comparison to ordinary readers. For example, the ratio of articles read per visit (loyal: ordinary readers) is approximately 5.5:1 and the ratio of visits per month is 3.5:1.

When you take all of this data into account, loyal readers are shown to consume and engage with up to 19 articles for every 1 article by an ordinary reader.

Take this back to a publisher’s subscriber base. If a publisher can find out what drives higher loyalty from their subscribers, that will translate into knowing what content has better engagement, what topics generate more interest, and what outlets garner the highest amount of engagement. In general, knowing what drives loyalty greatly impacts the ability to drive revenue.

Also, as a last note, literal revenue generation can come from better understanding loyalty. If a publisher can find unsubscribed readers who have the potential to become loyal, based on their engagement, there is a great opportunity to increase subscriptions and also increase the percentage of loyal readers amongst the subscriber base.

Further Information:

To learn more about the study on reader engagement by Content Insights, click here. For more information about Content Insights in general, click here.

If you would like more great content from Publication Printers and the Publication Printers Marketing Group, click here.


Property Brothers, Meredith Partner for New Magazine

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There are a lot of skeptical publishers asking themselves if launching a new print magazine is worth the risk. While the answer may not be that easy to determine, there are plenty of other content producers that are excited about the idea of print in helping to broaden their brands. HGTV’s Property Brothers are one such content producer.

Drew and Jonathan Scott, twin brothers and the faces of Property Brothers, have recently announced a partnership with Meredith Corporation to create a new lifestyle magazine centered around home content and more. According to the President of Meredith Magazines, Doug Olson, the Scott brothers extending their reach through print is an obvious decision: “Drew and Jonathan have a unique connection with customers that will translate well into print.”

For the Scott brothers, while this venture is another step in expanding their Property Brothers brand, they also feel that print itself is a valuable medium, and the choice of creating a print magazine was a deliberate next step. “We love print and have always wanted to extend our message of living life to the fullest through this medium,” says Jonathan. “With a platform like this, we get to develop a consistent and thoughtful way of sharing great ideas and actionable insights with our audiences,” adds Drew.

The new magazine is not only a sign of success for the Scott brothers, but also for magazine publishers in general. Recent years have not been easy for the magazine industry, as many titles have struggled, but the resurgence of print due to other content producers seeing print as an opportunity is helping revitalize the industry. Meredith in particular has seen many major titles disappear, and also had major employment changes, and a new title of this caliber is a great sign of growth for them, and follows in the footsteps of another HGTV duo, Chip and Joanna Gaines, who also work with Meredith on their quarterly Magnolia Journal magazine.

“We’re extremely excited about taking the chemistry [the Scott brothers] share with their millions of viewers onscreen to new and existing audiences in the print medium.” says Olson.

HGTV has magazines with several major publishing groups other than Meredith. According to Adweek’s 2018 Hottest (print) Home Magazine, Hearst currently owns that spot with HGTV’s own HGTV Magazine, which according to Hearst, has more than 1 million subscribers and is in the top 10 of monthly newsstand magazines. If Meredith can leverage the new magazine from the Scott brothers, and their other titles related to HGTV starts, they may mirror or even exceed these numbers.

The new quarterly
magazine from the Scott brothers and Meredith, which has yet to be named, will
be releasing in January 2020. At newsstands, the cover price will be $9.99, and
an annual subscription will be $20.

Further Information:

To learn more about the
new magazine from the Scott brothers and Meredith, click here. For
more information about the Scott brothers’ TV show Property Brothers, click here.

If you would like more
great content from Publication Printers and the Publication Printers Marketing
Group, click here.


2019 Holiday Schedules | Freight & Mail Impacts

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Publication Printers Corp., like many companies in the United States, observes certain holidays. Due to this, there are sometimes differences in our freight and office hours on and around the dates of each holiday. Below are the changes and special hours to be observed on the stated holidays:

Thanksgiving 2019

Publication Printers:

CLOSED for Thanksgiving, Thursday, November 28th. Resuming normal operations on Friday, November 29th.

Freight Carriers:

NO FREIGHT MOVEMENT or PICK-UP for Thanksgiving, Thursday, November 28th and Friday, November 29th. Freight picked up on or before November 27th will resume transit on Monday, December 2nd.


CLOSED for Thanksgiving, Thursday, November 28th. Resuming limited operations on Friday, November 29th.

Christmas 2019

Publication Printers:

CLOSED for Christmas beginning Wednesday, December 25th. Resuming operations on Thursday, December 26th.

Freight Carriers:

Freight vendors will close early on Monday, December 23rd and NO FREIGHT MOVEMENT or PICK-UP will occur on Tuesday, December 24th or Wednesday, December 25th.  Freight picked up on or before the 23rd will resume transit on Thursday, December 26th.


CLOSED for Christmas, Wednesday, December 25th. Resuming limited operations on Thursday, December 26th.

New Year 2019-2020

Publication Printers:

CLOSED for New Year’s beginning on Wednesday, January 1st. Resuming operations on Thursday, January 2nd.

Freight Carriers:

Closing early on Tuesday, December 31st and CLOSED on New Year’s Day.  Freight picked up on or before December 31st will resume transit on January 2nd.


CLOSED for New Year’s Day, Wednesday, January 1st. Resuming limited operations on Thursday, January 2nd.

Further Information

For more information on Publication Printers Corp., click here and or call 303-936-0303.

If you want more great content from Publication Printers, click here.


PIA Course to Teach Print Design to Designers

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One of the most important relationships a magazine publisher has is the one with their printer. Without a printer, there is no print magazine; while there are many online-only publications, the money in the industry still remains with the print titles. However, the relationship between a printer and a publisher usually revolves around two things only: cost and quality.

A focus on cost is obvious, as publishers are looking to balance budgets more and more as the industry tightens. Quality, on the other hand, is an interesting variable. Of course, the quality of the printing should be a huge consideration, but the quality of what is provided to the printer should be just as vital.

Most professional designers today put their focus on digital, which is great for other industries, but quite problematic for print publishers. Designing for print requires an innate understanding of colors, bleeds and styles that do not apply in other design disciplines. A lack of those understandings can cause print jobs to be held up in production quite easily, or can result in poor quality submissions to the printer. A printer can do a lot to help a publisher resolve the problem, but there is only one true solution: better trained designers.

The Printing Industries of America (PIA), the world’s largest graphic arts trade association and an organization with expert knowledge of the print industry, is seeking to help resolve the lack of training. They have released an iLearning course titled “Print Production for Designers” meant to help bridge the gap of understanding many designers have with print knowledge. The goal of the course is two-fold:

  1. Broaden the horizons of designers.
  2. Help publishers have access to higher-quality designers who can help them produce better quality magazines.

Printers can also make use of the course, and should take it upon themselves to help educate their clients. Printers are responsible for their role in quality, but it is also their responsibility to hold their clientele accountable for providing proper files; otherwise, a printer cannot do their job correctly. The PIA course provides printers the means to foster this new level of relationship with publishers as well, and in the end, it can help printers save time and publishers money.

Further Information

To learn more about the iLearning Course “Print Production for Designers,” click here. For more information about the Printing Industries of America in general, click here.

If you would like more great content from Publication Printers and the Publication Printers Marketing Group, click here.


Meredith and NY Times Collaborate to Create a Special Section

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In a world where high-margin opportunities are less common for publishers, special sections remain a great money-maker. That may explain why Meredith Corporation and the New York Times are making use of one-time titles once again to maximize their reach and profits.

Special sections, also referred to as a special edition or special interest magazines, are one-off magazines meant to capture the hype or exposure on a focused topic. Many times, special sections fall into the “bookazine” category, being significantly longer editions and hyper-focused. This said, with the pursuit of new revenue options, some publications are doing smaller but more frequent special sections, as they tend to have much higher profit margins with the same print run size and audience.

The Meredith/Times special section recently released was a “Summer of 69” issue with a unique spin to the special section concept: multi-publication collaboration. This special section, the first New York Times standalone magazine ever, was built with the help of Meredith Corp., one of the nation’s largest magazine producers, to coordinate with the standard coverage within the New York Times newspaper that was covering the 50th anniversary of the event.

While there have been numerous publications to coordinate content between their parent title and their special sections, completely independent publications working together is not a common practice. This action shows a potential opportunity for publishers to not only expand their profit options, but to help keep each other standing strong in an economy that has not been kind to publishers in general.

Further Information

To learn more about Meredith Corporation’s and the New York Times’ special edition magazines, click here. For more information publishers and special editions in general, click here.

If you would like more great content from Publication Printers and the Publication Printers Marketing Group, click here.


E-Learning Proves Profitable for Publishers

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Print publishers are always looking for new profit opportunities, especially in today’s digital age. E-Learning is a digital avenue that can tie into any publisher’s magazine and compliment print. The e-learning industry is already a $165 billion industry (as of 2015), but estimates are showing it being as large as $275 billion by 2022, and part of that epic growth is likely to come from publishers.

Magazines, particularly niche titles, have very specific topics that they showcase an expertise in. After all, that topic is the crux of the content the publisher produces, and why readers are drawn to that title. It makes complete sense that if they enjoy topical learning, readers would likely also have an interest in deeper learning, which is where e-learning has its potential for publishers.

Think of it as advanced content for the reader. Take a yoga title for example. They cover a large amount of content, but what if a reader is new to yoga, and wants help learning the basics. Why should they go elsewhere to access actual training or exercises when the magazine can work with a pro, record a bunch of tutorial videos, and make them an upsell option? That title could even produce new content consistently and have multiple subscription tiers.

E-learning can be leveraged for any topic, or a spectrum of them. The one thing to note is that, like any other potential revenue stream, there is both a time and monetary investment needed to make e-learning a viable part of a publisher’s business. It needs to be thought out, investigation on the topic and competition in that e-learning realm need to take place, and most of all, the publisher needs to know if they have the bandwidth to create the content consistently.

Further Information

For examples and further detail on how publishers are leveraging e-learning, click here.

If you would like more great content from Publication Printers and the Publication Printers Marketing Group, click here.


New Magazines from Unlikely Sources

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The print industry has had some strange movement over the past decade, especially in the magazine landscape. That said, print has never “died,” nor will it do so a very long time, if ever. The proof is that, while the dynamic of how to make magazines profitable has altered drastically, there are more magazines today than there were 10 years ago. A lot more, in fact!

One of the biggest sources for this boost in new magazines is from the least likely of places: digital and online service organizations. In their industry, print is an uncommon form of distribution, and a way to exercise a unique marketing opportunity. It also allows them to venture into the world of content distribution that, on their digital and online platforms, may not fit their model. Here are two perfect examples.

Case Study: Dating app “Bumble”

Bumble is a popular social and dating app that has been around for almost 5 years. It is a mobile-only application designed to shake up the gender norms re: woman and dating rules, allowing women a place to connect for dating, networking or meeting online. Just recently though, Bumble decided to broaden its focus beyond just connecting people and facilitating communication, by developing a print lifestyle magazine.

The magazine focuses on content related to what brings users to Bumble: dating, careers, friendships, and partnership. They even went so far as to create 4 sections in the entire magazine into 4 sections, labeled “You First,” You + BFFs,” “You + Dating,” and “You + Bizz.”  The print publication is exclusive to Bumble’s 50+ million users at the moment, with free copies able to be requested on the app, but the potential for it to scale into the general reading market is likely based on the contributors.

Case Study: Travel site Airbnb

Airbnb took the world by storm by offering an in-house solution to hotels and motels; connect people willing to lend their homes out with people needing short-term vacation rentals, business trip housing, or other travel accommodations. The company focused on helping travelers have creature comforts and feel at home while on the go,  and they expanded that in 2017 with a print publication.

The content leverages anonymous user activity on the Airbnb website to determine locations, events, trips, and travel ideas that are popular, and then crafts custom content for the publication on those topics. It not only provided new revenue options for the already thriving company, but answered a lot of questions that current Airbnb users were asking, and could not find answers to elsewhere.

Further Information

For more detail on about Bumble’s print magazine, click here. You can also check out this article about Airbnb Magazine.

If you would like more great content from Publication Printers and the Publication Printers Marketing Group, click here.


Add the Ad that Counts: Cover Wraps

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The decline of ad revenue is one of the magazine industry’s greatest concerns. It is also one of the reasons that the whole “print is dead” concept came about; if you are not making ad dollars, and subscriptions are harder to come by, how does a magazine make money?

The answer to the question lies in resolving a huge industry assumption. Traditional ad dollars, meaning the sale of ad spaces in a magazine, are lower. They are not gone. Further, internal ads are not the only ads available for a print magazine. Cover wraps, for example, are a great alternative, and also one of the few sources of print advertising revenue that has increased in recent years.

What is a cover wrap?

Cover wraps differ from traditional magazine ads, so not everyone knows what a cover wrap is. Think of it as a 4-page cover, completely composed of ads, that runs over the actual cover. For saddle-stitch magazines, this means a 4-page signature placed on top of the regular cover. For perfect bound magazines, the cover would be the cover and spine, and the “real” cover would be two inserts placed inside of the cover wrap.

In most cases, a single advertiser purchases the whole 4-page wrap, or two advertisers split the wrap. In the case of two buyers, one usually buys the front and cover, the other buys the back cover.

There is also the option for a front-only cover wrap, where an additional sheet, sometimes made from a different paper, is placed on top of the front cover. This is more complicated to produce, but still a viable option.

Why are cover wraps working when other ads are not?

The first thing to address is that print ads are working, just not as well as they used to. Cover wraps happen to be performing well at this time, more so than other print ads. With that said, why are they working when other print ads are not?

  1. Not every print for an issue needs a cover wrap. A publisher can sell a cover to a specific segment of the readership. Publishers can sell multiple cover wraps for the same print issue. If an advertiser wants to target a specific list within a readership, that is a premium opportunity. Sell it as such.
  2. A magazine’s value to the reader is not its ads, but its content. So rather than disrupting the reader, cover wraps immediately affiliate the ad with the content, and give the reader the chance to experience the ad prior to consuming the content. This also affiliates the ad with the brand more than an internal ad, because of the magazine branding and cover page elements, and almost hides the ad in the form of editorial content.
  3. They can be used for self-promotion. By directly affiliating with the content and brand of the magazine, the chance of engagement is much higher. Using cover wraps for subscription renewals, corporate updates, or to promote the release of new titles through existing titles are all functional options.
  4. Cover wraps can be an alternative to an internal ad, or an upsell opportunity. If an advertiser is already buying a cover ad, it is easier to sell a discounted internal ad to them as well. It may not be as large of margins, but selling two ads helps offset that.
  5. An advertiser can run a campaign across multiple publications at once using cover wraps. Advertisers want the most bang for their buck, so being able to generate one main campaign cover wrap, and work with multiple titles would allow them to run the same ad to multiple markets and readerships at the same time.

What are the limitations of cover wraps?

Cover wraps are additional pages being added to a publication. Regardless of how many issues include a cover wrap, there are additional print costs associated with cover wraps. The weight of each print with a cover wrap also increases, thus increasing shipping costs. The ads sold in a cover wraps often offset these costs, but the publisher needs to do research and price the ads appropriately to ensure an ROI.

Branding also comes into play. Even though there is still a real cover underneath the cover wrap, what readers see first is the wrap. A magazine’s brand must be strong enough to ensure the reader knows, even with the ad on the cover, what magazine it is. The wrap is unsuccessful otherwise, and hurt the magazine’s brand in general.

Lastly, cover wraps, when used for targeted segments of a readership, reach only general groups. Digital advertising gives advertisers the means to define incredibly specific audiences, like “farm owners in Indiana with a preference for comic books.” In comparison to those digital audiences, print audiences target generic groups. That applies to the struggles of print versus digital advertising in general though, not just cover wraps.

Further Information

To learn more about cover wraps, click hereTo see more information on functions and examples of cover wraps, click here.

If you want more great content from Publication Printers, click here.


9 Types of “Digital” Publishers Can Monetize

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Print is not going anywhere! Publishers have had advertisements in their titles long enough to prove that ad profits mostly come from print. In today’s market, where ads are how publishers make their margins, print needs to be the focus. That said, making additional revenue by incorporating digital is key in today’s blended media market.

Digital content is versatile. First, digital allows publishers to create more editorial and imagery. Second, publishers can use digital to help drive subscriptions and distribution. Lastly, publishers can incorporate new types of content. However, most publishers are still skeptical about digital because their focus is print. Publishers feel they have to sacrifice time, energy, and money from print to make digital feasible.

So how can publishers feel more comfortable dedicating time, energy, and money into a digital strategy? The best way is to look at how other publishers are monetizing digital successfully. Each publisher may be unique, but trends and concepts cross over the entire market, and there are plenty of publishers marrying print and digital well. These 9 types of digital are tried and true examples of this.

A. Website Related “Digital”

1. Digital Editions

Digital editions provide instantaneous access to the printed content through mobile and electronic devices. For that ease of access, publishers can easily apply a premium or upsell existing subscriptions. Also, the final print file and the file for a digital edition can be identical. Publishers upload their file, add additional links, pages, or other added media, and a digital edition is ready in as fast as 5 minutes.

Great example: 805 Living

2. Paywalls and Web Gates

Not every publication uses a paid content or subscription model for their print titles. That does not mean the digital content has to follow that same model. Websites provide ease of access and the opportunity to include additional content. That ease and extra content extend beyond the traditional offerings of a print publication, so charging for that luxury is normal. A publisher could use digital subscriptions or micro-transactions to monetize accessing exactly what the reader wants.

Great example: Albuquerque the Magazine

3. Applications

Applications combine the best of a website and digital edition, and are customized for a mobile device. It offers the ideal delivery of all content by a publisher to their audience. Apps deliver all formats of content, ads, and notifications in a controlled and branded environment. Apps also deliver in a free, freemium (it is free for some features but paid for others), or paid (costs money to download or has a monthly subscription) capacity, based on the publisher’s choice.

Great example: National Geographic

B. Connection-Related “Digital”

4. Social Media

Originally designed for recreational connection online, social media platforms have become the largest hubs of online traffic. They are the place with the largest amount of content consumption in the world. That means publishers should be using social media. Distribution of content is the obvious use, linking to the website and original editorial. The other option is to actually sell ad space on social. Creating posts for advertisers is very similar to selling sponsored content. Another option is selling ads on social media ad networks. These ads are not limited to social media, but can extend across the internet to find the relevant audience. Also, since these ads do not show up as a post, a publisher’s editorial posting is not muddled by ads.

Great example: BUILD Magazine – Big Sky

5. Email

Emails are still highly effective, and email platforms are easy to monetize and make profitable. Emails also are versatile (birthdays, holidays, events, special sales, etc.). If a publisher is doing subscriptions with email part of their required information, it is easy to build an initial mailing list. For monetization, it is easy to sell sponsorships of newsletters, put ads in a sidebar of an email, and use email to distribute offers and calls-to-action.

Great example: 5280 Magazine

C. Content-Related “Digital”

6. Video Content

As an alternative content format, video is one of the more-easily monetized forms of digital. Videos can supplement a print or web story. They can provide exclusive, additional content (upsold if done well). They can be used for education in the form of “how-to” videos. Also, they can be used as ads or promotional content. Publishers can even curate 3rd-party video related to their audience or stories, skipping the cost of making video content altogether.

Great example: Thrasher Magazine

7. Podcasts

Like video, podcasts are another type of content to leverage. On a podcast, everything is pre-recorded, giving publishers full editorial control. Podcasts are also streamable online or downloadable for offline consumption. They are affordable to produce, averaging $200 an episode. They are also easy to upsell to advertisers for two reasons. First, audio ads, like radio, get a lot of attention. Second, publishers can sell to an advertiser the option of being the podcast story; the publisher interviews the advertiser and lets them promote themselves.

Great example: Discover Magazine

8. Sponsored Content

Thought leaders, influencers, and other content generators are everywhere and seeking opportunities to be published. Externally-produced content can be tailored to any audience upon request. Also, publishers can sell sponsored content spaces for “advertorial” purposes. The sponsor would pay to have their promotional copy included amongst the editorial content. Publishers publish it for a profit.

Great example: GPS World and North Coast Media

9. Augmented Reality

Whoever said print itself does not have the power to be digital is wrong. Augmented reality provides the ability to turn any print publication into a multimedia powerhouse by overlaying other content formats (video, podcasts, imagery, etc.) over the print. It is invisible to the eye, but with a mobile device, all that additional content comes to life. The easiest way to monetize it is to sell it to an advertiser. Now the print ad can link to a website, direct straight to online products, or have virtual tours and examples. Publishers can also use it to provide additional content that could not fit in the print.

Great example: USA Today

Further Information

For more information on how publishers can monetize digital, click here and here.

If you want more great content from Publication Printers, click here.

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