On Love And Other Things, As We Present Our February Romance Issue
We wondered when reading of such elaborate proposals what would happen, if when the guy gets down on one knee and flashes the diamond, with his parents lurking behind the faux moon and a hidden cameraman catching every breathless moment, she says, “Get serious turkey, I wouldn’t marry you if you were the last man on Earth. But I’ll take the rock anyway.” Well, one thing we are confident of is that you would not read about it in this issue, which appearing in February, is devoted to all things nuptial. In our book, she always says yes.
You have heard about the Irish marriage proposal: “How would you like to be buried with my family?” Not all proposals are so practical. Managing Editor Alyssa Morlacci reveals an infinitely more romantic approach for popping the question. It seems some guys plan a proposal in almost the same detail that a bride plans the actual wedding.
We also deal with the prenuptial, as lawyers like to say these days. Which brings us to “Looking for Love”—a best catches feature, laboriously produced by Alyssa and Associate Editor Melissa Puppo.
Judging by their good looks and backgrounds, our Boca Raton wedding couple could have been best catches a few years ago, but now they’ve been caught—by each other. Those bridesmaids look like good catches as well.
We’re not done with Ms. Morlacci. She appears again on in our "Glamping" feature. If it appears that Alyssa had a busy month, she also found time to return home to Pennsylvania for a holiday visit, and fit in a quick trip to California as well.
If it seems like this company gets a lot done with a few people, that’s an understatement. Gulfstream Media Group produces six titles in communities spanning four counties over a range of nearly 100 miles. While the sales staff is spread out over that broad territory, the editorial production staff, which includes the aforementioned editors and is led by Art Director Craig Cottrell Jr., is confined to two offices in one building. And that includes two more editors devoted to our constantly expanding digital versions.
Although the magazines share some common editorial, such as Alyssa’s “glamping” story, they are increasingly independent, which piles on the workload for the editors.
Getting so much from so few owes something to our related company, which produces The Magazine Manager, a software product with clients in 12 countries. Just a little over 10 years old, The Magazine Manager is useful in producing the digital versions, but the major benefit is to the sales staff. It indirectly helps editorial by separating the responsibility for the very big job of producing all the ads. Unlike years past, the designers don’t spend time making last minute changes to ads. That’s all handled by the software.
Of course, computers don’t run themselves. One of the biggest jobs among our little staff is that of Production Manager Brian Beach who manages to coordinate the ads for all magazines and does it with an admirable calm and efficiency.
His work ethic hasn’t always been the case for that position. When we came to Florida in 1970 we took over a highly structured organization. There was little last minute chaos, which is our preferred routine. Soon, our ad production manager quit, saying we were giving her a nervous breakdown. Concerned, we asked our managing editor, Joyce Walker, if our style presented too much pressure. So new to the market, we couldn’t afford another defection.
“No,” Joyce said. “I love the pressure on deadline.”
And she proved it over the next 15 years. Now there, friends, was a real catch.