Published by Rowmark Publishing Limited 65 Rogers Mead Hayling Island Hampshire PO11 0PL UK ISBN 0 9539856 2 8 Copyright © Pauline Rowson 2001 The right of Pauline Rowson to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing it in any medium by electronic means and whether or not transiently or incidentally to some other use of publication) without the written permission of the copyright owner except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd. 90 Tottenham Court Road, London, England W1P 9HE. Applications for the copyright owner’s written permission to reproduce any part of this publication should be addressed to the publisher. Warning: The doing of an unauthorised act in relation to a copyright work may result in both a civil claim for damages and criminal prosecution. Note: The material contained in this book is set out in good faith for general guidance and no liability can be accepted for loss or expense incurred as a result of relying in particular circumstances on statements made in this book. eBook edition distributed by: Summersdale Publishers Ltd 46 West Street Chichester West Sussex PO19 1RP UK www.summersdale.com
About the author Pauline Rowson is a qualified marketing professional. She has worked in Marketing and PR for many years and for ten years ran her own marketing and PR Agency handling client accounts across a broad spectrum of industry sectors.
CONTENTS Introduction How to use this guide What you will learn from this guide
7 7 8
Chapter One The problems and benefits of building a positive media profile The difference between editorial and advertising Defining your public Different types of media Researching the media list Obtaining a media pack Building a media list In summary
9 11 12 15 16 18 18 19
Chapter Two Understanding what makes the news So what is news? News stories Some typical news stories Checklist for news stories In summary
20 20 21 22 25 27
Chapter Three Photo stories What makes a good photograph? Using a professional photographer Choosing a professional photographer Doing it yourself Quality and colour Press photographers In summary
29 30 33 34 35 36 36 38
Chapter Four Understanding the media Understanding editorial style Getting on to television and radio Rules for good media relations Press conferences Getting the media to cover your event In summary
40 40 41 43 47 50 50
Chapter Five Writing the news release Constructing the news release The news release – step by step News release layout guide Embargoes Angles In summary
53 54 55 60 61 61 66
Chapter Six The radio interview ’Down the line’ interview Find your voice Timing The radio studio The remote studio Points to remember for good radio interviewing In summary
68 70 71 72 72 74 76 77
Chapter Seven The television interview ‘As for live’ Pre-recorded interviews The television studio On location
79 81 81 81 84
What to wear on television Watch those mannerisms In summary
85 87 88
Chapter Eight Writing and placing articles Getting a commission Other ways of being commissioned Getting paid Article writing In summary
90 90 92 92 93 95
Chapter Nine Handling a media crisis Reacting to a bad news story Step one – be prepared Step two – fact finding Step three – keep in touch with the media Step four – internal communications Step five –monitor all media coverage Step six – following up In summary
96 97 98 99 100 101 101 102 103
Chapter Ten In-house versus PR consultancy Advantages of in-house PR Disadvantages of in-house PR Advantages of the PR consultancy Disadvantages of the PR consultancy And finally Other Easy Step by Step Guides
105 105 106 106 107 107 108
Introduction Reputation is a vital ingredient in building and maintaining a competitive edge. The media play an important part in communicating that reputation, whether for good or bad. People still believe what they read in the newspapers, what they hear on the radio, what they see on television and now what is read on the Internet - yet these images and stories are manipulated in one way or another. More than ever before we are influenced by image. Knowing how to communicate the right image and message is now an essential skill. This book will show you how to harness the power of the media and utilise it for the good of your organisation. Note: To avoid the cumbersome usage of ‘he’ or ‘she’ throughout the guide I have chosen to use the male gender form. This in no way should prejudice your outlook.
How to use this guide This guide is written in as clear a style as possible to help you. I recommend that you read it through from beginning to end and then dip into it to refresh your memory. The boxes in each chapter contain tips to help you. Also at the end of each chapter is a handy summary of the points covered.
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
What you will learn from this guide This guide looks at how you can build a positive media profile for your organisation. It will help you to understand how the media work and provide you with information on building good media relations. This guide will show you:
how to build and maintain good relations with the media
how to get good media coverage for your organisation
how to write a news release and get it published
how to conduct a radio and TV interview
how to handle a media crisis.
–8–
Chapter one The problems and benefits of building a positive media profile Why is it some organisations and people appear in your local newspapers, or on television or radio, again and again? Is it just luck or do they simply love to be in the limelight? It may be a bit of both but it is more often than not because they are managing their media relations successfully. Like any other skill, this can be learned and by reading this book you are taking the first step to managing your media relations. But dealing with the media can be an awesome experience and some people would rather avoid it like the plague. Some people have difficulty in understanding what makes a good news story; others do not have the time to write news releases and liaise with the media; and some are afraid that the media will twist everything they say. All these problems can be overcome. But why bother in the first place? Publicity is a powerful tool – it carries at least two and a half times the weight of advertising and it can be cheaper. It is therefore a very effective way of raising your profile and marketing your organisation. What’s more, it is also suitable for almost any type of organisation, including professional firms, charities, schools and many, many others. Building a positive media profile –9–
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
for your organisation can have many benefits. Here are some of them: It can help you:
raise your organisation’s profile with customers and potential customers
help motivate employees – staff want to work for successful organisations and seeing their company in the media in a good light gives them a buzz
it can help to attract good quality recruits
sustained media coverage can raise the credibility of your organisation
it can help to stimulate traffic onto your Web site
it can help you to win more business
it can help you to win business awards
it can help to reinforce the messages you are putting out through your other marketing tools.
So, unless you are working in a highly sensitive area and do not wish to build a media profile (and then you probably wouldn’t be reading this book!), a positive media profile is a must for you. And even if your organisation doesn’t actively seek media coverage then it may be on the end of some unwelcome
– 10 –
T HE
DIFFERENCE BETWEEN EDITORIAL AND ADVERTISING
media attention. Wouldn’t it be better to be prepared for this and know how to handle it in advance? So let’s make a start on understanding the media and harnessing it for our good.
The difference between editorial and advertising Advertising is bought space so within reason you can say what you like in that space. This means that you have control over what you say. Editorial coverage is not bought space. It is therefore best to assume that you have no control over what is said. This can be difficult for some people to grasp. Yes, your news release will get altered and the angle may even be changed to one you didn’t expect. Journalists do sometimes get names and figures wrong and occasionally misinterpret what you are saying either by accident or, dare I say it, by design – but there are ways of writing your news release that will minimise any errors or misinterpretations by the journalist and this is explained in Chapter five.
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
You also have no guarantee – having sweated over your story for hours and sent it to the newspaper or magazine – that it will appear. Telephoning the journalist and sounding off is not a good idea. It will only alienate him and guarantee no future coverage. If your story doesn’t get used there could be several reasons for this:
it has been squeezed out by something else
you got the timing wrong and missed the deadline
you failed to explain the significance of your mega breakthrough to the journalist
your press announcement was boring
it was due to plain editorial incompetence!
Perseverance is the key. If your story doesn’t get used then move on to the next story and keep a regular steady flow of good news stories going to the journalist.
Defining your public But first you need to define your audience and hence the media to which they might be exposed. These can include all or some of the following groups of people.
– 12 –
D EFINING
YOUR PUBLIC
1. Your customers and potential customers What magazines and newspapers do they read? What radio programmes do they listen to? What television programmes do they watch? Draw up a list of these. Does it include national as well as local or specialist press? This may vary depending on how many customer segments/products or services you may have. For example, I once worked for a medical research charity that carried out pioneering research to help infants and babies. For this charity I decided to target a number of different media. These included:
mother and baby magazines
the health journalists of the national tabloids and broadsheets
the charity’s local newspapers, radio and television stations
the specialist medical media.
For one of my legal clients if I had a story of major significance then I would target:
the local media
the legal correspondents of the national broadsheets like the Daily Telegraph, The Times, The Independent or the Guardian
the specialist legal press. – 13 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
By targeting the specialist legal press you may feel that I am essentially telling the story to that firm’s competitors. I am, but one of my aims could be to raise the profile of that law firm in its own market. There could be several reasons for this:
to help obtain referred work from other law firms
to help with future mergers and acquisitions
to even help draw employees from competing firms into my client’s firm.
2. Employees and future employees Some companies I have worked with did not have a local customer base but they still targeted the local media. This was because they wished to attract employees from the local market place. Future employees would much rather work for a successful company and one they have read about in the local press than one they have never heard of. In the days of increasing skill shortages it is becoming even more important to keep a local media profile. 3. Local and national influencers You may also wish to influence key decision-makers in your area. For example, local councils for future planning applications, and bankers and other professional advisers to help you when you need to raise money for mergers and acquisitions or to fund expansion. I have worked with state and private schools to help them raise their profile locally. In the case of a school the media – 14 –
D IFFERENT
TYPES OF MEDIA
coverage would be influencing not only the pupils and prospective pupils of the school, but also the parents and other family members who play a part in deciding where that child should be schooled. Parents wish to send their child to a school that has a good reputation and communicating success stories through the media is one way of influencing parents and pupils alike.
Different types of media There are many different types of media. Here are some of them. National Newspapers Daily newspapers Sunday newspapers Local Newspapers Daily local newspapers Weekly local newspapers Bi-weekly local newspapers Freesheets Community newspapers Specialist Magazines Professional and Trade press Consumer Magazines Local Radio
– 15 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
National Radio Local Television National Television including Cable and Satellite Channels Internet or new media
Researching the media list Once you have defined who you are targeting, you can begin to research your media list. There are various publications that can assist you in this research. These can be found in the reference section of your library and sometimes at your local Chamber of Commerce or Regional Business Centre. Some are also available on-line. I have listed a few of the publications that may help you. This list is by no means exhaustive. BRAD (British Rates & Data) www.brad.co.uk This is a comprehensive directory, updated monthly. It gives details of all the audited publications in circulation. These publications are listed alphabetically. This guide is primarily used for advertising as it provides details on the costs and sizes of advertising and the readership profile. However, it also gives you an editorial profile and some editorial contacts. Willings Press Guide Again, another comprehensive directory listing all major publications. – 16 –
R ESEARCHING
THE MEDIA LIST
www.mediaonline.co.uk Media online contains contact details for television and radio as well as the newspaper industry and is frequently updated. Mediadisk This is installed in a client’s PC and updated daily online. PR Planner This is produced monthly in book format and comes in UK and European editions. Editors This is produced in six volumes, segmented into contacts in different types of media, ranging from business and professional publications to television and radio programmes. UK Media Directory This covers newspapers, magazines, broadcasters and freelances. It can be bought by alternate issues, quarterly, thrice yearly, or by issue. www.mediauk.com This site allows you to search by media type and then by region. It links to the relevant newspaper or radio or television station’s own web site and can provide free contact information. The Guardian Media Guide This is produced annually and is a handy little guide giving telephone numbers and contact names of those in the media, both printed and broadcast. It also contains other useful contact numbers within government departments and other key organisations. – 17 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Obtaining a media pack Once you have identified the magazine or newspaper you wish to target, you can telephone the publication for a media pack and a feature list. This will help you plan for future news stories. In addition, you will receive a copy of the most recent edition of the publication. You can then study the content to make sure that your news story is suitable for the magazine and tailor it if necessary to suit the publication. (See Chapter five).
Building a media list Once you have identified your target media, you will need to get the names of the journalists you wish to target, plus their address, telephone and fax numbers and their e-mail address. You may have more than one journalist as a contact for a publication. For example, you may be targeting the business editor, the health journalist or the women’s editor – but not all at the same time with the same story. Put the details onto a database, as it will need updating regularly. Journalists frequently change jobs and it is quite a task keeping track of them.
– 18 –
IN
SUMMARY
In summary
Building a positive media profile is one of the most effective ways an organisation, large or small, can raise awareness
Publicity carries at least two and a half times the weight of advertising and it is cheaper than advertising
Developing a journalistic eye is a must if you wish to enhance the image and reputation of your organisation through the media
A positive media profile can help you to raise your organisation’s profile with customers and potential customers and motivate employees. It can also help to attract good quality recruits
The difference between advertising and editorial is that advertising is bought space and you therefore have control over what you say
Editorial coverage is not bought space. It is therefore best to assume that you have no control over what is said
Your news release will get altered and the angle may even be changed to one you didn’t expect
Journalists do get names and figures wrong and sometimes misinterpret what you are saying
Research your media list, build a database of contacts and keep it up to date. – 19 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Chapter Two Understanding what makes the news It is not always easy to understand what makes the news. You can pick up your local newspaper, or a daily newspaper, and find a couple of stories that, for you, really aren’t news stories at all. What is news to one man may be boring to another. Art is subjective and you are now moving into the world of art, despite being told that news is in fact reality. OK, so it reports on current events, it may reflect current feelings – but it also entertains, amuses, stimulates, teaches, incites or excites.
So what is news? For a PR consultant, news is anything he can convince an editor his readers don’t know and would like to know. A journalist may have a different perspective, especially if he is an investigative journalist. His job then would be to find out what the client doesn’t want him to know! But what makes the news is sometimes difficult to gauge even for the professionals. It can depend on a number of factors, like the time of year – January and August are usually quieter times for the media, when they will be struggling to find good stories to fill their newspapers or programmes – or perhaps nothing very exciting is happening or a simple – 20 –
N EWS
STORIES
story can be whipped up to feed the public’s imagination. I was caught out once when a legal client was representing one of the sets of parents whose baby had been mixed up with another in the hospital and given to the wrong mothers. Although it was a shocking incident and therefore highly newsworthy, I did not expect the story to turn into a national media auction - which it did, and with me handling it!! So let’s take a look at what can make the news for your organisation. Before we do, however, you may want to try this exercise for yourself and see if you already have a journalistic eye.
Exercise List the media stories you think your organisation has to tell and then check it against the list on pages 23 and 24.
News stories There are many stories to tell within an organisation but many people fail to spot them. This is hardly surprising because they are usually busy running the business or doing the job they are paid to do. They don’t have the time to think about writing news releases. That, of course, is a PR Consultant’s job. But if you don’t have a PR consultant then you need to start to develop a journalistic eye and a journalistic mind, and make the time.
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Think PR. One of the best ways to do this is to make sure you have it as an agenda item on your marketing or management meetings. If ‘press’ or ‘news items’ appears on your management or marketing committee agendas, then you can discuss what has happened over the last month, what will be happening in the near future, and whether or not you can get a news story out of it. You may also like to use the following as a prompt list if you are stuck.
Some typical news stories
Company expansion New premises Acquisitions and mergers Joint ventures and partnerships Investment in new equipment
Company results Increased turnover Increased profits
People stories Staff recruitment /new appointments Staff promotions
– 22 –
S OME
TYPICAL NEWS STORIES
Retirements after long service Staff awards Staff examination successes Staff achieving for charity Women doing traditionally male jobs Men doing traditionally female jobs
Charity stories Raising money for charity Donations of money or equipment
Sponsorship
New product launch
New service launch
New technological breakthrough
Company winning an award
Legislation and how it affects your industry
Seminars/Conferences, Open Days etc.
Director or Manager key note speaker at a conference
New publication, book, newsletter, web site
Environmental issues
As you can see, it is quite a list and there are many more ‘stories’. – 23 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
The secret to getting coverage is having the right story to tell in the right way to the right media. If you are serious about getting media coverage for your organisation then you need to start listening to, and reading about, what makes the news. Ensure that you listen to a national radio news programme like Radio 4’s Today programme, or the equivalent current affairs programme in your own country, and alternate this with Television Breakfast News to keep you up to date with what is happening in the world. In addition, listen to your local radio station to see what and who is making the news locally. There may be other radio programmes that you can submit your news story to, both on national and local radio stations. Many produce programmes on consumer affairs, the arts, education, business and what‘s happening around your region. In addition, there are now many local television channels just waiting for your news story. Buy a couple of newspapers a day; your local newspaper is a must as well as a daily broadsheet and occasionally a tabloid to keep in touch. If you are targeting specialist press then ensure you receive a copy of the publication you are targeting.
– 24 –
C HECKLIST
FOR NEWS STORIES
Understand what makes the news and study the different editorial styles. Be aware of what is happening in the world and in your business world. Set yourself a target to get at least one news release out a month and stick to it.
Exercise Identify a possible news story for your organisation; the list on pages 23 and 24 will help you to do this. Now you will need to check it against the following list to see if you really do have a news story to tell.
Checklist for news stories When you have what you think is a ‘news story’, check it against the following list to see if it really stands up. News releases that are continually submitted to journalists that are trivial, boring and have little relevance to their readers will get binned (or spiked, as they say in the business) and what’s more earn you a reputation for sending in rubbish. This will lessen your chances of getting the news release printed that does happen to be a great story. 1. Who is likely to be interested in this story? Is this story suitable for local and national media or is it just suitable for the local media? Is it suitable for press only or could it also be sent to radio and television?
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Is it a story that your trade or professional press would be interested in? Different stories will have different appeal. A retirement story is hardly of interest to the national press unless the person retiring is someone very important, or is going to do something with national implications or something that is spectacularly unusual! 2. What do I know about them? What stories do the media I am targeting take? Who is the appropriate journalist? What is the deadline? 3. What sort of thing do they like? Not only what type of news stories but also what style? Trade press will take a much more detailed press release than local and national media. 4. Is my timing right? Don’t write a story about an event that happened three weeks ago. You are too late. Equally you can be too early. You don’t need to send in your forthcoming seminar story four weeks in advance unless of course you are sending it to a monthly publication and then you will have to look very carefully at deadlines to make sure you submit it in good time.
– 26 –
IN
SUMMARY
5. Do I have the right angle? Angles are the hardest thing for beginners to get to grips with. I talk more about this in Chapter five. 6. Finally, do I really have a story? If the answer is yes then go ahead and write it but only after reading the next three chapters.
In summary
It is not always easy to understand what makes the news
News reports on current events. It may reflect current feelings but it also entertains, amuses, stimulates, teaches, incites or excites
Start to develop a journalistic eye and a journalistic mind
Think PR. Make sure you have ‘press’ or ‘news’ listed as an agenda item on your marketing or management meetings
The secret to getting coverage is having the right story to tell in the right way to the right media
– 27 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Before going ahead with a news story ask yourself: Who is likely to be interested? What do I know about them? What sort of thing do they like? Is my timing right? Do I have the right angle? Finally, do I really have a story?
– 28 –
Chapter Three Photo stories Some news stories will require a photograph. This is sometimes called a photo story. But what makes a good photo story? If we take our list of news stories in the previous chapter and run down them the photo stories are those that are primarily ‘human interest’ stories. For example:
new staff appointments promotions retirements award winners charity events sponsorship
You can also send photographs with your news releases on:
the company moving into new premises an opening reception with celebrity guest seminars/conferences mergers/acquisitions/buy-outs and buy-ins
– 29 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
What makes a good photograph? The best way to understand what makes a good photograph is to study the magazines and newspapers you are targeting to see what they use. In a similar way to editorial style, newspapers and magazines have a photo style. You can see this simply by comparing a tabloid newspaper with a broadsheet. Whilst I am not suggesting you should take and send in different photographs to the different media, I am urging you to think creatively about your photographs. Here are some examples to illustrate this point.
Examples A cheque presentation story You have helped raise funds for a local charity. Instead of sending a photograph to the press that has you, or the boss, shaking hands with or handing over a cheque to the Charity Director, try and be more imaginative. If you have cycled from one end of the country to the other to raise this money, then why not have a photograph of yourself in shorts on your bicycle handing over the cheque? The new appointment or promotion story Instead of the normal head and shoulders shot, can you do something a little different? Perhaps you could have the person working at a computer or peering over some manuals? I know it’s a bit corny but it can look a darn sight more interesting than someone simply staring into the camera. – 30 –
W HAT
MAKES A GOOD PHOTOGRAPH ?
If you have equipment or machinery, then can you photograph the person in front of that equipment, i.e. on the factory floor? If you are in the marine industry, can you set the person against a backdrop of boats or on a boat? In the construction industry, can you have the person wearing a hard hat on a building site? Do you get the idea? Think creatively when it comes to photographs.
Winning an award I once worked for a cleaning contractor who had won a quality award. I asked the photographer to take pictures of the team holding up various cleaning implements – mops, vacuum cleaner parts, dusters etc. The Managing Director wasn’t too happy about this as she thought we ought to have a more serious photograph, so we shot two types of photograph, the formal and the fun one. The fun photograph was much more appealing to the media and I persuaded her to give it a go. As a result her news release, with the photograph, made all her local press and her trade press. She was delighted with the result. A charity appeal campaign A charity client ran a Christmas competition to guess the name of a teddy bear to help raise funds for medical research. The teddy was called a Meddi Teddy. The photograph that accompanied the news release launching the appeal showed – 31 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
the Director of the Charity practically buried by teddies and, of course, set against the backdrop of the organisation’s logo and a Christmas tree. Again it was a very good piece of PR and was featured in all the local and regional press. The company moving premises The company move is another opportunity for a news release and a photograph. The photograph can show various members of the company moving into the new offices. Once again you can dress the set by having the staff stand in front of the building, which happens to show the company name and logo, carrying various items into the building, e.g. a computer monitor, a plant, some files. They all look happy and glad to be moving (even if they are not!). Can you see that the picture tells the story?
You need to set the scene. Every picture should tell a story.
Look at the story your release is telling. Does the photograph reflect this?
– 32 –
U SING
A PROFESSIONAL PHOTOGR APHER
Using a professional photographer Wherever possible you should enlist the services of a professional photographer. It may cost you a bit more but it can be worth it. It can help you to get your story covered in the media and it will still be cheaper than advertising and carry more weight. Most photographers charge for their time and their travelling expenses; some also charge for travelling time. They also charge for film and then for the prints you order. So obtain their charge rate and work out how much it is likely to cost you. If you can combine jobs whilst you have a photographer on your premises, then you may be able to use their services more cost-effectively. For example, you may have a few people you would like photographed at the same time, or you may ask the photographer to take photographs of your building or reception for your newsletter or a leaflet. Do brief the photographer thoroughly beforehand, as he may need to bring along additional equipment or film, and do ensure you are available when he arrives. If you keep the photographer waiting, can you blame him for charging you for that time? A professional photographer will try and put people at their ease. Most people hate being photographed. It is an ordeal that many want over and done with as quickly as possible. This means you need a friendly photographer who works quickly. Nobody wants to be standing around forever. This is not a wedding and there is work to be getting on with.
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Choosing a professional photographer When choosing a photographer there are a number of questions you should ask. 1. Has he carried out any commercial work before? If so, what type of work? You are looking for a photographer who is used to carrying out press photography rather than product shots, or one that can do both. What you do not want is a purely studio photographer. Some photographers are also freelance or ex-press photographers and therefore have a good grasp of what is required to enliven the story. They will help you with the shot and provide suggestions and advice. Listen to them; they know their business. 2. How quickly can they turn a job around? You will need contact sheets of the shots the photographer has taken, preferably the next day. Contact sheets show all the shots taken and you can choose from these the prints that you wish to order. After you’ve placed your order, the prints should come to you the following day. You cannot afford to wait a week for your prints as you may miss the opportunity for media coverage. The photographer I have used now for the last fifteen years is excellent. He turns around jobs the next day and often sends the prints direct to the media if time is critical.
– 34 –
D OING
IT YOURSELF
3. Can the photographer shoot digitally as well as traditionally? Many magazines and newspapers accept digital images. Turnaround time is much faster using digital images. You may therefore like to check whether or not the photographer you have selected can also take digital images and can send these electronically, either to you or to the media required.
Doing it yourself You may wish to take your own photographs rather than use a professional photographer. By all means do so, but you need to ensure that you take the right type of shots. Please keep in mind everything I have previously said about producing creative photographs and add the following: The shots need to be close-up shots. Most amateurs, in my experience, go for the long shot – you know, someone sitting behind a boardroom table, and all you can see is acres of table and a tiny person at the end. This will never get into print. If you have a group of people to photograph, get them to move very close together. They will feel awkward about it but it will make a better shot. Most magazines and newspapers crop shots and they can’t do this if there is a mass of scenery. Avoid the red eye and the scared, haunted look. If you are going to do your own photography, then make a study of the photographs in the newspapers and magazines to see what style they like and try and emulate it. – 35 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Quality and colour However the shot is taken – traditionally or electronically – and whoever takes it – you or a professional photographer– it must be of good quality. No magazine or newspaper is going to use a shoddy photograph. Make sure the print is clear and neither too light nor too dark. Until a few years ago, the photographer used to have to shoot both in black and white and in colour because many newspapers only took black and white pictures. Now, with the advances in technology, nearly all of them (if not all of them) accept colour, and practically all of them accept good digital photographs.
Press Photographers Some people are reluctant to pay for a photographer and ask me if the newspaper or magazine couldn’t send its own photographer. Some people think that the newspaper is obliged to send someone if they ask them to and of course this is not true. The newspaper photographer has many calls upon his time and could be on an assignment that the editor views as more important than yours. For example, a fire in a tower block is going to be more newsworthy than your opening reception, even if the local MP is attending! Newspapers and magazines no longer have lots of staff photographers; in fact, some have none at all and the reporter is expected to take his own photographs whilst interviewing
– 36 –
P RESS P HOTOGRAPHERS
the client. This often happens on the local/regional weekly newspapers, which do not have the same financial and human resources as the daily newspapers. For staff stories – i.e. the promotions, retirements, appointments etc. – you need to organise your own photographer. With regard to office openings, receptions, conferences, mergers, buyouts etc., you can either organise your own photographer or send your news release to the media without a photograph. If the magazine or newspaper is sufficiently interested it may contact you and ask to send along its photographer. That is good news. But please don’t keep the photographer waiting and don’t send him away if he is late; he may have been called to a story breaking before your visit and have been delayed. Be understanding. The media are responding to as well as making the news. Be aware that if a press photographer is coming to take your photograph, he will advise you on the shots he requires – so a couple of words of caution here.
Do not be bullied or cajoled into shots that you would not like to see in print.
Don’t get into any pose that makes you uncomfortable.
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
You may recall one particular famous incident some years ago when a press photographer asked a Liberal Democrat MP to sit on a five-bar gate. He willingly obliged and the sub editor ran a caption along the lines of Liberal Democrat sits on the fence!
In summary
Photo stories are those that are primarily ‘human interest’ stories
Take a look through a newspaper; what sort of photographs do they like?
Think creatively about your photographs
You need to set the scene. Every picture should tell a story
Look at the story your release is telling – does the photograph reflect this?
Wherever possible, you should enlist the help of a professional photographer
Brief the photographer thoroughly beforehand, as he may need to bring additional equipment or film, and be available when he arrives
When choosing a photographer, ask if he has carried out any commercial work before. If so, what type of work?
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Good photographers will help you with the shot and provide suggestions. Listen to them; they know their business
Some magazines and newspapers now accept digital images. Check whether or not the photographer you have selected can also take digital images
If taking your own photographs, ensure that the shots are close-up shots
Shoot in colour and ensure they are of good quality
Newspapers and magazines are not obliged to send a photographer, so don’t rely on it
Don’t keep the photographer waiting. Be understanding. The media are responding to as well as making the news
Do not be bullied or cajoled into shots that you would not like to see in print.
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Chapter Four Understanding the media So, now you have researched your media, you have plenty of ideas for news stories – which you review on a continuous basis – and you know whether or not your news story needs a photograph with it. You may be ready to write your news release but, before you do, you should first understand how the media works.
Understanding editorial style Most people know the difference in style between a tabloid newspaper and a broadsheet, i.e. the difference between the Sun and the Daily Telegraph. These newspapers write for different audiences and therefore the content and style of their newspaper will reflect this.
Editorial style is something you need to bear in mind when submitting your news release to different types of media. A weekly newspaper may have a very different style and editorial content to that of a daily newspaper.
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G ETTING
ONTO TELEVISION AND RADIO
Because television and radio have less time to carry a news story they are, therefore, very selective about what stories they run. What is featured in a local newspaper may not be carried on the radio or local television programme. Trade and specialist magazines will carry a more technical or detailed story than local newspapers. So you will need to tailor your release to suit the media you are targeting. Working on computers with cut and paste facilities make this task relatively easy.
Getting onto television and radio Getting onto television and radio is more difficult than getting into print, simply because television and radio do not have the same amount of ‘space’ dedicated to news stories. By all means research the radio or television station and the most suitable programmes for your news story and submit your news release to the producer of that programme, or to a correspondent or reporter, but radio and television obtain many of their news stories from the press. So even though you may not have targeted radio or television with your news release you may still nevertheless find yourself being interviewed. I talk more about being interviewed in Chapters six, seven and eight. As I mentioned previously, journalists do move around. Many of my radio and television contacts are journalists I have known from the local press. When they move on they keep in touch and if they are searching for someone to make a comment, or to run a feature on, then they often get in
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touch with me to see who I know. This can happen to you if you have worked to build your contacts and maintained them.
Examples My local television station wanted to run a feature on a person who had downsized. One of my clients happened to be a former managing director of an international company who had left that company to become involved in a regional charity. I put the journalist in touch with him and the result was a feature on this man with increased exposure for his charity. On another occasion I was running a course on ‘Building a positive media profile’ when I was contacted by a television journalist who wanted to interview women who employed domestic help. Three women on my course did so and subsequently found themselves appearing in a television programme. You are trying to achieve a partnership between yourself and the journalists. Your aim is to gain increased exposure for your organisation; the journalist wants good news stories and features for his newspaper, magazine or programme. Building good media relationships is vital for success so here are some tips on how to do this.
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FOR GOOD MEDIA RELATIONS
Rules for good media relations Do try to understand the media Editors have a job to do and that job, as I have mentioned before, is to produce newspapers or magazines that their readers want to buy, or to fill broadcast programmes that people want to listen to and watch. Try and provide them with stories they will want and that are suitable for their medium. Always try to be accessible The media work to tight deadlines so if a journalist telephones you for a comment or for further information then try and ensure you are available to take that call or return it quickly. Failure to respond may mean missed coverage for your organisation. It is usually best to have a single point of contact within the organisation. Don’t ask to see copy in advance If the journalist tells you he is writing up the piece for next Thursday’s edition, don’t ask to see a copy in advance. Journalists don’t like doing this as experience shows them that some people can’t resist dabbling with the style or changing their minds about what they said. When you are asked for a comment make it a ‘sound bite’ Use conversational English, not management speak. For – 43 –
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example: ‘You’d like a comment on our improved sales figures? Certainly. In periods 4–6 ex factory shipments rose by a factor of 1.1 volume wise, and 1.15 value wise, relative to the previous accounting period, before allowing for seasonal fluctuations.’ This is how not to do it! However, if a journalist telephones you for a comment about something you haven’t seen, or something that is slightly controversial, you don’t always have to give an instant answer. You may need time to think about your response. You can always buy some time by saying that you need to consider your response and will call them back within five minutes. This is only acceptable if you do call them back as promised within five minutes and not two hours later; remember those tight deadlines. If you do not return the call then you will miss an opportunity for press coverage and, worse still, the journalist will know that he cannot rely on you, so you will lose future coverage. Ask the journalist what his deadline is and ensure you call back within that timescale. Be aware of subjects you do not wish to discuss and do not be drawn into discussing them You may like to state that it is company policy not to comment on such matters. Be open and positive and do not lie, as journalists are very good at detecting lies. In addition, do not make an unsupported claim and avoid negative comments. In fact, do not say anything that you would not wish to see in print. – 44 –
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FOR GOOD MEDIA RELATIONS
Do not be aggressive or combative towards a journalist Some journalists might be quite aggressive in the way they question of you. This does not necessarily mean they are hostile but trying to tease out a good story. If you get aggressive back you will only aggravate them and could end up with a negative story into the bargain. Stay focused and remain polite. Ask the journalist what his news slant is, so that you can provide the most useful information. Always have ready a few well-rehearsed statements or key points about your organisation you would like to make This will help you in leading the interview rather than just responding to it. This is particularly important in television and radio interviewing, which I look at in Chapters five, six and seven. Maintain a friendly relationship with journalists If a journalist can rely on you to feed him good stories and provide information, you will increase your chances of winning more media coverage. Don’t hound a journalist to find out when your story is likely to appear On some training courses and in other books you read on this subject, you may be urged to follow up your new release with a friendly call to the journalist just to see if they have – 45 –
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‘received’ the news release. My advice goes contrary to this. The journalists that I know, and who have been very good to me in using my stories and my clients’ stories, have told me countless times that this really irritates them. Besides, if you do follow up the release and ask when they are likely to use the story, you may not get the truth. It is not that the journalist will deliberately lie to you (although some may), it is just that they are under pressure and may genuinely not know if they will use the story. And even if they have decided to use it, the editor may cut the story because of more pressing items that have arisen during the day or the week. As I said in Chapter one, send in your release and then forget about it. Go on with the next story and the next. Don’t try to win coverage by overdoing the entertainment bit but you can invite journalists to lunch Journalists know there is no such thing as a free lunch and that you are looking for something in return. You can take them out to lunch to thank them for their co-operation or to find out if they are interested in any particular news items you might be able to supply. You can also use the meal to explain to them that you are keen to raise your media profile and would like to send them stories that would help them. If you know what they are interested in then hopefully you can supply them with the right stories. Journalists don’t mind this at all. Remember they are looking for good stories and you can help save them time and energy by providing these. The days when reporters were truly roving, looking for good stories, have long gone. We are all under pressure to produce more to tighter deadlines on smaller resources, and – 46 –
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journalists are no different. By giving them stories, you are helping them to do their job.
Press Conferences The number of press conferences has declined in recent years. It can be a quick way for an organisation to lose money and waste valuable time. This is mainly due to the fact that everyone is more pressed for time these days and getting journalists away from their normal place of work is extremely difficult. Can you say what you want to say in a well-written news release rather than at an expensive and time-consuming press conference or press briefing? You need to decide why you are holding the press conference. Is the story of sufficient interest to attract the journalists? If you do decide that a press conference is the best vehicle to announce your mega breakthrough, then you will need to decide the following: 1. Who you are looking to attract To which journalists and from which media will the announcement be relevant? 2. What time should the press conference be held? Press conferences usually take place late morning with a buffet lunch or drinks to follow, giving the journalist the chance to leave once the main announcement has been made. However, breakfast press conferences can also be popular so that the journalist can be back at his desk by 9.30am.
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Many evening newspapers have closing deadlines of 11am or noon. Dailies can accept material up until about 4pm for the following day. Television usually starts around 10am for the evening news stories and radio can usually fit in a news story during any time but preferably in the morning. 3. What day of the week are you going to hold the conference? The ideal compromise is usually a Thursday. Monday’s and Friday’s are not good days. 4. Check out conflicting events You do not want a press conference to conflict with the launch of major national exhibition, say, or an important anniversary that the journalists will be covering. 5. Choose your venue This may to a certain extent depend on which journalists you are trying to attract. If you are trying to attract national newspapers or women’s magazines, for example, then London has to be the venue. Try and choose an unusual venue that may encourage more journalists to attend and add a distinctive flavour to your news story. 6. Pay attention to detail Is there power for electrical equipment and a quiet area for interviews? Is there ample parking? Do you really need a VIP? Sometimes the Chairman is the best speaker. – 48 –
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Celebrities cost money but can attract journalists. They can be hired for a fee, which can sometimes be considerable. Can you give a demonstration around your product? 7. The invitation Send the invitation out with enough information to whet the editor or journalist’s appetite. Include a programme of the event so that journalists may nip in and out at different times if they wish. Enclose a map giving directions to the venue and include parking. Also include a reply-paid card. You can also invite freelance journalists. Never expect them all to turn up; think pessimistically rather than optimistically. Put out chairs for half the number expected. You can always add more chairs if more turn up. Telephone the journalists the day before the conference to remind them. 8. The press pack A press pack should be prepared to hand to the journalists at the end of the conference. This should contain a copy of the news release with a relevant photograph and a free sample if appropriate. Do not include company literature or a catalogue. Keep it simple and relevant.
After the Press Conference Write to all those who showed up and thank them. See if you can use the opportunity to discuss further feature articles. To those who didn’t show, send the press pack with a personal letter.
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Getting the media to cover your event A full-blown press conference is not usually relevant when you have a grand opening ceremony, or you are staging the opening of a major exhibition, or holding a seminar or conference – unless, that is, you have a member of the Royalty opening it or a very high profile celebrity/personality. However, you may wish to invite the media along to it. In this case you can send out your news release with an invitation to the event. You may also wish to follow this up with a telephone call to see if the journalist is able to attend. When telephoning radio or television stations to invite them to your grand opening, someone on the ‘news desk’ will enter the event ‘in the diary.’ This, however, is no guarantee that anyone will actually turn up. It simply means that if nothing more exciting breaks someone may possibly come along. Brief the people on the door to keep an eye open for any journalists and to give you the nod if they arrive. Then help them to shoot the film they require or interview the relevant person.
In summary
Different newspapers, magazines and broadcast programmes have different styles, so be aware of this and tailor your news story accordingly
Television and radio have less time to carry a news story – 50 –
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SUMMARY
Trade and specialist magazines will carry a more technical or detailed story than local newspapers
Do try and understand the media. Be accessible and don’t ask to see copy in advance
When you are asked for a comment, make it a ‘sound bite’ and talk in plain English
Be aware of subjects you do not wish to discuss and do not be drawn into discussing them
Do not be aggressive or combative towards a journalist
Always have ready a few well-rehearsed statements or key points about your organisation you would like to make
Maintain a friendly relationship with journalists
Don’t hound a journalist to find out when a story is likely to appear
Don’t try and win coverage by overdoing the entertainment bit
It is getting more difficult to get the media to a press conference so will a well-written press release be sufficient?
Press conferences usually take place late morning with a buffet lunch or drinks to follow, giving the journalist the chance to leave once the main announcement has been made – 51 –
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A press pack can be prepared containing a copy of the news release and any photographs
Many people from the media do not respond to invitations but simply turn up, so brief the people on the door to give you the nod if they show
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Chapter Five Writing the news release You are now ready to write your news release. There is a style and structure to the news release and by following it you will increase your chances of gaining media coverage.
When constructing a news release you need to think of a triangle or pyramid.
The whole story, including the angle, is contained in the first paragraph and then the story is fleshed out in subsequent paragraphs. If you study newspapers you will see this style in evidence. If you were good at comprehension and précis exercises when you were at school then you should be good at news release writing. Over the page is an example of how the news release is constructed.
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Constructing the news release Headline – an idea of what the story is about 1st para – angle/whole story/company name/ nature of business/ where based 2nd para – flesh out the story/facts /figures 3rd para the quote
4th para practical facts
Ends month/year For further information contact: Name, Company, Location, Telephone E mail address.
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STEP BY STEP
The news release – step by step The best way to learn how to write a news release is to have a go at it, so pick a story and construct your news release around it whilst following the guidelines set out in this chapter. If you need ideas for a story, return to pages 23 and 24 and review the checklist, pick one example and try drafting a news release around it. Let’s start at the top of our triangle.
The headline This must encapsulate the story. The headline is there to catch the journalist’s eye and tell him what the story is about. Your headline will rarely if ever be used by the newspaper or magazine. The journalist, editor or sub-editor will put their own title to the story which best fits the style of their publication. Your headline might only be used if you are writing an article to commission or you have paid to see the article printed. In the latter case we are not talking about editorial but advertising or advertorial. You may want to come back to writing your headline after you have read the following sections and written your news release. Here is an example of a news release.
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Example of a headline COURSES FOR AUTUMN TO HELP BUSINESS GROWTH This headline tells the journalist what the news release is about. It also tells the journalist that it is aimed at the business market. You can see that it is not a very catchy headline – that is the job of the journalist or sub editor. The first paragraph This is the key to the release. It must contain the whole story, the angle and your organisation’s name, where you are based and what you do. Can you tell your whole story in one short paragraph? Here is an example of a first paragraph following on from our headline. Example of a first paragraph A new training course programme for the autumn, to help businesses increase their sales, has been launched by UK training company ABC Limited.
The above paragraph contains the essence of the story. It tells the journalist the name of the company (ABC), what it does (training) and where it is based (UK) or, here, you can be more parochial if you are sending the release to your local or regional media and name the town, city or region where your organisation is based.
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The angle is that businesses will increase their sales if they come on these courses. The second paragraph This goes on to give the details already summarised in paragraph one – the facts and figures, if necessary. You may only need one paragraph of explanation, otherwise two will probably be sufficient. Here is an example following through our news story. Example of a second paragraph The autumn programme includes courses on Selling and Negotiating, Direct Marketing, Marketing, Handling the Media and Developing a Successful Internet Marketing Strategy.
The third paragraph This is usually the quote. Example of a third paragraph John Smith, Managing Director of ABC Limited, says, ‘These courses are very popular with the business community because they are practically based and delegates go away with real tips to help them in their business.’
The fourth paragraph The fourth paragraph may contain more practical facts. If the release is about a new publication or event it can give a contact name and telephone number. – 57 –
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Example of a fourth paragraph The one day courses are held at the Anytown Hotel in Anytown, and can be viewed on ABC’s web site at www.abc.co.uk An online booking service is also available, or details can be obtained by contacting 023 456 789.
After this you should write ENDS and the date, then ‘for further information contact’ and give details of contacts for the journalist or editor. Over the page is the complete news release.
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News Release…….News Release………… COURSES FOR AUTUMN TO HELP BUSINESS GROWTH A new training course programme for the autumn, to help businesses increase their sales has been launched by UK training company ABC Limited. The autumn programme includes courses on Selling and Negotiating, Direct Marketing, Marketing, Handling the Media and Developing a Successful Internet Marketing Strategy. John Smith, Managing Director of ABC Limited, says, ‘These courses are very popular with the business community because they are practically based and delegates go away with real tips to help them in their business.’ The one day courses are held at the Anytown Hotel in Anytown and can be viewed at ABC’s web site on www.abc.co.uk. An online booking service is also available, or details can be obtained by contacting 023 456 789. Ends
Date/Year
For further information contact: John Smith ABC Limited Anytown – Telephone: 023 456 789 E mail:
[email protected]
Before you send your release to the media you should also note the following guidance on layout and style. – 59 –
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News release layout guide Use news release headed paper, preferably with your company name on In my example on page 59, I have simply typed in News Release at the top of the paper. If you do not want to go to the trouble and expense of having your own News Release paper printed, then this will be sufficient. Type neatly with 1.5 line spacing and wide margins Use only one side of paper Don’t underline anything This implies that you are trying to tell the journalist what is important. They don’t need you to tell them how to do their job. Besides, what is important to you may not be so important to the journalist. If you go onto a second page, put ‘more follows....’ at the bottom of the first page Don’t split a sentence or a paragraph between one page and the next Staple the pages together Get someone to proof read it for mistakes before it goes out Send by first class post, e-mail or fax, and wherever possible address to the journalist by name – 60 –
E MBARGOES
Embargoes An embargo in its strictest sense, as taken from the Oxford Dictionary, means an order forbidding foreign ships to enter or leave the country’s ports, or suspension of commerce. In the media sense it means an order forbidding the media to use the release until the sender gives permission. Embargoes are normally used when a new product or service is about to be launched, or the information contained in the press release is sensitive and not to be used before a certain date. The media will honour an embargo and it is certainly useful for them from a planning point of view to have information about the story or product before its official release. The release can then appear in the newspaper or magazine, or on the television or radio, on the day the product is launched. It is usually common practice to write at the top of your release ‘Embargo – Not to be used before midday on (the date)’. Do not use embargoes unnecessarily as this will only serve to irritate the journalist.
Angles I mentioned before that angles are sometimes the hardest thing to gasp for people new to writing news releases. By studying the newspapers and practising this should become easier over time, but let’s take a couple of examples from our list as detailed on pages 23 and 24 and explore some angles.
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Company expansion – New premises The angle here as you can see is quite simple – it is expansion and success. The company concerned is thriving, growing, ambitious. For example: UK based ABC Limited, a company manufacturing widgets, is on the expansion trail with a move to new offices in the recently completed prestigious development at Anytown Industrial Park.
As you can see from the above there is an additional angle and that is that the company has moved to a ‘prestigious development.’ The alternative could be: An increase in orders and the recruitment of additional staff has led to expansion for Anytown-based company ABC Limited who have doubled their existing office space by moving into newly built premises on the Anytown Trading Estate.
Here are some further first paragraphs. Look at how they have been written and find the angle. I hope this will help you when you come to draft your news releases. Investment in new equipment As part of a continuing upgrading of equipment Anytown based company XYZ Limited has invested £200,000 in the latest technology with the purchase of a new machine, which will increase printing capacity and provide greater efficiency.
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Staff recruitment /new appointments With the Conference season getting under way Anytownbased ABC Travel Management Services has appointed John Smith as Conference and Incentive Executive, to help the company handle its increasing portfolio of clients and further expand its Conference and Event market.
Charity stories Ten staff from International broadcast, satellite and radio communications company XYZ, based at Anytown, have good cause to smile, having lost weight through a sponsored slim and raised over £600 towards the south’s leading medical research charity, xxxx into the bargain.
New product launch Small and medium-sized retailers are set to benefit from a new electronic point of sale (EPOS) product being launched by Anytown based ABC Limited, which will provide an affordable front and back office solution that until now only large retailers have enjoyed.
Legislation and how it affects the industry The Legislation Rights Act, which comes into force in October, will add another layer of employment legislation and bureaucracy to small businesses warns Bill Brown, Partner of Anytown law firm ABC Solicitors. This, says Mr Brown, could lead to an increase in the number of companies being taken to industrial tribunal.
Open Day Over forty guests attended a reception held at XYZ – 63 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE Accountants in Anytown on Thursday 2 March to celebrate the launch of the firm’s new name, corporate identity and re-launched web site.
New publication Anytown publishing company ABC Limited has launched two new book titles for the autumn to help business owners and managers motivate their staff and improve their budgeting.
Environmental issues Lowland valley mires across the south of England are increasingly under threat because of calcium pollution caused by development is the warning from Environmental Consultant John Brown of The Environmental Consulting Group based in Anytown.
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You can further improve your news story if you can add the following: Urgency New Launched today. Uniqueness Believed to be the first Unique product Unique survey The first of its kind. Milestones The one hundredth The first customer The 1,000 customer Conflict Challenges the report Challenges the Government Warns businesses Special days Valentine’s Day Mother’s Day November 5th Other anniversaries Others oldest youngest largest smallest biggest – 65 –
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In summary
When constructing a news release, you need to think of a triangle or pyramid
The whole story – including the angle – is contained in the first paragraph and then the story is fleshed out in subsequent paragraphs
Take a look at certain newspapers to see what style they use
The headline must encapsulate the story. It is there to catch the journalist’s eye and tell him what the story is about
The first paragraph is the key to the release. It must contain the whole story, the angle and your organisation’s name, where you are based and what you do
The second paragraph goes on to give the details already summarised in paragraph one
The third paragraph is usually the quote
The fourth paragraph may contain more practical facts
The release ends with ENDS, and the date, ‘for further information contact’ and provide details of contacts for the journalist or editor
Use News Release headed paper, preferably with your company name on – 66 –
IN
SUMMARY
Type neatly with 1.5 line spacing and wide margins
Use only one side of paper
Don’t underline anything
If you go onto a second page, put ‘more follows....’ at the bottom of the first page
Don’t split a sentence or a paragraph between one page and the next
Staple the pages together
Get someone to proof read it for mistakes before it goes out
Send by first class post, e-mail or fax and wherever possible address to the journalist by name
Only use embargoes where it is appropriate to do so to inform the media of a forthcoming event or product launch.
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Chapter Six The radio interview When asked if you would like to contribute to a radio, or television programme, your first reaction may be delight, horror, excitement, dread and sheer blind panic, or a combination of all of these in matter of minutes. Many people are flattered to be asked and automatically agree without really knowing what they are agreeing to. In this chapter I have provided you with a list of questions that you should ask before blindly accepting the opportunity to be in the limelight. Questions to ask: 1. What made you contact me? (Unless they have already told you that it is in response to a news release you sent them or a press item they have seen in the local newspaper.) 2. What kind of programme is it? When does it go out? Who listens to/watches it? 3. What kind of angle are they taking? 4. Is it live or recorded and will I be interviewed live or recorded?
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5. How long will the interview last? 6. Is anyone else being interviewed or contributing to the programme? 7. Is there audience participation? Are there any phone-ins that I am expected to respond to, or is it a straight interview? 8. Where will the interview take place? The interview could take place in a number of locations. It may be:
on a phone-in from your office or home – a ‘down the line’ interview
in the radio or television studio
on location
in the radio or television car
in a remote studio.
Once you have satisfied yourself on the above points and have decided that you are happy to give the interview, you will need to prepare for it. I look at preparation and how to handle the interview in this chapter and in the following chapter which covers television interviewing. But first let’s take a look at where the interview might be held and understand what is involved in the different locations.
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‘Down the line’ interview This is when the interview is conducted with a radio interviewer over the telephone. It is similar to speaking to someone on the telephone - with the major exception that half the county or indeed the whole country might also be listening to you! The consolation here is that you are in your own surroundings, so hopefully you are more relaxed and can have all your facts and figures at your fingertips. As with the telephone, though, your body language and posture will affect how your voice sounds. So here are some tips to help you:
sit upright but not stiff
keep your head up and your voice box open
lift your voice, because the telephone drains the energy levels in your voice and can make you sound flat and boring
facial expressions affect your voice, so if you smile that will come through in your voice
Use facial expressions to vary your pitch and bring warmth and animation to your voice.
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YOUR VOICE
Find your voice On the radio, as on the telephone, your voice needs to convey a great deal about you. People will judge you on how you sound. So give your voice some training.
Exercise First record yourself into a Dictaphone or on quality audio equipment and play it back. How does your voice sound? Now, try reading an excerpt from a novel or some poetry. Put expression into your voice and get used to the nuances of it. What do you like or dislike about your voice? What do you need to do to make it sound more lively and interesting? Listen to radio programmes whilst driving in your car – what makes you listen to some people and turn others off? The inflexion in some people’s voices make you want to listen on, whereas others irritate you. Why? Make sure your voice doesn’t irritate people. Don’t worry if you have a regional accent. Provided people can understand you, accents bring warmth and personality to your voice.
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Timing The radio and television interview is often short, sometimes no longer than three minutes. Everyone is familiar with the term ‘sound bites’ these days, so practice yours or at least talk into a Dictaphone for three minutes, and listen to how long it sounds. Many people get too verbose in interviews and if it is recorded they will edit you – sometimes completely out.
The radio studio You may be asked to go into the studio for your interview. Some people find this easier to deal with than the ‘down the line’ interview, as they feel they are at least in the appropriate surroundings and there are experts on hand to help if anything goes wrong. You will be asked to arrive about ten minutes before your interview is due to take place. This can seem daunting to some people, who would prefer to be at the studio about half an hour before to prepare themselves. The time frame on radio and television takes some getting used to. Presenters develop an immaculate sense of timing in seconds and whilst you are hopping up and down, wondering if they will ever make the deadline, they are still wandering around getting themselves a coffee or reading the newspaper seconds before they go on air. Trust them – they are the professionals.
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R ADIO STUDIO
However, having said that, it is best that you arrive at the studio with some time to spare. You will need to allow for the usual: traffic delays, the need to visit the toilet, the need to tidy yourself up – even if you are only appearing on radio – and the need to glance through your notes and still your pounding heart. It is also a good idea to listen to the radio programme on which you are about to feature before arriving at the studio. Perhaps you can have it playing in your car and then you can get a feel for the programme and how the presenter is advertising you. Is the programme friendly and chatty or has it a businesslike style? Always aim to be friendly and professional in your approach. You have already asked whether or not the interview is live. If it is live, you are safe to say good morning or good evening in your opening remark. If the programme is edited, you may like to check what time of day it will be broadcast, or play on the safe side and simply say ‘Hello’ when the presenter introduces you. The radio studio is usually dark and invariably small. You will usually be seated across a console from the radio presenter and there will be a microphone in front of you or suspended from the ceiling. You may be asked to wear earphones and the technicians will test the volume (level) of your voice before going on air. Always ask the presenter what his or her first question is going to be. They usually stick to this, unless they want to be awkward, or you are talking on a controversial subject,
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
or you are a politician. With radio, of course, you can have your notes in front of you, but beware of looking down at them all the time or moving your head away from the microphone. When I am doing radio interviews, or advising clients, I usually tell them to try and mention their organisation’s name at least twice in the interview. The presenter will mention it when he introduces you so that makes it three times. That is enough for the audience to grasp without going into overkill. Answer the questions put to you as best you can, bring out the key points you want to make – not too many as you only have a few minutes usually at best. Remember the audience wants to listen to you and understand what you are saying; they want to be informed and entertained.
The remote studio Going into a remote studio is a daunting experience for many people. I know the first time I did this for a radio interview I was petrified. Here is what happened to me. In Portsmouth, in the UK, our remote studio is tucked away on one of the upper floors of the City Hall. The receptionist gave me the key to this room and directions on how to find it. Of course I got lost in the acres of corridors. With the time to go on air fast approaching my blood pressure was soaring and I was beginning to panic. But at last I managed – 74 –
T HE
REMOTE STUDIO
to locate the studio and, after unlocking the door and nearly tripping over a pile of local newspapers on the floor, I sat down in front of a console with lots of buttons and lights. Instructions were pinned up above this and, with fumbling fingers, I followed these instructions, dialling into the main studio twenty miles away. It was not without some relief that I heard a calm, reassuring voice on the end of the line, which talked me through the procedure. I was asked to put on the earphones and the technician tested the level of my voice. I could hear the programme on air in the background. When the presenter put on a record he switched over to talk to me. He asked me how I wished to be introduced and then he ran through the basic idea of the interview and the sort of items he wished to discuss. I still felt very nervous but tried to take some comfort from the fact that I had prepared and that I knew my subject. The interview ran smoothly. I was thanked, told to switch off the console and lock the door behind me on my way out. I staggered outside on weak legs, and dived into the first coffee house I could find for a well-deserved caffeine injection wondering whether anyone had actually listened to the programme.
– 75 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Points to remember for good radio interviewing Here are some tips to help you conduct a good radio interview.
What is your key message?
What facts and figures do you need?
Keep your answers short – remember there isn’t much time and the more you say the easier it is to cut it, if it is a recorded interview
Aim for a friendly conversational style – be as natural as you can
Know your audience and the purpose of the interview
Know who is interviewing you
For local radio, keep it as local as you can
Be positive – don’t say you don’t know unless you genuinely don’t
Don’t be rude, avoid jargon and don’t waffle
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IN
SUMMARY
In summary
The ‘down the line’ interview is conducted over the telephone
As with the telephone your body language and posture will affect how your voice sounds
Keep your head up and your voice box open
Use facial expressions to vary your pitch and bring warmth and animation to your voice
Listen to radio programmes whilst driving in your car – what makes you listen to some people and turn others off?
The inflexion in some people’s voices makes you want to listen on, whereas others irritate you – why? Make sure your voice doesn’t irritate people
Don’t worry if you have a regional accent; provided people can understand you, accents bring warmth and personality to your voice
The radio and television interview is often short, sometimes no longer than three minutes
Practice your sound bites, or at least talk into a Dictaphone for three minutes, and listen to how long it sounds
Arrive about ten minutes before your interview is due to take place – 77 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Always aim to be friendly and professional in your approach
Always ask the presenter what his or her first question is going to be
With radio you can have your notes in front of you, but beware of looking down at them all the time or moving your head away from the microphone
Answer the questions put to you as best you can and bring out the key points you want to make
Remember the audience wants to listen to you and understand what you are saying; they want to be informed and entertained.
– 78 –
Chapter Seven The television interview Again, as with the radio interview, the researcher or the producer will contact you to ask if you would like to participate in the programme. Before succumbing to the flattery of being asked and agreeing eagerly, calm yourself and go through your checklist of questions. 1. Why are you asking me? 2. What kind of programme is it? 3. Is it live or pre-recorded? 4. Who will be interviewing me? 5. What is the slant or the angle of the interview/ programme? 6. Am I being interviewed or is it a discussion? If it’s a discussion, who else is participating? 7. When is it being transmitted? 8. Where will the interview be held? 9. How long is my contribution likely to be? Remember you can always say no – though few people do because they are so flattered at being asked. – 79 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
There are different types of television interviewing. These include: Live interviews either in the television studio or on location
Pre-recorded interviews
‘As for live’ interviews.
With all types of interviewing - whether it be television or radio interviewing and no matter where the location preparation is vital. The better prepared you are, the better your performance (hopefully). Ask yourself, ‘What two or three key messages do I want the viewer to remember?’ Concentrate on those messages, distil them into ‘sound bites’ and memorise them. Always give simple and practical examples to illustrate the messages if you can. Go into the interview seeking to convey your message rather than worrying about what questions someone will be asking you. Here are some further tips to help you with your interviewing techniques during the different types of interviews.
– 80 –
‘A S
FOR LIVE ’
‘As for live’ ‘As for live’ are interviews where the recording is not stopped unless something goes disastrously wrong and the interview will be timed by the interviewer to run for the allotted length of time. Programmes like ‘Question Time’ are conducted in this way.
Pre-recorded interviews With pre-recorded interviews, the presenter can take longer with you, the questions stretch on and you begin to relax and let your guard down – which means the edited version may only show those shots towards the end of the interview where you are being rather more verbose than you should!!
The television studio When asked to attend an interview in a television studio, try to allow enough time to reach the studio without being too rushed. Find the toilet and try to settle yourself. Don’t give yourself too much time or your nervous tension can mount. As for radio, don’t be tempted to have a stiff drink before appearing or drink tea or coffee. Stick to water. Remember that nothing is ever ‘off the record’, so don’t reveal anything you don’t want to be used to anyone in the studio – they may feed this information to the interviewer, who could then use it in the programme to throw you off your stride. – 81 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
When you meet your interviewer, try and ask him what his first questions is to be. I say try, because that may be difficult. You may not have time to see him before the interview and you will also have other people wiring you up with a microphone and positioning you in the chair etc. Television studios are bright and hot and the glare of the lights takes some getting used to. The television studio is also a lot smaller than many people imagine. If you get the chance to visit one before your interview, take it. Being familiar with your surroundings will help you when the time comes to be interviewed. If the studio hasn’t been laid out, or has been used for some other purpose, it may appear to be simply a bare room to you, a bit echoing. When dressed for the set, seating is usually arranged around the ‘stage’ in ranks – a bit like a theatre – and there are usually two or three cameras on moveable pedestals. The director will, from his control room, be able to select from a range of shots of those taking part in the programme. Although a red light will appear on the camera whose picture is being used, do not attempt to try and follow this red light – it will only confuse you. But do remember that even when you believe you are off camera act as if you are still on camera. You don’t want to be caught unawares.
Treat every camera as if it is rolling and on you.
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T HE
TELEVISION STUDIO
Again, as for radio, treat every microphone as if it is live. Also try not to fiddle with your tie or scarf as the microphone will be positioned there and will crackle dreadfully. All microphones amplify the normal voice so there is no need to shout, or use a special voice like you see some comics doing deliberately on television shows and dramas. Speak as you would in normal conversation, remembering all our tips about voice on pages 73, and let the technicians do the rest. Refresh your facts from your notes before you go into the studio and again if you have time before going ’live.’ Do not use the notes and don’t use jargon. The interviewer normally has a monitor in front of him. Do not look at that or the cameras but concentrate your attention on, and direct your conversation to, the interviewer. If asked a question by someone in the audience (if it is that type of programme), look at the questioner when you answer him, as you would in real life. If you are running out of things to say or feel you are drying up, or don’t know the answer to the question, then if you are looking at the interviewer he will know this by the look in your eyes (probably sheer terror!) and will help you out. Above all, try to relax and be natural - which seems an impossibility given all I have said!
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
On location When the media turn up on your doorstep, they can be completely overwhelming, even if it is only the reporter and the cameraman. So here is some advice for you when dealing with the television crew:
Whether the interview is in the studio or in your own home/office, always treat the microphone as if it is live and the camera as if it is running.
Never say or do anything that you wouldn’t like to see appear on your television screen. If you are being interviewed on location, then check the backdrop against which you will be filmed. We have all seen out takes where what is going on behind the interview is more interesting than the actual interview. In most instances, the media will come to your office or place of work. If you are being interviewed in your office, or on the factory floor, make sure your office is giving out the right impression. Check those pictures on the wall behind you, including the calendars! ‘Dress the set’ to create the right picture for your organisation and message.
– 84 –
W HAT
TO WEAR ON TELEVISION
What to wear on television We judge people on how they look and how they sound before we ever start listening to what they are saying. On radio, how you sound is very important (see page 73). On television it is not only how you sound but also how you look that’s important. Here are some tips to help you.
Avoid hounds-tooth type checks, boldly striped jackets and suits, shirts and ties
Avoid very white blouses and shirts: they cause glare
Avoid anything too tight and restricting and make sure your jacket doesn’t gape when you sit
Don’t flash the flesh – make sure your socks are long enough to meet your trousers and are the same colour as your trousers and shoes. Don’t wear brown shoes with dark blue or black trousers
Don’t wear flashy jewellery that glints and women should not wear heavy bracelets or dangling earrings that distract attention
Always make sure your shoes are clean and presentable and that, if wearing collar and cuffs, they too are clean and not frayed
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Women should watch the length of their skirt – not so short that it rides up and shows more flesh than it should, not too tight or with a long split in it that flashes the thigh
Women should go for unfussy styles. Cleavage should be concealed at all times. Always wear plain tights, not patterned, and check they are ladder free
Check your shoulders for dandruff and make sure your hair is groomed and tidy
A dusting of translucent powder for both men and women can help prevent that shiny look. The days when make-up artists at studios were ever at the ready are gone, so you may have to bring your own
Ensure your spectacles suit the shape of your face and do not swamp it. Never wear tinted glasses or lenses that darken in the light, as they will give you a shifty look.
– 86 –
W ATCH
THOSE MANNERISMS
Watch those mannerisms DO NOT:
Clench and unclench hands
Fiddle with objects
Keep buttoning and unbuttoning your jacket
Drum your fingers on the table top
Jigger your legs
Twitch and stammer
DO:
Have water to hand; your mouth will feel dry - it’s the nerves
Avoid tea, coffee and alcohol. These are dehydrating and can have disastrous consequences.
Try to be natural and allow your real self to shine through on television and radio, even though this can be difficult because of nerves. Know your strengths and weaknesses; know how you sound and how you appear to others. If you are going to appear on radio or television regularly, or wish to, then get yourself some media training - it will help you enormously.
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
In summary
Treat every microphone as if it is live and the camera as if it is running
Never say or do anything that you wouldn’t like to see appear on your television screen
Prepare for your interview, arrive early at the studio and settle yourself down as much as possible
‘As for live’ are interviews where the recording is not stopped unless something goes disastrously wrong and the interview will be timed to run for the allotted length of time
Ask yourself, ‘What two or three key messages do I want the viewer to remember?’
Always give simple and practical examples to illustrate the messages if you can
Go into the studio seeking to convey your message rather than worrying about what questions someone will be asking you
Do not attempt to try and follow the red light on the camera – it will only confuse you
Do not look at the monitor or the cameras but concentrate your attention on and direct your conversation to the interviewer
If asked a question by someone in the audience, look – 88 –
IN
SUMMARY
at the questioner when you answer them, as you would in real life
If you are running out of things to say or feel you are drying up, the interviewer will help you out
Remember that nothing is ever ‘off the record’, so don’t reveal anything you don’t want to be used to anyone in the studio
When you meet your interviewer, try and ask them what their first questions is to be
All microphones amplify the normal voice, so there is no need to shout or use a special voice; speak as you would in normal conversation
Refresh your facts from your notes before you go into the studio and again if you have time before going ‘live’
Do not use the notes and don’t use jargon
Try to relax and be natural
If you are being interviewed on location, check the backdrop against which you will be filmed
‘Dress the set’ – create the right picture for your organisation and message.
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Chapter Eight Writing and placing articles There are plenty of books on the market covering this subject one of which is The Easy Step by Step Guide to Writing Newsletters and Articles, so in this chapter I will give only a brief overview of article writing and explain how to get an article commissioned. Articles are generally written to commission so it is a waste of time to write a score of articles and then submit them to a magazine or newspaper in the vain hope that they will be published. As mentioned in Chapter four, every magazine and newspaper has its own editorial policy and style. If you are to write an article, you will be commissioned to do so and will know what angle the editor wants, how many words and when. But how can you get an article commissioned?
Getting a commission First know what topic or topics you wish to write about. This will probably be something allied to your business, or area of specialisation. Next you will need to research your media, using the reference material I mentioned in Chapter one. Again, I would urge you to send for a media pack and to study the editorial content of the publication for which you – 90 –
G ETTING
A COMMISSION
wish to write. What sort of articles do they carry? What is their style? Having done this, what do you think you can write about that readers would like? Come up with an idea, or a topic, or even a few ideas. After this you can approach the editor, usually in writing or by e mail, to see if he is interested. In your letter you will need to:
give an outline of your idea
say why you think the readers will be interested in what you have to say
outline the treatment of the idea/topic
say what makes it different
explain the expertise you have to bring to the article
In fact, give the editor reasons why he should commission you to write this article. In your letter, state that if the editor is interested in commissioning this article, then could he provide you with information on the following: 1. How many words would he like? 2. When will the article appear? 3. When does the editor require the article by? – 91 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
4. Is any special approach or treatment required? 5. Are illustrations or photographs required? If sufficiently interested, the editor will contact you to discuss the idea and perhaps commission you to write the article.
Other ways of being commissioned You may be asked to write an article following the submission of a news release. Or you may have sent a letter to the editor and then been contacted to write an article on the subject. Both of these have happened to me on several occasions. (Don’t forget that letters to the editor are another good way of getting your name and/or company name into print.)
Getting Paid Not all magazines or newspapers will pay you for writing articles. In fact, many don’t. You need to decide whether or not to accept this. If your objective is to gain experience and an increased personal profile, or an increased profile for your organisation, then you may be willing to write the article for free. If a magazine or newspaper does pay, then they will give you some idea of their rates.
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A RTICLE
WRITING
Article writing When you write an article it is addressed direct to the reader, not the editor. It is also sequential rather than the pyramid style as in our news release.
An article is intended to be published in its entirety. It is written so that it is not easily cuttable.
Using the right style is important. After studying the magazine or newspaper for which you are writing, you will have an understanding of their style. Do they use lots of quotes? Do they like long sentences and paragraphs or short snappy ones? Whatever you write, your opening sentence and opening paragraph is critical. It has to grab the readers’ interest and make them want to read on. One of the ways you can start an article is by a posing an intriguing question; or you could use a quotation or anecdote to make the reader curious and want to know more. Openings are often difficult and many experienced writers struggle with them. Sometimes it is best to write your article, then go back to the beginning and look at it critically. A better opening may now occur to you – one that has flowed out of the article. – 93 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
The introduction has the sole purpose of hooking the reader, not encapsulating the complete story as in our news release. When you find yourself reading an article in a newspaper or magazine, look at what has hooked you and what has made you read it through to the end. The closing paragraph is also very important. The article should finish on a note that satisfies the reader; again an original touch is required. You should check your sources and obtain approval if using other sources. Watch your language and remember for whom you are writing. Does it need to be simple and light-hearted, or is it for a more serious-minded publication that requires technical detail? Avoid jargon and explain acronyms. Finally, before submitting it, check your article for mistakes and spelling errors and that it has the correct number of words.
– 94 –
IN
SUMMARY
In summary
An article is intended to be published in its entirety. It is written so that it is not easily cuttable
Articles are generally written to commission
Know what topic or topics you wish to write about, research your target media and send for a media pack
Study the editorial content. Know the style
Come up with an idea, or a topic
Approach the editor, usually in writing, and see if he is interested
An article is addressed direct to the reader, not the editor
The introduction has the sole purpose of hooking the reader
The closing paragraph finishes the article on a note that satisfies the reader and again an original touch is required
You should check your sources and obtain approval if using other sources
Check your article for mistakes and spelling errors
Check that it has the correct number of words
Watch your language and remember your audience – 95 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Chapter Nine Handling a media crisis A media crisis can happen at any time. Perhaps one of your employees has been dismissed because of fraud, or an employee has had an accident that will draw public attention to your company. If you are in the food manufacturing, processing or selling business, then you could become a victim of a food contamination scare. If involved in transport, then an incident on the railway, on the sea, at an airport or on the roads could all make the news – and sometimes at national and international level. Anyone providing a public service is inevitably in the spotlight nowadays. Hospitals, schools, the police and fire service could all find themselves in the news – and not always in a positive light. For most people reading this book, hopefully the crisis won’t be of gigantic proportion, but nevertheless can still be very serious. So key people within an organisation need to know how to handle bad news stories and how to inform and reassure the public.
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R EACTING
TO A BAD NEWS STORY
Reacting to a bad news story If faced with a bad news story that has hit the media, your instinct may be bury your head in the sand, keep ‘mum’ and refuse to take calls from journalists, in the mistaken belief that they will go away and forget all about you. You tell yourself that they can’t print what they don’t know. Well, don’t you believe it! This is the worst possible reaction to a bad news story. Saying ’no comment’ is just as bad. If the journalist does not get your viewpoint, then he can only guess at it and/or ask others to comment about you and your company. These comments may put you and your organisation in a bad light and do untold damage to your reputation. Handling a media crisis, or indeed any crisis, is about planning and moving as quickly as possible. Many large organisations have crisis management plans in place and know how to switch on the machine the moment there is the hint of a scandal or a bad news story breaking. Smaller organisations can take a leaf out of this book and, like the old Scout motto, ‘Be Prepared.’ Media speculation will begin long before any official/semi-official enquiry and how the organisation behaves initially is vital to building goodwill with the journalists. In today’s climate of increasing litigation, greater consumer awareness of people’s ‘rights’ and the increasing accessibility to the media, plus the time given to magazine-style – 97 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
programmes and consumer affairs programmes, it is much easier for customers to take their ‘story’ to the media. Organisations need to be aware of this and prepare for it. I should also add that there are now Internet sites dedicated to exposing companies who mistreat their customers. Business is considerably more transparent than it has ever been before and public services more accountable. In this climate, it pays to pay great consideration to your customer relationship policies and training.
Step one – be prepared If you know you have a potentially damaging story, then be prepared to deal with the media. Take the initiative and do not attempt a low profile. Draft your press statement in readiness and then if no one picks up on the story, fine – you can always tear it up. But having something readily prepared will make you not only feel more confident but also enable you to present your side of the story when you need to. It could even help to defuse a potentially threatening situation.
Example I was contacted by the Chair of Governors of a private school who had discovered that the Bursar had been helping himself to the funds. The Governor was worried that the story would become public and the school’s name would be dragged through the press. Over an Easter Bank Holiday weekend I prepared a press statement that the Chair of Governors could fax or e mail to the media if he needed to. I also wrote out
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S TEP
TWO
–
FACT FINDING
some of the questions that I thought a trained journalist might ask him. The media never did pick up on the story and the Governor breathed a sigh of relief – but at least he had been prepared in case the worst had happened.
Be prepared and take the initiative. Draft your press statement or press release in readiness.
It’s a bit like having an insurance policy – you must have one but you hope to goodness you never need to use it.
Step two – fact finding Getting the facts of the case is essential. A trained journalist will ask, what, when, where, how, why and who – and not necessarily in that order – so you need to do the same when investigating the situation and subsequently drafting your press statement.
Think of the headline and think about the questions a trained reporter will ask. Any news release or statement must answer these questions.
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
If you do not readily know all the facts when a journalist contacts you, here are some further useful phrases. ‘We are aware of the problem and are looking into all aspects of it.’ ‘We are aware of the situation and more information will be provided readily just as soon as it is available.’ ‘We are doing all we can to obtain additional information and to handle the situation…’ (and you could go on to give information about what is currently being done). Do remember nothing is ‘off the record’, so choose your words carefully. Speak the truth. Journalists are very good at detecting liars. And do not speculate. Deal in facts and assume everything said will be quoted. And if the media get their facts wrong, or perhaps misinterpret what you have said, don’t ask for a retraction as a retraction generally adds to the story’s development and can fuel it long after it would have died down naturally.
Step three – keep in touch with the media Once having ascertained the facts and communicated with the media, keep communicating with them. If you already have existing good relations with the media – or at least with your local media – this will help you in troubled times.
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S TEP
FOUR
–
INTERNAL COMMUNICATIONS
Step four – internal communications Companies that have good internal communications generally have good external communications. It is useful to have a media handling crisis policy already drawn up which details things like who is empowered to speak to the media, and what happens on first contact by the media. Make sure all your staff know this. It can be included as a section in the staff handbook and included in induction training. Ensure that the people dealing with the media are trained in this subject; it will not only prepare them on how to handle the media but also give them greater confidence when called upon to do so. You may also need to be prepared for a bit of door-stepping. Depending on the story, you may find the media camped outside your office or factory. They may even be interviewing staff as they turn up for work or leave for home. You can’t stop the media doing this, or your staff talking to the media, but if you have briefed your staff, and kept them informed and have a good motivated workforce, then the danger of them saying something they shouldn’t or showing their dissatisfaction with you will be minimised.
Step five – monitor all media coverage Monitor your media coverage. Employ a press cuttings agency if you need to. Monitoring the media coverage will give you greater control over the situation. At least you will know what is being written and said about you and whether or not you need to respond to it with your own press statements.
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EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Step six – follow up Maintain a dialogue with the media. Provide follow-up information. Write and thank the journalist who has helped you. Buy him lunch but remember not to let your guard down and start blabbing ‘off the record’, or you could find yourself back in the news. The media can be extremely overpowering and you can find yourself doing and saying things that you never thought possible. When they descend on you out of the blue, the attack can catch you off your guard. Hopefully some of the tips given in this book will help you handle them more assertively.
– 102 –
IN
SUMMARY
In summary
A media crisis can happen at any time, so be prepared
Handling a media crisis is about planning and moving as quickly as possible
Media speculation will begin long before any enquiry. How the organisation behaves initially is vital to building goodwill with the journalists
Take the initiative and do not attempt a low profile
Draft your press statement in readiness
Communicate what you are doing and keep communicating it
Get the facts straight
A trained journalist will ask, what, when, where, how, why and who
Think of the headline and think about the questions a trained reporter will ask. Any news release must answer these questions
Keep in contact with the media
If you already have existing good relations with the media, this will help you in troubled times
Speak the truth. Journalists are very good at detecting liars – 103 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
Do not speculate. Deal in facts and assume everything said will be quoted
Do not speak ‘off the record’
If the media get their facts wrong or misinterpret what you have said, don’t ask for a retraction – this can fuel a story long after it would have died down naturally
Make sure your internal communications are good
Have a media handling crisis policy already in place
Ensure that the people dealing with the media are trained
Be prepared for a bit of door-stepping – the media may be camped outside your office or factory
The media can be overpowering – be prepared for this
Monitor your media coverage. This will give you greater control over the situation
Maintain a dialogue with the media. Provide followup information
Write and thank the journalist who has helped you.
– 104 –
Chapter Ten In-house versus PR consultancy Finally a word about whether or not you should do the PR yourself or let someone else do it for you. This, of course, is entirely up to you but listed below are some of the advantages and disadvantages that you may like to consider before making any decision. It is usually economic to appoint a PR consultant until the volume of work justifies setting it up as an internal function. PR is intimately concerned with the whole organisation; it concerns itself with both the internal and external communications. To have impact it is a continuous process. So, whatever you decide, you must ensure you maintain your PR thrust.
Advantages of in-house PR
Full-time service is not limited to the time bank of man hours represented by the consultancy fee
The PR person belongs to the organisation. It is his business to know everyone and be met by everyone. He must establish lines of communication right throughout the organisation
The PR person is a permanent resource and is more likely to stay with the organisation for a longer time – 105 –
EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE
It is easier for the internal PR person to cope with a variety of jobs
The internal PR person can be on the spot when needed and is familiar with the company and the industry.
Disadvantages of in-house PR
Bias. The internal PR person may be uncritical either through loyalty or because of insufficient status
They’re more likely to lack the broad range of contacts needed
They may be limited in their background
They are seldom independent
They can lack respect within the organisation and outside it
They add another overhead to the business.
Advantages of the PR consultancy
Independence
Experience
Media knowledge and contacts
– 106 –
D ISADVANTAGES
OF THE
PR
CONSULTANC Y
Resources
Specialist staff
Cross-fertilization of ideas from other clients keeps them fresh with new ideas.
Disadvantages of the PR consultancy
Fee limitations
Remoteness from client
Limited knowledge of industry
Shared loyalties.
And finally People do believe what they read in the newspapers and see and hear in the media. An enhanced media profile can do wonders for your business, for your workforce, your recruitment and your order book and I hope this Easy Step by Step Guide helps you to achieve it.
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Other Easy Step by Step Guides in the series include: Telemarketing, Cold Calling & Appointment Making Marketing Successful Selling Writing Newsletters and Articles Writing Advertising Copy Stress & Time Management Being Positive and Staying Positive Motivating your Staff for Better Performance Recruiting the Right Staff Handling Confrontation Managing Change Giving Confident Presentations Better Budgeting for your Business
T IPS
ON USING THE
P ROMOTIONAL T OOLS
All the above guides are available from: Rowmark Limited e mail:
[email protected] or via our web site www.rowmark.co.uk
