Confessional Interview - Magazine Module

Confessional Interview

To look at me and Abi, laughing and chatting, anyone would think we were mother and daughter, however you would be mistaken. Despite my closeness to this bright and beautiful young woman, we are not related. Our relationship only began 5 years ago through the death of my 26-year-old-son Russell. I lost my son but have gained a daughter. 

A parent can never prepare themselves for the moment they are told their child has passed away. I’ll never forget the day I was told about Russell’s accident. I had just arrived home from work when my daughter phoned to tell me he had collapsed whilst helping a friend move house and that he had been taken to hospital. We all didn’t realise the extent of what had happened to him, just thinking he had fainted and that the hospital would simply check him over. My first thoughts were that if he had had a black out, they would stop him from driving. Russell’s life was driving and all I could think about was how mad he would get if he couldn’t drive. We sat outside the room, waiting to hear how he was doing and when he could come home. Never expecting the news that followed. 

Later on that evening, the doctor came through the door to tell me there was nothing more they could do for my son. I stood in shock. I kept repeating ‘you can’t be talking about my son, not my boy’. That feeling is something you can never imagine, from thinking your son has had a small accident to hearing those words that this was the end. In the midst of our grief and shock the doctor asked us: ‘Would you consider donating Russell’s organs?’ Within the space of 2 minutes, my world had been turned upside down. The last thing on my mind was giving away anything related to my precious son. 

The doctor told us to take some time to think about it. I’ve always been a blood donor and also have a friend who’s daughter was looking for a heart and lung transplant. Those thoughts flashed through my mind at that time, and I thought, we can’t waste his life. The question arose ‘If an organ could save Russell’s life, would we take it?’ The answer was undeniably yes, and we as a family decided that it was the right thing to do. I knew deep in my heart it would be what Russell would have wanted. 

Once we notified the doctors on our decision, we got to say our final goodbyes to Russell. As I gave my son a hug and kiss for the last time, all I could think was this isn’t the way it should be. It shouldn’t be your child who goes before you, it’s not right. In the weeks that followed we were all in some sort of limbo. The world is passing you by and your in this capsule of grief, not remembering what normal feels like. You spend hours, days, weeks, doing whatever possible to escape from that terrible reality that is now your life. The grief was simply overwhelming. 
Russell had the most wonderful sense of humour, his smile could light up a room. Now his future had been taken and a giant hole had been left in all our lives. 

The only glimmer of happiness lay in the idea that 4 people had survived, due to Russell. I sent a sunflower card at Christmas to each of the organ recipients, telling them some information about Russell. I often wondered who they were but it wasn’t until a few months had passed that I got a call from a transplant co-ordinator to say that had a letter for me. The letter was from a man who had received a part of Russell’s liver. At first I was angry to hear that this man was an alcoholic. I thought of my son who had been taken through no fault of his own, then this man who had damaged himself due to drinking. However when I read on, he told me that he would never waste Russell’s life and he can’t thank me enough for this blessing. Since then, he sends me a card every mothers day. It’s a strange feeling. In some ways you feel happy, that you have people reaching out and thanking you. Yet at the same time, all I wanted was my son back. 

A few months later I received another letter from a young girl who had another part of Russell’s liver. They wrote to me to say that she had had the operation and that she was doing fine. The letter carried on, stating how they couldn’t thank me enough for this incredible gift and that she would like to meet me. Weeks later the date was set and my apprehension was sky high. But Abi and her family immediately put me at ease. Abi put her arms around me and thanked me for everything we had done and we all started to cry. When our tears were falling I noticed she had blue eyes, the exact same colour as Russell’s and I felt like I had part of my son back with me. 

Abi, who was only 13 years old when she received part of Russell’s liver, was born with chronic liver disease and had been waiting 2 years for a transplant. It was an incredible feeling to know that despite the torment and grief our family went through, we helped another family not have the same fate. As we said goodbye, it could have ended there but Abi wanted to stay in touch. During the following months, our relationship flourished. In May last year Abi was bridesmaid at my daughter Claire’s wedding. As I watched my daughter and Abi standing together smiling, they both looked so beautiful and if you didn’t know, you would think they were sisters. The night before the wedding Abi stayed at our house. I asked her ‘how do you feel staying in Russell’s home?’ She replied ‘it feels so natural, like It’s my home’. Some may think that strange, but to me, it was comforting. To this day it still gives me that bittersweet feeling, this beautiful young lady got a second chance - thanks to Russell. 

The transplant has allowed her to live a normal teenage life, one which she deserves. Abi’s parents have since had a baby and my daughter and I are godparents to the little girl. You really couldn’t write this story and when I think back to that dark time, I never thought I’d see a tiny light at the end of the tunnel. Yet, thanks to Abi, I have hope. The bond we have is unbelievable and through her, part of Russell is living on. My hope is that one day she will go on to have a family of her own and the chain will keep going. 

We both feel passionately about organ donation and because of this journey, I have since given talks, raised money and am an ambassador for organ donation. On Abi’s 18th birthday I received a picture of her, as I looked at her I smiled fondly. It was incredible to see the change from the extremely poorly girl 4 years ago to the healthy and stunning girl I saw before me. While each day my heart aches for my son, I know that thanks to him, 4 people have been given another chance at life. 

A message from Abi
‘The whole experience for me has been a pleasant one, I never had any major worries about having a transplant, I was just excited to get my life back! I always wanted to thank my donors family and to be as close as I am with them now is amazing! I'm so glad that I have Pauline and her family in my life. I  just wish it was under better circumstances. Organ donation is so important. Not enough people no about it and the amazing transformation it can have on someone's life. I've been shocked myself how much it helps when my friends have received there transplants. I think anyone considering signing up for organ donation should go for it as it's an amazing thing to do and can dramatically change someone’s life.’

Organ donation in the UK
 Every year 1,000 people die waiting for a transplant. However, only 4% of people regularly give blood, and only 31% of us have joined the Organ Donor Register.
Registering to become a donor is a personal decision. You can join at any age, but until you are 18 (16 in Scotland) you need consent from a guardian. 
Roughly 18 people die each day waiting for transplants. 

visit organdonation.nhs.uk for more information

By Pauline Holmes

As told to Georgia Spears

Innovation Essay - Magazine Module

Fashion Magazine's Journey from Print to Digital

Throughout the past 10 years, the use and need for technology in today’s society has rapidly increased. Many of us not only have a smart phone but also use a laptop or a tablet on a day to day basis. With new ways of accessing information and having answers at the touch of our fingertips, it has become a problem for the world of print journalism. 

In recent years, magazines and newspapers have had to adapt to the way technology and innovation is changing. Many people don’t want to have to go out to buy a hard copy of their favourite magazine/newspaper, they want it through their phone or tablet like they get the rest of their information. This is done by most of us subconsciously, so used to the high-techno driven world we now live in. When looking into fashion magazines, publications have had to adapt the way they give their content to consumers.  

Digital editions and TV have become the norm for many fashion magazines. Publications such as Vogue began to create digital editions for online, apps and even on sites like YouTube so viewers can get Vogue on the go. Many other publications such as Cosmopolitan and Elle have followed suit. 

An internet phenomenon which has only grown in strength is YouTube. People of all ages use the site and can now get it as an app on their tablet or smartphone. Publications like Vogue and Cosmopolitan have their own channel where you can view all of their interviews, how-to videos and information that you may have not received from their magazine. All in all, it’s another way of accessing their information which attracts the growing audiences that crave instantaneous information.   

A large innovation incline in the past years is the use of tablets. With the rise of the internet and social media, some magazine readerships could be seen to be declining as people could find fashion and gossip on websites online for free. Unfortunately, magazines simply had to adjust to this change. To do this, high fashion magazines created their own apps and digital sections on their website. A prime example of this, is one of the most well known high fashion magazines around the world, Vogue. At the top of their site, you can go onto Digital Editions, Vogue TV or Miss Vogue. The digital editions take you straight to each digital monthly editions of the magazine. However it must be acknowledged that you can only see a few pictures and it then asks you to pay £2.99 to download it. With Vogue magazine having a hard-copy price of £3.99 per issue, it brings up the question; is that £1 less really worth it? That question is obviously debatable, all depending on the way people as consumers like to get their information. 

On the other hand, Vogue TV allows you to watch a variety of video’s from interviews with celebrities, models and professional fashionistas on everything and anything fashion. This gives readers the chance to catch up on their favourite fashion site without having to pay or flick over the pages they aren't interested in. An going issue with magazines such as Vogue is the advert to content ratio in their copies. In 2007, Vogue ran 2,020 pages of advertising within that year, at an average of £16,000 a page. In total that made them over £30 million. Despite many of the images being outstanding quality and very visually pleasing to readers, many buy magazines to actually read the articles. This raises the question of whether many of the readers who bought Vogue to simply look at the images, now use Vogue’s website for free, to do the same thing? As mentioned previously, Vogue TV can also be found on Vogue’s own YouTube channel. Yet, for fans, having not only images, but interviews and digital content as well as articles all in one website is very convenient. With all of these being able to be accessed for free through any laptop, tablet or phone it can be see as a positive for both consumer and creator. 

Handbag size versions of magazines were first introduced in the UK by Glamour magazine in 2001. With it’s new size and style, it knocked Cosmopolitan off their number one top spot for Glamour to become the biggest selling women’s monthly style magazine in Europe. After which nearly all of the main women’s fashion magazines such as Vogue, Elle, Cosmopolitan, Company and Marie Claire have all followed suit in having a handbag size version. Ultimately, this brings up how consumers want to have things in the easiest way possible. The A4 size magazines often weren’t the easiest to carry around or fit in a handbag. With the release of A5 handbag sizes, it portrays societies needs to get their information in the easiest format. 

Over the years, the fashion world have adapted well to the change from print to digital. Fashion has been able to come alive to readers screens rather than just on paper. Large events such as New York/Paris/London fashion week has only been viewed in person by a handful of lucky celebrities or people in the industry. However with the rise of the internet, for many fashion lovers, their dreams have become reality. You now don’t need to buy an expensive ticket to watch these shows, you can tune in online and watch them live for free. Many fashion magazine websites upload video’s, interviews and clips from specific fashion shows onto their websites on the day for viewers to see. Ultimately, this brings it back to consumers having instant information. Maybe watching online isn’t the same as seeing it in person, but this choice wasn’t even possible many years ago. 

Social media has had an enormous impact in the way fashion magazines work as a whole. Interaction is a key aspect for many magazine companies. When they interact with their readers, it creates an essential connection which always keeps the readers coming back. Social media is, in many ways, a blessing for magazines and similar companies as they can now deal with consumers on a much more personal level. Not only this but they can update their social media pages with updates on new issues, specific information and spoilers of what may be coming. Instagram, a picture sharing app for smart phone and tablets allows anyone to have their own account and upload whatever images they like. Similar to Facebook, people/things you follow then come up on your timeline. All major high fashion magazines such as Vogue, Elle, Company, Cosmo, Marie-Claire etc all have accounts on these sites. It simply lets readers see what the team have been doing i.e. behind the scene photo shoots and you can like the picture or comment and ask questions. 

Marie-ClaireUK Twitter Page

Twitter, which is currently one the biggest social media sites used, has become an essential for fashion magazines and the writers/editors themselves. As consumers, you can receive live updates on events, fashion shows and instant fashion news on the go. It is used a lot for finding freelance writers and advertising jobs in the fashion community. A lot of the time, if a fashion magazine needs a freelance writer they put the job on Twitter, allowing you to follow the link and apply from their website. Once again, it is that instantaneous information and connection with consumers that makes the progress towards digital very rewarding. 

Conde Nast is a mass media company which head some of the biggest fashion magazines in the country such as Vogue, Glamour, Tatler and Vanity Fair. The company began to release their content at different times of the day to get the most traffic. They believe that people use a PC/Laptop mostly in the day time and a tablet is more of a ‘second screen’ in the evening. The smart phone is used throughout the day but mostly in the mornings, lunch times and evenings. In 2007 the company’s website was getting roughly 860,000 views a day and the traffic increase jumped to 8.3 million last year. Not only this but their number of social media followers rose from 753,000 in 2011 to 4 million in 2013. This can prove that the rise of the internet and social media has made a drastic change to fashion magazines over the years. The world is constantly changing and whilst many fashion magazines have adapted well, many magazines which may have a lower readership and income may struggle to keep up. 

For many consumers, hard copy magazines will always be something they want. However, technology is developing every day and the changes we have seen in the last 10 years is only the beginning. Whichever way both fashion magazines and journalism are moving as a whole, it is essential that outlets are going to have to be innovative to stay afloat in this ever changing world.

By Georgia Spears

Magazine Lecture #5

Confessional Interviews

It should be something emotional, accidental, medical, coincidental.
It gives the reader a response, with a confessional interview you want them to have a physical reaction. If you can crack confessional interviews, you’ll be ok in freelance journalism. 

It’s a real true life experience, it’s not a confession to a crime. 
It has to be extraordinary. 

Ghosts
Confessionals are usually ghost written rather than first person.
There are two styles of this: 

• You write it in subject/victims voice (use slang, colloquial terms, pauses, etc) this is seen in more down market publications
• House style (publications such as The Guardian) no by-line
  
  *if you are doing it in the house style, you were need to state this with the publication. If you are writing for a publication that doesn’t give you a by-line, keep the commission to prove this. 

The down side of writing confessional interviews is that you get no by-line. If you are starting out sometimes this isn’t brilliant.

Trashier titles will give you a by-line most of the time, stating: ‘as told to ....’ 

A good confessional interview you would need to do 3/4 of an hour to an hour interview. You won’t use all of this but it needs to be this long to get good enough quotes.You want to ask questions such as ‘what did you feel’, ‘what did you say after this’. --> it means the actual interview is fast and pacey. You also need to get precise points, timing is important - ‘how much time went by?’, etc. 

What differentiates this interview with a feature interview? - you are writing an interview in 3rd person but in this interview it will be in 1st person. it’s all ‘i’ ‘i’ ‘i’ ‘i’, subjects. 

Showing copy

• If you are doing a first person interview, it’s only right someone should look at it, not for style but in terms of libel, it’s important for someone to check. People may want to see it for accuracy. 
• It’s not copy approval it’s using correct facts. 
• Your responsibility is to your readers, not the person your interviewing. However you need to keep a good relationship to that person you interviewed (maybe). 

Womens magazines

• Confessional articles are very common in women’s magazines
• Not pegged to news
• When pitching to magazines you need to be sure about what magazine you are pitching too and the style they use. 
• Often in weekly magazines such as Take a break but also in monthlies such as Cosmo
• My battle with ... cancer/drink/drugs/breakups 

Celebrity Confessionals

• Anne Robinson - drink
• Michael Barrymore - everything
• Jordan/Peter Andre

Intellectual Confessional

• ‘Guardian Weekend’ In their weekend magazine they do an intellectual experience confessional interview. Same style each week. Wrote in a modest and measured style. You are have to transform your interviewees speech etc in the style of the Guardian. 

Journalist Confessional (new genre, started about 10 years ago)

• Tim Dowling (Columnist in the Guardian. Talks about how rubbish of a husband he is.)
• William Leith 
• Tanya Gold (Used to be on the guardian, now on the mail. Confessionals on weight and size.)
• Liz Jones (Before Big Brother you wouldn’t of known who she was. She is a Daily Mail fashion editor - her claim to fame was she was the Marie Clare fashion editor. She then started writing a column for the Mail on Sunday about her boyfriend and very mean stuff. Made a fortune out of being a confessional journalist.) 
• Liz Jones’ husband

Critics 
- Hadley Freeman is a Guardian columnist.

Newspapers
- Classic confessional journalism - headline, stand-first, then into chronologically (telling the story) then a good end - dramatic. 

• Pegged to news 
• You get confessionals as a part of a big package of a big news event
• Train crash: survival stories etc

Trade Titles

• They are normally far less dramatic
• They are still needed to balance dull stuff within the title
• First person but not confessional

Freelance Opportunities

• Celebrities are controlled by agents
• News agencies/PR agencies 
• Useful to do up and coming people

How to find a subject
Look for ‘victims’

• Medical
• Social
• Support Groups
• Charity
• Internet
• Phone Book (use yellow pages to look up support groups etc)

Case Studies

• Good turn of phrase
• Great pictures/collects
• Attractive/ugly
• Happy ending
• Open, honest, realistic 

If when you go to talk to someone, if they are not a good talker it won’t turn out well. The subject is so important. If that person is engaging or a good talker, it will benefit. If its a good story but they don’t say it well enough it won’t work. 

Who to avoid

• Too vulnerable
• Hoaxers, mental health problems i.e. anorexia (unless they are recovered), people with Munchaudsen syndrome by proxy (claims things have happened but they haven’t), confessing crimes. 
• Always check out
• People you know - malice/vested interest

Have a descriptive opening!

Joint confessional - story that affects them both. For example - 70% one of them in first person, 30% at the side of the other. 

Magazine Lecture #4

The New Journalism

Gonzo Journalism = Performance, Observational and Literary

Performance Journalism (another way of describing the Gonzo concept) 
(all factual features are performance journalism) 

Most factual entertainment is all presenter led. Examples of these are chat shows are the TV version of confessional interviews i.e Jonathan Ross.

Solopcism in print journalism - using ‘I’. 

Rough lecture notes of the New Journalism (Wolfe and Thompson)
1960’s/70s - popular culture in the USA. Theres a generational change.

Anti-Vietnam war, anti-consumerism, feminism, black power, popular existentialism, rock music, the beatles, post-expressionism etc. Also 1968- Paris Events, LSD, Marajuana and Zen. The beat poets, the new left, alternative society. Prague spring etc.

Radical Chic and Mau-Mauing the flak-catchers - Tom Wolfe

Radical Chic - the black panthers at Leonard Bernstein’s penthouse residence on Park Avenue (Jan 1970) - two grand pianos, 13 rooms. New York magazine article ‘radical chic’. 

In Journalism - a literary movement - The New Journalism.

Main Point: Shift in form of narration from Diegetic to Mimetic

Plimton - Chicago Sun Times. Gonzo sport journalism. Wrote about the sport subjectively after spending some time with them. 

Seeing not telling.

Objectivity is junked in favour of subjective experience. 

Ultimate New Journalism piece is FEAR AND LOATHING - ‘Gonzo Journalism’ 

Impact of psychology and theories of subjectivity and truth (‘honestly’ and ‘authentic’ experience rather than boring old objective scientific truth). 

Ultimately ‘Performance Journalism’ e.g. SUPERSIZE ME. This appears to be heading towards ‘Roman Circus Journalism’ where the journalist is tortured and murdered live on TV, or possibly eaten alive by lions or crocodiles to get ratings.

But ‘Gonzo’ is now the default format for almost all TV journalism, and also for feature writing and magazine work.

This is an age which is dominated by visual images amid declining literacy.

Gonzo type documentary - fly on the wall

Tom Wolfe’s Rules
Use the convention of 19th and 20th century realist literature (especially Zola and Dickens, Steinbeck, Orwell. 

The four ‘tools’ for story telling in this way. (The New Journalism)
1. Scene by Scene construction (with jump cuts or punctuation)

1. Phonetic dialogue/actual speech (wild track)
2. Third person restricted point of view (no ‘I’ see, used ‘it is’)
3. Concentration on symbolic ‘status life’ 

Magazine Lecture #3

Jackie Thornton's Rules of Pitching to an Editor

• You need to persuade the editor that you can deliver all that you are promising within
• your pitch. For example, explain in detail evidence that a particular interview has taken/ will take place.
• Focuses on accuracy, no mistakes are allowed.
• Ensure that the style of you pitch matches the magazine/ newspaper that you are pitching to. 
• Gather as much information as possible to ensure that all areas and angles of your idea are covered.
• It is mportant to look at formats and decide what section of a publication your feature would go into.
• You need a killer first paragraph to prove that you are capable of writing in a compelling way. Try and summarise your entire work into this first paragraph.
• ‘The nut grab’ or the ‘say what factor’ needs to be described in your second paragraph. 
• Discuss why this story affects people. Why would people want to read this?
• Your third paragraph should include plans that you have for interviews.
• At the end of your pitch, write one sentence about yourself (biographical) and give references. This is a good way of getting back up support from other reporters.
• Always send the pitch in the body of an email; editors don’t want to waste time opening attachments.
• Use 7 words max in the subject field of an email.
• Get someone else to read through you pitch besides yourself as they will have more chance of spotting any errors.
• You should follow up your email the next day for newspapers and 1-2 weeks for magazines.
• There is a fine line between being keen to write for a particular publication and appearing desperate. Show gratitude but don’t appear desperate.

Magazine Lecture #2

Generic feature types

In features people consume the generic type of feature.


Types of features
Confessional Interview
Consumer Review
Pictures/Fashion
Comment/Analysis
Feature Interview
Documentaries
News Features
Profiles
Art Reviews
Investigations
Observational
Response

There is no such things as a feature. You can do a feature interview with current issues in the news such as floods.
Examples of how you would write all the different features on the same story about floods.
Confessional interview with a victim of the floods 
Comment piece - ‘flooding is good ...’
Comment has to be a strong piece about something. - that’s what gets you the readers e.g. fox news. In a comment piece it is good to have both sides - for and against
Documentary about flooding *fly on the wall*. 
News feature - not done in features but done in news. when a story isn’t standing out you make a feature. PEG - when your trying to sell a news feature which is a link to a real news story. the peg would be a comment piece, or a profile with someone. It links the feature to a particular news issue. Arts review on flooding. 
Observational - Gonzo journalism - I try to tackle the floods 
Reader response - valued by magazine editors as it proves to advertisers that people are actually reading and writing in. Competitions etc 
Consumer reviews - helpful information, rights etc
Picture spread
Feature Interview - local official, sit down interview 
Profile - (difference between this and a feature interview) Profile is a living obituary/pen portrait. These are seen in the Sunday broadsheets. Facts instead of thoughts of the person. It tells you all about the person, however there is no interview apart from maybe before it to just check the facts. A feature interview is an actual interview with someone about their thoughts etc. 
‘10 things you never knew’ - often types of profiles. 

Investigations - we initiate the story rather than like in news when we are covering things that are happening in the news. We decide we are going to go look at something. 

News	Features/Documentaries
Telling	Seeing (inc ‘word pictures on radio)
Brief/Summary	Lengthy/detailed
Aimed at the whole audience	Aimed at ‘niche’ sections of the readership
Length varies (importance)	Length fixed by editorial structure/TV/Radio/news agenda
Defined Styles	Many styles/generic types
Pictures useful	Pictures essential/graphics
Published instantly	Published according to schedule
Done by staff reporters	Done by production staff/freelancers
Event-led (‘the news agenda’)	Production-led (fitting schedule/structure of magazine/newspaper)

The feature content of the guardian to the the daily star is radically different. The way they do their interviews etc are very different. The features define the tone of the publication. 

They come for the news but they stay for the features. 

Print journalism is very headline driven. Often they only discuss the front page at meetings. 

Barkers - hooks to make people stay longer on the site. On the front page of big magazines they use barkers constantly also. They value engagement from the audience with the product. Features bulk out the site, make it sticky - stay on the site. 

Features are not time sensitive. Newspapers and Broadcast journalism are extremely time sensitive, a newspaper (most) is released daily and the news is 

It is important to understand the formats of specific publications to be able to work for one. By having knowledge about each type of feature done in a certain publication is allows you to find out where you could fit, what ideas you have to improve a certain aspect or even create a new part. 

Magazine Lecture #1

It's finally starting to dawn on me that in a few months, my time at University will be over. In these final months we are carrying on with our dissertation, starting our new magazine module and  recapping on law that we starting in the first year.

Jacqui Thornton, our new lecture who is teaching this module has been in the business for many years and has had experience in a wide variety of journalism jobs.

Lecture 1

Important Factors 

• Contacts and Ideas are the two most important things in the Journalism world and they can help you make a career. 
• Lead time relates to the time from when the article is prepared, to when it's printed. 
• Magazines are picture lead and a lot of the time in journalism, you will need to write to the picture. 
• Trade magazines are often good starters when looking for a job in print journalism.

History
Gentles Magazine - 1731, London
Dress + Vanity Fair - 1913
Vogue UK - 1916
Marie Clare - 1988
First - closed 2008
Maxim + Arena - closed in 2009
More! - closed 2013

Vogue UK was started in London in 1916 as there was a high demand for US Vogue but as the US couldn't ship the magazines over due to the war, the UK decided to set up there own.
In 2007, Vogue ran 2,020 pages of advertising at an average of £16,000 a page. This made them an income of £32 million. As an avid Vogue and fashion magazine reader, in some ways, this doesn't surprise me in the slightest. A large chunk of the magazine is full of high fashion advertisers and the fact that they make such a high profit through this does not surprise me.

Print sales of Marie Clare have dropped by 14% since early 2009 and now the figures start at 230,973.

The Independent Newspaper was set up in 1986 with the first copy being printed on the 7th October of that year. Originally it was a broadsheet and was produced by Newspaper Publishing plc and created by Andreas Whittam Smith, Stephan Glover and Matthew Symonds. All three partners were former journalists at The Daily Telegraph. The newspaper was created at an extremely important time in newspaper history as Rupert Murdoch was challenging old practices of the print unions and defeating them in the Wapping dispute. The Wapping dispute was a significant turning point in the history of the trade union movement and UK industrial relations. It relates to 6,000 newspaper workers going on strike.

There are 3,000 magazines in total in the whole of the UK. When thinking of what magazine would have the biggest readership in the whole of the UK, in my mind, along with many others, I would think of such publications as Vogue, Mens magazines and other similar magazines. However Tesco in fact has the biggest readership, overtaking The Sun in 2012.

Differences between newspapers and magazines:

• Subscriptions
• Paid for/free
• Lead Times
• Importance of Advertising

The future of journalism

• Ipad/Smartphones
• Make your own magazines - this can already be done in some ways on things like Flipboard and some newspaper applications
• New launches such as Guardian Technology
• Online - Radio Times triples website traffic
• Conde Nast - release things at different times of the day to get the most traffic