Magazine publishers need real stories – not just press releases
Nikki Simpson, founder of the International Magazine Centre, explains why the majority of readers of niche titles are personally invested - they really care about the content, and so should PRs.
To paraphrase Mark Twain, “Reports of the death of print media have been greatly exaggerated.” The revenue in the Print Newspapers & Magazines market in the UK is projected to reach $3.58bn (£2.94bn) in 2025 - with an annual growth rate of -4.32% from 2025 to 2029 according to Statista. No mean feat, in an age dominated by digital content.
According to a recent report by subscription research service Enders Analysis, independent magazines are thriving in an era in which the magazine industry is transitioning from high-volume, mass-market print to smaller, niche, and more luxury-focused publications, diversifying their revenue through online advertising and partnerships and catering to engaged, loyal readers through quarterly or biannual issues.
Nikki Simpson is founder of the Edinburgh-based, The International Magazine Centre. Passionate about the independent magazine industry, she supports her membership of publishers by connecting them with a network of industry professionals, while also offering training, events and mentoring.
Moreover, as Nikki says, print has longevity: “When you pick up a larger magazine, it’s often on a whim in a supermarket. Smaller publishers operate differently. The majority of people who buy these niche titles are personally invested – they really care about the content. They’re engaged, and genuinely passionate about what these publishers do.” Print is dead, they say? Well, long live print!
The International Magazine Centre started as a dream – a space where publishers, particularly in Edinburgh, could feel part of a community. Back then – 2019 – the publishing world in Scotland felt really buzzy. And just after the Scottish referendum, it felt like all eyes were on Scotland: it felt like there was an opportunity there from a marketing perspective.
I was also passionate about highlighting Scottish publishing, which often felt overshadowed by the London-centric focus of major organisations like the PPA. While they do fantastic work, their attention understandably leans toward larger publishers in London. Even DC Thomson now has a major office in London.
Small publishers often feel like they’re operating in isolation, unaware that others like them exist. My work is all about connecting them – helping them realise they’re part of a broader community. It feels wonderful to say, “You’re not alone. Come and join us!”
We have over 90 magazine publishers as part of our membership, and another 70 freelancers, consultants, and suppliers. Our events range from panel sessions on topics like ‘How to make money from magazines’ or ‘How to launch a free title,’ to launching a B2B title off the back of a consumer one. We also host an away day, a more informal in-person event.
I used to subscribe to Look-In magazine when I was eight or nine. I remember cycling to the shops every Wednesday to pick it up. It had my name written at the top, and that was the best thing! It was the first regular purchase that was specific to me, that my parents weren’t pushing on me. I really felt like it was written for me. There are still so many titles I love now which I also feel are written for me, or certainly speak to me.
Something I constantly think about is: how are we getting the next generation to get interested in magazines? I subscribe, on behalf of my son, to a magazine from one of our members called Storytime. It’s packed with illustrations and stories. And I subscribed to it for him so that he received something through the door. Because if you don’t instil that kind of sensation in your kids, they’re just going to continue to go online. And printed products will continue to fall.
Everyone I work with is passionate about print – especially larger publishers. In addition to my role at the The International Magazine Centre, I’m also operations director at FIPP, a leading global media trade association, through which I connect media professionals who want to share insights, foster innovation – and champion the magazine industry.
At a recent FIPP World Media Congress, there was an incredible talk about how ‘real’ print is. UPM sponsored notepads for the event, and on every seat, it said, ‘Paper – because it’s real.’ That got whoops from the crowd! And these were people deeply immersed in digital but still fiercely loyal to print. At another event in Amsterdam, I asked everyone, ‘Put your hand up if print is still 50% of your income and profit.’ Every hand in the room went up. So no, print isn’t dead. It’s just part of a much bigger picture.
Ninety percent of the people I meet in this industry see the value in having something tangible – something you can hold, revisit, and connect with. They’re rethinking how to present their products, how to distribute them, and how to reach new audiences. They’re still using podcasts, social media, and all the digital tools, but the heart of it is still print.
Print has staying power. How many email newsletters do you delete in a day? Delete, delete, delete. But print? You don’t just toss it aside. It sits there on your coffee table, your kitchen counter, or your bathroom shelf, waiting for you to come back to it. It has longevity.
There’s a lot of self-doubt in the industry. Is the magazine good enough? Is that article that I wrote good enough? Is the design good enough? I find it quite interesting looking at the different small publishers who are consistently successful, and it’s often when they’re writing about something that really helps other people. There’s not that feeling of, ‘I’m in this to make a profit.’
Rare Revolution is a magazine for people with rare diseases or for carers of people with rare diseases. It’s an ideal example of an organisation that’s there to help others. It was started by two people who both had kids with rare diseases. When they had their children, they thought, ‘Where’s the resource to help us with this?’ And there was nothing. So, they decided to set this business up together.
There are so many publishers doing incredible work. Backstory, for example, is run by Tom Rowley, a former Economist writer who started his own bookshop by the same name and then launched the magazine to promote reading. He offers it at the checkout, asking, ‘Do you want a copy as well?’ It’s really funny and enjoyable.
Wunderdog is an incredible magazine about rescue dogs. They’ve even created a manifesto aimed at parliament to ensure dogs are not penalised – only the owners – and to encourage proper education before owning a dog. Their strapline, ‘No Bad Dogs,’ says it all.
For a PR trying to promote something specific, placing it in the right niche magazine is the best way to reach the right people. It’s not just about getting your product out there; it’s about getting it in front of an engaged audience who will truly appreciate it.
Magazine publishers have content, and people who want to write it, coming out their ears. They need real stories – not just press releases.
However, if you’re just looking to promote something, you need to be prepared to pay for that space.PRs will send over a press release, and I’ll ask, ‘What’s the actual story?’ And they’ll respond, ‘Oh, here’s something that’s been launched.’ But that’s not a story – anyone can launch something.
Meet up with publishers and connecting them with each other – that’s what brings me joy. I’m going to be attending a lot of events in 2025 as part of the International Magazine Centre and FIPP, and just meeting more people and finding out what they’re doing and finding out all the interesting ways in which they’re approaching publishing is just fascinating.
Lysanne Currie is the editor of Influence.