2284 lines
113 KiB
Plaintext
2284 lines
113 KiB
Plaintext
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Guide to Managing Media and Public Relations in the Linux Community
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[LPI]
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Sheldon Rose
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2004-01-08
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Revision History
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Revision 1.1 2005-04-21 Revised by: TM
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Update to correct links, update copyright notice
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Revision 1.0 2003-12-02 Revised by: SR
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Initial Release, reviewed by TM at LDP.
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This guide provides useful information on how to generate positive public
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relations and news media coverage for Linux.
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Copyright <20> 2005 by Linux Professional Institute. This material may be
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distributed only subject to the terms and conditions set forth in the Open
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Publication License, v1.0 or later (the latest version is presently available
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at [http://www.opencontent.org/openpub/] http://www.opencontent.org/openpub
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/). Distribution of the work or derivative of the work in any standard
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(paper) book form is prohibited unless prior permission is obtained from the
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copyright holder.
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-----------------------------------------------------------------------------
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Table of Contents
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1. Introduction
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1.1. Who Should Be Reading This Guide?
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1.2. What is Public Relations?
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1.3. How Public Relations Differs from Advertising
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1.4. What Public Relations Can Do
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1.5. The Benefits of a Public and Media Relations Program
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2. Public and Media Relations Planning
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2.1. What Do You Want to Accomplish?
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2.2. Who Needs to Know About Your Organization?
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2.3. What Do You Want to Say?
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2.4. What Kind of Information is Newsworthy?
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3. Contacting the News Media
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3.1. Creating a Media Contact Database
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3.2. Maintaining Your Database
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3.3. Contacting the Editors
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3.4. Making the Pitch
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3.5. Pitching for Different Media
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4. Working with the Media
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4.1. Duties of an Editor
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4.2. Targeting Other Medias
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4.3. "Selling" Your Story to the Media
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4.4. Do's and Don'ts When Dealing with the News Media
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4.5. Monitoring Media Coverage
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5. News Releases??the Major Communications Tool
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5.1. Writing News Releases
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5.2. What Makes a News Release Good (or Bad)
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5.3. Top Ten Tips for Writing Releases
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5.4. Distributing the News Release
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6. Other Public Relations Tools
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6.1. Feature Articles
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6.2. Bylined Articles
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6.3. Email Writing
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6.4. Miscellaneous Communications Tools
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6.5. Don't Forget Emphasizing Core Messages
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7. Working the Trade Show
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7.1. Arranging Speaking Opportunities
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7.2. Getting Media Attention at Trade Shows
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7.3. Planning for a Trade Show
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8. Quick Tips for Maximizing Coverage
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8.1. How to Maximize Media Coverage
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A. Monitoring Media Coverage
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A.1. Media Monitor Services and Clipping Services
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List of Tables
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3-1. News Media Organizations
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-----------------------------------------------------------------------------
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Chapter 1. Introduction
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1.1. Who Should Be Reading This Guide?
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This document is intended for people who want to learn practical and
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cost-effective ways to raise the profile of an organization or promote new
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programs.
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This guide provides useful information on how to generate positive public
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relations and news media coverage for Linux. By no means does the guide
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intend to teach all there is to know about public and media relations, but it
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does support you in building and maintaining a healthy public image.
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-----------------------------------------------------------------------------
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1.2. What is Public Relations?
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You have news to share??information that would benefit the Linux community.
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You have some idea of the people you want to reach with your news and views.
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Now the problem becomes: How to reach them in the most effective way? The
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better the communications between you and your audience, the higher the
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profile of your organization.
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Generating publicity is not as complex as you might think. Most of the
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success of public relations centers on knowing what to do and when.
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Implementing these initiatives can dramatically increase awareness of your
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business.
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Public relations (PR) is often confused with advertising, merchandising,
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promotion, or any of a dozen other buzz words in the marketing communications
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vocabulary. (By the way, marketing communications is a broad term that
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encompasses all of these disciplines.)
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Public relations is about doing something newsworthy that you want to
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communicate, and then telling your audience (or very likely, several
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audiences) what you have done.
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One of the most common public relations vehicles is the brief "New Product"
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announcement you see in magazines and trade publications. Often only a few
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lines or a paragraph in length, these announcements herald the launch of
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future products or services. These short announcements are typically
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triggered by a new product release, which may be accompanied by various forms
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of communications such as internal announcements to the organization's
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employees and external news releases to the media, stockholders, user
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community, and other groups. News releases trigger a chain of events that
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result in visibility.
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There are some important terms that may help you understand public relations.
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News media refers to all the places where people read or hear about news,
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including newspapers, magazines, television, radio, and the Internet.
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A news release, sometimes referred to as a press release, is a printed or
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electronic document issued by organizations who want to communicate news to
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editors, journalists, industry writers, or other media groups. Journalists
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write about the story for publication (if it is considered newsworthy), while
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editors control whether the story actually appears in a newspaper, magazine,
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website, or broadcast.
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A news release contains important facts, quotes from key people, dates that
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the news happened (or will happen), and contacts for additional information.
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The news release is concise and usually runs no longer than two pages.
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Public relations, then, can be thought of as the process that delivers your
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news to the people you want to reach through a broad, influential, and
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far-reaching news media community.
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-----------------------------------------------------------------------------
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1.3. How Public Relations Differs from Advertising
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International humorist Stephen Leacock defined advertising as: "the science
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of arresting the human intelligence long enough to get money from it." But
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the textbook definition of advertising is: "a form of persuasion that informs
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people about the goods and services they can purchase."
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Advertising is very different from public relations. One key difference is
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that you always pay for the space and time of an advertisement (or
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commercial, which is an insert appearing on radio, television, or the
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Internet). By contrast, editorial coverage generated through public relations
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is not paid for by the organization issuing the news release. The media will
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pick up and publish the story because they consider it newsworthy, not as a
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paid advertisement.
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Another crucial difference is that, in advertising, you have virtually full
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control over the message. Because you are paying for advertising, the ad or
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commercial runs your exact text (called copy), provided the copy complies
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with generally acceptable standards for advertising. In the case of public
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relations, the media outlet you are targeting is under no obligation to run
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the story in any form. If a media outlet does decide to run the story, an
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editor will generally rewrite the news release, or use pertinent information
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from the news release to create the news. (For instance, your news release
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might be used as part of a larger story on players in your industry or
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profession.) In addition, you have no control over when the release or news
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will run. All decisions are made by the editor.
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As you can see, public relations is a cost-effective way of getting your
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story out. Taking the trouble to write effective news releases and to build a
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relationship with the relevant media will, in time, pay dividends in the form
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of exposure and prestige. Best of all, public relations probably costs less
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than a single advertisement.
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-----------------------------------------------------------------------------
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1.4. What Public Relations Can Do
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Since public relations communicates your messages through the news media, all
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the power of the media is brought to bear when the public??those viewers,
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listeners, or readers you want to reach??learns about your news.
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Think of what this means: high interest level, credibility, implied
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objectivity, and possibly implied endorsement by the journalist or
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publication reporting the information. There is also an urgency conveyed when
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news is reported in the media??and that news has the potential to reach a
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tremendously large audience.
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With exposure comes awareness. An important goal of public relations??in any
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medium??is to make people aware of what your organization is, what it offers,
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and what it does. Never underestimate the value of such awareness. In
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flashier terms, it's called buzz.
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Creating awareness for your organization is important for the development and
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utilization of its programs and initiatives. You must inform the public and
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educational and training institutions about what you offer and how you can
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meet their needs. Public relations is probably the most valuable tool in
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accomplishing this. A well-implemented public relations initiative will help
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present your organization's offerings to their best advantage.
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Public and news media relations also positions you to enter new marketplaces
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and exposes new Linux programs to new audiences??all without the expense
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associated with an advertising program. A sustained public relations program
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allows you to ensure your programs are in front of appropriate
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decision-makers. This continuous flow of information creates a constant
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awareness and a constant influx of inquiries??especially when integrated with
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other powerful marketing communications tools such as brochures, trade shows,
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and so on.
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-----------------------------------------------------------------------------
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1.5. The Benefits of a Public and Media Relations Program
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Public relations is vitally necessary, perhaps even critical, in today's
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competitive marketplace. There are many ways a sustained public relations
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program can benefit your organization:
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<EFBFBD><EFBFBD>*<2A>Public relations should not be a "we will do it if we have the time and
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resources" kind of effort. A sustained initiative can build your
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organization's profile in the news media and the local community.
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<EFBFBD><EFBFBD>*<2A>Editorial coverage gives your organization better stakeholder attention
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compared to paid advertisements.
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<EFBFBD><EFBFBD>*<2A>Editorial copy generated through effective public relations is far more
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believable and credible than paid advertising, due to media objectivity.
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Recent studies in North America suggest that positive editorial coverage
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generates up to nine times more visibility than paid advertising.
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<EFBFBD><EFBFBD>*<2A>Public relations is an economical means of promoting your organization.
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<EFBFBD><EFBFBD>*<2A>Regular and effective news releases can make your organization a "news
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media source" on the state of Linux. It is critical to develop
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relationships with the news media in the same way it is a good idea to
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develop other kinds of friendships in the community. Writers and
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reporters are always looking for reliable and respected sources to quote.
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<EFBFBD><EFBFBD>*<2A>Regular media exposure legitimizes your organization's work and enhances
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its reputation. There is a subtle but nonetheless real perception that
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mention in a newspaper or on television must be important. Media coverage
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communicates to the business community that your organization's
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qualifications and programs are worthy of "a serious look."
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You must also be cautious when dealing with media outlets. Being
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overconfident or overly aggressive in trying to place stories with the news
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media can have damaging results. It is a lot easier to lose goodwill than to
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gain it back. The safest position is to understand what you are doing, work
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hard to accomplish predetermined and realistic goals, be courteous and
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respectful when dealing with your media contacts, and expect some
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disappointments along the way. After all, hard as you may try, the results of
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your public and news media relations initiatives are never predictable. But
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if planned and implemented correctly, the benefits are enormous. Chapter 2
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explains how to determine what you really want to accomplish.
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-----------------------------------------------------------------------------
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Chapter 2. Public and Media Relations Planning
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When you want to promote your organization, you are provided with a variety
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of options. The first step is to develop a plan. You must determine the
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following:
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<EFBFBD><EFBFBD>*<2A> What do you want to accomplish?
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<EFBFBD><EFBFBD>*<2A> Who do you want to reachneeds to know about your organization?
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<EFBFBD><EFBFBD>*<2A> What do you want to say??
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<EFBFBD><EFBFBD>*<2A> What kind of information is newsworthy?
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-----------------------------------------------------------------------------
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2.1. What Do You Want to Accomplish?
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The first and most important step in public relations planning is to
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understand and define what you want to accomplish through public relations.
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What are your objectives? Just as importantly, how will you determine
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(measure) your success in accomplishing these objectives? Creating a list of
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concrete goals can help you maintain direction in your efforts.
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-----------------------------------------------------------------------------
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2.2. Who Needs to Know About Your Organization?
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Now that you know what you want to do, the second step is to determine who
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you need to talk to.
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The best way to gain insight into this question is to look from the other
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side of the communications channel: Of all the people that your organization
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deals with, who do you need to tell about new programs and products? Often
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your most important contacts will be your current and future partners, IT
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professionals in your local area, human resource managers, training and
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development personnel, and organizations offering competing products.
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To reach your organization's public relations goals, there are many key
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audiences and stakeholders that your organization should regularly
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communicate with to gain higher visibility. The following list details a few
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of the most important audiences:
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<EFBFBD><EFBFBD>*<2A> News media. Includes print, radio, television, and Internet outlets for
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business news, information technology news especially related to Linux
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and open source, vertical media (directed at a people with similar
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interests such as a hobby or business), human resources, colleges and
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universities, and organizations and enterprises dealing with Linux or
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Linux information management solutions.
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<EFBFBD><EFBFBD>*<2A> IT professionals. Includes practicing IT professionals, students, and
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prospects such as people considering a career change.
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<EFBFBD><EFBFBD>*<2A> Influencers.
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<EFBFBD><EFBFBD>*<2A> Other LPI affiliates.
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<EFBFBD><EFBFBD>*<2A> Business partners and suppliers. Includes communicating to strategic
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partners such as independent software vendors, training providers, and
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suppliers, which helps your organization become a valued business partner
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to these groups, each of which bring specific value to your business.
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-----------------------------------------------------------------------------
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2.3. What Do You Want to Say?
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The third step in public relations planning is to understand what you want to
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say. To attain your objectives, it is critically important to maintain
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message consistency when delivering you organization's messages, vision,
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mission, and core values to your target audiences. Consistency creates a
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stronger impression and helps people remember your core messages.
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Although a given message may be "tweaked" or "massaged" for different
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audiences, the core messages should not vary.
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-----------------------------------------------------------------------------
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2.4. What Kind of Information is Newsworthy?
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These are examples of great happenings that generate interest.
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<EFBFBD><EFBFBD>*<2A> Locations and launches. This kind of news is obvious. For instance, a
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new branch of your organization may have just opened, and you want to
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make people aware of the new location and offerings. Also, if you are
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launching a new product or have hired a local figure well-known to the
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Linux community, these things are of great interest to the public.
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<EFBFBD><EFBFBD>*<2A> Industry developments and human interest. Sometimes newsworthy
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information is a little less obvious. Every day happenings can be in the
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news. Whenever there are changes or new developments in the industry,
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this clearly presents an opportunity for positive exposure and media
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coverage in appropriate publications. For instance, how and why the
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change is being undertaken may become a story in itself. Perhaps the
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change is being driven by a dynamic Linux guru, worthy of a magazine
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profile. Sometimes these stories are called "case studies" and typically
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are given favourable consideration by editors because of their
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considerable human interest appeal.
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<EFBFBD><EFBFBD>*<2A> Numerical data and trends. Society is fascinated with numbers. The more
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impressive or interesting the figures (relative to competitors and the
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rest of the industry), the more likely media outlets are to use those
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numbers in their reporting.
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<EFBFBD><EFBFBD>*<2A> Organizational announcements. Notable changes in staff or volunteers
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are another way of getting media exposure. The more important the
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position, the more newsworthy organizational announcements become.
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<EFBFBD><EFBFBD>*<2A> Partnerships. Especially partnerships with far-reaching effects across
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the industry create a major news story.
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<EFBFBD><EFBFBD>*<2A> Industry recognition. When your organization wins an award or is
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recognized by peers, let the world know!
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The bottom line is that you can find news in almost any event. Your
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responsibility is to ensure that your organization becomes known and
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respected by editors, journalists, educators, and other stakeholders with
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whom you are communicating. Remember, the more respected your organization
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is, the more (and better) coverage you are likely to receive. The determining
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factor in that judgment will be the audience??the readers, viewers, and
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listeners who you reach.
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|
|||
|
Effective and well-organized public relations efforts require news releases
|
|||
|
and correspondences to reach an appropriate editor. Chapter 3 details what
|
|||
|
you need to do to get news media contacts and, ultimately, positive
|
|||
|
visibility.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
Chapter 3. Contacting the News Media
|
|||
|
|
|||
|
All contacts with the news media create an impression of you and your
|
|||
|
organization that carries into the public perception. Creating and updating a
|
|||
|
media contact database is the first step towards developing good
|
|||
|
relationships with editors and writers. When you are contacting editors,
|
|||
|
remember that editors are busy professionals, so being polite and
|
|||
|
to-the-point are vitally important. Customizing your pitch for different
|
|||
|
editors and types of media will also give your information a better chance of
|
|||
|
being published. Effective media contacts will make your public relations
|
|||
|
campaign a success for your organization and the publications that you are
|
|||
|
featured in.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
3.1. Creating a Media Contact Database
|
|||
|
|
|||
|
You cannot underestimate the importance of maintaining and continually
|
|||
|
updating a database of editorial contacts who have an explicit or implied
|
|||
|
interest in Linux and your organization. Directories available in your local
|
|||
|
reference library list publications of every description, giving the full
|
|||
|
particulars of their readership, editorial staff (often with contact
|
|||
|
information), circulation, publication frequency, areas of coverage, and
|
|||
|
other relevant information. Consulting these directories is the first step
|
|||
|
towards building your media database.
|
|||
|
|
|||
|
Time must be spent in researching names and contact information for your
|
|||
|
database. You will need to know the audiences of each publication, names of
|
|||
|
key editors, these editors' responsibilities, the dates of special-focus
|
|||
|
issues concerning Linux, and more. This information will allow you to do a
|
|||
|
better job of targeting your news to the right media contacts. For instance,
|
|||
|
there may be occasions when you want your news to reach certain editors but
|
|||
|
not others. Your news may only concern a portion of your database, such as
|
|||
|
the educational community. Your research (and later, direct experience) will
|
|||
|
tell you that only certain editors will be interested. In short, there is a
|
|||
|
lot of homework to be done identifying the news media related to your area
|
|||
|
and learning the specifics about them. The more information your database
|
|||
|
contains, the more valuable the information will be to you.
|
|||
|
|
|||
|
Before you contact any editor, you need to know where to call, email, or
|
|||
|
write. Fortunately, there are dozens of published directories of editorial
|
|||
|
contacts. While you could easily spend thousands of dollars buying or
|
|||
|
subscribing to them, you do not need to. As mentioned above, your library
|
|||
|
probably has several subscriptions on hand.
|
|||
|
|
|||
|
Some of the more popular directories for North American and international
|
|||
|
contacts include the following news media organizations. There is likely a
|
|||
|
membership fee (depending on the service level requested) to access the
|
|||
|
databases of these groups.
|
|||
|
|
|||
|
|
|||
|
Table 3-1. News Media Organizations
|
|||
|
+-------------------------------------+-------------------------------------+
|
|||
|
|Media Group |Web Address |
|
|||
|
+-------------------------------------+-------------------------------------+
|
|||
|
|Bacon's Directories |[www.bacons.com] www.bacons.com |
|
|||
|
+-------------------------------------+-------------------------------------+
|
|||
|
|Bowden's |[www.bowdens.com] www.bowdens.com |
|
|||
|
+-------------------------------------+-------------------------------------+
|
|||
|
|Burrelle's/Luce |[www.burrellesluce.com] |
|
|||
|
| |www.burrellesluce.com |
|
|||
|
+-------------------------------------+-------------------------------------+
|
|||
|
|BusinessWire |[www.businesswire.com] |
|
|||
|
| |www.businesswire.com |
|
|||
|
+-------------------------------------+-------------------------------------+
|
|||
|
|Canada Newswire |[www.newswire.ca] www.newswire.ca |
|
|||
|
+-------------------------------------+-------------------------------------+
|
|||
|
|CCN Matthews |[www.ccnmatthews.com] |
|
|||
|
| |www.ccnmatthews.com |
|
|||
|
+-------------------------------------+-------------------------------------+
|
|||
|
|Media Map |[www.mediamap.com] www.mediamap.com |
|
|||
|
+-------------------------------------+-------------------------------------+
|
|||
|
|PR Newswire |[www.prnewswire.com] |
|
|||
|
| |www.prnewswire.com |
|
|||
|
+-------------------------------------+-------------------------------------+
|
|||
|
|
|||
|
Another way to find local media contacts and organizations is to look in your
|
|||
|
local telephone directories. Here are some categories to start you on your
|
|||
|
way (your local Yellow Pages may list these under different headings):
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Broadcasting companies
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>News publications
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>News services
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Newspaper feature syndicates
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Newspapers
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Publishers - periodicals and magazines
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Radio stations
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Television stations
|
|||
|
|
|||
|
|
|||
|
Once you have created a list of potential editors to contact, find out as
|
|||
|
much as you can about their publication, coverage areas, and special
|
|||
|
interests. Become familiar with their publication, their website, or their
|
|||
|
broadcast. Get to know the beats (coverage areas) of specific reporters.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
3.2. Maintaining Your Database
|
|||
|
|
|||
|
Whether you keep your editorial contact information in an electronic database
|
|||
|
(such as an ACT or DBF file) or in a traditional Rolodex, your contact
|
|||
|
information must be kept up-to-date. Editors come and go, reporters are
|
|||
|
reassigned to new beats, and publications merge or create spin-offs. You need
|
|||
|
to stay on top of these changes. Review your media contact list at least
|
|||
|
every three to four months. Contact appropriate people in each organization
|
|||
|
to get updates of names, email addresses, and phone numbers. Through this
|
|||
|
exercise you may discover new targets to whom you can pitch your story.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
3.3. Contacting the Editors
|
|||
|
|
|||
|
3.3.1. Letter of Introduction
|
|||
|
|
|||
|
When contacting an editor for the first time, you should take pains to get
|
|||
|
your relationship off to a good start. This is best accomplished by sending a
|
|||
|
well-crafted letter (or email) of introduction prior to issuing your first
|
|||
|
news release.
|
|||
|
|
|||
|
Even if you have been involved in media relations in another capacity, a
|
|||
|
letter of introduction can help establish a "new era" of cooperation between
|
|||
|
you (in your new public relations role) and the editor. After all, a
|
|||
|
successful public and media relations program is all about relationships??
|
|||
|
successful ones.
|
|||
|
|
|||
|
What must your letter accomplish? Consider your goals carefully, because this
|
|||
|
letter can do a great deal for your organization.
|
|||
|
|
|||
|
First, reaching the right editor or reporter is extremely important. Then,
|
|||
|
you will want to get that editor's help in identifying other professionals
|
|||
|
who may be interested in receiving and conveying Linux news. These
|
|||
|
professionals include freelance writers (who write speculatively or on
|
|||
|
assignment, then sell specific stories to publications), editors in related
|
|||
|
areas (business and feature editors), industry spokespeople, and so on. Your
|
|||
|
letter also needs to articulate why this editor will likely be interested in
|
|||
|
your organization's story and why his or her audience will be interested.
|
|||
|
|
|||
|
The primary purpose for the letter of introduction is to open the lines of
|
|||
|
communication and to make yourself or your designated spokesperson available.
|
|||
|
Be sure to give your full name and contact information. Most importantly, do
|
|||
|
not forget to include your email and website addresses. Email is the
|
|||
|
preferred method of communication in the journalistic community. Make
|
|||
|
corresponding and dealing with you easy for your media contacts. This is
|
|||
|
critical to the success of any media and public relations program.
|
|||
|
|
|||
|
If you include broadcast in your public relations program, you will need to
|
|||
|
adjust the terminology accordingly. Instead of editors, you will be
|
|||
|
corresponding with news directors and producers; instead of readers, you will
|
|||
|
be referring to listeners, viewers, or an audience. No matter what their job
|
|||
|
description is, remember that you are dealing with actual people. The more
|
|||
|
personable you are in your correspondence, the more likely you are to see
|
|||
|
results.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
3.3.2. Using the Phone
|
|||
|
|
|||
|
Regardless of the size and scope of your media relations program, look for an
|
|||
|
opportunity to directly contact at least some of the editors and journalists
|
|||
|
important to your organization. The telephone is a tremendous ally in any
|
|||
|
public relations program. A phone call establishes person-to-person contact,
|
|||
|
lends credibility to your public relations effort, and helps your contact to
|
|||
|
associate a name to the news releases you subsequently send to them. A few
|
|||
|
moments on the phone, either as a prelude or a follow-up to a news release,
|
|||
|
not only draws attention to your organization but can also impart a sense of
|
|||
|
immediacy and urgency that may provide the edge you need to acquire editorial
|
|||
|
coverage of your story.
|
|||
|
|
|||
|
When calling an editor, always immediately identify yourself and your
|
|||
|
organization. Next, ask if the editor is on deadline. If their answer is
|
|||
|
"Yes," don't tie up their time but offer to call back in a day or two and
|
|||
|
then do so. Editors are known for their extraordinary memory??they never
|
|||
|
forget a nuisance or a courtesy.
|
|||
|
|
|||
|
If the editor is not on deadline, then state immediately why you are calling,
|
|||
|
saying something like this:
|
|||
|
|
|||
|
|
|||
|
"Hello, I'm (name) with (my organization), and I'm calling to alert you
|
|||
|
to our announcement of (news topic). I want you to know that I'm
|
|||
|
available to you for any additional information or an interview, now or
|
|||
|
any time in the future. Give me a call at (phone number) or email me at
|
|||
|
(email address)."
|
|||
|
|
|||
|
Look what the dialogue above accomplishes. You have identified yourself and
|
|||
|
your organization, stated your business succinctly, and offered your services
|
|||
|
as a liaison. Now let the editor decide what to do. If they seem to want to
|
|||
|
get off the phone quickly, don't worry. They may have something urgent
|
|||
|
demanding their attention or a story that needs to be filed immediately. You
|
|||
|
can always call back or have the editor return your call later. Listen
|
|||
|
carefully to the editor's recommendations for calling them at another time.
|
|||
|
|
|||
|
While most editors and reporters are busy, they are seldom rude (in fact, the
|
|||
|
contrary) and usually cooperative. If the editor asks why you are calling, or
|
|||
|
has other questions, be prepared to answer. As in any business situation,
|
|||
|
always do your homework. If necessary, write down potential questions and
|
|||
|
answers and rehearse beforehand. Nothing irritates a busy editor or reporter
|
|||
|
more than dealing with a public relations representative who is unprepared to
|
|||
|
answer basic questions.
|
|||
|
|
|||
|
If you cannot answer all the questions, promise to find the answers and send
|
|||
|
the information by email. Be sure to do this in a timely fashion. Editors
|
|||
|
appreciate quick responses and will give more attention to people who can
|
|||
|
give them the information they are seeking in a timely manner. This is a very
|
|||
|
important consideration.
|
|||
|
|
|||
|
If the editor gives you a "No thanks, not interested" response??which may
|
|||
|
happen quite frequently at the beginning??you should ask if there is someone
|
|||
|
else on staff who would be interested in your information. If there is time,
|
|||
|
and the editor seems receptive to sharing information (listen carefully to
|
|||
|
their tone of voice and phone manner), you might also ask if there is
|
|||
|
anything special about Linux they are looking for, now or in the future.
|
|||
|
After all, the less you waste of each other's time, the more productive your
|
|||
|
relationship will be.
|
|||
|
|
|||
|
Once editors know of you and your organization, there may be times when they
|
|||
|
contact you directly. For example, the publications you have targeted may
|
|||
|
occasionally feature an editorial focus on Linux. Check the editorial
|
|||
|
calendars of these publications on a regular basis. Periodicals plan their
|
|||
|
issues two to three months in advance of the publication date, so you need to
|
|||
|
be proactive in pitching (telling) your organization's story ahead of time.
|
|||
|
Editorial calendars are often made available on the publication's website.
|
|||
|
They are also usually available free of charge from the publication's
|
|||
|
advertising department. If all else fails, contacting the publication's
|
|||
|
editorial assistant and making a polite request should yield positive
|
|||
|
results.
|
|||
|
|
|||
|
Another important way to use the phone is to find out who you should be
|
|||
|
contacting at a specific publication. The receptionist is usually cooperative
|
|||
|
and very knowledgeable about this. You may end up talking to a lot of
|
|||
|
different people before you get the answers you need, but public relations is
|
|||
|
far more effective when you deliver your news to the right people.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
3.4. Making the Pitch
|
|||
|
|
|||
|
"The Pitch" (that is, "selling" your story) has changed over the years.
|
|||
|
Pitching is often not done just by regular mail, telephone, or even fax
|
|||
|
anymore. These days, most contacts are made through email.
|
|||
|
|
|||
|
Before sending anything, you should try to find out how a particular editor
|
|||
|
or journalist likes to receive pitches and in what format the pitch should be
|
|||
|
presented. In-depth database research on numerous publications and reporters
|
|||
|
is available from companies like LexisNexis and Dow Jones and can be a real
|
|||
|
asset to public relations professionals looking for contact preferences.
|
|||
|
|
|||
|
Every editor or journalist has their own preferences for receiving news
|
|||
|
releases and pitches. Knowing whether to call, fax, or email makes a world of
|
|||
|
difference??and may even be the difference between getting your news read and
|
|||
|
covered, and not. While sending the same email to 20 editors is quick, easy,
|
|||
|
and painless, your pitch may not get the attention your organization
|
|||
|
deserves.
|
|||
|
|
|||
|
Though e-mail has simplified and certainly quickened the transfer of
|
|||
|
information between public relations professionals and their media contacts,
|
|||
|
email has some drawbacks. Email is not as personal as a phone call, as quick
|
|||
|
as glancing over a fax, or as formal as a letter sent by post. The ease and
|
|||
|
ubiquity of email can sometimes make building a working relationship with
|
|||
|
certain editors or journalists more difficult.
|
|||
|
|
|||
|
For example, a particular Bloomberg reporter (who shall remain anonymous)
|
|||
|
does not like receiving pitches by email. In her words: "Email tells a
|
|||
|
one-sided story in its pitch. It makes it impossible to ask questions
|
|||
|
regarding some uncertain aspects." Because of this, this reporter prefers to
|
|||
|
be contacted by phone. She will only read and accept email if the email
|
|||
|
relates to her beat and covers all the points she wants covered.
|
|||
|
|
|||
|
David Andelman of the New York Daily News prefers receiving pitches and news
|
|||
|
releases by fax, which he can read instantly without having to print them
|
|||
|
out. "I am [always] getting an abundance of press news," he says. "But at
|
|||
|
least with faxes, I can filter through them easier and quicker than I can
|
|||
|
with emails, deciding what is trash and what I can use. Don't waste my time.
|
|||
|
We are a daily paper."
|
|||
|
|
|||
|
Samuel Brittan, an economic commentator with the Financial Times in London,
|
|||
|
likes old-fashioned snail mail. "There are problems which occur with email,
|
|||
|
be it privacy issues, bounce-backs, or just an over-abundance," he says. "I
|
|||
|
simply prefer to be mailed directly through the postal service."
|
|||
|
|
|||
|
Carrie Donovan, an editorial assistant for The Washington Post, states:
|
|||
|
"Initially, I prefer postal mail pitches, since I receive artwork and photos
|
|||
|
for stories. Images sent via email tends to be problematic, either too small
|
|||
|
for us to run or it may look bit-mapped (jagged-looking)." She also observes
|
|||
|
that emailed releases are more likely to have missing information, something
|
|||
|
as seemingly obvious as an address to an event. Like most media
|
|||
|
professionals, Ms. Donovan wants all the facts delivered coherently and
|
|||
|
comprehensively. Failure of a public relations representative to do this is
|
|||
|
enough to turn her off completely.
|
|||
|
|
|||
|
Whatever method you use to correspond with an editor or reporter, always
|
|||
|
remember that media people are extremely busy. After all, they live and die
|
|||
|
by deadlines. Although you may want to know if your contact has received your
|
|||
|
pitch or news release, phoning them is generally not recommended. Most
|
|||
|
editors don't have the time to answer follow-up calls or engage in lengthy
|
|||
|
conversation. This again underscores the importance of giving them all the
|
|||
|
information in one "neat and clean" delivery. As Mr. Andelman bluntly states,
|
|||
|
"We aren't idiots. If you faxed it to us and you didn't get an error message
|
|||
|
back, you know we received it just fine. And if we decide to use it, chances
|
|||
|
are we will contact you for more information."
|
|||
|
|
|||
|
First impressions count. The best advice we can give when you are dealing
|
|||
|
with a news editor for the first time is to tailor the pitch specifically to
|
|||
|
that editor's beat. Then sit back and hope for the best. Although this
|
|||
|
approach sounds unpredictable, this is the nature of public relations.
|
|||
|
|
|||
|
By corresponding with editors in the way they prefer (which may not be the
|
|||
|
easiest or most convenient way for you), you will set a good impression for
|
|||
|
your organization. With persistence and good manners, you may eventually
|
|||
|
become an authority to whom journalists and editors willingly turn for
|
|||
|
commentary.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
3.4.1. Getting the Editor's Attention
|
|||
|
|
|||
|
Editors pride themselves on keeping current with the latest developments in
|
|||
|
their field. Indeed, being current is a central aspect of their jobs and
|
|||
|
practically inescapable, considering the mountains of information delivered
|
|||
|
to their desktops. Since they take this responsibility very seriously, most
|
|||
|
editors read??or at least scan??every single release that comes in.
|
|||
|
|
|||
|
The big read usually begins as an accompaniment to the morning cup of coffee.
|
|||
|
Editors will read the release's headline, perhaps scan a paragraph or two,
|
|||
|
and decide whether the piece works for their publications. Since so much
|
|||
|
depends on passing this preliminary test, we will discuss in Chapter 4 how to
|
|||
|
give your release the best chance of being "picked up."
|
|||
|
|
|||
|
Not every news release will contain earth-shattering news. In fact, many will
|
|||
|
be written mainly to keep the organization's name in front of the editors.
|
|||
|
Nonetheless there will be times when an item will be particularly newsworthy,
|
|||
|
timely, or significant to at least one editor. That is the time to pick up
|
|||
|
the phone and bring the item to their attention. Editors are sensitive to
|
|||
|
significant announcements and do not want to miss them any more than you want
|
|||
|
them missed, so calling is appropriate on these occasions. However, there are
|
|||
|
a few caveats.
|
|||
|
|
|||
|
First, remember never to call during the editor's "deadline time" of the day,
|
|||
|
week, or month. Note these periods in your contact database. Secondly, use
|
|||
|
the phone strategically. Do not phone too often or for trivial news??that is
|
|||
|
equivalent to "crying wolf." If you will be making several important
|
|||
|
announcements within a short period, let the editor know you will be doing
|
|||
|
this instead of calling separately about each item. Only pick up the phone
|
|||
|
when all of your ducks are in a row; that is, when the information is ready
|
|||
|
to be released, and you are prepped and primed to answer questions. Finally,
|
|||
|
remember that any phone call should be brief and to the point, with
|
|||
|
additional information sent by email (or whatever format the editor has
|
|||
|
stipulated).
|
|||
|
|
|||
|
Using the telephone intelligently and to maximum effect will demonstrate your
|
|||
|
public relations savvy and professionalism. This, in turn, will increase your
|
|||
|
organization's credibility, increasing the likelihood that your news will be
|
|||
|
picked up.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
3.5. Pitching for Different Media
|
|||
|
|
|||
|
The news release, the most common way in which you will communicate news,
|
|||
|
mostly serves print-based media such as newspapers, magazines, and the
|
|||
|
Internet. Pitching stories for television and radio will be somewhat
|
|||
|
different.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
3.5.1. Print-based Media
|
|||
|
|
|||
|
Every publication has a lead time for accepting releases and pitches.
|
|||
|
Generally, daily and weekly newspapers have quite short lead times, while
|
|||
|
monthly or quarterly magazines may have a lead time of several months. Each
|
|||
|
publication will also have requirements regarding text and graphic formats.
|
|||
|
For instance, they may accept only plain-text documents with no formatting or
|
|||
|
require graphical files (such as photos) to be submitted in a particular file
|
|||
|
type and resolution.
|
|||
|
|
|||
|
Although you do not need to become an expert in desktop publishing and print
|
|||
|
production, having a general knowledge of these areas will be extremely
|
|||
|
beneficial. Familiarize yourself with commonly used text formats (such as
|
|||
|
Microsoft Word for print and HTML for the Internet) and graphical formats
|
|||
|
(such as eps, jpeg, and gif). For important communications, you may wish to
|
|||
|
engage the services of a copy editor, graphic designer, or other publishing
|
|||
|
professional.
|
|||
|
|
|||
|
The Internet today works similarly to the print media. Speed is paramount for
|
|||
|
this medium. News can be posted immediately, without waiting for the printing
|
|||
|
presses to roll. Space limitations are not as much of a concern as they are
|
|||
|
for print, and the online edition will often publish stories that do not fit
|
|||
|
in the printed edition.
|
|||
|
|
|||
|
Naturally, online editors prefer to receive your news electronically.
|
|||
|
Targeting the right online editors can result in almost immediate posting of
|
|||
|
your news. Be sure to build relationships with online editors as you would
|
|||
|
for print editors. The online world is a growing segment that you simply
|
|||
|
cannot afford to ignore.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
3.5.2. Television and Radio
|
|||
|
|
|||
|
Studies show that television has replaced newspapers as the primary medium
|
|||
|
from which people get their news. These studies also found that TV news had a
|
|||
|
much higher credibility rating than newspaper coverage. Thus, specialty TV
|
|||
|
programs may offer an excellent opportunity for communicating your story.
|
|||
|
Such shows may include: local TV news shows, programs produced by community
|
|||
|
TV stations, business or information technology shows, and educational shows.
|
|||
|
|
|||
|
Because television emphasizes visuals, you should look for stories and angles
|
|||
|
that permit interesting or engaging video footage. (There is nothing duller
|
|||
|
than â$=talking heads.â$) TV news producers and editors like action,
|
|||
|
especially fast-paced action. They also favor stories with a local twist. Try
|
|||
|
and localize your story, which means making the news relevant and appealing
|
|||
|
geographically to the television station concerned.
|
|||
|
|
|||
|
Radio interviews are another excellent vehicle for publicizing your
|
|||
|
organization and activities. Contact your local radio station and pitch
|
|||
|
yourself as an interview candidate to the news director or assignment editor.
|
|||
|
Know that you must have a compelling and convincing answer to the question,
|
|||
|
"Why should our listeners be interested?"
|
|||
|
|
|||
|
In Chapter 4, we further explore the characteristics of different media, so
|
|||
|
that you can customize your pitches to each one.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
Chapter 4. Working with the Media
|
|||
|
|
|||
|
In this part, we look at how to motivate the news media to use your stories.
|
|||
|
We will review the duties of editors and producers, the characteristics of
|
|||
|
different news media, and the ways in which your organization can increase
|
|||
|
the chances of gaining visibility. We will see how to create news media
|
|||
|
interest in your story, not only through the information contained in your
|
|||
|
release, but also through contact with the editors. We will try to create a
|
|||
|
better understanding of the editors' side of the public relations channel
|
|||
|
with some insight into the little things??and the big things??that editors
|
|||
|
look for.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.1. Duties of an Editor
|
|||
|
|
|||
|
The eventual success of your organization's public and media relations
|
|||
|
efforts depends mainly on how often your news releases are issued and, more
|
|||
|
importantly, how often the news they contain is selected to run. The latter
|
|||
|
decision is in the hands of a person whose title is usually editor.
|
|||
|
Understanding an editor's job will help you do your job better.
|
|||
|
|
|||
|
Can you name the editor of your local computer magazine or local newspaper?
|
|||
|
The editor is a very important ally in public relations. The editor (whose
|
|||
|
title might also be managing editor or editor in chief) has overall
|
|||
|
responsibility for the publication's content. Below him or her, depending on
|
|||
|
the periodical's size, are subject editors who are assigned to specific beats
|
|||
|
(often called "departments"). These editors oversee the content for their
|
|||
|
departments. Sometimes each editor has additional staff, such as reporters,
|
|||
|
freelancer writers, photographers, copy writers, copy editors, etc.
|
|||
|
|
|||
|
The information contained in news releases is the primary source of
|
|||
|
information for most editors. Newsworthy releases are selected and edited or
|
|||
|
worked into an article. The selected releases are the lucky ones; most never
|
|||
|
see the light of day. When you consider that the editor at a daily
|
|||
|
publication receives upwards of 500 news releases on any given day, gauging
|
|||
|
the statistical possibility of an individual release being picked up for
|
|||
|
coverage is easy.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.1.1. Newspaper Editors
|
|||
|
|
|||
|
Newspapers don't mean just the regular daily newspapers targeted at the
|
|||
|
general public. There are special-interest newspapers for business,
|
|||
|
computers, information technology, telecommunications, and other fields. The
|
|||
|
specialty papers may run weekly instead of daily, but, like their daily
|
|||
|
counterparts, they are primarily news-driven rather than feature-driven
|
|||
|
(which is more the case with magazines).
|
|||
|
|
|||
|
Newspaper editors reject many more releases than they use. The larger the
|
|||
|
paper's circulation or the more active the area being covered, the more
|
|||
|
releases the editor has to sort through.
|
|||
|
|
|||
|
Most newspapers have a space budget, which is not to be confused with a
|
|||
|
financial budget. The space budget consists of the total number of pages
|
|||
|
printed, divided between advertising and news articles. Advertisements are
|
|||
|
the lifeblood of a newspaper; ads consistently provide the largest portion of
|
|||
|
income. The ads must be accommodated first, after which the issue's remaining
|
|||
|
space is allocated to specific stories and departments by the key editors.
|
|||
|
|
|||
|
The selection of news releases to cover is based on the editor's personal and
|
|||
|
professional judgment. The main factor in that judgment can be summed up in a
|
|||
|
single word: "newsworthiness". Unfortunately, newsworthiness is defined by
|
|||
|
individual editor's opinions. Newsworthy stories are generally those that
|
|||
|
offer the most information with the most urgency to the most people.
|
|||
|
|
|||
|
If a news release issued on particular day is not covered in the following
|
|||
|
day's paper, this does not mean the news will not appear at all. Releases not
|
|||
|
considered newsworthy enough to appear in a weekday edition may be suitable
|
|||
|
for the weekend paper, where there is more room and less emphasis on breaking
|
|||
|
news. Even if a news item is selected for use, the article may still get
|
|||
|
pulled at the last minute. Perhaps an advertiser cancelled a large insert
|
|||
|
just prior to deadline, necessitating a layout change, or a big story emerged
|
|||
|
late in the day. When this happens, more expendable news is sacrificed.
|
|||
|
|
|||
|
What happens to releases that aren't selected for immediate coverage? Some
|
|||
|
are kept for future use, but more likely they are sent into the editor's
|
|||
|
trash can.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.1.2. Magazine Editors
|
|||
|
|
|||
|
Magazines operate very much like newspapers, with departments, editors, space
|
|||
|
budgets, and advertising, but magazines differ in a few important ways.
|
|||
|
|
|||
|
The potential lifespan of a news release is much longer for a magazine. A
|
|||
|
monthly publication might not use your news for several months. Depending on
|
|||
|
the printing and preparation schedule, your release could appear as soon as a
|
|||
|
week or two after you send the release or as late as six-months later. The
|
|||
|
nice thing is that whenever your news appears, the information remains in
|
|||
|
front of the reader for a full month instead of just one day.
|
|||
|
|
|||
|
The editorial focus and format of a magazine are usually more specialized
|
|||
|
than those of newspapers. "Focus" refers to the subjects a magazine covers;
|
|||
|
for instance, Linux Journal focuses on Linux in general while ComputerWorld
|
|||
|
might focus on Linux in the enterprise. "Format" refers to the way in which a
|
|||
|
magazine's news and information is presented, usually as a particular mix of
|
|||
|
regular columns, articles, features (main stories), shorter pieces, and
|
|||
|
editorials (opinion pieces). Magazine stories don't have to be as "newsy" as
|
|||
|
newspaper stories. To a greater degree, a magazine researches and creates
|
|||
|
news rather than relying on current events.
|
|||
|
|
|||
|
General-interest magazines try to appeal to a large segment of the
|
|||
|
population. (Examples are Macleans, Readers' Digest, and People.)
|
|||
|
Special-interest magazines target a limited, well-defined community of
|
|||
|
readers who share a particular interest along with associated activities and
|
|||
|
concerns. Special-interest magazines are good targets for the Linux
|
|||
|
community, especially those focusing on Linux, operating systems, storage,
|
|||
|
security, computers, and information technology.
|
|||
|
|
|||
|
Whether special interest or general interest, the closer your news release
|
|||
|
relates to the audience of a publication and the greater the impact on that
|
|||
|
audience, the more likely an editor will choose your news to publish. The key
|
|||
|
factors are editorial relevance and appeal to the publication's target
|
|||
|
audience.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.2. Targeting Other Medias
|
|||
|
|
|||
|
In television and radio news shows, news editors, some reporters, and even
|
|||
|
anchors have input on the news to be aired. In other types of shows, often
|
|||
|
the producer decides which stories to cover in future broadcasts. Segment
|
|||
|
producers will produce the individual stories for a broadcast, while
|
|||
|
assistant producers may perform specialized functions, such as finding
|
|||
|
interview subjects.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.2.1. Television
|
|||
|
|
|||
|
The same considerations of "newsworthiness" discussed for newspapers apply to
|
|||
|
television broadcast news, with the added element of visuals. There are
|
|||
|
several types of TV programming you will want to consider. These include
|
|||
|
educational and informational programs, local and community news programs,
|
|||
|
and perhaps a business program. Understand the types of shows being produced
|
|||
|
and aired in your regional area, and then pitch your story for an in-studio
|
|||
|
interview or a feature.
|
|||
|
|
|||
|
Ensuring that you are pitching the right story to the right TV program
|
|||
|
staffer will be discussed later in this guide.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.2.2. Radio
|
|||
|
|
|||
|
Radio time for news stories is very limited. Usually there is only enough
|
|||
|
time for headlines and summaries of the day's top stories, but radio still
|
|||
|
has great opportunities for your organization.
|
|||
|
|
|||
|
Some radio stations offer expanded news coverage and features (this is
|
|||
|
sometimes called "foreground programming"). Most Linux news has a better
|
|||
|
chance of getting coverage or an interview in news programming than in
|
|||
|
regular programming. The best chance of all lies in targeting an all-news
|
|||
|
station. Approximately 45 minutes of each hour are devoted to news, sports,
|
|||
|
weather, special reports, and features. (The remaining 15 minutes are for
|
|||
|
commercials.) All-news radio stations operate more like a magazine or
|
|||
|
newspaper, with specific departments and editors, more producers, more
|
|||
|
reporters, and therefore, more available resources. Stories that interest a
|
|||
|
significant portion of their listening community or that appeal to
|
|||
|
deep-pocketed sponsors will be given the most attention. You could pitch a
|
|||
|
"Linux for business" type of story. Even if your underlying goal is to
|
|||
|
promote your organization, the story or interview must avoid advertising or
|
|||
|
commercial overtones of any kind. Nothing kills the news media's credibility
|
|||
|
faster or turns off listeners more than inappropriate jingoism.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.2.3. Talk Shows
|
|||
|
|
|||
|
Talk shows, whether on television or radio, are excellent vehicles for
|
|||
|
covering a wide variety of topics. Talk shows often invite industry experts
|
|||
|
to be commentators or participants in a panel discussion. In addition, these
|
|||
|
shows often have phone-in segments, inviting listeners to ask questions or
|
|||
|
make comments. These characteristics make the talk show an ideal forum for
|
|||
|
raising your organization's visibility.
|
|||
|
|
|||
|
For these programs, there is usually an assistant producer responsible for
|
|||
|
lining up interesting guests, as well as a producer who coordinates the
|
|||
|
overall process. Both email and telephone contact with the assistant producer
|
|||
|
can prove rewarding. The host, interviewer, or moderator of the show does not
|
|||
|
usually choose the guests or have final say in who appears. Unless instructed
|
|||
|
otherwise, contacting the assistant producer or producer is best.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.3. "Selling" Your Story to the Media
|
|||
|
|
|||
|
Clearly, editors and producers have to know the interests of their audiences.
|
|||
|
Often this knowledge comes from the editors' strong identification with their
|
|||
|
readers, which can develop into an almost paternal attitude. Editors are
|
|||
|
constantly making decisions about what their readers will and won't see??any
|
|||
|
editor would correctly say that is their job. Part of this judgment is based
|
|||
|
on what the editor feels the readers are currently interested in, and part is
|
|||
|
based on what the editor feels the readers should or will be interested in.
|
|||
|
An astute editor keeps their sights as much on the future as on the present.
|
|||
|
|
|||
|
Keep in mind that the role of the news media has never been confined to just
|
|||
|
reporting the news, but also includes analysis and interpretation. Analysis
|
|||
|
and interpretation are considered the domain of "experts," which presents a
|
|||
|
perfect opportunity for specialists in your organization to share their
|
|||
|
knowledge and bring visibility to your organization.
|
|||
|
|
|||
|
Editors, being journalists, abide by the five Ws tradition of reporting: who,
|
|||
|
what, where, when, and why (with an unofficial "how"tagging along). Always
|
|||
|
include clear, engaging answers to the five Ws in all news releases. Also,
|
|||
|
you can use the five Ws as a guideline for how to most effectively catch the
|
|||
|
attention of editors.
|
|||
|
|
|||
|
The way in which you present this information is crucial to being accepted by
|
|||
|
an editor as newsworthy for their audience. You have to "tell a story," make
|
|||
|
the news interesting and relevant, and choose an appropriate time and place
|
|||
|
to present the story.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.3.1. Who
|
|||
|
|
|||
|
"Who" usually consists of your organization, spokespersons, and authorities
|
|||
|
quoted in your news releases. Your organization and those speaking as
|
|||
|
representatives must be presented as professional, authoritative,
|
|||
|
influential, and with strong credentials for speaking on matters related to
|
|||
|
your industry. By positioning your organization in this way, you have a much
|
|||
|
better chance of generating visibility and prestige.
|
|||
|
|
|||
|
The goal is to make your organization a recognized authority in your field.
|
|||
|
With this distinction, any time you issue a statement, your news will draw
|
|||
|
the attention of editors whose readers are interested in the specific work
|
|||
|
you do. All things being equal, the more influential your spokesperson, the
|
|||
|
better the chance your news has of being selected.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.3.2. What
|
|||
|
|
|||
|
The "what" is the subject of your release??a new application, a new
|
|||
|
appointment, or any interesting event you choose to announce. Naturally,
|
|||
|
unusual or exciting announcements have a better chance of being covered.
|
|||
|
Anything you can do to make your story stand out from the ordinary will be
|
|||
|
viewed as a refreshing change and will increase the chance of your story
|
|||
|
being published.
|
|||
|
|
|||
|
If the "what" in your story is a personnel appointment (either paid or
|
|||
|
volunteer), look for some human interest in either the person or the job at
|
|||
|
hand. If this person is a well-known Linux expert or a pillar of their local
|
|||
|
community, all the better. The more noteworthy the individual, the more
|
|||
|
newsworthy the story.
|
|||
|
|
|||
|
If the "what" is an event such as a Linux trade show, that is a plus. Editors
|
|||
|
regard events as more urgent and newsworthy than other announcements.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.3.3. Where
|
|||
|
|
|||
|
The "where" of your release plays a key role. As you begin to understand
|
|||
|
public relations, you will appreciate the role of staging events to generate
|
|||
|
news. Since the media appreciates visuals, try to produce events with images
|
|||
|
as well as a pertinent story.
|
|||
|
|
|||
|
In planning a pitch or a release, ensure that you clearly indicate the
|
|||
|
address of every event you hope to have reporters attend. Reporters' time is
|
|||
|
wasted if they have to call for directions to every event. A special media
|
|||
|
contact person is a good idea to have at all events. This person can prevent
|
|||
|
reporters from missing important or visual parts of events. Be aware of
|
|||
|
upcoming events or activities that you might be able to capitalize on or
|
|||
|
borrow interest from. Again, the goal is promote the unusual, the unique, the
|
|||
|
unexpected that will pique the editor's curiosity or sense of humor??and get
|
|||
|
your story into print.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.3.4. When
|
|||
|
|
|||
|
Remember that for most organizations, "when" can be just about any time.
|
|||
|
There is no need to wait for once-a-year events (like trade shows) to provide
|
|||
|
news. With creative thinking, you can come up with news stories that
|
|||
|
capitalize on current events. For example, news about the economy and what
|
|||
|
proprietary operating systems cost organizations to run can provide a
|
|||
|
background for Linux news. New computer applications running on Linux also
|
|||
|
present rich opportunities.
|
|||
|
|
|||
|
"When" is extremely important in terms of releasing the news. For instance,
|
|||
|
if you are publicizing special events or trade show appearances, you want to
|
|||
|
allow ample time for an editor to assign a reporter to cover the story (if
|
|||
|
the news is deemed of interest). If the editor doesn't have enough time to
|
|||
|
assign a reporter to cover your event, you can count on no reporters being
|
|||
|
available.
|
|||
|
|
|||
|
Fortunately, though, while timing is critically important, avoiding bad
|
|||
|
timing is easy. The first rule is always to provide a reasonable amount of
|
|||
|
advance notice. For news-breaking media such as radio, television, and some
|
|||
|
newspapers, two days is an absolute minimum, and a week is more prudent. For
|
|||
|
magazines and trade journals, one to two weeks is the minimum in most cases,
|
|||
|
and three to four weeks is even better.
|
|||
|
|
|||
|
The second rule is to use your common sense and avoid scheduling pitches when
|
|||
|
you know the editor is on deadline or is involved with other events. Also
|
|||
|
avoid periods when the editor is working with little or no support staff
|
|||
|
(such as when reporters are away at an important trade show). Generally,
|
|||
|
business hours between 9:30 a.m. and 2:00 p.m. is best, since this gives
|
|||
|
reporters time to write and file their stories. Mondays and Fridays are
|
|||
|
always more difficult than midweek, but don't be afraid to ask if the editor
|
|||
|
prefers specific days.
|
|||
|
|
|||
|
If you are requesting reporters attend and cover an event, never ask the
|
|||
|
editor to confirm their attendance. The editor will not appreciate the
|
|||
|
pressure, and besides they cannot guarantee they will have the resources
|
|||
|
(reporters and camera operators) at the appointed time. News changes by the
|
|||
|
second. A reporter may be ready to go to your event and, at the last minute,
|
|||
|
be reassigned to something else. This happens all the time, so don't take the
|
|||
|
rejection personally.
|
|||
|
|
|||
|
If you show respect for the editor's time, they will appreciate your
|
|||
|
consideration and may be more likely to cover at least some of your stories.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.3.5. Why
|
|||
|
|
|||
|
So far, we have discussed who the news media is interested in, what news is
|
|||
|
most likely to be covered, and where and when you are going to make your
|
|||
|
pitch. Now, in looking at the "why" of your organization's story, we will
|
|||
|
address two questions. First, why did your news item come to pass, and
|
|||
|
second, why should an editor (and their readers, listeners, or viewers) find
|
|||
|
your event newsworthy?
|
|||
|
|
|||
|
Unless there is something terribly interesting about the who, what, where, or
|
|||
|
when, "why" is the single most compelling factor available to an editor in
|
|||
|
determining newsworthiness. Why is the news important to the audience? Why do
|
|||
|
they need to know about this? Why is your particular event unusual or out of
|
|||
|
the ordinary?
|
|||
|
|
|||
|
Most organization's activities can be analyzed in terms of their cause and/or
|
|||
|
their effect. The more you can identify causes or effects in your story, the
|
|||
|
better chance your organization has of receiving coverage. As an example, if
|
|||
|
there is a trend of Linux being increasingly used in the enterprise, there
|
|||
|
must be a reason why. Giving the editor just a few of these reasons can make
|
|||
|
your story more newsworthy than just a simple, bland announcement. Even
|
|||
|
including some statistics to support your why will likely have a tremendous
|
|||
|
effect.
|
|||
|
|
|||
|
The same principle holds true for something as seemingly mundane as a new
|
|||
|
personnel selection. Why was there a vacancy? Why was this person selected to
|
|||
|
fill the spot? Adding either or both pieces of information to the release
|
|||
|
greatly increases the news interest.
|
|||
|
|
|||
|
One of the cardinal rules of media and public relations is: "Never promote
|
|||
|
features, always promote benefits." A feature is any specific aspect that
|
|||
|
makes a product or service unique; features belong to products or services. A
|
|||
|
benefit is an advantage gained by the user in selecting a specific product or
|
|||
|
service; benefits belong to users. What a product or service does is nowhere
|
|||
|
near as meaningful as why there is some advantage or benefit to the user.
|
|||
|
|
|||
|
You don't need to completely ignore describing features, but you do need to
|
|||
|
present them in the context of their benefits to the end user. The reason for
|
|||
|
doing this is simple. Readers are potential users, and the better job you do
|
|||
|
of relating to the user, the more you will attract readers. Readers, as we
|
|||
|
already know, are the editor's Holy Grail.
|
|||
|
|
|||
|
If your release is about an event, there are numerous "whys" you need to
|
|||
|
address. Why now? Why is your organization involved or being a sponsor? Why
|
|||
|
would anyone want to come to the event?
|
|||
|
|
|||
|
Be proactive and open in sharing the causes and anticipated effects of these
|
|||
|
accomplishments. Don't leave the editor wondering: "So what?" Failing to
|
|||
|
provide answers to why your activity is news is a sure-fire way of getting
|
|||
|
your release "filed" in the recycle bin.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.3.6. How
|
|||
|
|
|||
|
Cause and effect, and explaining why your news is happening, will very
|
|||
|
naturally lead to the "how" of your story. How did this come to pass? How are
|
|||
|
you accomplishing this? How did your organization decide to embark on this
|
|||
|
new and exciting initiative? How will this change affect people and the
|
|||
|
marketplace? Describing the hows gives color and interest to your story.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.4. Do's and Don'ts When Dealing with the News Media
|
|||
|
|
|||
|
When pitching your organization's story to news editors, there are
|
|||
|
fundamental do's and don'ts that you as a public relations professional
|
|||
|
should follow.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.4.1. Do's
|
|||
|
|
|||
|
Do introduce yourself to different media editors, journalists, and
|
|||
|
freelancers by sending them an email note or by inviting them out for coffee
|
|||
|
or lunch. Bring along some background information or a few pages from your
|
|||
|
website to explain what your organization is all about.
|
|||
|
|
|||
|
Do follow up after the meeting with thank-you note, mentioning that you will
|
|||
|
be in touch as appropriate. This is important to set the stage for future
|
|||
|
dialogue.
|
|||
|
|
|||
|
Do let them know what your goals are and what special events, news, or
|
|||
|
programs you have coming up.
|
|||
|
|
|||
|
Do send out news releases by email about two weeks in advance, when you have
|
|||
|
a special event planned. Send a follow-up email a few days later. Phone again
|
|||
|
at a convenient time before the event to suggest a possible meeting or
|
|||
|
interview at the event. The bigger the event, the more advance notice should
|
|||
|
be given.
|
|||
|
|
|||
|
Do tailor your pitch for the needs of each medium. For example, set up plenty
|
|||
|
of photo opportunities for television media, human-interest stories for
|
|||
|
print, and interviews for radio.
|
|||
|
|
|||
|
Do give them the name of someone who has a personal experience to tell.
|
|||
|
Remember that the media loves a good story. Real life stories engage readers
|
|||
|
and makes for better copy than just statistics relating to Linux and open
|
|||
|
source.
|
|||
|
|
|||
|
Do ensure that you or your designated spokesperson is available for
|
|||
|
interviews at a moment's notice; otherwise much of your efforts will be in
|
|||
|
vain. Both of you, of course, should do your homework and rehearse questions
|
|||
|
and answers in advance. You should have facts, statistics, and anecdotes in
|
|||
|
your head, ready to use.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.4.2. Don'ts
|
|||
|
|
|||
|
Don't send out a pitch or news release with vague, general statements. Your
|
|||
|
story has to show not tell, and you must convince the editor to cover the
|
|||
|
news that promotes your organization rather someone else's. Getting editorial
|
|||
|
coverage is fiercely competitive.
|
|||
|
|
|||
|
Don't ever tell the media what you want from them. Instead, ask them about
|
|||
|
the kinds of stories they're looking for, or if there are any other reporters
|
|||
|
in their newsroom who would be interested in Linux and open source. By
|
|||
|
learning what they want, you can tailor your communications to get what you
|
|||
|
want.
|
|||
|
|
|||
|
Don't underestimate the importance of less prominent media like community
|
|||
|
newspapers, cable TV, trade journals, and special-interest newsletters. Look
|
|||
|
at the entire spectrum of news media for different angles.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
4.5. Monitoring Media Coverage
|
|||
|
|
|||
|
It is essential to keep abreast of the news being printed or broadcast about
|
|||
|
your organization, your competition, and the industry as a whole. A
|
|||
|
comprehensive public and media relations program must track public perception
|
|||
|
of Linux, stay informed of industry trends, and understand the impact of
|
|||
|
evolving legislation on your community.
|
|||
|
|
|||
|
If you have time to spare, you can monitor news coverage yourself by typing
|
|||
|
key words (such as the name of your organization) into popular web search
|
|||
|
engines such as Google and AltaVista. However, this will track only online
|
|||
|
citations. A more reliable tracking method is to use a media monitor service
|
|||
|
or a clipping service. The website [http://dmoz.org/News/Services/
|
|||
|
Media_Monitoring/] http://dmoz.org/News/Services/Media_Monitoring/ provides
|
|||
|
a long list of media monitoring services, some of which are provided in the
|
|||
|
Appendix.
|
|||
|
|
|||
|
In Chapter 5 we will examine the parts of a news release and discuss what can
|
|||
|
make your releases stand out from the crowd.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
Chapter 5. News Releases??the Major Communications Tool
|
|||
|
|
|||
|
5.1. Writing News Releases
|
|||
|
|
|||
|
Who, what, where, when, why, and how??these are the six critical ingredients
|
|||
|
of all news releases. But don't forget, a little spice can make your news
|
|||
|
release stand out from the crowd. In this part, you will learn how to write a
|
|||
|
professional-looking news release, the most important tool in any public
|
|||
|
relations program.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
5.1.1. The Headline
|
|||
|
|
|||
|
The headline is the first thing??and sometimes the only thing??an editor will
|
|||
|
read. Releases are often rejected as a result of a weak headline.
|
|||
|
|
|||
|
Create headlines with impact. The most effective words in a news release
|
|||
|
headline are eye-catching words like "announces" and "new." Comparative words
|
|||
|
like "better" or "more" can also draw attention to your article. The headline
|
|||
|
is the "hook" that lures editors and reporters into reading more. Headlines
|
|||
|
must be compelling.
|
|||
|
|
|||
|
Many public relations novices make the mistake of embellishing their
|
|||
|
headlines. Your organization has to earn the respect of editors. Nobody owes
|
|||
|
you a reading. Too much information, or confusing information, is a turnoff.
|
|||
|
Most importantly, you should never sacrifice accuracy for the sake of a
|
|||
|
flashy headline.
|
|||
|
|
|||
|
Here are some guidelines for writing headlines:
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Determine the most significant benefit your most important reader will
|
|||
|
derive from the news.
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Try and state those benefits in seven words or less.
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Ask yourself if your statement is meaningful to someone not closely
|
|||
|
involved with your business.
|
|||
|
|
|||
|
|
|||
|
When actually writing the headline, try to achieve the greatest impact using
|
|||
|
the fewest words. Your headline doesn't need to be quite as dramatic as a
|
|||
|
newspaper headline. Editors are looking for information in the headline, so
|
|||
|
try to at least include who, what, and why. Whatever the headline, you must
|
|||
|
accurately reflect the content that follows.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
5.1.2. The First Paragraph
|
|||
|
|
|||
|
Many news releases are accepted or rejected on the basis of the headline and
|
|||
|
first paragraph or two. These introductory paragraphs are often all an editor
|
|||
|
will have time to read. Many releases are rejected due a simple downfall:
|
|||
|
failure to include any news in the first paragraph.
|
|||
|
|
|||
|
An important news-writing concept is collapsible copy. Collapsible copy reads
|
|||
|
well from the beginning to the end of any given paragraph. The information is
|
|||
|
"chunked" to stand on its own, if need be. Each sentence could be pulled from
|
|||
|
the news release and used as a quotation. This type of copy should be used as
|
|||
|
extensively as possible in all paragraphs.
|
|||
|
|
|||
|
Editors expect to see the five Ws covered in the first few sentences. Here's
|
|||
|
an example:
|
|||
|
|
|||
|
|
|||
|
NEW YORK ?? January 22, 2003 ??The Linux Professional Institute (LPI)
|
|||
|
([http://www.lpi.org/] www.lpi.org), the premier professional
|
|||
|
certification program for the Linux community, and UnitedLinux LLC
|
|||
|
([http://www.unitedlinux.com/] www.unitedlinux.com ), an industry
|
|||
|
initiative to streamline Linux development and certification around a
|
|||
|
global, uniform distribution, have signed a cooperative agreement to
|
|||
|
market a UnitedLinux professional certification program.
|
|||
|
|
|||
|
Under the memorandum of understanding, LPI and UnitedLinux will work
|
|||
|
jointly to create new UnitedLinux specific exams which, when passed
|
|||
|
together with the current LPI Levels 1 and 2 exams, will lead to two new
|
|||
|
UnitedLinux certifications. The new exams are expected to be available
|
|||
|
during the first quarter of 2003.
|
|||
|
|
|||
|
Let's look more closely at this example. The where and when of this and most
|
|||
|
releases are specified in the slug ("New York ?? January 22, 2003"). The who
|
|||
|
is LPI and UnitedLinux. The what is signing a cooperative agreement. The why
|
|||
|
is marketing a UnitedLinux professional certification program. And the how is
|
|||
|
LPI and UnitedLinux working jointly to create new UnitedLinux-specific exams.
|
|||
|
|
|||
|
These two paragraphs alone communicate the essential points of this
|
|||
|
announcement,. In print, there may not be enough space for more than this.
|
|||
|
Some special-interest journals devote a column or a page to announcements,
|
|||
|
which are printed verbatim from the news release. Unless the announcement is
|
|||
|
deemed more newsworthy, this may be all the coverage you get.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
5.1.3. The Middle Paragraphs
|
|||
|
|
|||
|
Limited space in publications and time in broadcasting means the first
|
|||
|
paragraph may get covered. Paragraphs should always be ordered by importance
|
|||
|
for two important reasons.
|
|||
|
|
|||
|
First, editors read through releases quickly and often will not finish entire
|
|||
|
releases. You must consider what things are most important, and place them
|
|||
|
next in the release. Often, a statement from your spokesperson explaining the
|
|||
|
expected impacts on the marketplace or something related can be catchy enough
|
|||
|
to be quoted. Follow this with the next most important thing, and so on to
|
|||
|
the end of the release.
|
|||
|
|
|||
|
Second, sequence frequently indicates importance (unless the story is an
|
|||
|
in-depth feature that can establish pacing and shape). Stacking your news, in
|
|||
|
what some editors call the "inverted pyramid," can show editors the relative
|
|||
|
importance of your details. By following the inverted pyramid, you will make
|
|||
|
the editor's job easier and also accomplish your goal of getting the most
|
|||
|
critical information covered.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
5.1.4. Final Details
|
|||
|
|
|||
|
You need to mark the end of your news release, so that editors know there is
|
|||
|
no further news. In journalism, this is traditionally done by putting "-30-"
|
|||
|
or "-end-" on a new, centered line, after the last line of copy, as follows:
|
|||
|
|
|||
|
|
|||
|
-30-
|
|||
|
|
|||
|
After ending the release, it is important to include the boilerplate??
|
|||
|
standard, reusable background information about the organization issuing the
|
|||
|
news and contact information for editorial follow-up. The boilerplate
|
|||
|
includes the organization's web address where the editor can go for further
|
|||
|
details. Boilerplates can be reviewed and revised periodically, but they
|
|||
|
should maintain consistency. Wildly different boilerplates are unprofessional
|
|||
|
from one release to the next.
|
|||
|
|
|||
|
Below is an example of boilerplate and contact information.
|
|||
|
|
|||
|
|
|||
|
About Linux Professional Institute
|
|||
|
|
|||
|
The Linux Professional Institute (LPI) develops professional
|
|||
|
certification for the Linux operating system independent of software
|
|||
|
vendors or training providers. Established as an international non-profit
|
|||
|
organization in 1999 by the Linux community, LPI develops accessible,
|
|||
|
internationally-recognized certification programs which have earned the
|
|||
|
respect of vendors, employers and administrators. LPI's activities
|
|||
|
involve hundreds of volunteers and professionals throughout the world in
|
|||
|
many different capacities, and the group encourages active public
|
|||
|
involvement through mailing lists and its website at [http://
|
|||
|
www.lpi.org/] www.lpi.org. LPI's multi-level program of exams is
|
|||
|
administered globally through Virtual University Enterprises (VUE) and
|
|||
|
Prometric testing centers. LPI's major financial sponsors are Platinum
|
|||
|
Sponsors Caldera International (NASDAQ:CALD), IBM (NYSE:IBM), Linuxcare,
|
|||
|
Maxspeed, SGI (NYSE:SGI), SuSE Linux AG and TurboLinux as well as Gold
|
|||
|
Sponsors Hewlett-Packard (NYSE:HWP) and Wave Technologies.
|
|||
|
|
|||
|
Contact:
|
|||
|
|
|||
|
Sheldon Rose
|
|||
|
|
|||
|
Sacke & Associates Inc.
|
|||
|
|
|||
|
416-218-1102, ext 2191
|
|||
|
|
|||
|
sheldonr@sackepr.com
|
|||
|
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
5.2. What Makes a News Release Good (or Bad)
|
|||
|
|
|||
|
Print editors and journalists are notoriously overworked and underpaid. A
|
|||
|
well-written news release will often be used word for word, with maybe a few
|
|||
|
changes for "objectivity" or to accommodate the publication's format.
|
|||
|
|
|||
|
The editorial staff at the Los Angeles Times says this about news releases:
|
|||
|
|
|||
|
A good news release is a concise, complete description of an upcoming event;
|
|||
|
a timely report of an event has just occurred; notification of important
|
|||
|
personnel or procedural changes in an organization; or other news or feature
|
|||
|
tips.
|
|||
|
|
|||
|
Bad releases??the ones that don't get used?? often have these common
|
|||
|
mistakes:
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Lack of a local angle.
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Insufficient or inaccurate information (who, what, when, where, why,
|
|||
|
how).
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Failure to include contact information for the organization.
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Verbosity. (Try to keep the release to one or two pages, but balance
|
|||
|
brevity against failure to include necessary information.)
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Lack of timeliness??the editor's deadline has passed or the news is
|
|||
|
released too long after the event.
|
|||
|
|
|||
|
|
|||
|
Writing a news release does not have to be painful. What you need is a little
|
|||
|
time to gather all the facts: the who, what, when, where, why and how (and
|
|||
|
any additional information necessary to support).
|
|||
|
|
|||
|
Sometimes your news won't be used right away or in the form you provided. A
|
|||
|
writer may need time to rewrite your outline into a news story. Or, if a
|
|||
|
feature is being developed on Linux, the writer may use many sources for
|
|||
|
depth and objectivity. They may use quotable quotes, first-person anecdotes,
|
|||
|
statistics, and causes and effects from your releases as well as those of
|
|||
|
your competitors.
|
|||
|
|
|||
|
Deadlines are hugely important because the news media cannot delay
|
|||
|
publication or broadcasting. Don't bother editors with untimely information.
|
|||
|
If you can't pitch your story in time, wait for another opportune moment to
|
|||
|
come around.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
5.3. Top Ten Tips for Writing Releases
|
|||
|
|
|||
|
To summarize what we have said so far, here are ten tips for writing an
|
|||
|
excellent news release.
|
|||
|
|
|||
|
1. Use an active headline to grab the editor's attention.
|
|||
|
|
|||
|
The headline makes your release stand out. Keep the headline short,
|
|||
|
active, and descriptive, with the most positive spin. Write "Jane Doe
|
|||
|
Named Person of the Year" instead of "Jane Doe Gets Award."
|
|||
|
|
|||
|
2. Put the most important information at the beginning.
|
|||
|
|
|||
|
This is a tried and true rule of journalism. Remember that the first two
|
|||
|
paragraphs should contain the salient facts of who, what, when, where,
|
|||
|
why, and how. Don't bury good information at the end.
|
|||
|
|
|||
|
3. Avoid exaggeration and unsubstantiated claims.
|
|||
|
|
|||
|
A news editor can smell a sales pitch a mile away. Instead of making
|
|||
|
over-inflated statements, provide real, usable information. Find
|
|||
|
legitimate ways to set your organization apart, and stress those points.
|
|||
|
|
|||
|
4. Write in an active, engaging, and concise style.
|
|||
|
|
|||
|
Use language that conveys your excitement about the news. If your release
|
|||
|
is boring or passively written, the editor may conclude the news itself
|
|||
|
is not very meaningful or you are not a good candidate for an interview.
|
|||
|
Interesting equals newsworthy.
|
|||
|
|
|||
|
5. Keep your release to two pages or less.
|
|||
|
|
|||
|
Generally, if you can't state your message in two pages, you are not
|
|||
|
getting to the point fast enough. Editors are always looking for concise,
|
|||
|
easy-to-read releases that can be thrown onto a website or squeezed into
|
|||
|
a leftover space in a page layout. For highly important news with many
|
|||
|
details, you can include a third page, but this should be done sparingly.
|
|||
|
|
|||
|
6. Include a contact.
|
|||
|
|
|||
|
Every news release should include a contact person who the media can
|
|||
|
reach for more information. This contact is your spokesperson and must be
|
|||
|
familiar with all the news in the release. They should be prepared to
|
|||
|
answer questions.
|
|||
|
|
|||
|
7. Keep jargon to the minimum.
|
|||
|
|
|||
|
Avoid using highly technical terms and buzzwords familiar only to Linux
|
|||
|
insiders. Jargon can date quickly, and complicated language irritates
|
|||
|
people who don't know what you mean. Your goal is to tell your story to
|
|||
|
as wide an audience as possible, not to unduly limit the audience. Even
|
|||
|
special-interest publications mostly write in plain language and only use
|
|||
|
jargon and acronyms generally familiar to their readers.
|
|||
|
|
|||
|
8. Stress "benefits, benefits, benefits."
|
|||
|
|
|||
|
This falls under the category of "show, don't tell." Avoid claiming
|
|||
|
something is "unique" or "the best" when you can't substantiate this.
|
|||
|
Instead, provide specific examples of benefits, supported by evidence and
|
|||
|
anecdotes.
|
|||
|
|
|||
|
9. Be specific and detailed.
|
|||
|
|
|||
|
Marcia Yudkin, author of Six Steps to Free Publicity, talks about the
|
|||
|
"Yes, but what is it?" syndrome. Nothing is more irritating than seeing
|
|||
|
constant references to a product name or service name, but no information
|
|||
|
on what that product or service is. The reader needs to be able to
|
|||
|
visualize a new product or understand what a service offers. This is
|
|||
|
particularly critical for launches (announcements of new offerings). You
|
|||
|
should ask someone unfamiliar with your product or service to read your
|
|||
|
release and then describe the product or service in their own words.
|
|||
|
|
|||
|
10. Proofread!
|
|||
|
|
|||
|
This is easily forgotten, but extremely important. Always proofread your
|
|||
|
work before issuing the final release. Better yet, give the document to
|
|||
|
someone else (perhaps a copy editor) who can readily spot spelling and
|
|||
|
grammatical errors. Nothing signals unprofessionalism more than a
|
|||
|
typo-filled communication.
|
|||
|
|
|||
|
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
5.4. Distributing the News Release
|
|||
|
|
|||
|
Your media contact database is your best source for editors, journalists, and
|
|||
|
freelancers who should receive your news, but if you want to include a
|
|||
|
broader range of news media targets, you may consider using one of the many
|
|||
|
news release distribution services available. Asking one or two of your news
|
|||
|
media contacts will likely reveal a creditable service. These services can be
|
|||
|
expensive, so base your decision on how broad an appeal your news has.
|
|||
|
|
|||
|
In North America, the more popular distribution services include:
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>PR Newswire ( [http://www.prnewswire.com/] www.prnewswire.com )
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Canada Newswire ( [http://www.newswire.ca/] www.newswire.ca )
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>BusinessWire ( [http://www.businesswire.com/] www.businesswire.com )
|
|||
|
|
|||
|
|
|||
|
These firms will customize your distribution based on the subject matter, and
|
|||
|
can target specific media such as technology editors, medical editors, daily
|
|||
|
news editors, and so on. A customer service representative will explain your
|
|||
|
options and the cost involved.
|
|||
|
|
|||
|
News releases are very important in a public relations campaign. News
|
|||
|
releases give editors and the public a glimpse into your company. When these
|
|||
|
documents are done professionally, your organization will receive the
|
|||
|
recognition you deserve. Remember, though, that news releases are not the
|
|||
|
only tool of public relations professionals. In our next chapter, we will
|
|||
|
examine the variety of other tools that can be used.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
Chapter 6. Other Public Relations Tools
|
|||
|
|
|||
|
The news release is the most important form of written communications used by
|
|||
|
a public relations professional, but not the only one. There are many other
|
|||
|
public relations tools that should be used when appropriate.
|
|||
|
|
|||
|
News releases may suffice for most news stories, but other, lengthier forms
|
|||
|
of communication can give in-depth coverage of an interesting news item.
|
|||
|
Feature articles, bylined articles, and emails may be written to provide
|
|||
|
human interest appeal, to explore topics and issues in more depth, to raise
|
|||
|
your organization's profile in the local community, or for other reasons.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
6.1. Feature Articles
|
|||
|
|
|||
|
Feature articles, which explore a subject at length, are not constrained by
|
|||
|
the tight deadlines of regular news articles. Features may be submitted at
|
|||
|
any time, depending on the editor's needs. Features often stem from a regular
|
|||
|
news item.
|
|||
|
|
|||
|
Imagine that the Linux operating system has been successfully implemented at
|
|||
|
a large organization in your community. This story is newsworthy, but begin
|
|||
|
to look for "the rest of the story." What difficulties did they experience in
|
|||
|
the transition, or what part did your organization play in their
|
|||
|
implementation? This could be the start of a feature article.
|
|||
|
|
|||
|
More research and creativity will go into a feature story, but the must still
|
|||
|
be accurate. You will provide more facts, more statistics, more examples and
|
|||
|
anecdotes, and more analysis than in a news release. You can humanize and
|
|||
|
dramatize what may appear unexciting at first glance (a Linux
|
|||
|
implementation). You can openly focus on a particular angle or viewpoint, so
|
|||
|
long as you avoid outright advertising. Readers dislike advertorials
|
|||
|
masquerading as "articles," and no editor will accept an article that
|
|||
|
blatantly sells.
|
|||
|
|
|||
|
Another bonus is that editors are quite open to features, because they
|
|||
|
provide much needed content for filling an issue. When the feature is written
|
|||
|
by a reliable source and does not require payment (unlike a commissioned
|
|||
|
article), the article becomes a real asset.
|
|||
|
|
|||
|
All writing needs to engage the reader. The first sentence or two must be
|
|||
|
compelling enough for the editor to read on. Features require a strong lead??
|
|||
|
something to hook your target audience. A headline or a photograph may help.
|
|||
|
|
|||
|
For a feature, you have a wide repertoire of leads to choose from. Some leads
|
|||
|
are designed to startle and shock, some will excite readers' curiosity, some
|
|||
|
will vividly describe a real or imagined scenario, and some will succinctly
|
|||
|
state the nature of the story.
|
|||
|
|
|||
|
The body of the feature then unfolds in a logical sequence, and ends with a
|
|||
|
strong and memorable close. Every feature will be different, depending on the
|
|||
|
subject, the anticipated audience, and the skill of the writer. Reading
|
|||
|
features written by others in the Linux community is a good way to learn and
|
|||
|
pick up possible story ideas.
|
|||
|
|
|||
|
You can direct a feature to the "feature editor" at a daily newspaper or your
|
|||
|
targeted trade magazines. Before going to the trouble of writing the article,
|
|||
|
you should pitch the idea to see if the publication has any interest at all.
|
|||
|
The pitch should include an outline, an estimated length (number of words),
|
|||
|
and a description of illustrations or photos you can supply. You could also
|
|||
|
include a selected portfolio of previously published articles about your
|
|||
|
organization.
|
|||
|
|
|||
|
The upfront consultation is invaluable. Since the editor knows their
|
|||
|
readership better than you do, they might suggest an angle of specific
|
|||
|
interest to their readers and indicate where this piece might fit in their
|
|||
|
publishing schedule. The more complete your package, the more seriously your
|
|||
|
work will be considered.
|
|||
|
|
|||
|
Another possibility is to plant the story idea with the editor, and let the
|
|||
|
publication take care of writing the feature. In this case, you can supply
|
|||
|
expertise and interview subjects.
|
|||
|
|
|||
|
Whatever your approach, keep in mind that the ultimate goal is to generate
|
|||
|
favorable coverage and visibility for your organization.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
6.2. Bylined Articles
|
|||
|
|
|||
|
A byline is the line showing the author's name at the beginning of an
|
|||
|
article. Basically, a bylined article is attributed to a source rather than
|
|||
|
being anonymous.
|
|||
|
|
|||
|
Bylined articles can be any length, and they tend to based on opinion. They
|
|||
|
articulate views and opinions that are clearly the writer's own, without
|
|||
|
requiring objectivity.
|
|||
|
|
|||
|
Issues, trends, and predictions regarding Linux and open source are ideal
|
|||
|
subjects for bylined articles. Moreover, forward-looking pieces are of high
|
|||
|
interest. Editors are always looking for "the next thing" to tell their
|
|||
|
readers about.
|
|||
|
|
|||
|
Opinion articles are important to position your organization as the leader
|
|||
|
and trendsetter in your field. To be a guru is to be watched, quoted,
|
|||
|
respected, and followed. Editors like highlighting celebrated members of the
|
|||
|
community because they sell more issues.
|
|||
|
|
|||
|
Gauging the interest of the news media is very important. What's hot? What
|
|||
|
are they writing about? Check the topics listed in their editorial calendars.
|
|||
|
Try to match their interests to the activities of your organization in the
|
|||
|
community. Then start writing your opinion piece.
|
|||
|
|
|||
|
Typically, the author of a bylined article should be your organization's
|
|||
|
designated spokesperson and acknowledged authority for the media. That might
|
|||
|
be you or a senior official. Sometimes a public relations professional will
|
|||
|
ghost-write the piece for the spokesperson, whose name will appear on the
|
|||
|
article. When this occurs, the article must closely reflect the
|
|||
|
spokesperson's views and ideas. In other words, he or she "owns" the ideas
|
|||
|
expressed in the article, not the writer.
|
|||
|
|
|||
|
An added bonus of by-lined articles is that they can be adapted into speeches
|
|||
|
for possible speaking opportunities. Conversely, any speech can be written as
|
|||
|
a by-lined article.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
6.3. Email Writing
|
|||
|
|
|||
|
Another effective way to communicate to a targeted audience is through an
|
|||
|
email campaign. The effectiveness of a good email should not be
|
|||
|
underestimated. Some fundraising experts, for example, can raise thousand of
|
|||
|
dollars with an effective email campaign. Exceptional letters have obtained
|
|||
|
contracts, sold properties, and landed jobs.
|
|||
|
|
|||
|
Emails can be targeted to a specific audience for much less than you would
|
|||
|
spend on a regular mail campaign. Every email is an opportunity to
|
|||
|
effectively communicate to your target audience. For example, your
|
|||
|
organization might want to target recent graduates of local computer training
|
|||
|
courses with opportunities in their area. You will need to obtain the names
|
|||
|
and email addresses of recent graduates from the institutions offering those
|
|||
|
programs. Cooperation with their institution can often be established if you
|
|||
|
provide something in return, such as a reciprocal link on your website, a
|
|||
|
mention in your newsletter, or even free advertising.
|
|||
|
|
|||
|
Hopefully, your email campaign will generate interest in your organization
|
|||
|
and your programs. Be mindful of potentially spamming your intended audience
|
|||
|
??this could have a negative impact.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
6.4. Miscellaneous Communications Tools
|
|||
|
|
|||
|
There are numerous other communication tools you can use in a public
|
|||
|
relations effort. Here are just a few suggestions:
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>A speech at a Linux trade show.
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>A presentation at a local training institution or career development
|
|||
|
conference.
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>A brochure or flyer describing the work your company does.
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>A white paper describing the benefits of your company's work, posted on
|
|||
|
your website.
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>A newsletter or email newsletter describing your organization's
|
|||
|
activities and achievements, aimed at current and prospective users.
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>An advertisement placed in targeted magazines.
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Special events such as open houses and "media information" days.
|
|||
|
|
|||
|
<EFBFBD><EFBFBD>*<2A>Regular tours of your facility.
|
|||
|
|
|||
|
|
|||
|
The possibilities are limited only by your time, resources, and budget.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
6.5. Don't Forget Emphasizing Core Messages
|
|||
|
|
|||
|
In all your public relations initiatives, don't lose sight of your core
|
|||
|
messages (described in Chapter 2). These messages are the "essence" of your
|
|||
|
organization, defining your identity for users, the media, and the general
|
|||
|
public. Remember that the core messages should be woven into everything you
|
|||
|
do as a public relations representative. Consistency creates a bigger impact
|
|||
|
for your audience.
|
|||
|
|
|||
|
In the next chapter, we will look at how to use a trade show as a valuable
|
|||
|
tool for promoting your organization.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
Chapter 7. Working the Trade Show
|
|||
|
|
|||
|
Speaking engagements at appropriate industry functions will garner increased
|
|||
|
visibility and media coverage. One of the easiest ways to gain credibility is
|
|||
|
to participate as actively as possible in trade shows, industry gatherings,
|
|||
|
and seminars. You must choose these events carefully, distinguishing between
|
|||
|
those that are worthwhile and those too small to matter. Keep in mind, the
|
|||
|
larger the gathering, the more competitive the speaking application process.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
7.1. Arranging Speaking Opportunities
|
|||
|
|
|||
|
Arranging possible speaking opportunities takes considerable effort and
|
|||
|
involves a long lead time. In most instances, you must be in contact with the
|
|||
|
conference organizers at least nine to ten months in advance of the show. You
|
|||
|
may even find that a sponsorship is required to be considered as a possible
|
|||
|
presenter.
|
|||
|
|
|||
|
First, do your research regarding relevant conferences that are being planned
|
|||
|
in your area in the months ahead. The website of the event organizer or of
|
|||
|
the conference itself is often a good place to start looking for information.
|
|||
|
Contact the organizers to find out their needs and application requirements
|
|||
|
for possible speakers.
|
|||
|
|
|||
|
Also, consider other venues in addition to trade shows focusing on Linux and
|
|||
|
open source. For example, you could offer your services as a speaker to human
|
|||
|
resources or computer training communities.
|
|||
|
|
|||
|
The key to successful participation is similar to pitching to the news media.
|
|||
|
You must understand your audience, you must have a compelling topic, and you
|
|||
|
must be ready and willing to impart your knowledge and experience of the
|
|||
|
industry. Most importantly, your presentation has to teach something to
|
|||
|
someone, and not just be a commercial for your organization or Linux. Give
|
|||
|
the audience the satisfaction of having really learned something from your
|
|||
|
presentation, and show organizers will want to have you as a presenter at
|
|||
|
their next show.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
7.2. Getting Media Attention at Trade Shows
|
|||
|
|
|||
|
If you want publicity while exhibiting at a trade show, don't do what too
|
|||
|
many other organizations do. During the show, they wait patiently at their
|
|||
|
booth until they spot a reporter coming down the aisle. Then, if the reporter
|
|||
|
stops at its booth, the exhibitor moves in with the same tired pitch used on
|
|||
|
everybody else who walks by.
|
|||
|
|
|||
|
If this has been your approach in the past, now is the time to change.
|
|||
|
Waiting until the show begins is already too late to capture the news media's
|
|||
|
attention. You should now understand that establishing strong news media
|
|||
|
relationships weeks or even months in advance can pay off when the show
|
|||
|
begins.
|
|||
|
|
|||
|
Begin by finding out which news media will be covering the show. The best way
|
|||
|
to get that information is from the show's public relations department. Ask
|
|||
|
them if they can give you the names of print, broadcast, and online media
|
|||
|
they are targeting. This information is important to know, so that you don't
|
|||
|
pitch the same story ideas as the show organizers.
|
|||
|
|
|||
|
If you discover the organizers are pitching an idea that fits well with your
|
|||
|
organization's objectives, ask if they could include your business as an
|
|||
|
example in their pitch.
|
|||
|
|
|||
|
Check the editorial calendars of both the publications that will be covering
|
|||
|
the show and other publications that might have an interest. (A computer
|
|||
|
magazine, for example, is a prime target for a large Linux conference.) Many
|
|||
|
publications will issue a special report before or after the show takes
|
|||
|
place. The report may be a section within an issue or even an entire special
|
|||
|
edition. If you cannot glean this information from the calendar, you should
|
|||
|
call the publication and ask.
|
|||
|
|
|||
|
The special reports present ripe opportunities for media coverage. Pitch
|
|||
|
story ideas that may become part of the special report to your media
|
|||
|
contacts.
|
|||
|
|
|||
|
Prepare a compelling news release describing the most interesting thing that
|
|||
|
your organization will be doing at the show. Mention awards, impressive
|
|||
|
results, or endorsements by Linux experts??anything that will snag the
|
|||
|
media's attention. Include the line "For more information or to arrange an
|
|||
|
interview, contact:" as part of your contact information at the end.
|
|||
|
|
|||
|
In devising your strategy to get media coverage at the show, always position
|
|||
|
your organization as "part of the solution," not as a mere attendee.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
7.3. Planning for a Trade Show
|
|||
|
|
|||
|
Planning for trade shows needs to start at least a few months in advance. If
|
|||
|
you wish to have a significant presence at strategic or influential show, you
|
|||
|
should plan to set up a booth, either on your own or with a key partner.
|
|||
|
Booth space is limited and must be reserved in advance. Usually a fee is
|
|||
|
involved, which varies according to square footage and location on the
|
|||
|
exhibition floor. Designing the portable booth can take a few months, so plan
|
|||
|
ahead.
|
|||
|
|
|||
|
Here are some tips for getting maximum benefit from your trade show
|
|||
|
appearances.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
7.3.1. Before the Show
|
|||
|
|
|||
|
A major trade show requires considerable advance preparation and, if you
|
|||
|
aren't ready, can present a logistical nightmare. You must develop a solid
|
|||
|
plan and monitor your progress vigilantly.
|
|||
|
|
|||
|
1. Evaluate and select trade shows carefully.
|
|||
|
|
|||
|
Participating in a show can require a major investment of time, money,
|
|||
|
and resources. Be tough in your evaluation of a show's worthiness. Are
|
|||
|
the attendees likely customers for your organization? Exposure to a few
|
|||
|
hundred very qualified targets is better than exposure to thousands of
|
|||
|
generalists who are very unlikely to be interested in your business.
|
|||
|
|
|||
|
2. Read the show manual.
|
|||
|
|
|||
|
Before you do anything, contact the organizers of the show to find the
|
|||
|
show's manual. Everything you need to know about the show should be
|
|||
|
there, including a proposed or final schedule, registration information
|
|||
|
and forms, floor plans, exhibit specifications, invitations for potential
|
|||
|
speakers, and other important details.
|
|||
|
|
|||
|
3. Identify your goals.
|
|||
|
|
|||
|
Be specific about the things you want to accomplish as a result of your
|
|||
|
participation in the show. Do you want to increase visibility, gain
|
|||
|
exposure to a large number of customers who might be interested in your
|
|||
|
products, or check out the competition? Concrete goals are important to
|
|||
|
determine the value of the trade show to your organization.
|
|||
|
|
|||
|
4. Define measurements of success.
|
|||
|
|
|||
|
For each goal, determine a way to measure its success. Make these
|
|||
|
measurements as specific as possible. You could plan to hand out 1000
|
|||
|
brochures, obtain contact information for at least 200 prospects, and
|
|||
|
take a key editor out to lunch. These benchmarks will help you decide
|
|||
|
whether the show was worth the expense.
|
|||
|
|
|||
|
5. Put your show plan in writing.
|
|||
|
|
|||
|
The plan should include a workable schedule, a comprehensive list of
|
|||
|
preparation activities, and an individual assigned for each task. You
|
|||
|
cannot leave things to chance, or else Murphy's Law (Whatever can go
|
|||
|
wrong, will go wrong.) will surely prevail!
|
|||
|
|
|||
|
6. Develop a key message for your booth exhibit.
|
|||
|
|
|||
|
Like good advertising, a good exhibit clearly communicates one major
|
|||
|
message. This draws in more prospects to your booth than an unfocused
|
|||
|
cacophony of messages.
|
|||
|
|
|||
|
7. Design an open, inviting booth.
|
|||
|
|
|||
|
An open booth design, with no tables obstructing access, invites
|
|||
|
attendees to come in. Your logo should be big enough to be seen from a
|
|||
|
good distance. Maximize "walking around" space by mounting brochure
|
|||
|
displays on walls. Use interesting graphics to draw people's attention.
|
|||
|
For demos, laptops and flat-screen monitors are space-efficient. If space
|
|||
|
permits, provide comfortable chairs to encourage prospects to linger. A
|
|||
|
portable booth should be reasonably easy to set up and take down.
|
|||
|
|
|||
|
8. Advertise your show participation.
|
|||
|
|
|||
|
Use tag lines such as: "see us at Booth 1525 at the Linux World
|
|||
|
Conference" in news releases and other communications leading up to the
|
|||
|
show (even if those releases are about something unrelated). Write a news
|
|||
|
release announcing show-related news. Invite editors to stop by the
|
|||
|
booth, or set up appointments between them and your spokespeople.
|
|||
|
|
|||
|
9. Order all necessary supplies, including brochures and giveaways.
|
|||
|
|
|||
|
If your marketing collateral needs to be updated or redesigned, take care
|
|||
|
of this early. You don't want to run the risk of having no brochures to
|
|||
|
hand out. Design forms for filling out prospect information??clear forms
|
|||
|
eliminate guesswork. Consider giveaways to generate attention and a sense
|
|||
|
of fun. These don't have to be expensive. Pens with your web address and
|
|||
|
a catchy slogan can be very effective.
|
|||
|
|
|||
|
10. Design PowerPoint presentations and demos for the booth.
|
|||
|
|
|||
|
These will draw attendees to your booth and help them learn more about
|
|||
|
your business. Presentations will allow you to communicate information to
|
|||
|
many prospects at once.
|
|||
|
|
|||
|
11. Create a unique identity for your booth staff.
|
|||
|
|
|||
|
Decide on the dress code for your staff. Matching blazers, T-shirts, or
|
|||
|
even boutonnieres will make your representatives easily identifiable.
|
|||
|
|
|||
|
12. Train your exhibit staff before each show.
|
|||
|
|
|||
|
This is very important! Your staff needs to know what is expected of
|
|||
|
them. They need to be briefed on all new programs and initiatives that
|
|||
|
should be emphasized. They must know how to run the demos and
|
|||
|
presentations, and they should know some basic trouble shooting. Nothing
|
|||
|
looks more unprofessional then demos that don't work.
|
|||
|
|
|||
|
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
7.3.2. During the Show
|
|||
|
|
|||
|
1. Set up a rotating booth schedule for your staff.
|
|||
|
|
|||
|
Your staff needs breaks for lunch and relaxing. They will be more
|
|||
|
cheerful if they don't have stay at the booth all day long.
|
|||
|
|
|||
|
2. Remind staff to record all prospect information.
|
|||
|
|
|||
|
Encourage your staff to record everything they can learn about a
|
|||
|
prospect's needs and experience with Linux. Stress the importance of
|
|||
|
getting phone numbers and email addresses. (Creating an information form
|
|||
|
as suggested above will make this easier.)
|
|||
|
|
|||
|
3. Encourage staff to greet people warmly and smile!
|
|||
|
|
|||
|
Amazingly, this is often forgotten. An inviting attitude can give a
|
|||
|
valuable first impression. The staff should avoid having their backs to
|
|||
|
the entrance, or taking phone calls while on duty. A friendly greeting to
|
|||
|
passersby may encourage them to stop rather than simply walk by. Staff
|
|||
|
who are uniformly courteous and helpful, knowledgeable about all aspects
|
|||
|
of the industry, and responsive to requests will make a very good
|
|||
|
impression.
|
|||
|
|
|||
|
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
7.3.3. After the Show
|
|||
|
|
|||
|
1. Send requested literature immediately.
|
|||
|
|
|||
|
Send requested material within 24 hours. A quick response is your second
|
|||
|
opportunity to make a favorable impression. (Your performance in the
|
|||
|
booth is the first.)
|
|||
|
|
|||
|
2. Include a teaser on the envelope or in the email subject line.
|
|||
|
|
|||
|
Be sure to mention your organization's name and the name of the
|
|||
|
conference on the outside of the envelope or in the email subject line,
|
|||
|
so they know your letter is not junk mail.
|
|||
|
|
|||
|
3. Help your prospects take the next step.
|
|||
|
|
|||
|
Make sure your literature packages make responding easy for prospects by
|
|||
|
including your web address and information on the opportunities available
|
|||
|
to them.
|
|||
|
|
|||
|
4. Keep track of your prospects.
|
|||
|
|
|||
|
Nothing signals the success of your trade-show effort better than having
|
|||
|
prospects purchase your products or having the media spotlight your
|
|||
|
efforts. Keep a record of the customers who found out about your products
|
|||
|
through the trade show. Use these results to demonstrate the show's
|
|||
|
return on investment.
|
|||
|
|
|||
|
5. Analyze "lessons learned."
|
|||
|
|
|||
|
After each show, evaluate what went well and what didn't. Critique each
|
|||
|
aspect of the show and ask others for comments. Pay special attention to
|
|||
|
feedback regarding communication to prospective customers. The "lessons
|
|||
|
learned" will help improve your efforts in future shows.
|
|||
|
|
|||
|
|
|||
|
Next, we will review the major topics we have covered in this guide to public
|
|||
|
relations. This final chapter will serve as a quick reference guide to the
|
|||
|
major elements of public relations. Use this guide to develop a successful
|
|||
|
public relations campaign.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
Chapter 8. Quick Tips for Maximizing Coverage
|
|||
|
|
|||
|
To conclude this public relations guide, we give you quick tips for
|
|||
|
maximizing your opportunities for media overage. This chapter provides a
|
|||
|
quick reference guide to many of the major points we've covered. If you've
|
|||
|
appreciated the importance of the previous chapters, these pointers will be a
|
|||
|
valuable summary.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
8.1. How to Maximize Media Coverage
|
|||
|
|
|||
|
1. Have a strategy.
|
|||
|
|
|||
|
Tailor your strategy for each public relations opportunity. Think about
|
|||
|
the audience you want to reach and how to create excitement. An effective
|
|||
|
part of your strategy should be to enforce your organization's core
|
|||
|
messages in all news releases.
|
|||
|
|
|||
|
2. Have a good story.
|
|||
|
|
|||
|
A news story must have a compelling beginning, middle, and end.
|
|||
|
Journalists recognize a strong story within seconds, so tell your story
|
|||
|
quickly and succinctly.
|
|||
|
|
|||
|
3. Know your audience.
|
|||
|
|
|||
|
You wouldn't follow up on a potential business opportunity without
|
|||
|
knowing something about their business, so don't call the news media
|
|||
|
blindly. Before you pitch to any media outlet, study their work. Read the
|
|||
|
publication, watch the show, and listen to the radio broadcast. Get
|
|||
|
familiar with the characteristics of the media outlet you are targeting.
|
|||
|
Find out about their main audience and their likes and dislikes.
|
|||
|
(Internet message boards are good for this.)
|
|||
|
|
|||
|
4. Invest in relationships.
|
|||
|
|
|||
|
The more you know about the media organization and your target editor,
|
|||
|
the better and more confidently you can pitch to them. Building
|
|||
|
relationships now means editors will be more likely to take your call
|
|||
|
when you've got an important story to tell. Best of all, even if they
|
|||
|
can't offer you coverage on this particular story, they may refer you to
|
|||
|
another reporter who can. As with any relationship, building trust is
|
|||
|
critical. Keep your promises, and be on time. Be upfront about what you
|
|||
|
can and can't do. You might not be able to do everything, but reporters
|
|||
|
will appreciate your honesty.
|
|||
|
|
|||
|
5. Think before you speak.
|
|||
|
|
|||
|
A word of caution: everything you say to a reporter is on the record,
|
|||
|
regardless of disclaimers. You are representing your organization at all
|
|||
|
times. The impression that you give has a definite impact on how the
|
|||
|
media views your organization.
|
|||
|
|
|||
|
6. Monitor your media coverage.
|
|||
|
|
|||
|
Media coverage shows your success. As a media relations expert, the end
|
|||
|
goal is always positive media coverage for your organization. When your
|
|||
|
organization is spotlighted in major media outlets, you bring attention
|
|||
|
and respect to your business.
|
|||
|
|
|||
|
7. Look for a unique angle.
|
|||
|
|
|||
|
Look for personal stories that can spur news media interest. For
|
|||
|
instance, if a local school board is considering Linux to save money,
|
|||
|
focus your story on the human interest angle. Unusual stories and angles
|
|||
|
that affect a media's audience are more likely to get media coverage than
|
|||
|
mundane ones.
|
|||
|
|
|||
|
8. Know your story inside and out.
|
|||
|
|
|||
|
Research your story carefully. This allows you to revise your pitch if
|
|||
|
the editor has specific needs. You also must be able to answer any
|
|||
|
questions that the editor may have.
|
|||
|
|
|||
|
9. Be persistent.
|
|||
|
|
|||
|
There is a fine line between being persistent and annoying, but if you
|
|||
|
have a good story and know your audience, it is fine to make contact
|
|||
|
attempts until you get feedback from a reporter.
|
|||
|
|
|||
|
10. Follow up.
|
|||
|
|
|||
|
Many potential leads are lost because public relations people fail to
|
|||
|
follow through. If a reporter tells you to call back another time, make
|
|||
|
sure you do! Also, if a reporter doesn't answer your email immediately,
|
|||
|
do not assume they are not interested. They might not have had time to
|
|||
|
respond to the large volume of emails they receive.
|
|||
|
|
|||
|
11. Be creative.
|
|||
|
|
|||
|
Infusing your media relations plans with innovative thinking produces
|
|||
|
stronger, more effective results, so avoid recycling the same old news
|
|||
|
releases and fact sheets.
|
|||
|
|
|||
|
12. Find information.
|
|||
|
|
|||
|
Do you sometimes feel like you just can't write the news release? This
|
|||
|
blockage often indicates you don't have enough information. Do outside
|
|||
|
research. Interview an industry analyst. Get another perspective. This
|
|||
|
investigation can lead to the information for a great story.
|
|||
|
|
|||
|
13. Study and adopt good writing skills.
|
|||
|
|
|||
|
Use a journalistic approach. Look carefully at how reputable publications
|
|||
|
like The New York Times or The Wall Street Journal structure a story.
|
|||
|
What is the lead? What kind of quotes do they use? Study different types
|
|||
|
of stories. Features, appointment announcements, news articles, and
|
|||
|
opinion pieces can all be useful in your public relations campaign.
|
|||
|
Often, you will see the most important information is in the lead and
|
|||
|
that the rest of the story follows. This inverted pyramid style is
|
|||
|
usually the best way to organize an article.
|
|||
|
|
|||
|
14. Eliminate jargon and techno-speak.
|
|||
|
|
|||
|
Buzzwords are like bees??they can be highly irritating. Write with clear
|
|||
|
language, and avoid clichés, which are another sign of weak writing.
|
|||
|
|
|||
|
15. Expect results.
|
|||
|
|
|||
|
Media coverage means increased visibility, which exposes your
|
|||
|
organization to more prospective customers. The more people you can
|
|||
|
reach, the better the impact will be on your organization.
|
|||
|
|
|||
|
|
|||
|
Finally, the success of your media relations efforts means success for you in
|
|||
|
the dynamic, engaging, challenging, and creative business of public
|
|||
|
relations.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
Appendix A. Monitoring Media Coverage
|
|||
|
|
|||
|
Monitoring the media coverage of your organization is a vital part of
|
|||
|
tracking your success, but can be extremely time consuming. A more efficient
|
|||
|
and reliable tracking method is to use a media monitor service or a clipping
|
|||
|
service. The website [http://dmoz.org/News/Services/Media_Monitoring/]
|
|||
|
http://dmoz.org/News/Services/Media_Monitoring/ provides a long list of media
|
|||
|
monitoring services, some of which are provided here.
|
|||
|
-----------------------------------------------------------------------------
|
|||
|
|
|||
|
A.1. Media Monitor Services and Clipping Services
|
|||
|
|
|||
|
AirCheck News Taping ( [http://www.airchecknews.com/]
|
|||
|
www.airchecknews.com ) is a full-service broadcast monitor providing national
|
|||
|
and local news segments and reports.
|
|||
|
|
|||
|
Advance Media Information ( [http://www.amiplan.com/] www.amiplan.com )
|
|||
|
is database of events for the next 18 months, continually updated by a team
|
|||
|
of journalists and broadly divided into news and entertainment. Each item is
|
|||
|
integrated with a press directory, listing essential information, including
|
|||
|
telephone numbers and email addresses.
|
|||
|
|
|||
|
Bacon's ( [http://www.bacons.com/] www.bacons.com ) is a public relations
|
|||
|
supplier of media directories, media software, press clippings, Internet
|
|||
|
clipping, media lists and news release distribution.
|
|||
|
|
|||
|
Medialink Worldwide ( [http://www.medialink.com/] www.medialink.com )
|
|||
|
is a television and radio news monitoring and clipping service.
|
|||
|
|
|||
|
Burrelle's/Luce Information Services ( [http://burrellesluce.com/] http:/
|
|||
|
/burrellesluce.com ) is a premier monitoring service for quick and
|
|||
|
comprehensive print, broadcast, and Internet information.
|
|||
|
|
|||
|
ClipGenius ( [http://www.clipgenius.com/] www.clipgenius.com ) is a
|
|||
|
clipping service specializing in public relations news and newspaper clips as
|
|||
|
well as web and press clipping.
|
|||
|
|
|||
|
ConfirMedia ( [http://www.confirmedia.com/] www.confirmedia.com )
|
|||
|
monitors content broadcast on radio and television.
|
|||
|
|
|||
|
CustomScoop ( [http://www.customscoop.com/] www.customscoop.com ) is an
|
|||
|
online agency delivering a daily customized clipping service that draws from
|
|||
|
online editions of major wires and daily papers, TV and radio stations,
|
|||
|
smaller daily and weekly newspapers, magazines, trade journals, and new media
|
|||
|
publications. Free trial available.
|
|||
|
|
|||
|
Cutters ( [http://www.cutters.com/] www.cutters.com ) is a
|
|||
|
Singapore-based press clipping service with particular emphasis on business
|
|||
|
and information technology news. Also provides tracking on electronic media.
|
|||
|
|
|||
|
CyberAlert ( [http://www.cyberalert.com/] www.cyberalert.com ) offers
|
|||
|
fully-automated Internet monitoring and clipping of content in web
|
|||
|
publications, sites, message boards, and news groups.
|
|||
|
|
|||
|
E-mmediate Clipping Service ( [http://www.e-mmediateclippings.com/]
|
|||
|
www.e-mmediateclippings.com ) offers web delivery of articles from Montana
|
|||
|
newspapers.
|
|||
|
|
|||
|
JA Media Services ( [http://www.jamedia.com/] www.jamedia.com ) offers
|
|||
|
broadcast television and radio monitoring, and news clipping and
|
|||
|
transcription services
|
|||
|
|
|||
|
Media Source ( [http://www.memphismediasource.com/]
|
|||
|
www.memphismediasource.com ) is a full-service TV news monitoring and digital
|
|||
|
video production company, offering local broadcast monitoring for 120 U.S.
|
|||
|
cities and all major national networks.
|
|||
|
|
|||
|
Mediatrack ( [http://www.mediatrack.co.uk/] www.mediatrack.co.uk/ )
|
|||
|
provides international media evaluation, analysis, and measurement, campaign
|
|||
|
evaluation, competitor analysis, and media research nationally or globally.
|
|||
|
|
|||
|
Metro Monitor ( [http://www.metromonitor.com/] www.metromonitor.com )
|
|||
|
is a professional broadcast news monitoring and news clipping service
|
|||
|
monitoring over 300 U.S. stations.
|
|||
|
|
|||
|
Multivision, Inc. ( [http://www.multivisioninc.com/]
|
|||
|
www.multivisioninc.com ) is a media monitor specializing in hard-to-find
|
|||
|
coverage and markets along with digital delivery of broadcast clips.
|
|||
|
|
|||
|
News Index Delivered ( [http://www.newsindex.com/delivered.html]
|
|||
|
www.newsindex.com/delivered.html ) monitors hundreds of daily news sources,
|
|||
|
and provides keyword search-based email clippings daily.
|
|||
|
|
|||
|
News Power Online ( [http://www.enewspower.com/] www.enewspower.com )
|
|||
|
provides comprehensive solutions to your information needs.
|
|||
|
|
|||
|
NewsNow Digital Intelligence ( [http://www.newsnow.co.uk/di]
|
|||
|
www.newsnow.co.uk/di ) tracks news about your company, searching over 3500
|
|||
|
sites every few minutes for relevant stories.
|
|||
|
|
|||
|
New Media Intelligence ( [http://www.newmediaintelligence.com/]
|
|||
|
www.parallel54.com ) (previously known as Parallel54) provides research
|
|||
|
services including monitoring of newsgroups, media sites and other publicly
|
|||
|
accessible online content.
|
|||
|
|
|||
|
PLCom News Services ( [http://www.plcom.net/news/index.php3]
|
|||
|
www.plcom.net/news/index.php3 ) offers customized media monitoring and
|
|||
|
analysis, automated news feeds, and newspaper and TV news abstracts delivered
|
|||
|
on the web with encryption security.
|
|||
|
|
|||
|
Postech ( [http://www.postech.com/] www.postech.com ) is a design
|
|||
|
engineering and manufacturing firm specializing in broadcasting, data
|
|||
|
acquisition, and telecommunications industries.
|
|||
|
|
|||
|
Quickscan ( [http://www.quickscan.net/] www.quickscan.net ) is a
|
|||
|
software company that provides database software and technical support to
|
|||
|
professional news monitoring companies.
|
|||
|
|
|||
|
SDS Media ( [http://www.sds-web.co.uk/] www.sds-web.co.uk ) scans all
|
|||
|
U.K. newspapers and trade magazines to daily extract and deliver relevant
|
|||
|
articles to hundreds of clients.
|
|||
|
|
|||
|
Smart Brief ( [http://www.smartbrief.com/] www.smartbrief.com ) provides
|
|||
|
free, email based news summaries and other content for industry associations,
|
|||
|
professional organizations, advocacy groups, and their constituents.
|
|||
|
|
|||
|
Video Monitoring Services ( [http://www.vidmon.com/] www.vidmon.com ) is
|
|||
|
a broadcast information retrieval service
|
|||
|
|
|||
|
Videowatch ( [http://www.videowatch.org/] www.videowatch.org ) monitors
|
|||
|
news and news magazine broadcasts, maintains a 60-day archive, and sends
|
|||
|
broadcasts to you on videotape.
|