AARP Manages Godzilla-Sized Print Runs with a Few Twists

Managing a magazine print run of 22 million isn't a job for the faint of heart. Toss in a bunch of versions tailored to specific geographic markets, demographic segments and ink-jet messages, and things can get downright daunting. The print-production staff at AARP must have thick skin. They produce AARP The Magazine, and the above scenario is part of their routine. "[Having three versions of AARP The Magazine] means closing three different magazines … often with different advertising and edit pages …, three sets of instructions to the printer, and three press and bindery runs," says John Condit, general manager of AARP Publications. Condit's production director, Traci Lucien, who Condit says "really does the heavy lifting," also oversees production of three other publications published by the 46-year-old association: AARP Bulletin, a 32-page newsletter published 11 times a year, also with a print run of 22 million per issue; AARP Segunda Juventud ("second youth"), a quarterly newsletter mailed to approximately 600,000 bilingual Hispanic members; and NRTA: Live & Learn, mailed quarterly to some 250,000 of AARP's National Retired Teachers Association members. And, Condit's department produces an event guide for AARP's National Event.All told, Condit's staff manages production for more than 377.4 million publications annually, with some of the world's largest distributions. And for that, they need a bit more than thick skin. A MAGAZINE IS A MAGAZINEFortunately, Condit brings some experience with pretty large-circulation publications to the table. He came to AARP, a nonprofit organization serving members age 50 and older, in 1996 from Ladies' Home Journal, circulation 4.1 million. So he was no stranger to delayed closings due to last-minute advertising additions and changes. "From the aspect of production, we run like a regular magazine publisher," he says. A challenge at AARP, though, is managing the multiple versions of AARP The Magazine. "In effect, our magazine is a bimonthly … broken into three [demographic] segments: ages 50 to 59, 60 to 69, and 70-plus," he explains. "We do have versioning of editorial [for each]. An advertiser can buy [any or all of the] … segments. We also offer regional space by the same [demographics]." STRICT DEADLINESStaying on top of closings for all versions could be a production nightmare. But the print-production staff is pretty strict with deadlines. "To get 22 million publications out in three segments, we have to stick to fairly rigid closings; Traci Lucien runs a tight ship," says Condit. They also keep things simple. "Although [the] segments [are] scattered over a two-month production cycle, we only have one closing date. The first … is always the hardest to put out. … Because the second and third editions are made up later, and the ad and edit details are already firmed up, the process is smoother," he says. "A for-profit publication with the same 'rolling' segmentation might have three different advertising closing dates, one for each segment, allowing their sales staffs to continue selling ads into later segments. … With our rather small staff, we'd find that challenging."STAFF AND RELATIONSHIPSCondit oversees a production staff of five. But, for him, reliability is more important than size. Fortunately, he says, "We have a great staff, and Traci is a skilled production director." Reliability is also essential in a printer, says Condit. AARP has been working with its printer, RR Donnelley, for about 25 years, and relies on it to keep the association up to date on current processes that can streamline production. As an example, about a year ago, RR Donnelley helped AARP convert its publications to soft proofing. The change took about six months to get all publications up and running, and has been well worth it, says Condit. "Lancaster is about a two-and-a-half-hour drive from us [in Washington, D.C.], and [RR Donnelley's] Lancaster personnel were frequently driving down to our offices for proof OKs, especially during closing crunches. That need has gone. The sad part is, we don't get to see them very often anymore," says Condit.AARP uses QuarkXPress as its editorial tool and Quark Publishing System (QPS) as its tracking system. In production, Impoze Systems' Impoze software was recently installed for book makeup. And, a T1 line is used to connect to RR Donnelley, transmitting page files, ads and electronic instructions. "It's getting to be a stay-at-the-office business," says Condit.IT'S NOT EASY BEING BIGOne challenge the print-production staff faces may come as a surprise: "[AARP is] a really big organization with bear-sized print orders. While being large is often advantageous for buying power and postal sortation, it can also be limiting to our creative staff. If you want to do something creative, costs are enormous," says Condit. For example, the cost for a gatefold for an editorial spread, he explains, can more than blow a couple of issues' editorial budget. Even seemingly small changes to production specs make big waves due to the volume. "I was told that if we were to start binding The Bulletin … and keep our 10-day production cycle, we would need 13 saddle stitchers operating full-time," says Condit. Other drawbacks: "At our scale, we don't move printers easily," says Condit. And, "the number of printers that can take on press runs of 22 million is limited." NEGOTIATING PRINT BUYINGWhile AARP values its long-term relationship with its current printer, it does solicit bids at times. "We did go out for bids for our last contract several years ago, and probably would again if our equipment needs to be changed or marketing plans required dramatic process or distribution changes. AARP does not solicit bids very often because our scale demands long-term vendor relationships," says Condit. "But because our relationships are long, it's even more important to negotiate the best possible deal," he adds. Condit has learned that it's best to go into negotiations with a plan. "As every good production director knows, you need to create leverage points," he says, "such as packaging all of your organization's print needs … offering increased print volume is great leverage." For example, most publishers produce a variety of print materials—from handbooks to brochures to direct mail to circulation cards. "If your printer has the ability to print these other formats, package the additional volume with your publications, 'globalize' your RFP," he suggests."Smaller organizations may not have the leverage of AARP, but … they could [join] forces with the circulation department, promotions or the catalog division, if [they] have one," he adds.He also believes that looking at one vendor for all your print needs has benefits beyond volume leverage: the integration of fewer printer systems, more efficient use of a publisher's staff, relationship-building and minimal management of contracts."Another important consideration in soliciting bids is often overlooked," he says. "Don't box yourself in. If you really want to work with one printer, and you're out for bids at three, you [could] end up at the printer you didn't want. … The one offering the best price may look like the best option to others in your organization, but may not be the best option for product quality, scheduling, service or, due to questionable management practices, as a solid, long-term partnership. Make sure that you and your senior management properly assess these other values."ALL IN A DAY'S WORKLike most associations, AARP's publications' staff faces unique challenges by publishing in a nontraditional publishing environment, in addition to those presented by simply publishing—multiple stakeholders, production deadlines, enormous print runs, multiple versions, and everything else that goes into a day's work. Fortunately, Condit's staff doesn't let it get under their skin. - Noelle Skodzinski

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AARP Manages Godzilla-Sized Print Runs with a Few Twists

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