The Easy Step by Step Guide to Building a Positive Media Profile (Easy Step by Step Guides)

Published by Rowmark Publishing Limited65 Rogers MeadHayling IslandHampshirePO11 0PLUK

ISBN 0 9539856 2 8

Copyright © Pauline Rowson 2001

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About the author

Pauline Rowson is a qualified marketing professional. Shehas worked in Marketing and PR for many years and for tenyears ran her own marketing and PR Agency handling clientaccounts across a broad spectrum of industry sectors.

CONTENTS

Introduction 7How to use this guide 7What you will learn from this guide 8

Chapter OneThe problems and benefits of buildinga positive media profile 9The difference between editorial and advertising 11Defining your public 12Different types of media 15Researching the media list 16Obtaining a media pack 18Building a media list 18In summary 19

Chapter TwoUnderstanding what makes the news 20So what is news? 20News stories 21Some typical news stories 22Checklist for news stories 25In summary 27

Chapter ThreePhoto stories 29What makes a good photograph? 30Using a professional photographer 33Choosing a professional photographer 34Doing it yourself 35Quality and colour 36Press photographers 36In summary 38

Chapter FourUnderstanding the media 40Understanding editorial style 40Getting on to television and radio 41Rules for good media relations 43Press conferences 47Getting the media to cover your event 50In summary 50

Chapter FiveWriting the news release 53Constructing the news release 54The news release – step by step 55News release layout guide 60Embargoes 61Angles 61In summary 66

Chapter SixThe radio interview 68’Down the line’ interview 70Find your voice 71Timing 72The radio studio 72The remote studio 74Points to remember for good radio interviewing 76In summary 77

Chapter SevenThe television interview 79‘As for live’ 81Pre-recorded interviews 81The television studio 81On location 84

What to wear on television 85Watch those mannerisms 87In summary 88

Chapter EightWriting and placing articles 90Getting a commission 90Other ways of being commissioned 92Getting paid 92Article writing 93In summary 95

Chapter NineHandling a media crisis 96Reacting to a bad news story 97Step one – be prepared 98Step two – fact finding 99Step three – keep in touch with the media 100Step four – internal communications 101Step five –monitor all media coverage 101Step six – following up 102In summary 103

Chapter TenIn-house versus PR consultancy 105Advantages of in-house PR 105Disadvantages of in-house PR 106Advantages of the PR consultancy 106Disadvantages of the PR consultancy 107And finally 107Other Easy Step by Step Guides 108

Introduction

Reputation is a vital ingredient in building and maintaininga competitive edge. The media play an important part incommunicating that reputation, whether for good or bad.

People still believe what they read in the newspapers, whatthey hear on the radio, what they see on television and nowwhat is read on the Internet - yet these images and storiesare manipulated in one way or another. More than everbefore we are influenced by image. Knowing how tocommunicate the right image and message is now anessential skill.

This book will show you how to harness the power of themedia 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 genderform. 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 helpyou. I recommend that you read it through from beginningto end and then dip into it to refresh your memory. Theboxes in each chapter contain tips to help you. Also at theend of each chapter is a handy summary of the pointscovered.

EASY STEP BY STEP GUIDE TO BUILDING A POSITIVE MEDIA PROFILE

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What you will learn from this guide

This guide looks at how you can build a positive mediaprofile for your organisation. It will help you to understandhow the media work and provide you with information onbuilding good media relations.

This guide will show you:

how to build and maintain good relations with themedia

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.

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Chapter one

The problems and benefitsof building a positive media profile

Why is it some organisations and people appear in your localnewspapers, or on television or radio, again and again? Is itjust luck or do they simply love to be in the limelight? Itmay be a bit of both but it is more often than not becausethey are managing their media relations successfully. Likeany other skill, this can be learned and by reading this bookyou are taking the first step to managing your media relations.

But dealing with the media can be an awesome experienceand some people would rather avoid it like the plague.

Some people have difficulty in understanding what makes agood news story; others do not have the time to write newsreleases and liaise with the media; and some are afraid thatthe media will twist everything they say.

All these problems can be overcome. But why bother in thefirst place? Publicity is a powerful tool – it carries at leasttwo and a half times the weight of advertising and it can becheaper. It is therefore a very effective way of raising yourprofile and marketing your organisation.

What’s more, it is also suitable for almost any type oforganisation, including professional firms, charities, schoolsand many, many others. Building a positive media profile


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for your organisation can have many benefits. Here are someof them:

It can help you:

raise your organisation’s profile with customers andpotential customers

help motivate employees – staff want to work forsuccessful organisations and seeing their company inthe media in a good light gives them a buzz

it can help to attract good quality recruits

sustained media coverage can raise the credibility ofyour 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 puttingout through your other marketing tools.

So, unless you are working in a highly sensitive area and donot wish to build a media profile (and then you probablywouldn’t be reading this book!), a positive media profile is amust for you.

And even if your organisation doesn’t actively seek mediacoverage then it may be on the end of some unwelcome

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THE DIFFERENCE BETWEEN EDITORIAL AND ADVERTISING

media attention. Wouldn’t it be better to be prepared forthis and know how to handle it in advance?

So let’s make a start on understanding the media andharnessing it for our good.

The difference between editorialand advertising

Advertising is bought space sowithin 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. Itis therefore best to assume that you have

no control over what is said.

This can be difficult for some people to grasp. Yes, yournews release will get altered and the angle may even bechanged to one you didn’t expect. Journalists do sometimesget names and figures wrong and occasionally misinterpretwhat you are saying either by accident or, dare I say it, bydesign – but there are ways of writing your news releasethat will minimise any errors or misinterpretations by thejournalist and this is explained in Chapter five.


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You also have no guarantee – having sweated over your storyfor hours and sent it to the newspaper or magazine – that itwill appear. Telephoning the journalist and sounding off isnot a good idea. It will only alienate him and guarantee nofuture coverage. If your story doesn’t get used there couldbe 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 megabreakthrough 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 thenmove on to the next story and keep a regular steady flow ofgood news stories going to the journalist.

Defining your public

But first you need to define your audience and hence themedia to which they might be exposed.

These can include all or some of the following groups ofpeople.

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DEFINING YOUR PUBLIC

1. Your customers and potential customers

What magazines and newspapers do they read? What radioprogrammes do they listen to? What television programmesdo they watch? Draw up a list of these. Does it includenational as well as local or specialist press? This may varydepending on how many customer segments/products orservices you may have.

For example, I once worked for a medical research charitythat carried out pioneering research to help infants andbabies. For this charity I decided to target a number ofdifferent media. These included:

mother and baby magazines

the health journalists of the national tabloids andbroadsheets

the charity’s local newspapers, radio and televisionstations

the specialist medical media.

For one of my legal clients if I had a story of majorsignificance then I would target:

the local media

the legal correspondents of the national broadsheetslike the Daily Telegraph, The Times, The Independent orthe Guardian

the specialist legal press.


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By targeting the specialist legal press you may feel that I amessentially telling the story to that firm’s competitors. I am,but one of my aims could be to raise the profile of that lawfirm in its own market. There could be several reasons forthis:

to help obtain referred work from other law firms

to help with future mergers and acquisitions

to even help draw employees from competing firmsinto my client’s firm.

2. Employees and future employees

Some companies I have worked with did not have a localcustomer base but they still targeted the local media. Thiswas because they wished to attract employees from the localmarket place. Future employees would much rather workfor a successful company and one they have read about inthe local press than one they have never heard of. In thedays of increasing skill shortages it is becoming even moreimportant to keep a local media profile.

3. Local and national influencers

You may also wish to influence key decision-makers in yourarea. For example, local councils for future planningapplications, and bankers and other professional advisers tohelp you when you need to raise money for mergers andacquisitions or to fund expansion.

I have worked with state and private schools to help themraise their profile locally. In the case of a school the media

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DIFFERENT TYPES OF MEDIA

coverage would be influencing not only the pupils andprospective pupils of the school, but also the parents andother family members who play a part in deciding wherethat child should be schooled.

Parents wish to send their child to a school that has a goodreputation and communicating success stories through themedia is one way of influencing parents and pupils alike.

Different types of media

There are many different types of media. Here are some ofthem.

National NewspapersDaily newspapersSunday newspapers

Local NewspapersDaily local newspapersWeekly local newspapersBi-weekly local newspapers

FreesheetsCommunity newspapers

Specialist MagazinesProfessional and Trade press

Consumer Magazines

Local Radio


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National Radio

Local Television

National Televisionincluding Cable and Satellite Channels

Internet or new media

Researching the media list

Once you have defined who you are targeting, you can beginto research your media list. There are various publicationsthat can assist you in this research. These can be found inthe reference section of your library and sometimes at yourlocal 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.ukThis is a comprehensive directory, updated monthly. It givesdetails of all the audited publications in circulation. Thesepublications are listed alphabetically. This guide is primarilyused for advertising as it provides details on the costs andsizes of advertising and the readership profile. However, italso gives you an editorial profile and some editorial contacts.

Willings Press GuideAgain, another comprehensive directory listing all majorpublications.

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RESEARCHING THE MEDIA LIST

www.mediaonline.co.ukMedia online contains contact details for television and radioas well as the newspaper industry and is frequently updated.

MediadiskThis is installed in a client’s PC and updated daily online.

PR PlannerThis is produced monthly in book format and comes in UKand European editions.

EditorsThis is produced in six volumes, segmented into contactsin different types of media, ranging from business andprofessional publications to television and radioprogrammes.

UK Media DirectoryThis covers newspapers, magazines, broadcasters andfreelances. It can be bought by alternate issues, quarterly,thrice yearly, or by issue.

www.mediauk.comThis site allows you to search by media type and then byregion. It links to the relevant newspaper or radio ortelevision station’s own web site and can provide free contactinformation.

The Guardian Media GuideThis is produced annually and is a handy little guide givingtelephone numbers and contact names of those in the media,both printed and broadcast. It also contains other usefulcontact numbers within government departments and otherkey organisations.


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Obtaining a media pack

Once you have identified the magazine or newspaper youwish to target, you can telephone the publication for a mediapack and a feature list. This will help you plan for futurenews stories. In addition, you will receive a copy of the mostrecent edition of the publication. You can then study thecontent to make sure that your news story is suitable for themagazine 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 needto get the names of the journalists you wish to target, plustheir address, telephone and fax numbers and their e-mailaddress.

You may have more than one journalist as a contact for apublication. For example, you may be targeting the businesseditor, the health journalist or the women’s editor – but notall at the same time with the same story.

Put the details onto a database, as it will need updatingregularly. Journalists frequently change jobs and it is quite atask keeping track of them.

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IN SUMMARY

In summary

Building a positive media profile is one of the mosteffective ways an organisation, large or small, can raiseawareness

Publicity carries at least two and a half times the weightof advertising and it is cheaper than advertising

Developing a journalistic eye is a must if you wish toenhance the image and reputation of your organisationthrough the media

A positive media profile can help you to raise yourorganisation’s profile with customers and potentialcustomers and motivate employees. It can also helpto attract good quality recruits

The difference between advertising and editorial isthat advertising is bought space and you therefore havecontrol over what you say

Editorial coverage is not bought space. It is thereforebest to assume that you have no control over what issaid

Your news release will get altered and the angle mayeven be changed to one you didn’t expect

Journalists do get names and figures wrong andsometimes misinterpret what you are saying

Research your media list, build a database of contactsand keep it up to date.


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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 newsstories at all.

What is news to one man may be boring to another. Art issubjective and you are now moving into the world of art,despite being told that news is in fact reality. OK, so it reportson current events, it may reflect current feelings – but italso entertains, amuses, stimulates, teaches, incites or excites.

So what is news?

For a PR consultant, news is anything he can convince aneditor his readers don’t know and would like to know. Ajournalist may have a different perspective, especially if heis an investigative journalist. His job then would be to findout what the client doesn’t want him to know!

But what makes the news is sometimes difficult to gaugeeven for the professionals. It can depend on a number offactors, like the time of year – January and August are usuallyquieter times for the media, when they will be struggling tofind good stories to fill their newspapers or programmes –or perhaps nothing very exciting is happening or a simple

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NEWS STORIES

story can be whipped up to feed the public’s imagination. Iwas caught out once when a legal client was representingone of the sets of parents whose baby had been mixed upwith another in the hospital and given to the wrong mothers.Although it was a shocking incident and therefore highlynewsworthy, I did not expect the story to turn into a nationalmedia auction - which it did, and with me handling it!!

So let’s take a look at what can make the news for yourorganisation. Before we do, however, you may want to trythis exercise for yourself and see if you already have ajournalistic eye.

Exercise

List the media stories you think your organisation has to telland then check it against the list on pages 23 and 24.

News stories

There are many stories to tell within an organisation butmany people fail to spot them. This is hardly surprisingbecause they are usually busy running the business or doingthe job they are paid to do. They don’t have the time tothink about writing news releases. That, of course, is a PRConsultant’s job. But if you don’t have a PR consultant thenyou need to start to develop a journalistic eye and ajournalistic mind, and make the time.


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Think PR.One of the best ways to do this is to

make sure you have it as an agenda itemon your marketing or management

meetings.

If ‘press’ or ‘news items’ appears on your management ormarketing committee agendas, then you can discuss whathas happened over the last month, what will be happeningin the near future, and whether or not you can get a newsstory out of it.

You may also like to use the following as a prompt list if youare stuck.

Some typical news stories

Company expansionNew premisesAcquisitions and mergersJoint ventures and partnershipsInvestment in new equipment

Company resultsIncreased turnoverIncreased profits

People storiesStaff recruitment /new appointmentsStaff promotions

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SOME TYPICAL NEWS STORIES

Retirements after long serviceStaff awardsStaff examination successesStaff achieving for charityWomen doing traditionally male jobsMen doing traditionally female jobs

Charity storiesRaising money for charityDonations 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 aconference

New publication, book, newsletter, web site

Environmental issues

As you can see, it is quite a list and there are many more‘stories’.


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The secret to getting coverage is havingthe right story to tell in the right way to

the right media.

If you are serious about getting media coverage for yourorganisation then you need to start listening to, and readingabout, what makes the news.

Ensure that you listen to a national radio news programmelike Radio 4’s Today programme, or the equivalent currentaffairs programme in your own country, and alternate thiswith Television Breakfast News to keep you up to date withwhat is happening in the world. In addition, listen to yourlocal radio station to see what and who is making the newslocally.

There may be other radio programmes that you can submityour 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 yourregion.

In addition, there are now many local television channelsjust waiting for your news story.

Buy a couple of newspapers a day; your local newspaper is amust as well as a daily broadsheet and occasionally a tabloidto keep in touch.

If you are targeting specialist press then ensure you receivea copy of the publication you are targeting.

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CHECKLIST FOR NEWS STORIES

Understand what makes the news and study the differenteditorial styles. Be aware of what is happening in the worldand in your business world.

Set yourself a target to get at least one news release out amonth and stick to it.

Exercise

Identify a possible news story for your organisation; the liston pages 23 and 24 will help you to do this. Now you willneed to check it against the following list to see if you reallydo have a news story to tell.

Checklist for news stories

When you have what you think is a ‘news story’, check itagainst the following list to see if it really stands up. Newsreleases that are continually submitted to journalists that aretrivial, boring and have little relevance to their readers willget binned (or spiked, as they say in the business) and what’smore earn you a reputation for sending in rubbish. Thiswill lessen your chances of getting the news release printedthat 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 justsuitable for the local media?

Is it suitable for press only or could it also be sent to radioand television?


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Is it a story that your trade or professional press would beinterested in?

Different stories will have different appeal. A retirementstory is hardly of interest to the national press unless theperson retiring is someone very important, or is going to dosomething with national implications or something that isspectacularly 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? Tradepress will take a much more detailed press release than localand national media.

4. Is my timing right?

Don’t write a story about an event that happened three weeksago. You are too late. Equally you can be too early. You don’tneed to send in your forthcoming seminar story four weeksin advance unless of course you are sending it to a monthlypublication and then you will have to look very carefully atdeadlines to make sure you submit it in good time.

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IN SUMMARY

5. Do I have the right angle?

Angles are the hardest thing for beginners to get to gripswith. 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 afterreading the next three chapters.

In summary

It is not always easy to understand what makes thenews

News reports on current events. It may reflect currentfeelings but it also entertains, amuses, stimulates,teaches, incites or excites

Start to develop a journalistic eye and a journalisticmind

Think PR. Make sure you have ‘press’ or ‘news’ listedas an agenda item on your marketing or managementmeetings

The secret to getting coverage is having the right storyto tell in the right way to the right media


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Before going ahead with a news story askyourself:

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?

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Chapter Three

Photo stories

Some news stories will require a photograph. This issometimes called a photo story. But what makes a good photostory?

If we take our list of news stories in the previous chapterand run down them the photo stories are those that areprimarily ‘human interest’ stories. For example:

new staff appointmentspromotionsretirementsaward winnerscharity eventssponsorship

You can also send photographs with your news releases on:

the company moving into new premisesan opening reception with celebrity guestseminars/conferencesmergers/acquisitions/buy-outs and buy-ins


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What makes a good photograph?

The best way to understand what makes a good photographis to study the magazines and newspapers you are targetingto see what they use.

In a similar way to editorial style, newspapers and magazineshave a photo style. You can see this simply by comparing atabloid newspaper with a broadsheet. Whilst I am notsuggesting you should take and send in different photographsto the different media, I am urging you to think creativelyabout your photographs. Here are some examples toillustrate this point.

Examples

A cheque presentation story

You have helped raise funds for a local charity. Instead ofsending a photograph to the press that has you, or the boss,shaking hands with or handing over a cheque to the CharityDirector, try and be more imaginative. If you have cycledfrom one end of the country to the other to raise this money,then why not have a photograph of yourself in shorts onyour bicycle handing over the cheque?

The new appointment or promotion story

Instead of the normal head and shoulders shot, can you dosomething a little different? Perhaps you could have theperson working at a computer or peering over somemanuals? I know it’s a bit corny but it can look a darn sightmore interesting than someone simply staring into thecamera.

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WHAT MAKES A GOOD PHOTOGRAPH?

If you have equipment or machinery, then can youphotograph the person in front of that equipment, i.e. onthe factory floor? If you are in the marine industry, can youset the person against a backdrop of boats or on a boat? Inthe construction industry, can you have the person wearinga hard hat on a building site? Do you get the idea?

Think creatively when itcomes to photographs.

Winning an award

I once worked for a cleaning contractor who had won aquality award. I asked the photographer to take pictures ofthe team holding up various cleaning implements – mops,vacuum cleaner parts, dusters etc. The Managing Directorwasn’t too happy about this as she thought we ought to havea more serious photograph, so we shot two types ofphotograph, the formal and the fun one.

The fun photograph was much more appealing to the mediaand I persuaded her to give it a go. As a result her newsrelease, with the photograph, made all her local press andher trade press. She was delighted with the result.

A charity appeal campaign

A charity client ran a Christmas competition to guess thename of a teddy bear to help raise funds for medical research.The teddy was called a Meddi Teddy. The photograph thataccompanied the news release launching the appeal showed


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the Director of the Charity practically buried by teddies and,of course, set against the backdrop of the organisation’s logoand a Christmas tree. Again it was a very good piece of PRand was featured in all the local and regional press.

The company moving premises

The company move is another opportunity for a news releaseand a photograph. The photograph can show variousmembers of the company moving into the new offices. Onceagain you can dress the set by having the staff stand in frontof the building, which happens to show the company nameand logo, carrying various items into the building, e.g. acomputer monitor, a plant, some files. They all look happyand glad to be moving (even if they are not!). Can you seethat 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 photographreflect this?

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USING A PROFESSIONAL PHOTOGRAPHER

Using a professional photographer

Wherever possible you should enlist the services of aprofessional photographer. It may cost you a bit more but itcan be worth it. It can help you to get your story covered inthe media and it will still be cheaper than advertising andcarry more weight.

Most photographers charge for their time and their travellingexpenses; some also charge for travelling time. They alsocharge for film and then for the prints you order. So obtaintheir charge rate and work out how much it is likely to costyou.

If you can combine jobs whilst you have a photographer onyour premises, then you may be able to use their servicesmore cost-effectively. For example, you may have a fewpeople you would like photographed at the same time, oryou may ask the photographer to take photographs of yourbuilding or reception for your newsletter or a leaflet.

Do brief the photographer thoroughly beforehand, as hemay need to bring along additional equipment or film, anddo ensure you are available when he arrives. If you keep thephotographer waiting, can you blame him for charging youfor that time?

A professional photographer will try and put people at theirease. Most people hate being photographed. It is an ordealthat many want over and done with as quickly as possible.This means you need a friendly photographer who worksquickly. Nobody wants to be standing around forever. Thisis not a wedding and there is work to be getting on with.


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Choosing a professional photographer

When choosing a photographer there are a number ofquestions 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 carryingout press photography rather than product shots, or one thatcan do both. What you do not want is a purely studiophotographer.

Some photographers are also freelance or ex-pressphotographers and therefore have a good grasp of what isrequired to enliven the story. They will help you with theshot 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 photographerhas taken, preferably the next day. Contact sheets show allthe shots taken and you can choose from these the printsthat you wish to order.

After you’ve placed your order, the prints should come toyou the following day. You cannot afford to wait a week foryour prints as you may miss the opportunity for mediacoverage. The photographer I have used now for the lastfifteen years is excellent. He turns around jobs the next dayand often sends the prints direct to the media if time iscritical.

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DOING IT YOURSELF

3. Can the photographer shoot digitally as well astraditionally?

Many magazines and newspapers accept digital images.Turnaround time is much faster using digital images. Youmay therefore like to check whether or not the photographeryou have selected can also take digital images and can sendthese electronically, either to you or to the media required.

Doing it yourself

You may wish to take your own photographs rather thanuse a professional photographer. By all means do so, butyou need to ensure that you take the right type of shots.

Please keep in mind everything I have previously said aboutproducing creative photographs and add the following:

The shots need to be close-up shots. Most amateurs, in myexperience, go for the long shot – you know, someone sittingbehind a boardroom table, and all you can see is acres of tableand a tiny person at the end. This will never get into print.

If you have a group of people to photograph, get them tomove very close together. They will feel awkward about itbut it will make a better shot. Most magazines andnewspapers crop shots and they can’t do this if there is amass of scenery.

Avoid the red eye and the scared, haunted look.

If you are going to do your own photography, then make astudy of the photographs in the newspapers and magazinesto see what style they like and try and emulate it.


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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 isgoing to use a shoddy photograph. Make sure the print isclear and neither too light nor too dark.

Until a few years ago, the photographer used to have to shootboth in black and white and in colour because manynewspapers only took black and white pictures. Now, withthe advances in technology, nearly all of them (if not all ofthem) accept colour, and practically all of them accept gooddigital photographs.

Press Photographers

Some people are reluctant to pay for a photographer and askme if the newspaper or magazine couldn’t send its ownphotographer. Some people think that the newspaper isobliged to send someone if they ask them to and of coursethis is not true.

The newspaper photographer has many calls upon his timeand could be on an assignment that the editor views as moreimportant than yours. For example, a fire in a tower block isgoing to be more newsworthy than your opening reception,even if the local MP is attending!

Newspapers and magazines no longer have lots of staffphotographers; in fact, some have none at all and the reporteris expected to take his own photographs whilst interviewing

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PRESS PHOTOGRAPHERS

the client. This often happens on the local/regional weeklynewspapers, which do not have the same financial andhuman resources as the daily newspapers.

For staff stories – i.e. the promotions, retirements,appointments etc. – you need to organise your ownphotographer.

With regard to office openings, receptions, conferences,mergers, buyouts etc., you can either organise your ownphotographer or send your news release to the media withouta photograph. If the magazine or newspaper is sufficientlyinterested it may contact you and ask to send along itsphotographer. That is good news. But please don’t keep thephotographer waiting and don’t send him away if he is late;he may have been called to a story breaking before yourvisit and have been delayed. Be understanding. The mediaare responding to as well as making the news.

Be aware that if a press photographer is coming to take yourphotograph, he will advise you on the shots he requires – soa couple of words of caution here.

Do not be bullied or cajoled into shotsthat you would not like to see in print.

Don’t get into any pose thatmakes you uncomfortable.


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You may recall one particular famous incident some yearsago when a press photographer asked a Liberal DemocratMP to sit on a five-bar gate. He willingly obliged and thesub editor ran a caption along the lines of LiberalDemocrat sits on the fence!

In summary

Photo stories are those that are primarily ‘humaninterest’ stories

Take a look through a newspaper; what sort ofphotographs do they like?

Think creatively about your photographs

You need to set the scene. Every picture should tell astory

Look at the story your release is telling – does thephotograph reflect this?

Wherever possible, you should enlist the help of aprofessional photographer

Brief the photographer thoroughly beforehand, as hemay need to bring additional equipment or film, andbe available when he arrives

When choosing a photographer, ask if he has carriedout any commercial work before. If so, what type ofwork?

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IN SUMMARY

Good photographers will help you with the shot andprovide suggestions. Listen to them; they know theirbusiness

Some magazines and newspapers now accept digitalimages. Check whether or not the photographer youhave selected can also take digital images

If taking your own photographs, ensure that the shotsare close-up shots

Shoot in colour and ensure they are of good quality

Newspapers and magazines are not obliged to send aphotographer, so don’t rely on it

Don’t keep the photographer waiting. Beunderstanding. The media are responding to as wellas making the news

Do not be bullied or cajoled into shots that you wouldnot like to see in print.


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Chapter Four

Understanding the media

So, now you have researched your media, you have plentyof ideas for news stories – which you review on a continuousbasis – and you know whether or not your news story needsa photograph with it.

You may be ready to write your news release but, beforeyou do, you should first understand how the media works.

Understanding editorial style

Most people know the difference in style between a tabloidnewspaper and a broadsheet, i.e. the difference between theSun and the Daily Telegraph. These newspapers write fordifferent audiences and therefore the content and style oftheir newspaper will reflect this.

Editorial style is something you need tobear in mind when submitting your news

release to different types of media.

A weekly newspaper may have a very different style andeditorial content to that of a daily newspaper.

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GETTING ONTO TELEVISION AND RADIO

Because television and radio have less time to carry a newsstory they are, therefore, very selective about what storiesthey run. What is featured in a local newspaper may not becarried on the radio or local television programme.

Trade and specialist magazines will carry a more technicalor detailed story than local newspapers.

So you will need to tailor your release to suit the media youare targeting. Working on computers with cut and pastefacilities make this task relatively easy.

Getting onto television and radio

Getting onto television and radio is more difficult thangetting into print, simply because television and radio donot have the same amount of ‘space’ dedicated to newsstories. By all means research the radio or television stationand the most suitable programmes for your news story andsubmit your news release to the producer of that programme,or to a correspondent or reporter, but radio and televisionobtain many of their news stories from the press. So eventhough you may not have targeted radio or television withyour news release you may still nevertheless find yourselfbeing interviewed. I talk more about being interviewed inChapters six, seven and eight.

As I mentioned previously, journalists do move around.Many of my radio and television contacts are journalists Ihave known from the local press. When they move on theykeep in touch and if they are searching for someone to makea comment, or to run a feature on, then they often get in


– 42 –

touch with me to see who I know. This can happen to you ifyou have worked to build your contacts and maintainedthem.

Examples

My local television station wanted to run a feature on aperson who had downsized. One of my clients happened tobe a former managing director of an international companywho had left that company to become involved in a regionalcharity. I put the journalist in touch with him and the resultwas a feature on this man with increased exposure for hischarity.

On another occasion I was running a course on ‘Building apositive media profile’ when I was contacted by a televisionjournalist who wanted to interview women who employeddomestic help. Three women on my course did so andsubsequently found themselves appearing in a televisionprogramme.

You are trying to achieve a partnership between yourself andthe journalists. Your aim is to gain increased exposure foryour organisation; the journalist wants good news storiesand features for his newspaper, magazine or programme.Building good media relationships is vital for success so hereare some tips on how to do this.

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RULES 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 mentionedbefore, is to produce newspapers or magazines that theirreaders want to buy, or to fill broadcast programmes thatpeople want to listen to and watch. Try and provide themwith stories they will want and that are suitable for theirmedium.

Always try to be accessible

The media work to tight deadlines so if a journalisttelephones you for a comment or for further informationthen try and ensure you are available to take that call or returnit quickly. Failure to respond may mean missed coveragefor your organisation.

It is usually best to have a single point of contact within theorganisation.

Don’t ask to see copy in advance

If the journalist tells you he is writing up the piece for nextThursday’s edition, don’t ask to see a copy in advance.Journalists don’t like doing this as experience shows themthat some people can’t resist dabbling with the style orchanging their minds about what they said.

When you are asked for a comment make it a ‘soundbite’

Use conversational English, not management speak. For


– 44 –

example: ‘You’d like a comment on our improved salesfigures? Certainly. In periods 4–6 ex factory shipments roseby a factor of 1.1 volume wise, and 1.15 value wise, relativeto the previous accounting period, before allowing forseasonal fluctuations.’ This is how not to do it!

However, if a journalist telephones you for a comment aboutsomething you haven’t seen, or something that is slightlycontroversial, you don’t always have to give an instant answer.You may need time to think about your response. You canalways buy some time by saying that you need to consideryour response and will call them back within five minutes.This is only acceptable if you do call them back aspromised within five minutes and not two hours later;remember those tight deadlines. If you do not returnthe call then you will miss an opportunity for press coverageand, worse still, the journalist will know that he cannot relyon you, so you will lose future coverage.

Ask the journalist what his deadline isand ensure you call back within that

timescale.

Be aware of subjects you do not wish to discuss anddo not be drawn into discussing them

You may like to state that it is company policy not tocomment on such matters. Be open and positive and do notlie, as journalists are very good at detecting lies. In addition,do not make an unsupported claim and avoid negativecomments. In fact, do not say anything that you would notwish to see in print.

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RULES FOR GOOD MEDIA RELATIONS

Do not be aggressive or combative towards ajournalist

Some journalists might be quite aggressive in the way theyquestion of you. This does not necessarily mean they arehostile but trying to tease out a good story. If you getaggressive back you will only aggravate them and could endup with a negative story into the bargain. Stay focused andremain polite.

Ask the journalist what his news slant is, so that you canprovide the most useful information.

Always have ready a few well-rehearsed statementsor key points about your organisation you would liketo make

This will help you in leading the interview rather than justresponding to it. This is particularly important in televisionand radio interviewing, which I look at in Chapters five, sixand seven.

Maintain a friendly relationship with journalists

If a journalist can rely on you to feed him good stories andprovide information, you will increase your chances ofwinning more media coverage.

Don’t hound a journalist to find out when your storyis likely to appear

On some training courses and in other books you read onthis subject, you may be urged to follow up your new releasewith a friendly call to the journalist just to see if they have


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‘received’ the news release. My advice goes contrary to this.The journalists that I know, and who have been very goodto me in using my stories and my clients’ stories, have toldme countless times that this really irritates them. Besides, ifyou do follow up the release and ask when they are likely touse the story, you may not get the truth. It is not that thejournalist will deliberately lie to you (although some may),it is just that they are under pressure and may genuinely notknow if they will use the story. And even if they have decidedto use it, the editor may cut the story because of morepressing items that have arisen during the day or the week.

As I said in Chapter one, send in your release and then forgetabout it. Go on with the next story and the next.

Don’t try to win coverage by overdoing theentertainment bit but you can invite journalists tolunch

Journalists know there is no such thing as a free lunch andthat you are looking for something in return. You can takethem out to lunch to thank them for their co-operation orto find out if they are interested in any particular news itemsyou might be able to supply. You can also use the meal toexplain to them that you are keen to raise your media profileand would like to send them stories that would help them.If you know what they are interested in then hopefully youcan supply them with the right stories. Journalists don’t mindthis at all. Remember they are looking for good stories andyou can help save them time and energy by providing these.

The days when reporters were truly roving, looking for goodstories, have long gone. We are all under pressure to producemore to tighter deadlines on smaller resources, and

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PRESS CONFERENCES

journalists are no different. By giving them stories, you arehelping them to do their job.

Press Conferences

The number of press conferences has declined in recentyears. It can be a quick way for an organisation to lose moneyand waste valuable time. This is mainly due to the fact thateveryone is more pressed for time these days and gettingjournalists away from their normal place of work is extremelydifficult. Can you say what you want to say in a well-writtennews release rather than at an expensive and time-consumingpress conference or press briefing? You need to decide whyyou are holding the press conference. Is the story of sufficientinterest to attract the journalists?

If you do decide that a press conference is the best vehicleto announce your mega breakthrough, then you will needto decide the following:

1. Who you are looking to attract

To which journalists and from which media will theannouncement be relevant?

2. What time should the press conference be held?

Press conferences usually take place late morning with abuffet lunch or drinks to follow, giving the journalist thechance to leave once the main announcement has been made.However, breakfast press conferences can also be popularso that the journalist can be back at his desk by 9.30am.


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Many evening newspapers have closing deadlines of 11amor noon. Dailies can accept material up until about 4pm forthe following day. Television usually starts around 10am forthe evening news stories and radio can usually fit in a newsstory during any time but preferably in the morning.

3. What day of the week are you going to hold theconference?

The ideal compromise is usually a Thursday. Monday’s andFriday’s are not good days.

4. Check out conflicting events

You do not want a press conference to conflict with thelaunch of major national exhibition, say, or an importantanniversary that the journalists will be covering.

5. Choose your venue

This may to a certain extent depend on which journalistsyou are trying to attract. If you are trying to attract nationalnewspapers or women’s magazines, for example, thenLondon has to be the venue.

Try and choose an unusual venue that may encourage morejournalists to attend and add a distinctive flavour to yournews story.

6. Pay attention to detail

Is there power for electrical equipment and a quiet area forinterviews? Is there ample parking? Do you really need aVIP? Sometimes the Chairman is the best speaker.

– 49 –

Celebrities cost money but can attract journalists. They canbe 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 whetthe editor or journalist’s appetite. Include a programme ofthe event so that journalists may nip in and out at differenttimes if they wish. Enclose a map giving directions to thevenue and include parking. Also include a reply-paid card.You can also invite freelance journalists. Never expect themall to turn up; think pessimistically rather than optimistically.Put out chairs for half the number expected. You can alwaysadd more chairs if more turn up. Telephone the journaliststhe day before the conference to remind them.

8. The press pack

A press pack should be prepared to hand to the journalists atthe end of the conference. This should contain a copy ofthe news release with a relevant photograph and a free sampleif appropriate. Do not include company literature or acatalogue. Keep it simple and relevant.

After the Press Conference

Write to all those who showed up and thank them. See ifyou can use the opportunity to discuss further featurearticles. To those who didn’t show, send the press pack witha personal letter.

AFTER THE PRESS CONFERENCE


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Getting the media to cover your event

A full-blown press conference is not usually relevant whenyou have a grand opening ceremony, or you are staging theopening of a major exhibition, or holding a seminar orconference – unless, that is, you have a member of theRoyalty 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 aninvitation to the event. You may also wish to follow this upwith a telephone call to see if the journalist is able to attend.

When telephoning radio or television stations to invite themto your grand opening, someone on the ‘news desk’ willenter the event ‘in the diary.’ This, however, is no guaranteethat anyone will actually turn up. It simply means that ifnothing more exciting breaks someone may possibly comealong.

Brief the people on the door to keep an eye open for anyjournalists and to give you the nod if they arrive. Then helpthem to shoot the film they require or interview the relevantperson.

In summary

Different newspapers, magazines and broadcastprogrammes have different styles, so be aware of thisand tailor your news story accordingly

Television and radio have less time to carry a newsstory

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IN SUMMARY

Trade and specialist magazines will carry a moretechnical or detailed story than local newspapers

Do try and understand the media. Be accessible anddon’t ask to see copy in advance

When you are asked for a comment, make it a ‘soundbite’ and talk in plain English

Be aware of subjects you do not wish to discuss anddo not be drawn into discussing them

Do not be aggressive or combative towards a journalist

Always have ready a few well-rehearsed statementsor key points about your organisation you would liketo make

Maintain a friendly relationship with journalists

Don’t hound a journalist to find out when a story islikely to appear

Don’t try and win coverage by overdoing theentertainment bit

It is getting more difficult to get the media to a pressconference so will a well-written press release besufficient?

Press conferences usually take place late morning witha buffet lunch or drinks to follow, giving the journalistthe chance to leave once the main announcement hasbeen made


– 52 –

A press pack can be prepared containing a copy of thenews release and any photographs

Many people from the media do not respond toinvitations but simply turn up, so brief the people onthe door to give you the nod if they show

– 53 –

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 byfollowing it you will increase your chances of gaining mediacoverage.

When constructing a news release youneed to think of a triangle or pyramid.

The whole story, including the angle, is contained in thefirst paragraph and then the story is fleshed out in subsequentparagraphs. If you study newspapers you will see this stylein evidence.

If you were good at comprehension and précis exerciseswhen you were at school then you should be good at newsrelease writing.

Over the page is an example of how the news release isconstructed.


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Constructing the news release

Headline – an idea of what the story is about1st para – angle/wholestory/company name/nature of business/where based

2nd para – flesh outthe story/facts/figures

3rd parathe quote

4th parapracticalfacts

Ends month/yearFor further information contact:Name, Company, Location, TelephoneE mail address.

– 55 –

THE NEWS RELEASE – STEP BY STEP

The news release – step by step

The best way to learn how to write a news release is to havea go at it, so pick a story and construct your news releasearound it whilst following the guidelines set out in thischapter. If you need ideas for a story, return to pages 23 and24 and review the checklist, pick one example and try draftinga news release around it.

Let’s start at the top of our triangle.

The headline

This must encapsulate the story. The headline is there tocatch the journalist’s eye and tell him what the story is about.Your headline will rarely if ever be used by the newspaperor magazine. The journalist, editor or sub-editor will puttheir own title to the story which best fits the style of theirpublication. Your headline might only be used if you arewriting an article to commission or you have paid to see thearticle printed. In the latter case we are not talking abouteditorial but advertising or advertorial. You may want tocome back to writing your headline after you have read thefollowing sections and written your news release.

Here is an example of a news release.


– 56 –

Example of a headline

COURSES FOR AUTUMN TO HELPBUSINESS GROWTH

This headline tells the journalist what the news release isabout. It also tells the journalist that it is aimed at the businessmarket. 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 wholestory, the angle and your organisation’s name, where youare based and what you do. Can you tell your whole story inone short paragraph?

Here is an example of a first paragraph following on fromour headline.

Example of a first paragraph

A new training course programme for the autumn, to helpbusinesses increase their sales, has been launched by UKtraining company ABC Limited.

The above paragraph contains the essence of the story. Ittells the journalist the name of the company (ABC), what itdoes (training) and where it is based (UK) or, here, you canbe more parochial if you are sending the release to your localor regional media and name the town, city or region whereyour organisation is based.

– 57 –


The angle is that businesses will increase their sales if theycome on these courses.

The second paragraph

This goes on to give the details already summarised inparagraph one – the facts and figures, if necessary. You mayonly need one paragraph of explanation, otherwise two willprobably be sufficient.

Here is an example following through our news story.

Example of a second paragraph

The autumn programme includes courses on Selling andNegotiating, Direct Marketing, Marketing, Handling theMedia and Developing a Successful Internet MarketingStrategy.

The third paragraph

This is usually the quote.

Example of a third paragraph

John Smith, Managing Director of ABC Limited, says, ‘Thesecourses are very popular with the business communitybecause they are practically based and delegates go awaywith real tips to help them in their business.’

The fourth paragraph

The fourth paragraph may contain more practical facts. Ifthe release is about a new publication or event it can give acontact name and telephone number.


– 58 –

Example of a fourth paragraph

The one day courses are held at the Anytown Hotel inAnytown, and can be viewed on ABC’s web site atwww.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 ‘forfurther information contact’ and give details of contactsfor the journalist or editor.

Over the page is the complete news release.

– 59 –


News Release…….News Release…………

COURSES FOR AUTUMN TO HELP BUSINESS GROWTH

A new training course programme for the autumn, to helpbusinesses increase their sales has been launched by UKtraining company ABC Limited.

The autumn programme includes courses on Selling andNegotiating, Direct Marketing, Marketing, Handling theMedia and Developing a Successful Internet MarketingStrategy.

John Smith, Managing Director of ABC Limited, says, ‘Thesecourses are very popular with the business communitybecause they are practically based and delegates go awaywith real tips to help them in their business.’

The one day courses are held at the Anytown Hotel inAnytown and can be viewed at ABC’s web site onwww.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 SmithABC LimitedAnytown – Telephone: 023 456 789E mail: [email protected]

Before you send your release to the media you should alsonote the following guidance on layout and style.


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News release layout guide

Use news release headed paper, preferably withyour company name on

In my example on page 59, I have simply typed in NewsRelease at the top of the paper. If you do not want to go tothe trouble and expense of having your own News Releasepaper 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 isimportant. They don’t need you to tell them how to do theirjob. Besides, what is important to you may not be soimportant 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 onepage and the next

Staple the pages together

Get someone to proof read it for mistakes before itgoes out

Send by first class post, e-mail or fax, and whereverpossible address to the journalist by name

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EMBARGOES

Embargoes

An embargo in its strictest sense, as taken from the OxfordDictionary, means an order forbidding foreign ships to enteror leave the country’s ports, or suspension of commerce. Inthe media sense it means an order forbidding the media touse the release until the sender gives permission.

Embargoes are normally used when a new product or serviceis about to be launched, or the information contained in thepress release is sensitive and not to be used before a certaindate. The media will honour an embargo and it is certainlyuseful for them from a planning point of view to haveinformation about the story or product before its officialrelease. The release can then appear in the newspaper ormagazine, or on the television or radio, on the day theproduct is launched.

It is usually common practice to write at the top of yourrelease ‘Embargo – Not to be used before midday on(the date)’.

Do not use embargoes unnecessarily as this will only serveto irritate the journalist.

Angles

I mentioned before that angles are sometimes the hardestthing to gasp for people new to writing news releases. Bystudying the newspapers and practising this should becomeeasier over time, but let’s take a couple of examples fromour list as detailed on pages 23 and 24 and explore someangles.


– 62 –

Company expansion – New premises

The angle here as you can see is quite simple – it is expansionand 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 therecently completed prestigious development at AnytownIndustrial Park.

As you can see from the above there is an additional angleand that is that the company has moved to a ‘prestigiousdevelopment.’

The alternative could be:

An increase in orders and the recruitment of additional staffhas led to expansion for Anytown-based company ABCLimited who have doubled their existing office space bymoving into newly built premises on the Anytown TradingEstate.

Here are some further first paragraphs. Look at how theyhave been written and find the angle. I hope this will helpyou when you come to draft your news releases.

Investment in new equipment

As part of a continuing upgrading of equipment Anytownbased company XYZ Limited has invested £200,000 in thelatest technology with the purchase of a new machine, whichwill increase printing capacity and provide greater efficiency.

– 63 –

ANGLES

Staff recruitment /new appointments

With the Conference season getting under way Anytown-based ABC Travel Management Services has appointed JohnSmith as Conference and Incentive Executive, to help thecompany handle its increasing portfolio of clients and furtherexpand its Conference and Event market.

Charity stories

Ten staff from International broadcast, satellite and radiocommunications company XYZ, based at Anytown, havegood cause to smile, having lost weight through a sponsoredslim and raised over £600 towards the south’s leading medicalresearch charity, xxxx into the bargain.

New product launch

Small and medium-sized retailers are set to benefit from anew electronic point of sale (EPOS) product being launchedby Anytown based ABC Limited, which will provide anaffordable front and back office solution that until now onlylarge retailers have enjoyed.

Legislation and how it affects the industry

The Legislation Rights Act, which comes into force inOctober, will add another layer of employment legislationand bureaucracy to small businesses warns Bill Brown,Partner of Anytown law firm ABC Solicitors. This, says MrBrown, could lead to an increase in the number of companiesbeing taken to industrial tribunal.

Open Day

Over forty guests attended a reception held at XYZ


– 64 –

Accountants in Anytown on Thursday 2 March to celebratethe launch of the firm’s new name, corporate identity andre-launched web site.

New publication

Anytown publishing company ABC Limited has launched twonew book titles for the autumn to help business owners andmanagers motivate their staff and improve their budgeting.

Environmental issues

Lowland valley mires across the south of England areincreasingly under threat because of calcium pollution causedby development is the warning from EnvironmentalConsultant John Brown of The Environmental ConsultingGroup based in Anytown.

– 65 –

ANGLES

You can further improve your news story if you can add thefollowing:

UrgencyNewLaunched today.

UniquenessBelieved to be the firstUnique productUnique surveyThe first of its kind.

MilestonesThe one hundredthThe first customerThe 1,000 customer

ConflictChallenges the reportChallenges the GovernmentWarns businesses

Special daysValentine’s DayMother’s DayNovember 5th

Other anniversaries

Othersoldestyoungestlargestsmallestbiggest


– 66 –

In summary

When constructing a news release, you need to thinkof a triangle or pyramid

The whole story – including the angle – is containedin the first paragraph and then the story is fleshed outin subsequent paragraphs

Take a look at certain newspapers to see what stylethey use

The headline must encapsulate the story. It is there tocatch the journalist’s eye and tell him what the storyis about

The first paragraph is the key to the release. It mustcontain the whole story, the angle and yourorganisation’s name, where you are based and whatyou do

The second paragraph goes on to give the detailsalready 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 furtherinformation contact’ and provide details of contactsfor the journalist or editor

Use News Release headed paper, preferably with yourcompany name on

– 67 –

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....’ atthe bottom of the first page

Don’t split a sentence or a paragraph between onepage and the next

Staple the pages together

Get someone to proof read it for mistakes before itgoes out

Send by first class post, e-mail or fax and whereverpossible address to the journalist by name

Only use embargoes where it is appropriate to do soto inform the media of a forthcoming event or productlaunch.


– 68 –

Chapter Six

The radio interview

When asked if you would like to contribute to a radio, ortelevision programme, your first reaction may be delight,horror, excitement, dread and sheer blind panic, or acombination of all of these in matter of minutes. Manypeople are flattered to be asked and automatically agreewithout really knowing what they are agreeing to. In thischapter I have provided you with a list of questions that youshould ask before blindly accepting the opportunity to be inthe limelight.

Questions to ask:

1. What made you contact me?

(Unless they have already told you that it is in response to anews release you sent them or a press item they have seenin 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 liveor recorded?

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THE RADIO INTERVIEW

5. How long will the interview last?

6. Is anyone else being interviewed or contributingto the programme?

7. Is there audience participation? Are there anyphone-ins that I am expected to respond to, or is it astraight interview?

8. Where will the interview take place?

The interview could take place in a number of locations. Itmay be:

on a phone-in from your office or home – a ‘downthe 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 andhave decided that you are happy to give the interview, youwill need to prepare for it. I look at preparation and how tohandle the interview in this chapter and in the followingchapter which covers television interviewing. But first let’stake a look at where the interview might be held andunderstand what is involved in the different locations.


– 70 –

‘Down the line’ interview

This is when the interview is conducted with a radiointerviewer over the telephone. It is similar to speaking tosomeone on the telephone - with the major exception thathalf the county or indeed the whole country might also belistening to you!

The consolation here is that you are in your ownsurroundings, so hopefully you are more relaxed and canhave all your facts and figures at your fingertips.

As with the telephone, though, your body language andposture will affect how your voice sounds. So here are sometips 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 energylevels in your voice and can make you sound flat andboring

facial expressions affect your voice, so if you smilethat will come through in your voice

Use facial expressions to vary your pitch and bringwarmth and animation to your voice.

– 71 –

FIND YOUR VOICE

Find your voice

On the radio, as on the telephone, your voice needs to conveya great deal about you. People will judge you on how yousound. So give your voice some training.

Exercise

First record yourself into a Dictaphone or on quality audioequipment 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 nuancesof it. What do you like or dislike about your voice? What doyou need to do to make it sound more lively and interesting?

Listen to radio programmes whilst driving in your car – whatmakes you listen to some people and turn others off?

The inflexion in some people’s voices make you want tolisten on, whereas others irritate you. Why? Make sure yourvoice doesn’t irritate people.

Don’t worry if you have a regional accent. Provided peoplecan understand you, accents bring warmth and personalityto your voice.


– 72 –

Timing

The radio and television interview is often short, sometimesno longer than three minutes. Everyone is familiar with theterm ‘sound bites’ these days, so practice yours or at leasttalk into a Dictaphone for three minutes, and listen to howlong it sounds. Many people get too verbose in interviewsand if it is recorded they will edit you – sometimescompletely 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 theline’ interview, as they feel they are at least in the appropriatesurroundings and there are experts on hand to help ifanything goes wrong.

You will be asked to arrive about ten minutes before yourinterview is due to take place. This can seem daunting tosome people, who would prefer to be at the studio abouthalf an hour before to prepare themselves.

The time frame on radio and television takes some gettingused to. Presenters develop an immaculate sense of timingin seconds and whilst you are hopping up and down,wondering if they will ever make the deadline, they are stillwandering around getting themselves a coffee or readingthe newspaper seconds before they go on air. Trust them –they are the professionals.

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THE RADIO STUDIO

However, having said that, it is best that you arrive at thestudio with some time to spare. You will need to allow forthe usual: traffic delays, the need to visit the toilet, the needto tidy yourself up – even if you are only appearing on radio– and the need to glance through your notes and still yourpounding heart.

It is also a good idea to listen to the radio programme onwhich you are about to feature before arriving at the studio.Perhaps you can have it playing in your car and then youcan get a feel for the programme and how the presenter isadvertising you. Is the programme friendly and chatty orhas it a businesslike style? Always aim to be friendly andprofessional 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 eveningin your opening remark. If the programme is edited, youmay like to check what time of day it will be broadcast, orplay on the safe side and simply say ‘Hello’ when thepresenter introduces you.

The radio studio is usually dark and invariably small. Youwill usually be seated across a console from the radiopresenter and there will be a microphone in front of you orsuspended from the ceiling. You may be asked to wearearphones 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 isgoing to be. They usually stick to this, unless they want tobe awkward, or you are talking on a controversial subject,


– 74 –

or you are a politician. With radio, of course, you can haveyour notes in front of you, but beware of looking down atthem all the time or moving your head away from themicrophone.

When I am doing radio interviews, or advising clients, Iusually tell them to try and mention their organisation’sname at least twice in the interview. The presenter willmention it when he introduces you so that makes it threetimes. That is enough for the audience to grasp without goinginto overkill.

Answer the questions put to you as best you can, bring outthe key points you want to make – not too many as you onlyhave a few minutes usually at best. Remember the audiencewants 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 manypeople. I know the first time I did this for a radio interviewI was petrified.

Here is what happened to me.

In Portsmouth, in the UK, our remote studio is tucked awayon one of the upper floors of the City Hall. The receptionistgave me the key to this room and directions on how to findit. Of course I got lost in the acres of corridors. With thetime to go on air fast approaching my blood pressure wassoaring and I was beginning to panic. But at last I managed

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THE REMOTE STUDIO

to locate the studio and, after unlocking the door and nearlytripping over a pile of local newspapers on the floor, I satdown in front of a console with lots of buttons and lights.Instructions were pinned up above this and, with fumblingfingers, I followed these instructions, dialling into the mainstudio twenty miles away.

It was not without some relief that I heard a calm, reassuringvoice on the end of the line, which talked me through theprocedure.

I was asked to put on the earphones and the technician testedthe level of my voice. I could hear the programme on air inthe background. When the presenter put on a record heswitched over to talk to me. He asked me how I wished tobe introduced and then he ran through the basic idea of theinterview and the sort of items he wished to discuss. I stillfelt very nervous but tried to take some comfort from thefact that I had prepared and that I knew my subject.

The interview ran smoothly. I was thanked, told to switchoff the console and lock the door behind me on my wayout. I staggered outside on weak legs, and dived into thefirst coffee house I could find for a well-deserved caffeineinjection wondering whether anyone had actually listenedto the programme.


– 76 –

Points to remember for good radiointerviewing

Here are some tips to help you conduct a good radiointerview.

What is your key message?

What facts and figures do you need?

Keep your answers short – remember there isn’t muchtime and the more you say the easier it is to cut it, if itis a recorded interview

Aim for a friendly conversational style – be as naturalas 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 yougenuinely 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 thetelephone

As with the telephone your body language and posturewill affect how your voice sounds

Keep your head up and your voice box open

Use facial expressions to vary your pitch and bringwarmth and animation to your voice

Listen to radio programmes whilst driving in yourcar – what makes you listen to some people and turnothers off?

The inflexion in some people’s voices makes you wantto listen on, whereas others irritate you – why? Makesure your voice doesn’t irritate people

Don’t worry if you have a regional accent; providedpeople can understand you, accents bring warmth andpersonality 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 aDictaphone for three minutes, and listen to how longit sounds

Arrive about ten minutes before your interview is dueto take place


– 78 –

Always aim to be friendly and professional in yourapproach

Always ask the presenter what his or her first questionis going to be

With radio you can have your notes in front of you,but beware of looking down at them all the time ormoving your head away from the microphone

Answer the questions put to you as best you can andbring out the key points you want to make

Remember the audience wants to listen to you andunderstand what you are saying; they want to beinformed and entertained.

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Chapter Seven

The television interview

Again, as with the radio interview, the researcher or theproducer will contact you to ask if you would like toparticipate in the programme. Before succumbing to theflattery of being asked and agreeing eagerly, calm yourselfand 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’sa 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 dobecause they are so flattered at being asked.


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There are different types of television interviewing. Theseinclude:

Live interviews either in the television studioor on location

Pre-recorded interviews

‘As for live’ interviews.

With all types of interviewing - whether it be television orradio interviewing and no matter where the location -preparation is vital.

The better prepared you are, the betteryour performance (hopefully).

Ask yourself, ‘What two or three key messages do I want theviewer to remember?’ Concentrate on those messages, distilthem into ‘sound bites’ and memorise them.

Always give simple and practical examples to illustrate themessages if you can.

Go into the interview seeking to convey your message ratherthan worrying about what questions someone will be askingyou.

Here are some further tips to help you with yourinterviewing techniques during the different types ofinterviews.

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‘AS FOR LIVE’

‘As for live’

‘As for live’ are interviews where the recording is notstopped unless something goes disastrously wrong and theinterview will be timed by the interviewer to run for theallotted length of time. Programmes like ‘Question Time’ areconducted in this way.

Pre-recorded interviews

With pre-recorded interviews, the presenter can take longerwith you, the questions stretch on and you begin to relaxand let your guard down – which means the edited versionmay only show those shots towards the end of the interviewwhere you are being rather more verbose than you should!!

The television studio

When asked to attend an interview in a television studio, tryto allow enough time to reach the studio without being toorushed. Find the toilet and try to settle yourself. Don’t giveyourself too much time or your nervous tension can mount.

As for radio, don’t be tempted to have a stiff drink beforeappearing or drink tea or coffee. Stick to water.

Remember that nothing is ever ‘off the record’, so don’treveal anything you don’t want to be used to anyone in thestudio – they may feed this information to the interviewer,who could then use it in the programme to throw you offyour stride.


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When you meet your interviewer, try and ask him what hisfirst questions is to be. I say try, because that may be difficult.You may not have time to see him before the interview andyou will also have other people wiring you up with amicrophone and positioning you in the chair etc.

Television studios are bright and hot and the glare of thelights takes some getting used to. The television studio isalso a lot smaller than many people imagine. If you get thechance to visit one before your interview, take it. Beingfamiliar with your surroundings will help you when the timecomes to be interviewed.

If the studio hasn’t been laid out, or has been used for someother purpose, it may appear to be simply a bare room toyou, a bit echoing. When dressed for the set, seating is usuallyarranged around the ‘stage’ in ranks – a bit like a theatre –and there are usually two or three cameras on moveablepedestals.

The director will, from his control room, be able to selectfrom a range of shots of those taking part in the programme.Although a red light will appear on the camera whose pictureis being used, do not attempt to try and follow this red light– it will only confuse you. But do remember that even whenyou 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 itis rolling and on you.

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THE 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 microphonewill be positioned there and will crackle dreadfully. Allmicrophones amplify the normal voice so there is no needto shout, or use a special voice like you see some comicsdoing deliberately on television shows and dramas. Speakas you would in normal conversation, remembering all ourtips about voice on pages 73, and let the technicians do therest.

Refresh your facts from your notes before you go into thestudio and again if you have time before going ’live.’ Do notuse 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 yourattention on, and direct your conversation to, the interviewer.If asked a question by someone in the audience (if it is thattype of programme), look at the questioner when you answerhim, as you would in real life.

If you are running out of things to say or feel you are dryingup, or don’t know the answer to the question, then if youare looking at the interviewer he will know this by the lookin your eyes (probably sheer terror!) and will help you out.

Above all, try to relax and be natural - which seems animpossibility given all I have said!


– 84 –

On location

When the media turn up on your doorstep, they can becompletely overwhelming, even if it is only the reporter andthe cameraman. So here is some advice for you when dealingwith the television crew:

Whether the interview is in the studio orin your own home/office, always treatthe microphone as if it is live and the

camera as if it is running.

Never say or do anything that youwouldn’t like to see appear on your

television screen.

If you are being interviewed on location, then check thebackdrop against which you will be filmed. We have all seenout takes where what is going on behind the interview ismore interesting than the actual interview.

In most instances, the media will come to your office orplace of work. If you are being interviewed in your office,or on the factory floor, make sure your office is giving outthe right impression. Check those pictures on the wallbehind you, including the calendars! ‘Dress the set’ to createthe right picture for your organisation and message.

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WHAT TO WEAR ON TELEVISION

What to wear on television

We judge people on how they look and how they soundbefore we ever start listening to what they are saying. Onradio, how you sound is very important (see page 73). Ontelevision it is not only how you sound but also how youlook that’s important.

Here are some tips to help you.

Avoid hounds-tooth type checks, boldly striped jacketsand suits, shirts and ties

Avoid very white blouses and shirts: they cause glare

Avoid anything too tight and restricting and make sureyour jacket doesn’t gape when you sit

Don’t flash the flesh – make sure your socks are longenough to meet your trousers and are the same colouras your trousers and shoes. Don’t wear brown shoeswith dark blue or black trousers

Don’t wear flashy jewellery that glints and womenshould not wear heavy bracelets or dangling earringsthat distract attention

Always make sure your shoes are clean and presentableand that, if wearing collar and cuffs, they too are cleanand not frayed


– 86 –

Women should watch the length of their skirt – notso short that it rides up and shows more flesh than itshould, not too tight or with a long split in it thatflashes the thigh

Women should go for unfussy styles. Cleavage shouldbe concealed at all times. Always wear plain tights,not patterned, and check they are ladder free

Check your shoulders for dandruff and make sureyour hair is groomed and tidy

A dusting of translucent powder for both men andwomen can help prevent that shiny look. The dayswhen make-up artists at studios were ever at the readyare gone, so you may have to bring your own

Ensure your spectacles suit the shape of your face anddo not swamp it. Never wear tinted glasses or lensesthat darken in the light, as they will give you a shiftylook.

– 87 –

WATCH 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’sthe nerves

Avoid tea, coffee and alcohol. These are dehydratingand can have disastrous consequences.

Try to be natural and allow your real self to shine throughon television and radio, even though this can be difficultbecause of nerves. Know your strengths and weaknesses;know how you sound and how you appear to others. If youare going to appear on radio or television regularly, or wishto, then get yourself some media training - it will help youenormously.


– 88 –

In summary

Treat every microphone as if it is live and the cameraas if it is running

Never say or do anything that you wouldn’t like tosee appear on your television screen

Prepare for your interview, arrive early at the studioand settle yourself down as much as possible

‘As for live’ are interviews where the recording is notstopped unless something goes disastrously wrong andthe interview will be timed to run for the allottedlength of time

Ask yourself, ‘What two or three key messages do Iwant the viewer to remember?’

Always give simple and practical examples to illustratethe messages if you can

Go into the studio seeking to convey your messagerather than worrying about what questions someonewill be asking you

Do not attempt to try and follow the red light on thecamera – it will only confuse you

Do not look at the monitor or the cameras butconcentrate your attention on and direct yourconversation to the interviewer

If asked a question by someone in the audience, look

– 89 –

IN SUMMARY

at the questioner when you answer them, as youwould in real life

If you are running out of things to say or feel you aredrying up, the interviewer will help you out

Remember that nothing is ever ‘off the record’, sodon’t reveal anything you don’t want to be used toanyone in the studio

When you meet your interviewer, try and ask themwhat their first questions is to be

All microphones amplify the normal voice, so thereis no need to shout or use a special voice; speak as youwould in normal conversation

Refresh your facts from your notes before you go intothe 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 thebackdrop against which you will be filmed

‘Dress the set’ – create the right picture for yourorganisation and message.


– 90 –

Chapter Eight

Writing and placing articles

There are plenty of books on the market covering this subjectone of which is The Easy Step by Step Guide to WritingNewsletters and Articles, so in this chapter I will give only abrief overview of article writing and explain how to get anarticle commissioned.

Articles are generally written to commission so it is a wasteof time to write a score of articles and then submit them toa magazine or newspaper in the vain hope that they will bepublished.

As mentioned in Chapter four, every magazine andnewspaper has its own editorial policy and style. If you areto write an article, you will be commissioned to do so andwill know what angle the editor wants, how many wordsand 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, orarea of specialisation. Next you will need to research yourmedia, using the reference material I mentioned in Chapterone.

Again, I would urge you to send for a media pack and tostudy the editorial content of the publication for which you

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GETTING A COMMISSION

wish to write. What sort of articles do they carry? What istheir style?

Having done this, what do you think you can write aboutthat 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 orby e mail, to see if he is interested. In your letter you willneed to:

give an outline of your idea

say why you think the readers will be interested inwhat 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 commissionyou to write this article.

In your letter, state that if the editor is interested incommissioning this article, then could he provide you withinformation 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?


– 92 –

4. Is any special approach or treatment required?

5. Are illustrations or photographs required?

If sufficiently interested, the editor will contact you to discussthe idea and perhaps commission you to write the article.

Other ways of being commissioned

You may be asked to write an article following the submissionof a news release. Or you may have sent a letter to the editorand 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 wayof getting your name and/or company name into print.)

Getting Paid

Not all magazines or newspapers will pay you for writingarticles. In fact, many don’t. You need to decide whether ornot to accept this. If your objective is to gain experience andan increased personal profile, or an increased profile for yourorganisation, then you may be willing to write the articlefor free.

If a magazine or newspaper does pay, then they will giveyou some idea of their rates.

– 93 –

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 ournews release.

An article is intended to be published inits entirety. It is written so that it is not

easily cuttable.

Using the right style is important. After studying themagazine or newspaper for which you are writing, you willhave an understanding of their style. Do they use lots ofquotes? Do they like long sentences and paragraphs or shortsnappy ones?

Whatever you write, your opening sentence and openingparagraph is critical. It has to grab the readers’ interest andmake them want to read on. One of the ways you can startan article is by a posing an intriguing question; or you coulduse a quotation or anecdote to make the reader curious andwant to know more.

Openings are often difficult and many experienced writersstruggle with them. Sometimes it is best to write your article,then go back to the beginning and look at it critically. A betteropening may now occur to you – one that has flowed out ofthe article.

ARTICLE WRITING


– 94 –

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 ormagazine, look at what has hooked you and what has madeyou read it through to the end.

The closing paragraph is also very important. The articleshould finish on a note that satisfies the reader; again anoriginal touch is required.

You should check your sources and obtain approval if usingother sources.

Watch your language and remember for whom you arewriting. Does it need to be simple and light-hearted, or is itfor a more serious-minded publication that requirestechnical detail? Avoid jargon and explain acronyms.

Finally, before submitting it, check your article for mistakesand spelling errors and that it has the correct number ofwords.

– 95 –

IN SUMMARY

In summary

An article is intended to be published in its entirety. Itis 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 heis interested

An article is addressed direct to the reader, not theeditor

The introduction has the sole purpose of hooking thereader

The closing paragraph finishes the article on a notethat satisfies the reader and again an original touch isrequired

You should check your sources and obtain approval ifusing 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


– 96 –

Chapter Nine

Handling a media crisis

A media crisis can happen at any time. Perhaps one of youremployees has been dismissed because of fraud, or anemployee has had an accident that will draw public attentionto your company.

If you are in the food manufacturing, processing or sellingbusiness, then you could become a victim of a foodcontamination scare.

If involved in transport, then an incident on the railway, onthe 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 thespotlight nowadays. Hospitals, schools, the police and fireservice could all find themselves in the news – and not alwaysin a positive light.

For most people reading this book, hopefully the crisis won’tbe of gigantic proportion, but nevertheless can still be veryserious. So key people within an organisation need to knowhow to handle bad news stories and how to inform andreassure the public.

– 97 –

REACTING TO A BAD NEWS STORY

Reacting to a bad news story

If faced with a bad news story that has hit the media, yourinstinct may be bury your head in the sand, keep ‘mum’ andrefuse to take calls from journalists, in the mistaken beliefthat they will go away and forget all about you. You tellyourself that they can’t print what they don’t know. Well,don’t you believe it! This is the worst possible reaction to abad news story. Saying ’no comment’ is just as bad. If thejournalist does not get your viewpoint, then he can onlyguess at it and/or ask others to comment about you and yourcompany. These comments may put you and yourorganisation in a bad light and do untold damage to yourreputation.

Handling a media crisis, or indeed any crisis, is aboutplanning and moving as quickly as possible. Many largeorganisations have crisis management plans in place andknow how to switch on the machine the moment there isthe hint of a scandal or a bad news story breaking. Smallerorganisations can take a leaf out of this book and, like theold Scout motto, ‘Be Prepared.’

Media speculation will begin long beforeany official/semi-official enquiry and

how the organisation behaves initially isvital to building goodwill with the

journalists.

In today’s climate of increasing litigation, greater consumerawareness of people’s ‘rights’ and the increasing accessibilityto the media, plus the time given to magazine-style


– 98 –

programmes and consumer affairs programmes, it is mucheasier 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 dedicatedto exposing companies who mistreat their customers.Business is considerably more transparent than it has everbeen before and public services more accountable. In thisclimate, it pays to pay great consideration to your customerrelationship policies and training.

Step one – be prepared

If you know you have a potentially damaging story, then beprepared to deal with the media. Take the initiative and donot attempt a low profile. Draft your press statement inreadiness and then if no one picks up on the story, fine –you can always tear it up. But having something readilyprepared will make you not only feel more confident butalso enable you to present your side of the story when youneed to. It could even help to defuse a potentially threateningsituation.

Example

I was contacted by the Chair of Governors of a private schoolwho had discovered that the Bursar had been helping himselfto the funds. The Governor was worried that the story wouldbecome public and the school’s name would be draggedthrough the press. Over an Easter Bank Holiday weekend Iprepared a press statement that the Chair of Governors couldfax or e mail to the media if he needed to. I also wrote out

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STEP TWO – FACT FINDING

some of the questions that I thought a trained journalistmight ask him. The media never did pick up on the storyand the Governor breathed a sigh of relief – but at least hehad 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 haveone 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 journalistwill ask, what, when, where, how, why and who – and notnecessarily in that order – so you need to do the same wheninvestigating the situation and subsequently drafting yourpress statement.

Think of the headline and think aboutthe questions a trained reporter will ask.

Any news release or statement mustanswer these questions.


– 100 –

If you do not readily know all the facts when a journalistcontacts you, here are some further useful phrases.

‘We are aware of the problem and are looking into all aspectsof it.’

‘We are aware of the situation and more information will beprovided readily just as soon as it is available.’

‘We are doing all we can to obtain additional informationand to handle the situation…’ (and you could go on to giveinformation about what is currently being done).

Do remember nothing is ‘off the record’, so choose yourwords carefully.

Speak the truth. Journalists are very good at detecting liars.And do not speculate. Deal in facts and assume everythingsaid will be quoted. And if the media get their facts wrong,or perhaps misinterpret what you have said, don’t ask for aretraction as a retraction generally adds to the story’sdevelopment and can fuel it long after it would have dieddown naturally.

Step three – keep in touchwith the media

Once having ascertained the facts and communicated withthe 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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STEP FOUR – INTERNAL COMMUNICATIONS

Step four – internal communications

Companies that have good internal communicationsgenerally have good external communications.

It is useful to have a media handling crisis policy alreadydrawn up which details things like who is empowered tospeak to the media, and what happens on first contact by themedia. Make sure all your staff know this. It can be includedas a section in the staff handbook and included in inductiontraining. Ensure that the people dealing with the media aretrained in this subject; it will not only prepare them on howto handle the media but also give them greater confidencewhen 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 campedoutside your office or factory. They may even be interviewingstaff as they turn up for work or leave for home. You can’tstop the media doing this, or your staff talking to the media,but if you have briefed your staff, and kept them informedand have a good motivated workforce, then the danger ofthem saying something they shouldn’t or showing theirdissatisfaction with you will be minimised.

Step five – monitor all media coverage

Monitor your media coverage. Employ a press cuttings agencyif you need to. Monitoring the media coverage will give yougreater control over the situation. At least you will know whatis being written and said about you and whether or not youneed to respond to it with your own press statements.


– 102 –

Step six – follow up

Maintain a dialogue with the media. Provide follow-upinformation. Write and thank the journalist who has helpedyou. Buy him lunch but remember not to let your guarddown and start blabbing ‘off the record’, or you could findyourself back in the news.

The media can be extremely overpowering and you can findyourself doing and saying things that you never thoughtpossible. When they descend on you out of the blue, theattack can catch you off your guard. Hopefully some of thetips given in this book will help you handle them moreassertively.

– 103 –

IN SUMMARY

In summary

A media crisis can happen at any time, so be prepared

Handling a media crisis is about planning and movingas quickly as possible

Media speculation will begin long before any enquiry.How the organisation behaves initially is vital tobuilding 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 keepcommunicating 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 questionsa trained reporter will ask. Any news release mustanswer these questions

Keep in contact with the media

If you already have existing good relations with themedia, this will help you in troubled times

Speak the truth. Journalists are very good at detectingliars


– 104 –

Do not speculate. Deal in facts and assume everythingsaid will be quoted

Do not speak ‘off the record’

If the media get their facts wrong or misinterpret whatyou have said, don’t ask for a retraction – this can fuela 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 aretrained

Be prepared for a bit of door-stepping – the mediamay be camped outside your office or factory

The media can be overpowering – be prepared forthis

Monitor your media coverage. This will give yougreater control over the situation

Maintain a dialogue with the media. Provide follow-up information

Write and thank the journalist who has helped you.

– 105 –

Chapter Ten

In-house versus PR consultancy

Finally a word about whether or not you should do the PRyourself or let someone else do it for you. This, of course, isentirely up to you but listed below are some of the advantagesand disadvantages that you may like to consider beforemaking any decision.

It is usually economic to appoint a PR consultant until thevolume of work justifies setting it up as an internal function.PR is intimately concerned with the whole organisation; itconcerns itself with both the internal and externalcommunications. To have impact it is a continuous process.So, whatever you decide, you must ensure you maintain yourPR thrust.

Advantages of in-house PR

Full-time service is not limited to the time bank ofman hours represented by the consultancy fee

The PR person belongs to the organisation. It is hisbusiness to know everyone and be met by everyone.He must establish lines of communication rightthroughout the organisation

The PR person is a permanent resource and is morelikely to stay with the organisation for a longer time


– 106 –

It is easier for the internal PR person to cope with avariety of jobs

The internal PR person can be on the spot whenneeded and is familiar with the company and theindustry.

Disadvantages of in-house PR

Bias. The internal PR person may be uncritical eitherthrough loyalty or because of insufficient status

They’re more likely to lack the broad range of contactsneeded

They may be limited in their background

They are seldom independent

They can lack respect within the organisation andoutside it

They add another overhead to the business.

Advantages of the PR consultancy

Independence

Experience

Media knowledge and contacts

– 107 –

DISADVANTAGES OF THE PR CONSULTANCY

Resources

Specialist staff

Cross-fertilization of ideas from other clients keepsthem 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 seeand hear in the media. An enhanced media profile can dowonders for your business, for your workforce, yourrecruitment and your order book and I hope this Easy Stepby Step Guide helps you to achieve it.

Other Easy Step by Step Guidesin 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

TIPS ON USING THE PROMOTIONAL TOOLS

All the above guides are available from:

Rowmark Limitede mail: [email protected]

or via our web site www.rowmark.co.uk

The Easy Step by Step Guide to Building a Positive Media Profile (Easy Step by Step Guides)

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Transcript of The Easy Step by Step Guide to Building a Positive Media Profile (Easy Step by Step Guides)