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Mini-Case 4-1: The Need For A Plan
Twenty-three year-old Shirley Halperin had just been kicked off the staff of her college
newspaper, when she launched Smug magazine with just $1,700 in personal savings, $7,000 in
donations, and a $10,000 loan, co-signed by her father Eli Halperin who helped her get a line of
credit.
The ten-issues-a-year publication is targeted at music fans in the 16-to-30-year-old age group
with well-written stories “about musicians that matter plus bands you haven’t even heard of yet,”
says Halperin. It covers the alternative-music scene between the musical meccas of New York
City and Philadelphia. Her enthusiasm for her subject has spilled over to the writers, editors,
designers and photographers who now total 30, and continue to contribute without pay. They
donate their talents for such incentives as by-lines, photo credits, college internships, job
experience, free tickets to concerts, free CDs, and other things. Halperin cuts costs whenever
possible and her frugality enables her to keep start-up costs low. She runs Smug out of her
Gramercy Park apartment with two roommates.
Smug charges $1,000 per ad. Competitive publications like Village Voice, Spin, and the Aquarian
Weekly charge between $7,000-$29,700 for a similar ad. Halperin says that her budget ads are
designed specifically for smaller bands with a regional following that have not hit the big time
yet. “It doesn’t make sense for baby bands to advertise in the bigger publications until awareness
of them rises,” she says.
In less than 18 months, Smug’s circulation went from 5,000 to 20,000, its readership expanded to
60,000 and advertising revenues climbed from zero to $15,000 per month. After publishing its
fourth issue, Smug beat out its larger, more established competitors to win a prestigious local
music award. Readers rave about the quality of the magazine’s writing, its design and
photography; however, Smug’s continued success is not guaranteed. Half of all magazines fail
the first year, and those that don’t take five years to break-even. If Smug succeeds, it can look
forward to attractive profit margins of between 15-30 percent.
Halperin is very good at knowing what music people are listening to and what people want to
read about; however, she is quick to admit that finance is not one of her strong points. Another
concern is cash flow; at the end of its first year, $7,500 of Smug’s and $70,000 in revenues were
still in accounts receivables. Although she started Smug without a business plan, she now realizes
she needs one to raise the $500,000 necessary to take the magazine “to the next level.” She needs
the money to upgrade the newsprint to semi-glossy paper stock, and most importantly, to pay her
staff. She wants the plan to reflect her business philosophy: “Every year circulation should go up,
your pages should go up, and your ad revenues should go up.”