"Media Strategies", CLTP 11, DFO
(Christian Leadership Training Program publications are circulated free of charge on a strictly non-profit basis.)
Copyright Feb., 1994 by Family Services, Zurich, Switzerland
(Excerpts from "The Media How-To Guidebook" by David Perry, Media Alliance [1991]; "Prodigal Press" by Marvin Olasky, Crossway Press [1988]; and publications of The National Center for Public Policy Research [U.S].)
Meet the Press
The five chief fields of journalism--newspapers, news services, magazines, radio, and television--are often collectively referred to as the press or the news media.
Newspapers and magazines are able to cover more stories--and in greater depth--than broadcast news media. For example, the script of a half-hour newscast would fill only part of the front page of a standard-sized newspaper. Newspapers and magazines also permit readers to be more selective and to absorb the news at their own pace and on their own schedule, and can therefore print some articles which appeal to only a small percentage of readers.
News Services. Only the largest publications and networks have reporters stationed in major cities at home and abroad. The rest of the press relies almost entirely on news services, or wire services as they are sometimes called, for national and international news. News services distribute stories to subscribers by fax, modem or satellite. The main wire services, which are used by news media worldwide, include the American-based Associated Press (AP) & United Press International (UPI), France's Agence France-Presse (AFP), Xinhua (China), Kyodo (Japan), & Reuters (Great Britain).
Radio is generally the first of the news media to report a local story or a wire service bulletin. However, most radio newscasts do not report the news in detail. In a five-minute broadcast, for example, the stories average less than 30 seconds--or about 100 words--each.
Television does what none of the other media can: It makes the public an eyewitness to news events by means of filmed, taped, or live reports. Like regular radio newscasts, daily TV news programs provide only brief accounts of relatively few stories. Television also broadcasts in-depth documentaries and interview programs.
Interpretive reporting. Journalists have an obligation to be accurate in their reporting and to tell all sides of a story. But because many people do not have the background knowledge or specialized information needed to understand complicated issues, journalists often go a step further than simply reporting the facts; they attempt to explain and analyze the news. This is known as interpretive reporting.
Influencing Public Opinion. Through editorials and commentaries, the management of a news organization and journalists express their views on current issues and attempt to persuade the public to adopt the same views.
(World Book Encyclopedia, 1990.)
Dealing with Potentially Hostile Media
If you are an officer of a small Christian organization you might be shocked if, for some reason, it comes under attack from the press. You should not be. Whether you are involved in a "controversial" issue such as abortion, or are "just" doing traditional evangelism, you may be on some reporter's or editor's enemies list. (Editor's note: Or you may be the subject of a concerted widespread media smear campaign.)
You need to be prepared to deal with unsolicited media attention, and you need to realize that, by God's grace, even a negative story often will end up helping your organization. Follow Mordecai's example and make better use of the gallows that may have been prepared for your organization (Esther 7:10).
Some General Observations about Reporters
Reporting is a young person's occupation: The reporter writing a story about your organization often will be in his twenties. It is also, generally, an unchurched occupation: One survey showed that 86 percent of the "media elite" seldom or never attend church. It is also an occupation with a training and reward structure that emphasizes investigative journalism. Those general indications mean that the reporter covering a Christian organization's activities may be inexperienced.
The reporter may be interested in the Christian organization because of contacts with anti-Christian groups. He may think Christian organizations have something to hide, something he will investigate and disclose.
Newspapers and television stations rarely employ people to double-check the "facts" contained in articles which their journalists submit. If a story seems credible to an editor or producer, he will publish or produce it. Current journalists often develop stories based on preconceived ideas about controversial or sensational topics. These notions may be based on what they have read in national magazines or seen on network television news shows, even if the situations described in those stories have little in common with the subject of their own article. (For example, terminology and attitudes which were commonly used during the reporting of the Branch Davidian standoff in Waco, are now often applied to "cults" in general.)
Sometimes a reporter will have his story almost written before he ever talks to you: He is simply picking up facts and quotations to use as specific detail for the story already constructed, or, if he's preparing a story for TV, he may just be after a short film clip in which you appear, in order to add credibility to his presentation. Good writing with apparently accurate detail generally will get the story past an editor, even if facts and quotations are wrong and the entire story is misleading.
First Steps in Preparing a Counterattack
Prepare a basic "press kit." The kit should contain information describing what your organization does, who it serves, how it was started, how it is funded, etc. The press kit should include the name and telephone number of the organization's media representative, with indication of a willingness to be called for further information.
Designate a media representative (spokesperson). Your spokesperson should make sure that whoever answers the organization's telephone is instructed to tell reporters to call him/her. There should also be back-up media representatives in case, in an emergency situation, your spokesperson cannot be contacted. In most cases, however, reporters can wait, even though they may not want to.
Prepare a "standby statement" containing answers to frequently-asked questions. Critical articles about other Christian groups, or criticism from local anti-Christian organizations, should be analyzed carefully to see what kinds of charges typically are made. Responses to those charges should be prepared.
Choosing a Spokesperson
When a representative of your organization is to be interviewed, especially by the broadcast media, you must consider points above and beyond whether he or she is the most informed source on the subject.
Questions you should ask yourself when choosing a spokesperson include:
1. Are they good at public speaking?
2. Do they look professional and at ease on camera, or sound relaxed on the air?
3. Can they deal with the pressure of responding to live questions that will be heard by potentially tens of thousands of listeners or viewers?
4. Are they the "face" or "voice" you want representing your organization?
It may sound superficial, but the person whose voice or face is on TV or radio becomes your organization to the general public. He or she is your representative.
When the Reporter Is on the Phone
Assume a reporter has been put in contact with your spokesperson. The reporter typically will say either, "I am doing a story on subject x and would like a comment from you," or, "I want to do a story on your organization." If the standby statement is a good one, the organization's position on subject x will be covered in that statement; if not, your spokesperson should be careful not to give off-the-cuff answers. If the subject is one on which the organization wants to comment, the reporter should be asked about his deadline and told he will be called back.
At this point, your spokesperson should think through potential answers and discuss them with others. Then he should be sure to call back before the deadline. If the subject is one the organization does not wish to comment on, your spokesperson can say so. Reporters often will try to push interviewees into making a statement of some kind, but that pressure should be resisted. Reporters may say, "I just want to know how you feel about this," or, "Can you tell me why you won't answer?"
The reporter may say, "I'd like to do this today," or in some other way push for an immediate response, but if the story centers on your organization, he needs an interview to make the story at least seem "objective". If your spokesperson declines to be interviewed, the reporter will print that in the story, but if the story is not explosive and your spokesperson agrees to be interviewed within some reasonable period (say, several days), the reporter will have a hard time charging your organization with lack of cooperation.
Preparing for the Reporter's Visit
Choose a person to accompany your spokesperson to the interview. The testimony of two witnesses is important, and it is easy to go off on a tangent in an interview; a second person can help steer the conversation back on track. Unless the reporter requests additional interviews, or there is some pressing reason to the contrary, it is usually not a good idea to have more than two representatives of your organization at the interview. That will look like either organizational timidity, or a desire to gang up on the reporter.
Standby statements should be reviewed and updated. Make an outline of important points. Think of positive ways to answer negative questions. Write out the answers to those difficult questions and critique them. If your spokesperson is unfamiliar with interviewing, he might want to have "bear-pit" practice sessions. Tape or video the practice interview, and review it. Your spokesperson should practice keeping answers informative but concise: "He who holds his tongue is wise" (Pro.17:28).
Have a working tape recorder ready for the interview. Not taping leaves no protection against misquotations. Interviews for television news shows generally will be short, but for print media interviews twice as much tape as seems necessary should be readily available; you don't want to miss the crucial closing remarks because the tape ran out. The tape recorder should have a microphone that will pick up voices well, since many people during interviews tend to talk softly. A back-up tape recorder and batteries should be available.
If a hostile television interview is expected, you might think of videotaping the proceedings. (In normal situations, that might be considered overkill.)
(See also "Surviving a Media Storm" for further points.)
Etiquette of the Newspaper or Magazine Interview
If the reporter is thorough, he will come with a tape recorder and ask permission to tape. Your spokesperson should say yes as he brings out the organization's tape recorder. If the reporter does not bring a tape recorder, it is possible (although unlikely) that he will object to your taping, perhaps asking, "Is this really necessary?" or, "Can't we trust each other?" Assure him that it is really necessary. Never submit to an interview with a potentially adversarial reporter without taping it.
If the reporter objects, do not go ahead with the interview; the reporter will be unable to write in his story that your organization refused comment, and he will be reluctant to write that he refused to ask questions with a tape recorder running.
If the circumstances of the interview are positive (such as a pattern of fair coverage of your organization in the news outlet requesting an interview), precautions must still be taken; but this may be the occasion for a favorable story that could be immensely helpful. Your spokesperson should be ready to suggest to a sympathetic reporter several possibilities for a positive and truthful feature story on the organization.
If the reporter appears to be planning to write an article based on criticism by detractors of your organization, your spokesperson should find out what that criticism is at the beginning of the interview. He/she should ask the reporter, while your tape recorder is running, "How did you hear about the organization? Who made the complaints? How many complaints have there been? Will you investigate your source as well?" The reporter may say, "I'd like to start with . . ." It is perfectly appropriate to respond, "We will be happy to answer your questions, but we would first like to know who our critics are and what they've told you . . ."
If the story is arising in a hostile environment, your spokesperson and others should beware of a reporter's requests for extensive personal background. The reporter should be told about professional credentials, but detailing personal experiences or history may backfire if the reporter wants to cast you in a bad light by playing up anything that may sound strange to the public.
Following the interview, the tape should be transcribed immediately. The transcript may never be needed, but if it is, the organization will be prepared. Questions from the reporter on the transcript can be used to update standby statements. If some questions were answered poorly, your spokesperson can learn from his/her mistakes.
Notes on Television Interviews
With television cameras, you are forced to make some kind of statement, or else your closed door probably will be filmed, with the reporter saying that your organization refused to talk to the press.
Typically, television crews have one camera shooting from behind the interviewer. The reporter will not be on camera during the interview. Following the interview the crew will film the reporter asking questions. This means that sharp-edged questions during the interview, which might lead you to respond in kind, may be replaced by mellow questions in the final edit, leaving you looking belligerent for no reason. Therefore, answer every question in the positive way you want to answer it, regardless of the question's tone.
You are at the mercy of editors, so do not let down your guard for a moment. A press interview might last for several hours, while a television interview might last for ten minutes, of which thirty seconds might be used. Antagonistic editors will seek to show you at your weakest, so try not to give them any opportunities.
Occasionally cameras may be at your door, unannounced. For example, if a television reporter has already interviewed your critics, he is likely to engage in "balancing" by coming to your office to interview your spokesman. This should be no problem if you are prepared. Simply give concise statements based on your standby statement preparation.
If television crews should burst onto your property, make sure that whoever is present is prepared to say, with a determined smile, "You are being extremely rude, and you are trespassing."
When the Story Appears
The story may be fair and helpful; if so, take advantage of the publicity. If it is a print medium (newspaper or magazine) story, tell others to read all about it, and reprint it. Show a videotape of the television story to friends and contacts who missed it, or to others who are still forming an opinion about your Work. Coverage gives the organization legitimacy and, perhaps, added importance in the eyes of fence-sitters.
If the story is negative, examine your organization in its light. Is your organization being attacked on false charges? Or were real weaknesses in the organization legitimately reported?
If the story is dishonest and defamatory, do not despair. It could be the beginning of a major victory. Your spokesperson and others will want to contact the news organization--but first, all evidence needs to be in order. General objections that the article had an unfairly negative slant will get you nowhere, either in a news organization's office, or (if it comes to this) in court. You have to have specific inaccuracies or misquotations to obtain a retraction, correction, or equal time/space.
Analyzing the Dishonest Newspaper or Magazine Story
Compare the quoted statements in the article with the statements your spokesperson(s) actually made. If a statement is enclosed in quotation marks, it should be exactly what was said. If any words are missing, the exclusion should be indicated by an ellipsis (three dots). If a statement is a paraphrase, it should accurately reflect the meaning of what was said.
Examine any charges or statements against your organization. Are they demonstrably wrong, inaccurate? Was your spokesperson given a chance to respond to the specific charges?
An article on a controversial question often will have some paragraphs that can be labeled "pro" one side or the other. Count the paragraphs. Within the common mode of journalistic "objectivity," your side and your critics' position should have received roughly equal space.
Examine the way in which "neutral expert witnesses" or "third party sources" are used. In a controversy story, use of such third parties is designed to help the reader sort out who's right and who's wrong. Are the witnesses actually neutral? Is their viewpoint shown accurately? If you know the third party sources used, you might call to see if they were quoted correctly.
Only after determining that actual inaccuracies exist should you go on to the next steps. If the reporter has quoted your spokesperson and others fairly, but you do not like the tone, and if he has taken facts out of context but has done so with subtlety, you have little recourse but a letter to the editor.
In analyzing television spots, the same general considerations hold. However, analyze not just the words, but the video segment, with great care. Observe reporters' and announcers' intonations and facial expressions. Raised eyebrows and a sarcastic tone are worth a thousand words.
Calling the Newspaper Office
A few words about organization: Typically, the publisher is a newspaper's CEO (chief executive officer), with two people--a business manager and an editor-in-chief--reporting to him. The business manager handles finance, circulation, advertising, and other business aspects. The editor-in-chief (sometimes called "executive editor", or simply "editor") is in charge of all the nonadvertising material in the newspaper. Do not go to the publisher, except as a last resort: That is going over the head of the person in charge of editorial content, and is likely to waste time or produce resentment. Also, do not go to someone you know on the business side of the newspaper. (For more on media titles and positions, see the section "Who's Who in the Media", on page 10.)
Typically, leaders on the editorial side are the editor-in-chief, managing editor (who is concerned with day-to-day news and features), news editor (who is responsible for national and international news, but also for writing headlines and copyediting stories), and city editor (who assigns stories and supervises local coverage generally). Titles vary, but you probably will end up talking with one or more of those individuals.
Reporters are under the supervision of editors. Do not call the reporter who wrote the offending story. With ego invested in the story, and with less maturity than most editors, he is more likely to be belligerent.
Be aware of the role of the "ombudsman" (readers' advocate, public affairs editor, Mr. Go-Between, reader contact editor) if the newspaper in question has one. Don't let titles fool you: Unless the person filling the job is extraordinary, the ombudsman is not a reader's advocate, but an employee of the organization that has treated you unfairly.
A few ombudsmen may be more independent. They may be individuals from outside the organization brought in temporarily, with a contract stipulating fixed terms of employment with no possibility of renewal. However, ombudsmen are selected by the newspaper's management and are likely to share the ideological presuppositions of that management. An ombudsman may be helpful, but he is not your friend.
In short, call the highest ranking person on the editorial side of the operation--not the business side. Do so with the expectation that you may end up talking with an editor slightly lower in the pecking order, but above the reporter. Remember to be careful with everyone you deal with in a news organization. Chances are, if the news organization had better fact-checking and higher ethical standards, you would not be there complaining in the first place.
Calling the Television Station
Organization charts in television news often are functionally similar to those of newspapers, but staffs are smaller and titles are different. A producer, rather than an editor, decides which stories to use and how much time to give them. Often there will be different producers for morning, early evening, and late evening news shows. At some stations producers report to a news director, who in turn reports to a "general manager" or "station manager."
If you have a good complaint, call the news director or producer, if you know specific names and responsibilities. When in doubt, simply call the "general manager" or "station manager."
Do not call the anchor*. Many people think the anchorman (or woman) is tremendously influential. That is often not so. Within the studio his clout reaches only as far as his ratings. Organizationally on most local broadcasts, the anchor has little power. Only if he is so tremendously popular that his departure would cause ratings problems, can he throw his weight around effectively. (* anchor: the narrator or coordinator of a newscast in which several correspondents give reports)
Preparing for Confrontation
After a defamatory story appears, form a committee to study the newspaper or magazine article or the tape or transcript of the broadcast, and prepare a memo noting the article's factual inaccuracies and misquotations. The memo should be easily understandable to outside parties on first reading or hearing, and succinct. From this memo you will be able to determine if there are valid grounds for a complaint.
If there are indeed factual errors or misquotations damaging to your organization, you may want to consider threatening libel action if the news organization does not act to correct the record. Libel suits are tricky and hard to win. They are not to be entered into lightly. They must be considered, though, if only because the news organization will take your complaint much more seriously if there may be dollar signs attached to it.
When your spokesperson calls the editor, station manager, or other appropriate person to lodge your complaint, he/she should be prepared to say enough over the telephone to provoke the editor's concern. Your spokesperson should note that you have a tape of the interview and a detailed record of misquotations, inaccuracies, etc., and, if you and your co-workers have agreed that the situation warrants such a threat, that you are considering libel action. He/she should not say, "We feel the article was unfair." The editor probably does not care what your organization thinks. He cares if his staff messed up and if there is cause for legal action. Your spokesperson should end the telephone call by setting up an appointment.
Two representatives of your organization, at least one of whom was at the interview, should go to the appointment. If your organization is seriously considering legal action against the news outlet, you may want to bring your lawyer along as well. Your representatives should be prepared to play the tape for the editor. (This is especially effective if his reporter did not tape the interview.)
If the editor cannot listen to the tape that day, it should not be left with him, even if you have other copies. Your representative should be present when the tape is played to point out specific problems. They also will want to see the editor's reactions when the quotations on the tape contradict the quotations in print.
Negotiating a Settlement
The news outlet probably will not make an offer at your first appointment. The editor will want to discuss the troublesome matter with his colleagues and possibly his lawyer, if you have threatened legal action and he takes you seriously.
If the article was truly slanderous and the news outlet, after some thought, will not offer anything, then you may want to consult a lawyer knowledgeable about libel. News outlets are usually very concerned about possible litigation. The refusal to make an offer might mean that you do not have a case. On the other hand, the news outlet might be bluffing. Consult with your lawyer, if you have not already done so.
(Editor's note: Unless it is a feature article in a major paper or broadcast, it probably does not warrant taking legal action. If it appeared in a local paper, and contains just a few distortions or misrepresentations, it is often prudent to simply "turn the other cheek" after you have done all you can and pursued other avenues in an effort to get your positive message out.
(Other possible recourses you may want to consider include: picketing their office, having influential friends fax letters to the editor or call and complain, or simply taking your positive material to their competitors.
(You don't want to get the reputation of threatening or bringing libel suits every time an inaccuracy is printed against you, particularly if you are not prepared to follow through with your threat.--And remember, it is often the distortions, the lies, the misinterpretations, all the "juicy" stuff that keeps your organization in the public eye.
(In summary, when a negative article appears, your goal should be to counter it by getting a retraction, a correction, or an article or letter to the editor authored by your organization published. In most cases you should stop short of threatening a libel suit and appearing with a lawyer.)
The news organization may offer a retraction, a correction, an article to be written by you, or a letter to the editor. A retraction is an admission of error, generally combined with an apology. A correction is a restatement of the facts without explicit admission or apology.
Ideally, if you have been falsely defamed, there should be a prominent retraction and apology, in the same spot or time (preferably a better spot or time) as the original article.
Since editors--like the rest of us--hate to be publicly embarrassed, you may be offered a mild correction, in which the news organization will correct specific errors, but do nothing to remove the overall negative impression given by a skillfully biased article. In this situation, a mere correction might be as bad as seeing the story appear a second time, because it will remind readers of the initial charges. When the problems with the article are greater than a factual inaccuracy or two, be careful about accepting correction without retraction.
In such a situation, ask for space or time to present your own viewpoint, rather than a correction. You should have as much space and time to present your side of the story as the newspaper used to attack you.
If you are offered space on the editorial page, remember that such placement is not equivalent to space on a generally better-read news page. Negotiate on this point, at least asking for a boxed statement (in the same location as the original article) pointing readers toward your rebuttal. Do not quickly settle for a letter to the editor.
Counterattack
Take advantage of the publicity your organization is getting, even if it is bad. If there are sympathetic radio stations, TV stations, or newspapers in town, you need to bring them into the controversy right away. A small organization against a big newspaper or television station makes for a good David vs. Goliath story.
Try to get on talk shows or other forums where you can take advantage of the publicity and get your story across. Use specific detail to show bias.
Discuss the article in your newsletter, and the steps taken to gain redress. Send out a fund-raising letter explaining how you were unjustly attacked. Remember that you are probably being attacked because you are effective.
Launching a Media Offensive--What Is News and Newsworthy
News is nothing more than the communication of information from a source--potentially you--through the media--TV, radio, newspapers and magazines--to the public. However, not all information is newsworthy. Since there is only a limited amount of space or broadcast time in any of the media, the issue of newsworthiness is critical.
A newsworthy item is whatever an editor believes is newsworthy. The birth of a baby isn't news because it happens all the time. However, the birth of a baby to a celebrity or the birth of triplets to an ordinary citizen is uncommon, and therefore newsworthy. If someone from your organization gives a speech or teaches a class in their field of expertise, it usually isn't newsworthy. However, if your organization represents minority rights and there has just been a rash of violence against a minority group, your spokesperson can suddenly become a valued news source.
To test your information's newsworthiness, ask yourself these questions:
1. Is it timely?
2. Is it of interest to or will it affect anyone other than your organization? To whom is it of interest?
3. Is it a first, an only, a foremost, or an unusual occurrence?
4. Is it true, accurate and confirmable?
5. Does it involve some type of conflict, or the appearance of conflict?
6. Is there a "local angle" that makes your information of personal interest to the readers, listeners or viewers in a particular media market?
Newsworthy stories will not necessarily meet all these criteria, but they must meet at least some of them. Writers, editors and producers make hundreds of decisions each day, and what they base them on won't always be clear to you. They may try to be objective, but they're subjective mortals.
Establishing Credibility
1. If you want to get your information noticed, write a good release about something of interest. Don't whine. News releases that begin with "For immediate release please" are unprofessional. Begging doesn't help, and comes off as cute, insincere and self-seeking.
2. Avoid making unnecessary phone calls. Nagging a writer or editor is a good way to make an enemy of a potential friend. If you do have to talk to a journalist, preface it immediately with something to the effect of: "Is now a good time to talk with you about . . .?" (Editor's note: If you get a "no" to this question more than a couple of times, your contact is most likely trying to avoid you. In this case, you might have to stop asking and go ahead and present your story.)
3. Always tell the truth, without embellishment. The minute you tell a reporter something, be prepared to see it in print or hear it on the air. Stick to the facts, as they exist at the time. Rarely is it acceptable to lead a journalist on with, "Such-and-such is probably going to occur." If you pitch soft news as hard news and it doesn't stand up, your credibility as a news source is in jeopardy.
4. Avoid overkill and hyperbole. These will only weaken your chances at coverage the next time around.
5. Be consistent. If you release information to the media on a regular basis, they will come to expect it. Don't let them down. Publicists who can be depended on for newsworthy information delivered in a timely fashion will find themselves on the receiving end of phone calls from the media.
6. Don't try to butter up writers or editors by being falsely solicitous. They've heard every pitch in the book. However, if you do have friends who are on the other side of the journalistic fence, by all means use their resources. Ask their advice. A personal contact is worth several dozen press releases.
7. Be persistent, but know when to quit. Don't give up just because one editor turns you down; try another section of the same paper, or another division of a news bureau. However, you should never pitch the same story to a second editor unless the first one has turned you down. It's very embarrassing for a news editor and an entertainment editor to go to a meeting with their managing editor prepared to pitch a story you've tried to sell them both on. Trying another publication or another angle may prove fruitful. However, experienced publicists know when to stop throwing the ball, and, sometimes more importantly, whether or not a ball is worth throwing in the first place.
8. Be professional. It will always be more pleasant to work with some people than with others. However, you should get to know the full spectrum of the media. To do your job well, you should establish as many contacts as possible. Above all, avoid gossip. Never discuss a media professional's work with another media professional. It usually gets back to them.
9. Rely on the newsworthiness of your story rather than stunts or gimmicks; although there's nothing wrong with a gimmick--every now and then. Special events or promotions are perfectly legitimate ways of attracting media attention, but they are not a substitute for news.
10. Educate the media without talking down to them. It's generally assumed that you know more about the subject you represent than they do. Don't be appalled if they don't understand what you are trying to get across or have never heard of your organization.
11. Be up front with the media. If you're put on the spot in a controversial or sensitive situation, don't lie. If your organization is the recipient of negative or hostile media coverage or public reaction, don't react defensively. Stay calm and answer all queries as honestly as possible. "I'll have to get back to you," or, "I don't have those answers at the present time," are far better responses than "No comment." Learn to work with the media. This is when personal contacts and a professional rapport come into play. The media will work with you more often than you might expect.
12. Know when to say, "This is not worthy of media attention."
Media Planning
In order to create a successful media plan, it's essential to (a) clarify your objectives, (b) determine your audience, (c) create the message you want to convey, and (d) select the best medium or media to reach the audience. A simple series of questions can guide you through these steps: Who, What, When, Where, Why, How and How Much.
Who are you going to reach with your information? Define your target audience. Do you want to reach people who are predisposed to receiving your message, or those you're trying to convert?
What are you trying to convey through your campaign? What are your goals--increased visibility, changing public opinion, damage control after a bout of negative publicity?
When do you want the information you are conveying to reach your audience? If you're promoting an event, work backward from its date and plot out every newspaper, TV, radio, magazine and production deadline that will affect your plan. Nothing kills a well-constructed campaign more quickly, and does more damage to a publicist's credibility, than sending information out too late. Construct a timeline for your activities, working backwards from the absolute deadline by which you have to have your information prepared.
Where do you want your information to appear? What media will be most effective in reaching your target audience? Daily newspapers, weekly tabloids, magazines, TV, radio, flyer and poster distribution, special events, demonstrations, a public forum? All of the above, or a combination of several? How many people do you want to reach? Will your campaign be on a local, statewide, national, or international level? Find out what media are respected and trusted by your target audience. Match the medium to the audience.
Why should the media be interested in covering your organization or event? Why is it newsworthy? If you're not able to answer that question quickly, succinctly and accurately, you're not ready to begin. The media will look for and often find their own angle on any story or event, but you must present it as newsworthy right off the bat if you want it to receive the attention you feel it deserves.
How do you let the media know what you're doing and when, where and why you're doing it? How do you get the contacts you need to mount your campaign?
Who's Who in the Media
Editor: Coordinates and assigns stories for his or her section of a newspaper or magazine. City editors handle news assignments for the urban area; publications may also have editors responsible for entertainment, arts, sports, business, the environment, etc.
Producer: Electronic media's (TV, radio) equivalent of an editor.
Assignment Desk: Coordinates the day-to-day assignment of stories to reporters, photographers and film crews. This is a particularly important contact to make with TV stations.
Calendar Editor: Responsible for events listings, announcements and, with few exceptions, a vital source of free publicity. A one-page release specifying just the basics of your event is the most effective way to communicate with this overworked and under-appreciated contact.
Public Service Announcement (PSA) Director: Contact at radio and TV stations responsible for airing PSA and free-speech messages.
Reporters: In the print media, reporters are writers. On TV and radio, they're the voices you hear reporting the news, and generally the main gatherers of that news. What they specialize in reporting is often specific, sometimes general, and always valuable for you to have a handle on. Cultivate a stable, or regular group, of writers, both staff and freelance, who know your organization, understand its purpose, and who have the respect of editors and producers, Sometimes it is most effective to approach a reporter or writer, get them interested in your story, and have them "pitch" it to their editor or producer. As an unbiased third party, their input will add credibility to your pitch.
Freelance Writers: Freelancers are journalistic free agents who generally write for a variety of publications. Many editors keep a stable of freelancers with whom they work frequently. As a publicist, you should do the same. Cultivate your freelancers in the same way you do your publication staff writers. Freelancers are often more likely to have a special interest in, and more time to get to know your organization.
Columnists: Almost every newspaper and magazine has regular columnists. Read them to familiarize yourself with the topics they cover and the writer's style. Are they political, society, humor, or gossip columnists? Do they appear on regular days? Find out. In many instances, they have been with the publication for years and are looked to for their insightful, humorous, or controversial takes on local issues. Many local papers take a great deal of pride in their regular columnists, and these special reporters--often given wide latitude in what they write about--are frequently the first part of the paper people read.
The Media List
Obtaining an initial media list is relatively easy. Publicity novices are often intimidated by the thought of creating or obtaining a media list; but with organization, persistence and a telephone, anyone can put one together.
Others already have the information you need. Many nonprofit organizations maintain lists of press contacts for both the print and electronic media, and sympathetic groups will often share them. Sometimes the public affairs office of the local telephone company distributes free lists of area media contacts and their phone numbers. Ready-made media lists can also be purchased from a variety of sources, sorted and indexed by the type of media (print or electronic) on local, national and international levels.
Maintaining your media list properly is vital. Remember that a list can be out of date as soon as the ink on it is dry: Addresses change, reporters and editors come and go, publications and stations alter their formats and sometimes go out of business. Any publicity source increases his or her credibility by taking the time to correctly identify the proper contacts within each media outlet and update them on a regular basis.
Make personal contacts. No matter how current or sophisticated your list is, it won't be an effective tool for dealing with the media unless you take the time to make personal contacts. How do you establish rapport? Start by introducing yourself. If you're just setting up a media list, send an introductory letter to everyone on that list. Enclose your business card for their files.
Watch for articles about your issue. Write to the journalist or producer to let them know that your group is concerned about that issue. Tell them you're happy to see that they're responsive to such an important issue. Use the letter as an opportunity to introduce your organization and its mission. Send an information packet along. Give an honest assessment of their coverage--using tact, of course. While journalists get a lot of exposure, they generally don't get a lot of feedback. Because they have both journalistic standards and ego, chances are good that if you write a simple letter, a journalist will remember you when you call back with a story idea. Positive reinforcement is a good way to establish rapport.
Setting Up the Media List
Computer databases are particularly efficient tools for keeping media lists up to date. However, there is no reason that a file or notebook cannot work as well. Organize your list by publication, wire service or TV or radio station. Include the contact's:
1. Name
2. Affiliation (publication, station, freelancer, etc.)
3. Title (editor, reviewer, producer, host)
4. Mailing address (Is it different from that of his/her affiliation?)
5. Specialty (What does this contact cover?)
6. Phone and fax numbers
7. Deadlines (When do your contacts need file information by?)
8. Do they use photographs? If so, black and white or color?
9. When does the publication or program appear (weekly, daily, monthly, other)?
Select appropriate contacts from your list for every project (see Who's Who section on page 10 for a description of common media contacts). Code your lists for easy selection. For example, "R" might signify a beat reporter and "PR" might stand for a public affairs director.
Be sure to include the following outlets in your list:
1. Daily and weekly papers. List the editors for the various sections, and include appropriate reporters and columnists.
2. Magazines. Include local magazines as well as national ones that cover your sphere of interest.
3. Wire services. Wire services put out a daily log of press events, and all major media subscribe to at least one service in order to access this information.
4. Community and alternative publications, and college papers.
5. Specialty newsletters. Churches, unions, political and professional groups, and a wide variety of hobbyists all have publications that are specifically targeted to their audience.
6. TV and radio stations. Include the names of news directors, assignment editors, public affairs directors, and appropriate producers and reporters. Don't forget cable TV.
Deadlines
"I'm on deadline" is a sacred phrase. If reporters call you for information and use those magic words, get them what they need as soon as possible. If you call a writer who tells you "I'm on deadline," thank him or her, find out when you can call back, and get off the phone.
Everyone in the media business is on a deadline. Some are predictable, like the day by which you must get information to a paper for inclusion in a Sunday calendar section, or the time by which your tape has to be at a TV station in order to get on the air. These standard deadlines are different for every media outlet.
Learn the deadlines of your chief media contacts and respect them! For example, don't call an editor on Thursday if that's the day he's making final edits on the Sunday edition of the newspaper. Nothing is more irritating to an editor than getting a call on deadline day to offer a story, for that issue. You are expected to know better.
Be a Media Consumer
To improve your media skills, read, watch and listen carefully to determine the themes or styles of various publications and broadcasts. Does the publication have a particular agenda or objective? If so, does it echo the concerns of your organization and/or your target audience? What type of audience is it trying to reach? Look for writers' bylines, and learn which ones cover the subjects important to you. Study the TV and radio listings and watch and listen to broadcasts to see which programs might be good media outlets for you. What are the usual topics and types of guests featured on local talk shows?
Commitment and Concentration
Each type of media requires a different approach and differing amounts of effort. Each reaches a different audience, and presents information in a different way. In any media plan, one should concentrate efforts on the most effective method for reaching a desired audience. Clear definition of goals and commitment of resources is important.
A Guide to Effective Letter-Writing
How to Address the Public
How you address the public is as important as how you approach the media. Any time you are addressing the public directly or through the media--whether you're giving a speech or an interview, writing a news release or a brochure--it's important to follow a few basic rules:
1. Use plain English. Your goal is to communicate something to someone else. Jargon, rhetoric, inflammatory language and convoluted sentences draw attention to themselves, rather than the issue you want to promote. Be direct, clear and concise.
2. Assume a fairly intelligent audience. A patronizing tone will alienate rather than ally. However, never assume that the public or the media is already familiar with your organization or issue.
3. Build your credibility. Share your credentials and accomplishments, and note your supporters when appropriate.
4. Move people to action. Rather than compelling people with guilt or fear, request actions.
5. Be positive. Approach each issue with a positive appeal. Make it seem that you are taking the initiative, even if you are on the defensive. Speak as a conscientious and responsible member of the community rather than as an outcast. Do not address past failures unless specifically questioned about them.
Tips for PR Writing
1. Put your most important information in the lead paragraph, background information toward the end. This way, the vital information is available at a glance, and the most likely to be kept in any story, should the rest be cut.
2. Keep paragraphs short. Aim for no more than two or three sentences per paragraph, although there will be exceptions. Always include your who, what, when, and where in the opening paragraph, with why explained soon thereafter.
3. Avoid the passive voice, such as in this sentence: Drug-addicted youth are helped by our program. When in doubt, use simple, active verbs, such as in this sentence: Our programs help drug-addicted youth. The verb "being" is not an active verb.
4. Adjectives generally have no place in a news release, unless used in a quotation. "Fabulous", "acclaimed", "renowned", "a respected authority" are a few hackneyed phrases to avoid.
5. Combine background information into simple sentences, without becoming too wordy or complex. For example, "Jane Doe, a former Peace Corps volunteer in the area of Third World development, brings a wealth of experience to her new position as head of the Center City Food Bank Program for minority youth."
6. Every story, news release, advisory or letter should have a logical beginning, middle and end.
Writing to Newspapers and Magazines
When writing to print media, whether it is to introduce your organization, offer a story or reply to an article which has already appeared, follow these basic guidelines:
Be succinct. Develop one or two points to make in your letter. Limit yourself to those points, and make them well.
Be brief. Short letters are much more likely to be printed than long letters.
Be timely. Write about issues that are in the news.
Sign your letters. Sign your name to your letters, and include your address. Most editors will want to verify the authenticity of your identity, so include telephone numbers where you can be reached, preferably both day and evening numbers. Sign your name with your professional title only if your position is related to the subject matter at hand.
Type or print. If the editor can't read your letter, he can't print it. Type your letter, or, if that is impossible, print neatly.
Writing to Policymakers
Communicate. Make a specific request of a policymaker when you write. You may want a decision changed, a vote cast a certain way, or to communicate specific facts, but be clear about what you want.
Personalize. Although mass-produced postcards and letters effectively communicate views with policymakers--because they tell policymakers that a large number of people hold a certain viewpoint--individually-written postcards and letters are more effective. A policymaker knows the letter-writer cares a great deal about an issue if he or she has taken the time to write a personal letter.
Be courteous. Rude comments in your letter will make it less effective. You can be firm while being courteous.
Follow-up. If you receive a vague response from a policymaker, write again and request more specific information. And, if a policymaker does something you approve of, send a thank-you letter. Thank-you letters are rare, and therefore much appreciated.
Be timely. If you wish to influence a policymaker's opinion on a specific issue, write early and often. Your letters will be most effective if you communicate your views before the policymaker has developed an opinion.
Utilize letters to the editor. If you get a letter to the editor printed, send a copy of the printed letter to policymakers. This will show the policymaker that you are more than casually interested in the issue, and that you are working actively to educate your fellow citizens about it.
Sign your letters. Include your name, address, and telephone number with your letters, so a policymaker can respond to your concerns.
Type or print. Make sure a policymaker can read your letter by typing it, or, if that is impossible, printing neatly.
Letters to the Editor
Address your letter to the "Letters to the Editor" section.
Keep the letter to three paragraphs in length. It may be edited for space, but rarely for content. Don't be surprised to find your letter in an abbreviated form.
Always tie your letter to something current, preferably something the publication has covered. If you are responding to an editorial or article you have seen in the paper, state that up front: "I am writing in reference to your article or editorial of 9 March 199_" or "to the demonstration I witnessed on X."
Keep your response short, direct and simple. A rambling, overly emotional diatribe will not be printed--or you may wish it had not been.
Do it immediately. If you read something on Monday that you want to respond to, don't wait until Friday to send your letter.
Don't call to see if they are going to print your letter. They won't tell you.
Don't hesitate to send letters to national publications. Weekly news magazines like Time and Newsweek have widely read letters sections.
Writing for the Op-Ed (Opinion/Editorial) Page
Most op-ed pages contain a mix of nationally syndicated and local columnists. They can also include you. In theory, some letters to the editor can become guest editorials or opinion pieces. It is up to the editor. However, you can request space for an op-ed article if you or your organization are an authority on a specific subject. Op-ed space is limited and the competition for it can be fierce. If your issue is timely or controversial, you are more likely to be considered for a guest editorial.
Send a letter pitching your idea to the editor of the editorial page. Include background materials that confirm your stature in the community, and your credentials to write on the subject for which you are requesting space. Everyone has an opinion. Why is yours newsworthy? Follow up with a phone call.
In some cases you may submit the editorial itself in completed form. Generally, if it is going to be given major play, the editor will contact you. Allow a couple of weeks for the editor to respond. Some publications, usually national ones, pay a nominal fee for guest editorials. Most editorials or guest opinions, however, are not paid for. It's considered bad form to request payment.
Tips for Writing a Guest Editorial
Op-ed pieces range in length from 750 to 1,000 words. Some papers may print longer or shorter pieces. Find out the publication's requirements and adhere to them.
Move the reader to action. Don't be afraid to ask your audience to do something. You don't have to be objective; this is your opinion. Tell them what you believe and why. Make them believe it, too. It's important to remember, however, that facts presented in a responsible manner are your most powerful tool to influence readers.
A strong lead (your first sentence) is crucial. Your first few sentences have to accomplish two goals: capture the reader's attention and clearly state the central theme of your piece. The remainder of the piece should support that thesis. The closing statement should give readers a new issue to mull over. Leave them thinking.
Another media outlet may see your letter or guest editorial and contact you for comment on a story it's doing. Your opinions printed on the editorial pages of the newspaper will establish you as a valued news source.
Editors and Editorial Boards
Personal meetings with editors are rare, as they are very busy. There may be times when you or your organization will be dealing with an issue of such importance or complexity that you feel a meeting with the editor or editorial board of a publication is necessary. Don't be insulted if the editorial page editor or the editorial board of a publication turns down your request for an in-person meeting.
Usually, a letter outlining your position on a specific issue or an op-ed article submitted to the paper will be a far more effective way of presenting your case.
If you feel that your group deserves time with an editor to explain your position in person, or that such a meeting would help you get your side of a controversial issue printed, here are some guidelines:
1. Write or call and ask how the editor or editorial board likes to be approached. Do they want requests for meetings in writing, or will a phone call suffice? They will appreciate the call, especially if you follow through on their request. Don't be afraid to make personal contacts.
2. Use your contacts. If you already have good, solid contacts with writers, editors or reporters within a news outlet, ask them to help you set up a meeting. More importantly, solicit their advice. They may know whether or not your issue stands a chance of being considered at all.
3. Introduce yourself and explain your organization's concern or issue.
4. Use positive reinforcement. If you agree with a specific editorial or op-ed piece in the paper, write the editors and tell them. Let them know that you read their paper and value its opinions. If you do this, you'll have taken a step toward positioning yourself and your organization as possible news sources, and perhaps as the subject of future editorials.
Writing Tips for Brochures, Flyers and Ads
1. Be concise. Wordy copy (text) confuses the reader.
2. Use short, simple sentences. Group ideas together and use headlines, graphics, and an occasional box to break up blocks of copy.
3. Get the reader's attention. An eye-catching design and professional layout can help guarantee that the message will be read. Be daring! Make them want to take the time to read your copy. Some experts say you have less than 30 seconds to get a reader's attention.
4. Put the most important information in prominent places. For instance, in a flyer or ad for an event your organization is sponsoring, the best place to put phone numbers is at the bottom, in bold print; the day, date and time the event is taking place are generally in the middle; and the name of your organization, followed by the name of the event, should be somewhere up top. Amazingly, a number of groups forget to put the phone number (or the date of the event) in their ads.
5. Proofread your work, then have another person double-check it. Proofreading from bottom to top is a little trick some people use, as a double check, to spot errors.
How to Write Effective Press Releases
Beginning Your Press Release
There are very specific formats for writing press releases, and you should learn them and use them. If you do not follow the proper format, there is a good chance that journalists will not read your release.
Press Release Letterhead
Although styles vary, a typical press release contains: the name of the organization, its address, and its phone number on the top left and the words "News", "Press Release" or "Media Release" on the top right.
Press release letterhead is usually on legal size paper, although standard letter-size paper is considered acceptable.
Use standard business-size envelopes. It should match your press release letterhead in both style, ink color and paper color. It is permissible to use larger envelopes if your release is to be accompanied by other larger items such as photographs, sample copies of books, etc.
At the top left, below your organization's name and address, type "For Release: Immediate" or "For Release: Date" if you do not want journalists to use the information presented in the release until a certain date.
On the right, directly across from the "For Release" information, you should type "Contact:" and then the name or names of a person or persons who will both be available to answer questions from the media and be capable of answering all reasonable questions. The individuals' phone numbers should be included under their names.
The Slug
The first bit of text in a press release is the slug. This refers to the title, or headline, on the release. The slug should very briefly summarize the topic of the release and, if at all possible, utilize action verbs to sound as interesting and as newsworthy as possible. (For example: ANTI-CENSORSHIP GROUPS SPONSOR FREEDOM OF EXPRESSION COSTUME PARTY.)
The Inverted Triangle
A good press release follows what is known as the inverted triangle format. Picture it as a V. Information presented to the journalist in the release begins with the most important information. The next paragraph contains slightly less important information, and so on, until the very last bit of information in the release is the least important. If you have written a release correctly, it should be possible to cut off the bottom half of the release and still be presenting enough information to make the release useful to journalists. Many journalists receive large numbers of press releases each day. Time constraints may force them to read only the beginning of a release before deciding if they will use the material.
The Lead
The lead is the first sentence or paragraph of a press release. It should contain what is known as the five w's: who, what, where, when, and why. These five w's give a journalist what he or she needs to know in order to pursue your story. You should memorize the five w's and make certain that they appear in your lead.
Style
Keep the release short and succinct. A press release should rarely go over one page in length. Type double-spaced or at least leave space between paragraphs. Paragraphs and sentences should be kept short. Use exact dates and times whenever possible. When using numbers in text, spell out the numbers 1-10; for higher numbers use numerals.
Objectivity
Press releases are designed to transmit facts. Opinions should not be included unless they are clearly identified as such. One permissible way to convey opinion is by including a quotation by someone in your organization conveying the opinion you wish to transmit. Make certain that the quote is encased in quotation marks and clearly attributed.
Closing Symbols
At the end of a release you must signify to journalists that the release is over. There are two commonly-accepted symbols that mean "this release is over." The first is "-30-", the second "###".Either should be placed in the center of the page at the end of your release. In the rare instances that your release goes over one page, type MORE at the bottom of any page that is not the last page.
Press Release versus Media Advisory
From time to time you may want to send out information that is intended for journalists' information rather than publication. These might include announcements of upcoming press conferences or demonstrations. Another example would be a release informing journalists of your address and telephone number. You would not expect journalists to include this information in their article, but you would want them to know how or where to contact you for more of your story.
In other instances, you may have material which is too lengthy to meet the normal press release specifications and is not what journalists would consider "hard news", such as full texts of speeches, interviews, personal accounts of events, declarations of support, etc. However, some might be interested in publishing these in whole or in part as feature type articles.
In these situations, you can write "Press Advisory" or "Media Advisory" on your letterhead and carrier envelope in place of the standard "Press Release" or "Media Release." This tells journalists that the information in the release is information useful to them, not necessarily something you want them to file in their stories.
If your media advisory refers to an important coming event, which editors and writers might cover, send it far enough in advance so that they can make plans. Free lancers need time to make arrangements.
Including Photographs with Your Release
In some cases you may want to enclose a photograph with your release.
Use a black-and-white glossy photograph if possible. If the publication accepts color, submit slides or transparencies.
Caption every photo sent. Include the names and titles of the individuals or items in the photo (left to right if at all possible), the location, a brief description of the action, pertinent dates if applicable, and a contact phone number for more information. Attach the caption to the rear of the photo with tape. If you want to have the photographs returned, put the return address on a label and attach it to the back. Also include the photographer's name for a photo credit.
Newspapers usually prefer vertical shots to horizontal ones. Look closely at the photos newspapers use and see for yourself. Magazines and some tabloid publications are more prone to use specialty or unusually sized prints.
Each publication has a format. Most newspapers don't want artsy shots and non-standard-shaped photos. Give your photos a strong sense of emotion, place, and conflict. Give them a strong focal point; overly busy shots don't translate well.
Photos must be of high quality. If a photo is out of focus, or has no visual interest, or the lighting is bad, or the principal subject is hard to see, it isn't going to be used.
Send your photos to the correct person. It probably isn't the writer of the article. Most publications have a separate photo editor. (In your caption, refer to the corresponding press release, or send an additional copy of the press release to the photo editor.)
Make a follow-up call to see if they liked the pictures you submitted, and if there is anything else they need.
After You Have Mailed the Release
The first rule is: Be available to answer questions. The second rule is: Treat reporters with courtesy. The individual or individuals you have listed under "Contact" on the release should be easy to reach on the days following the mailing of the release. They should be briefed on the answers to likely questions. If they do not know the answer to a reasonable question, they should be prepared to find out the answer and get back to the reporter before their deadline. It is not considered rude to ask a reporter doing a story what his or her deadline is for having their story completed and filed (turned in). Reporters' questions should be answered as soon as possible, and reporter's telephone calls should be returned ASAP as well. A couple of hours can frequently make the difference between getting in a story and not getting in a story.
Getting on the Day Book
Wire services, such as the Associated Press, Reuters, the United Press International and others maintain what are called day books. These are not books at all, but lists of all events occurring on a certain day. If your press release advertises an event, mail a release well in advance of that date to all the news wires in your area and you will be listed on the day book. (You should, however, telephone each wire service the night before or very, very early in the morning of the event to make certain that they received your release and you are listed. If they did not receive it, you can get listed by giving the wire service your information over the telephone.) Journalists and assignment editors from newspapers, radio and television all refer to the news wires' day books frequently as they determine what news they cover. A day book listing costs you nothing and is very useful in getting the word out about your event to journalists.
Fax Etiquette
Faxes should never be used indiscriminately. A standard campaign should include an initial release by mail, a follow-up phone call, and, if the writer has lost or misplaced the information (a scenario played out more often than you might imagine), a follow-up fax.
Fax machines are a godsend for writers and publicists on tight deadlines--they are especially great for newspaper and magazine calendar sections--but they should never be used in place of timely news releases by mail. Unlike the Post Office, a fax machine can only deliver one page at a time, so don't add to a media outlet's fax jam-up with unnecessary communications.
A good rule is not to fax without having first requested permission by phone or receiving a specific request from the faxee.
Always precede faxed information with a cover sheet that includes: the date; the person, organization and fax number you are sending to; the fax number of the sending party; the number of pages being faxed (including the cover sheet); and a brief description of what follows. After a reasonable time--a few minutes, say--phone again to make sure the fax was received. There are lots of fax machines out there now, and one slip of the digit could have your release sent to Iceland.
Some press contacts like unsolicited faxes. Find out who they are! A list of these contacts is a dream list: faxes are generally cheaper than postage, and if the fax machine is readily available to the person to whom you are sending, you have practically guaranteed they will immediately process the information you have sent.
Phoning News Tips
Sometimes a fast-breaking story may be happening too quickly for you to send off a news release or advisory. Story leads can be passed on to a reporter you know to be interested in your issue without using a news release. To pass on a news tip, just pick up the phone and call your contact.
Some reporters and editors love phone calls; others hate them. To all, however, the phone is a primary means of obtaining information. They're used to receiving phone calls and messages. Don't be intimidated when you get a journalist on the phone. Be prepared. If you have a valuable news tip, they will listen. If they sound brusque and irritable, it's probably because they have fielded a dozen such calls already that day. In any case, convey your message in a concise and professional manner.
Be as thorough and accurate as possible. "I thought you'd be interested in knowing . . ." is one approach. If it's a hot story, the reporter will take the tip and get on it.
Never pressure a reporter to follow through on a news tip. You may, however, phone back to find out if anything ever came of the story.
Don't call on or near a publication's or station's deadline day or hour. It's different for every outlet, so your media list should always include the various days and times that are good for calling that particular contact. Generally, morning phone calls are received with less resistance than those made in the afternoon.
Condense your story idea down to the bare minimum, preferably so that it can be communicated within 30 seconds. Practice it out loud, to yourself or someone else, before you call. Have all the story essentials--who, what, where, when and why--written down in front of you.
When you get your contact on the phone, identify yourself, your organization, and why you are calling. Ask if they have a few minutes to talk. If they say they're very busy, sometimes you can respond with, "I'll only take a couple minutes of your time." If you sense any further resistance, ask when would be a good time to call back.
Make your pitch. Be brief and direct: Say what the story is and perhaps why it's important. State your case as succinctly and effectively as possible, speaking slowly and clearly. Ask if they would like additional information. If they do, send it out immediately. Ask if you can fax it to them.
Follow up with a brief note thanking the contact for taking the time to discuss the story with you. Include a reiteration of your pitch and a copy of the news release relating to the pitch.
Public Speaking
Tips on Putting Your Best Face and Voice Forward
There's no reason that speaking to the public should be traumatic or nerve-wracking. As long as you're prepared, you should be able to face any encounter, whether it's a speech, a news conference where you're fielding questions from dozens of journalists, a one-on-one interview, or a live television appearance where a microphone and mini-cam have been shoved in your face "for comment" on a specific issue.
1. Do some intellectual preparation. What is the overall impression you want your audience to come away with? What are the main points you want to get across? Emphasize and re-emphasize them. How much time will you have to get your points across? Who will be in the audience, and what is the best way to communicate with them? Keep all these questions in mind as you prepare your remarks. Also, what sorts of tough questions can you anticipate from the interviewer or audience? Be prepared for these.
2. Rehearse in front of a mirror or with a friend or colleague. Ask the person rehearsing with you to critique your performance. Time yourself and shorten or lengthen the talk if necessary.
3. Warm up. People spend a great deal of time and money exercising their bodies and very little working out their voices. There are numerous exercises that can be done every day, with no pain, discomfort or difficulty. Any inexpensive book of vocal exercises will show you numerous warm-up techniques. Once you've made them part of your daily ritual, you'll wonder how you ever spoke before.
4. Dress in comfortable clothing, but make sure your attire is appropriate for your audience. Generally, you should dress in a business-like manner if you are discussing matters you want to be taken seriously.
5. Arrive early so that you won't feel rushed and anxious, and to give yourself an opportunity to take in your surroundings. Never keep an audience waiting, whether it's the public or the media.
6. Relax. Go for a walk beforehand, or take 10 deep breaths just before you go on.
7. Breathe. The biggest mistake most people make when speaking to journalists or to large groups is the assumption that somehow a single point must be made in a single breath. Relax, and pace yourself. The vast majority of people talk too fast. If you are reading from a prepared script or statement, mark on each page places where you should pause, breathe, and then go on. Besides giving you a chance to compose yourself in the face of potentially hostile questions, it will give the appearance of thoughtfulness and concern about your issue.
8. Eye contact is important. Don't speak until you see the whites of their eyes. Give yourself time to look around the room and take things in. Look at your audience. If it's an interviewer, look him or her in the face. If it's a large group, keep your eyes on them. If you are being filmed, make "eye contact" with your viewing audience by looking directly into the camera when making key points. Experts suggest that maintaining eye contact for 3-5 seconds on an individual before looking to the next person is the key to making people feel that you are talking directly to them.
9. Never read your material to the audience; speak to them directly. Many prominent speakers have the benefit of a teleprompter to make it seem as if they have memorized their speech; you probably will not. If you are giving a prepared speech, keep your place with your finger if needed. Follow the text, find your spot, remember a couple of sentences, then look up and speak. Don't talk into the page.
10. Never show your nervousness to the press or public. If you are suddenly called upon to speak impromptu or answer an unsolicited question, look the person in the face. This gives the appearance of confidence, assurance and knowledge of the subject you're addressing--even if you aren't feeling that way at the moment.
11. Refrain from fidgeting. If you are standing, don't randomly wave your hands around; if you're seated, don't squirm. A good way to see just how many nervous gesticulations all of us have is to tape yourself with a video camera and watch the results carefully. You'll be amazed at how many unconscious gestures you make while speaking. There are times when a movement of the head, a glance of the eye, or a gesture of the arm will help make your point--but use them sparingly.
12. When in doubt, smile. A smile, especially if it's in response to a hostile question, can make points for you. A frown or sneer will likely count against you. If you are generally enthusiastic about the subject you are addressing, don't be afraid to show it. Smiles add youth to a face, especially on TV; frowns always add years. However, you should not appear to be amused or happy for too long when you are addressing a very serious issue.
13. If you are being interviewed for TV (not live), stick to the two or three main points you want to get across. They can only broadcast what you say. If the reporter keeps the microphone in front of you, hoping that you'll say more, it's OK to just keep quiet. Eventually he or she will have to ask you another question. Don't worry about silent time on tape; they'll edit it out.
14. Exude confidence and competence. If you're answering a reporter's question, you are clearly expected to have some bit of knowledge that the reporter does not have access to. If you have been asked to speak before a group, they obviously consider you to be the bearer of wisdom. Your performance is all in the mental attitude you bring to bear.
Things to Remember during an Interview
The interview is the single most common method any journalist uses to gather information for a story. An interview may be as simple as a single phone call for background information or comments on a story, or it may be an in-depth question-and-answer session used to anchor a feature article.
Interviews are not conversations. The reporter is representing the public, and will probably ask hard or sometimes deliberately leading questions to elicit an emotional response from you. You are speaking to the public, not the reporter.
Don't be hostile or evasive, but don't feel that you have to give detailed answers to every question a reporter casts your way.
Focus on your key points, even if you have to repeat yourself.
Prepare, prepare, prepare. Assume that the reporter will have done his or her homework. Providing the reporter with background on your organization and key points you would like to discuss will likely be appreciated.
Be ready for anything. Think of the one question you're least prepared to answer, or the one thing you don't want to talk about, and be ready to handle it should it come up.
Set your own agenda. Line up your talking points and repeat them several times during the interview. Repeating your key points increases the chance of them making it into print. However, don't insist on returning to them with every question you're asked; you'll only annoy the reporter and end up sounding like a broken record.
Give good quotes. "Soundbite" has become a common catch phrase. It's nothing more than one or two sentences, hopefully catchy and memorable, sometimes humorous, that sum up your agenda or idea succinctly. However, don't be self-aggrandizing or overly cute, and never use rhetoric (pretentious language). State your case strongly, but avoid dramatics. Be succinct, original, and perhaps slightly controversial or humorous, depending on the topic. The reporter wants a good story and your clever summations can help make one.
For some reporters there is no such thing as "off the record." Be aware that from the instant you grant an interview anything you say may end up in print. Most reporters will respect a request to go off the record, but use it sparingly. Also, the line between what is on and what is off the record may not always be clear. Your rule of thumb should be: If you don't want it to appear in print, don't say it.
(See also "Surviving a Media Storm".)
Your Rights as an Interview Subject
You can often determine the time, place and length of an interview, especially if the media has requested it. Negotiate. You have the right to be comfortable. The reporter will just have to deal with it, or pass on the interview. Of course, if it's important to you that the interview take place, you may have to be flexible.
Ask for the topics to be discussed. You have a right to know the purpose of the interview and to have an idea of the sorts of questions you may be asked. Asking for specific questions is usually not considered appropriate. (Editor's note: However, in some countries such as Japan, the media has cooperated very well with this request.)
You will not get final approval of the piece (editorial authority over the finished article or broadcast).
You can politely insist that the interview be tape recorded.
A journalist may comply if you ask to have your quotes read back to you, but the request may not be appreciated. Don't ask unless the story is particularly controversial, or you have some reason to believe that the reporter misunderstood you. This tactic should not be used as a means of polishing your quotes.
The reporter is not obligated to change a quote even if you disagree with it. If the interview was taped, you can request that the tape be checked for the actual quote--but in that case, be prepared to be wrong. If the interview was not taped, it's your word against the reporter's notes.
A follow-up call is acceptable if you feel you need to make sure you gave the reporter the correct information, or to clarify any statements you feel may have been misunderstood. In general, for lengthy or important interviews, and especially when dealing with the national media, the writer of the piece or a fact-checker will call you to confirm various facts and ambiguities in the interview.
Control your emotions. If you fly off the handle, your remarks will likely make it into print. The reporter's leading question, poor taste, or tactlessness will not.
Confirm all spellings. The reporter wants to get it right, too.
Tips for Making an Interview Go Your Way
Be positive: don't repeat accusations. Repeating the negative reinforces those points in the public's mind and makes it easier for your comments to be taken out of context or edited in an unfavorable light. If your cause is truly just, there will always be a positive way to reply to an accusation. If you think it will be difficult, think of the harshest questions you could be asked and develop positive replies.
Tell the truth. If you lie or mislead, your credibility will be destroyed forever. If you absolutely cannot divulge information, say so, and state why as completely as possible. If you lie, or give the impression that you are hiding information, the good reporter will simply go elsewhere for the information. If he or she gets it confirmed by other sources, you will appear in the story as the person who had something to hide, or who was just uninformed.
Don't--necessarily--accept a reporter's facts as truth. Some speakers assume reporters know everything and then become extremely flustered if a reporter challenges their facts. Do your homework in advance so that you feel confident about your own grasp of the facts. This will help you to know when a reporter is giving you new, useful, accurate information, but also when a reporter has no idea what he or she is talking about. The best response when a reporter challenges you with information you haven't verified is to simply say you have not heard the reporter's information before. Then, if you suspect the information is accurate, you can add "If that is indeed the case, I think . . ." or, if you think the information is not accurate "I need to review that information before I can make a statement."
Don't be afraid to ask a journalist to repeat a question if it is unclear, or if you did not hear it. Otherwise, you risk looking foolish as you may answer a question you were not asked.
If you're asked a question over the phone that you don't want or don't know how to answer, tell the reporter that you'll get back to them on that question as soon as possible. Take a deep breath, figure out how to answer the question, and call back within an hour if possible. This tactic gives you a chance to regroup and put your answer in the best light.
Use examples or personal anecdotes where appropriate. News people prefer simple human drama over complicated and general ideas. However, don't rely solely on examples to get your points across.
Put main points up front and support them with examples.
Speak in plain, jargon-free language.
Project, smile, exude confidence. Don't be afraid to speak highly of yourself or your organization. That's why you're there.
A Guide to Sponsoring a Successful Press Conference
Purpose and Format
The purpose of a press conference is to announce a newsworthy event at a suitable time.
Press conferences typically follow a set format. Journalists will be seated, usually auditorium-style, facing a podium. The sponsors of the press conference will begin the proceedings by introducing themselves and by either reading a short statement, or by introducing one or more others who will read short (1-2 minutes is common) statements. The reporters will then have the opportunity to ask questions of all those who have spoken, with the initial speaker acting as emcee. At a certain point, the reporters will either run out of questions or the emcee will call the press conference to a close. Nearby there will be a table containing press kits, which are written copies of prepared remarks and supplemental material supplied by the sponsors and/or speakers. The entire press conference will probably take less than thirty minutes.
Observe how it's done. If you are considering calling a press conference, but have never attended one yourself, you might find it useful to attend one. Most press conferences are open to the public, although you may wish to forgo asking questions if you are not a journalist. Attending a press conference will show you how they are structured and improve your confidence about organizing one yourself. You can learn about the press conferences in your area from your local newspapers, which nearly always carry a calendar section listing important local events, their locations, and times.
There are four critical elements to a press conference: a location, time, journalists, and spokesperson(s).
Location
Seek a location that will be convenient to the journalists you are seeking to attract. If you are located outside a city but seek coverage from electronic media and newspaper journalists who are headquartered downtown, it is usually best to hold the press conference downtown near the journalists rather than convenient only to you. (There are exceptions, of course.)
If there is a place in town where press conferences are frequently held, consider renting a space there yourself, since many journalists will be familiar with the location.
Another excellent location is a conference room in a well-known hotel that is convenient for journalists. Conference rooms can be rented at a reasonable rate for several hours. An added plus for renting a hotel conference room is that hotels will provide a podium and a microphone.
Press conferences can be held outdoors, but you should do so only for a very good reason. Occasionally, impromptu press conferences are held outside by prominent policymakers and other celebrities. This is fairly easy for them, as they are able to attract reporters nearly everywhere they go. Another reason you may want to hold your press conference outdoors is to take advantage of interesting visual or esthetic surroundings that relate to your topic.
Make certain that you have permission to hold an outdoor press conference on a chosen site (contact your city hall or police department for information about permits if you think you may need one).
Make certain that the area chosen for an outdoor press conference is not noisy.
Time
Most press conferences are held before noon, because very many reporters have late afternoon deadlines. Morning press conferences allow journalists a few hours to use the information and still file stories in time for the evening news or the next morning's newspaper. Weekdays are far better than weekends, except in exceptional circumstances.
Journalists
You can invite journalists in several ways: by mailing and/or faxing a press release and follow up with a telephone call, by telephoning reporters, editors and assignment desks, and by getting on the day book*. (* For more on the day book, see page 17.)
Spokespersons
A press conference may have one speaker or several. If several, one should act as emcee; that is, the individual who will begin and end the event and otherwise act as a master of ceremonies. Speakers should identify themselves and, if applicable, the organization they represent. They should then make brief, succinct statements a few minutes in length. It is a good idea for speakers to write their remarks ahead of time and have copies available, on a nearby table, for the media. After all speakers have concluded, the floor should be opened to questions from the media. When there are no more questions, or when the press conference has gone on an appropriate length of time, the emcee should end it, saying something like, "That concludes our press conference. Thank you for coming. "
Preparing for a Press Conference
1. Dress appropriately, preferably in solid colors. On most occasions standard business dress is called for, because you will want to project competence and authority. Solid colors, or nearly solid colors (such as a pinstripe suit) look best on television. White suits and dresses should be avoided as, under bright light, white has a tendency to glare on television. A little bit of white--such as a white shirt worn under a suit jacket--is fine.
2. Prepare and have available a large number of press kits containing copies of statements and supplementary materials. A typical press kit might contain a copy of the media release that announced the press conference, a copy of the remarks of each of the speakers, and succinct background information on your organization and the issue in question. In advance of your conference, make a sufficient number of press kits for the number of journalists invited, plus a few extras. Place press kits on a table (you may lay each item out on a table individually, or assemble them into labeled folders or envelopes) where they will be easily accessible to reporters attending the press conference. They may also be placed on each chair in the room. Press kits are extremely useful to reporters preparing stories and also to you since they a) cut down on the number of routine questions you receive during a press conference (such as "How do you spell your name?"), b) help assure that reporters quote you and describe your work accurately, and c) allow the reporters to have quick and easy access to the information provided at the press conference when they write their stories.
3. Prepare your written statement. As you write your prepared remarks and as you answer questions, be careful that you do not say anything that could be misleading if someone quotes you only partially. Don't say anything that can later be quoted out of context to your detriment. One formerly prominent politician, for example, speaking to a group of reporters on the subject of offensive jokes, said "This is an example of an ethnic joke I find offensive. . . " and told the joke. Later, he resigned from office as a result of the firestorm of criticism he received when the reporters repeated the joke, noting merely that they had heard it from him.
4. Study and review. If you are not up to date on the subject, thoroughly review the facts before the press conference. When you agree to speak at a press conference you are implying that you are an expert on the subject in question. Do not insult the media by expecting them to travel to your event to hear your opinion, only to have them learn that you have not made an effort to be fully informed.
5. Prepare your spokesperson(s) by asking them every question that could possibly be asked. This technique is helpful in two ways: it helps them have the best possible answers, and it reduces their nervousness because they will be fairly sure that they will not receive any questions they are not prepared to handle.
6. Be aware that reporters may not know as much about the subject matter as you do, and be prepared to be informative without being condescending. Some reporters will know a great deal about your subject, but others may cover a dozen stories on a dozen different topics in a week and therefore know very little. If your subject is complicated, it is a good idea to have plenty of useful, but easy to read, background information in your press kit.
7. Spokespersons should practice not having fillers in their speech. Examples of fillers are "er", "ah" and similar words of no meaning. Speaking slowly makes it easier to avoid using fillers. This allows one's mind to catch up with one's speech.
8. Rehearse all aspects of your news conference as if it were a performance--which, in many respects, it is.
9. Be aware of any late-breaking developments on your issue so you can decide if you wish to comment upon them, and so you will be prepared to handle questions about them. Check the morning newspapers and other news sources the morning of your press conference.
10. Plan and prepare visuals such as photo, video or stage presentations.
11. Study the site and prepare accordingly. (See News Conference Checklist on page 24 for details.)
12. Consider offering coffee and donuts at your morning press conference. While offering food is strictly optional, and fewer press conferences offer food than not, it can be a nice touch. Some reporters and/or participants may not have had time to eat that morning, and will be more alert and attentive to your presentations after they have had something to eat and drink. This also provides a short social mingling session where you can talk casually--but not off the record--with journalists.
13. Arrive and set up early. The room should be reserved in advance and open to the media a minimum of one hour before the press conference, and two hours if possible. This permits television stations to set up cameras, and all reporters who wish to affix microphones to the podium. You do not have to be there for two hours yourself once the room has been opened (unless you need to for other reasons) but the media should have access to the facilities early.
14. Start on time. It is an insult to reporters if you start late. All speakers should arrive at least a few minutes before the press conference is to begin and the announced schedule should be followed. Otherwise, some reporters may leave, or leave early. This is true even if your press conference is very interesting, as reporters are busy people, and they have deadlines.
The Press Conference Checklist
[ ] Is there sufficient parking nearby for the attendees?
[ ] Are there enough phones easily accessible to the media?
[ ] Are rest rooms available? Are they clean and stocked?
[ ] Is the lighting sufficient, appropriate and attractive? Experiment with the lighting options available.
[ ] Do your microphones work?
[ ] Have you tested all other electrical equipment such as video players or slide projectors?
[ ] Are the slides for any video presentation you may have prepared in the projector right side up?
[ ] Do you have two copies of the video or audio tape you are going to play in case one of them breaks?
[ ] Is your room large enough to hold the invited number of journalists, plus a few more? Always leave yourself plenty of room for last-minute attendees.
[ ] Can the conference site accommodate TV cameras?
[ ] Is the background behind the speaker a color suitable for television? Some shades or tints of blue will not work if the station has selected that color for drop-outs (the background screens behind TV anchors and reporters, like those used to project maps in weather reports).
[ ] Are there enough (and powerful enough) electrical outlets and extension cords for cameras and microphones?
[ ] Is there a way that radio and TV reporters can plug their recording equipment directly into the sound system?
[ ] Is there a phone number at the conference site where your office or the media can reach you if necessary?
[ ] Are those speaking tall enough to be seen over the podium? (If not, bring something stable to stand on. Two cement blocks, laid side-by-side, work well.)
[ ] Is there a skilled photographer on hand to take black-and-white shots of the conference and your speakers, to be delivered to selected print outlets that did not send a representative?
[ ] Is there water by the speaker's podium?
[ ] Are there refreshments available?
[ ] Is a press table set up near the entrance where you can greet arriving journalists?
[ ] Do you have enough press kits and other background materials for each journalist?
[ ] Do you have spare pens and paper available?
[ ] Do you have a complete list of invited media so that you can check them off as they arrive? (Also make sure to sign in any reporters attending who are not on the list.)
[ ] Is someone responsible to keep track of every media representative there, and gather information to update your media list?
[ ] Have you made provision to notify reporters how they may contact your speakers and guests for post-conference interviews, in person and by phone?
[ ] Is someone responsible to phone those invited journalists who did not come, to see if they would like to schedule an interview? (Offer to send over, by messenger, a copy of the conference press kit and a transcript of your speaker's remarks. Also, radio stations may be especially receptive to conducting an interview over the phone with one of your speakers.)
[ ] Have you made arrangements for your office to be staffed before, during and after the conference?
Fielding Questions from Reporters
1. Give straightforward, succinct, quotable answers. Radio and television reporters will be looking for sound bites; that is, short and succinct encapsulations of your point. The electronic media rarely has more than seconds to devote to airing tape of any one individual, so they are forced to seek snappy quotes that make a point in just a few seconds. Since it can be difficult to speak in sound bites off the cuff (such as during a question-and-answer session) it is a good idea to do so in your prepared remarks.
2. Admit it if you do not know an answer to a question. Even the best-prepared expert will sometimes be asked a question that they cannot answer. If you have prepared properly, this will be a rare occurrence, and probably an understandable one: the question may be extremely specific, or there may not be an answer available. On these occasions, do not hesitate to admit that you do not know. It is far better for you to admit that you do not know an answer to a question than for you to try to fake it with a lot of empty words or, worse, a false answer. Simply say, "I'm sorry, I don't have the answer to your question." If you think you can find out, invite the journalist to telephone you later for an answer, or take their name and phone number and get back to them promptly with an answer. If there is a good reason (a reason, not an excuse) that you do not know, you can also say that. For example: "I cannot tell you how many people in the county have AIDS, because the government agencies' estimates differ greatly and I do not want to give you a figure that may not be accurate."
3. If you state a personal opinion, identify it as such. If it is appropriate for you to state a personal opinion during a press conference, make certain that reporters understand that the opinion is your own and not that of the organization that you are representing at the press conference. If it is not appropriate for you to express a personal opinion, don't do it--no matter how tempted you may be.
4. Maintain control of the subject matter. Do not let the media change the subject if you do not want the subject changed. Some press conferences, such as a typical televised White House press conference, are designed to address a broad array of topics. However, single-issue press conferences are also common, and sometimes necessary. If a politician struggling to overcome a financial scandal calls a press conference on state adoption policies as a means of getting some constructive press coverage, the last thing he or she may want is questions about the scandal. In these instances it is appropriate for the person handling questions to retain control of the subject matter by saying to the reporter who asked the extraneous question something along the lines of, "That is an important matter, but today we are here to discuss. . . " If it is appropriate to do so, you may wish to soften that answer by saying something like (for the first example), "If you wish, however, to stay a few minutes after the press conference, some of our speakers may be willing to answer questions on other topics," or (for the second example), "Questions about campaign finances should be addressed to the Senator's campaign manager, who can be reached by phone at the campaign office."
5. Be natural when responding to questions. This tactic has two benefits: first, it relieves some of your stress; second, it helps you keep your answers reasonable and pleasant, and stops any hostility from escalating. Keep in mind that television viewers watching your answer to a hostile question will probably not see the question being asked. If you act as hostile as the questioner, therefore, you will seem nasty and defensive, and the audience will not know why.
6. Stay calm. If your topic is controversial, the possibility of hostile questions, hecklers, or interruptions exists. If this happens, keep cool. It is very difficult to heckle a person who does not get rattled. You can either ignore the heckler, or use humor to disarm him or her. However, only use humor if you feel confident that you can do so effectively.
7. Never lie to a reporter. As noted earlier, if you don't know the answer, admit it plainly. If you expect to be asked questions that are unusually challenging at a press conference, decide in advance how you will reply so you don't feel tempted to lie or be evasive under pressure. In the unlikely event that a reporter asks a wholly inappropriate question that you could not possibly have prepared for (such as a query about a candidate's personal life at an issue-related press conference) and you are not prepared to share the truthful answer with the general public, do not lie to duck giving a truthful answer--simply decline to answer on the grounds that the question is irrelevant to the topic of the press conference.
8. Don't get flustered if a reporter asks you several questions quickly. An appropriate response is: "You've asked several questions there. Let me get to the main point first . . . " Then answer the questions in the order you think is the most important. If, as sometimes happens, you forget one of the questions as you answer the others, don't feel embarrassed about asking the reporter to repeat the one you forgot.
9. Pause slightly after hearing each question that is asked of you to allow yourself a few seconds to decide upon an answer. Don't feel self-conscious about the pause, as it will seem longer to you than it will to the audience. Use of this technique is strongly recommended, because the answers of even a very experienced politician tend to improve tremendously when he or she pauses first for a few seconds before beginning a reply. If you doubt that a speaker can wait a few seconds before answering a question without it seeming unnatural, watch a television interview show when a gifted speaker is the guest and see this technique in action.
10. Look each questioner in the eye. If you look away, even if it is only because you are a bit nervous, you may appear to be dishonest or hiding something. Instead, appear honest and confident.
11. Speak with energy. You should appear to be interested in what you are saying, because if you are not, why should the journalists be? Too often speakers at press conferences read their statements in a monotone. This is not only likely to bore the reporters, but, as it makes for terrible television, it will decrease your chances of coverage on electronic media. Practice speaking if necessary; underline words you wish to emphasize. Above all, be interested in what you are saying. Some of that interest will be apparent.
12. Don't say "no comment," unless it is with a smile or you are dealing with matters of national security. This comment sounds pretentious if it is used inappropriately. As noted earlier, if you can't answer a question, be truthful and say why you can't answer.
13. Enlighten, don't debate. If a reporter attempts to debate you on the point, do not give up the moral authority your place at the podium affords you by engaging in a debate. Simply enlighten the reporter (without sounding condescending) as to why you believe the way you do and move on.
14. Review other tips contained in the section "Public Speaking", page 19, and the subsection "Tips for Making an Interview Go Your Way", page 21.
The News Availability
A news availability is a miniature, or abbreviated, press conference. It is much less formal than a full-scale conference. Whereas a news conference is the "simultaneous announcement (via a media advisory) to all media of a major event or study," a news availability is simply a matter of letting the media know when and where representatives of your organization will be "available" to answer questions and how they may be contacted.
Sometimes this low-key approach is more successful than a conference. Informal availabilities are particularly appealing to journalists if they feature a well-known figure who will only be in town for a few days.
Getting on the Air
Talk Shows Reach the World
Radio (and television) talk shows, with millions of listeners (and viewers), serve as an excellent resource for getting your point of view across. Because talk shows require a regular supply of interesting guests, often on the spur of the moment, talk shows are generally an accessible medium.
Unfortunately, many have neglected this significant form of communication, sometimes because they do not realize the vast audiences some radio programs reach, and sometimes because they mistakenly believe that it is nearly impossible for them to become a featured guest. Both assumptions are mistaken.
The Larry King radio talk show, for example, is carried on more than 365 stations. Every show is heard by over three and one-half million people. Similarly, radio host Rush Limbaugh (who airs listeners' calls, but has no guests) is heard by more than eighteen million people. The USA Radio Network, with over 600 affiliates, has between three and four million listeners. And there are, as of this writing, more than 30 shows in the United States that are syndicated--that is, are carried by a large number of stations. There are literally thousands more radio talk shows that reach over a million listeners per show as well.
When anyone becomes a guest, or even telephones one of these shows, they are reaching a tremendous number of people with their viewpoint.
How to Become a Featured Guest on a Radio or Television Talk Show
Most radio and TV stations have talk shows as part of their format. Many media guides list them by the subjects or issues they cover and the days and times they air. To obtain a list of the shows available, simply call the public affairs office of each station or consult newspaper or magazine listings.
Get to know your local stations. In the same way that you research newspapers and magazines to familiarize yourself with various writers and the subjects they cover, listen to different radio shows. Watch various TV talk shows. Do they have a theme? What topics do they deal with? What is the personality of the host? What is the station's target audience? Is the show live, or is it pre-recorded or taped for future broadcast? Do they include questions from the studio audience? Does the show include a phone-in question and answer segment?
Just because it's TV or radio doesn't mean you automatically want to appear on every station that offers you an interview. If you were to get an interview on a particular show, when would it air? During rush hour traffic if it's a radio show? Is it a public affairs show that airs at 1:00 a.m.? If so, is it worth the effort? Find out if it's the right audience for you.
Once you have decided which shows would provide the best opportunity for your organization, you face the difficult task of actually getting on the air. Here are some basic steps to follow:
1. Create a unique angle. Your organization might deal with a vital issue, but you must find an angle that's timely in order to interest a talk show or interviewer. Try to incorporate an angle that permits the talk show hosts to get involved in your issue, project or program.
2. Make your pitch. Be courteous and friendly and provide full information on your expertise in the subject area. If you have previous experience as a guest on talk shows or have written articles, served as a grassroots activist on the subject area, or are in a position to offer a unique or firsthand account of current news, include that information.
Show why what you have to offer is newsworthy, original and timely. You may wish to indicate that you have noticed that their program has not covered a particular issue, or that you would like to provide information or a point of view different from that expressed by previous guests. Perhaps, if you believe it is true, you may wish to say that your view has not been given equal time. Be certain to make it apparent to the host/producer that your appearance would make for an interesting show that would intrigue listeners (or viewers). Most producers will appreciate it if you offer them a choice of guests, giving them the final decision.
You can make your pitch in several ways: by means of an introductory phone call to the show's producer, by sending a timely press release (all local radio and television stations should be on your media list to receive your press releases regularly), or by sending a personal letter.
3. Follow up. A few days after the initial contact, call back and push for a booking date. You may need to be more assertive when dealing with radio and TV. Don't be afraid to state your case firmly, as long as you do so in a professional manner. If the producer rejects you, try another angle. Is there perhaps another show at the same station that your guest would be right for?
Don't be discouraged if you do not get an immediate response. Hosts may be booked weeks or months in advance, or not be ready to devote a program to your issue at the time, but they frequently hold on to names and phone numbers for later reference. You may be invited to be on a talk show weeks or even months after your initial contact.
If the producer seems interested, mail, fax or deliver a notice of availability and any pertinent background information on your subject, organization and suggested guests. A brief note thanking the producer for his or her time and consideration would be appropriate.
4. Confirmation. If the show's producer likes your idea, and has decided to book your spokesperson on TV or radio, then you must confirm every aspect of the show, preferably in writing:
a. Is the show live, or will it be taped?
b. What time do your guests need to arrive, and how long will they be required to be at the station?
c. When will the show be aired?
d. What is expected of your guests--e.g., will they merely be answering questions, or will they have an opportunity to display some visual element such as a book, video clip, charts, etc. Will it be a call-in show?
e. Do you need to provide the station with pre-produced videotape of your organization or guest? If so, in what format do they need it?
f. Will there be other guests on the show, and if so, will they have opposing views to those of your guest? Always be prepared for a debate. Also, don't be afraid to suggest guests with opposing viewpoints. It will enhance your credibility with the show's producer.
g. Will the station make you a copy of the show on audio or videotape? If so, do you need to provide them with, or purchase the tape? Will they give you a written transcript of the show or interview?
h. How much time will you be allotted? Getting on the popular talk shows is competitive. Try to get an hour or half-hour. But if you're only offered 10 minutes, it's still worth it.
i. Do they expect an exclusive? Though it may not be in your best interest to bring it up, you should find out whether or not the station expects this appearance to be the only one you are making with regards to this particular issue. Some TV stations will not agree to interview a guest unless it is an exclusive within that market. If they don't ask for one, don't offer it. Radio rarely, if ever, requires exclusivity.
Unsolicited Interviews or Appearances
Everyone in the media reads, watches and listens to other media for ideas for coverage. Nowhere is this more true than in radio and TV, which often pick up on stories that have appeared in print. It's relatively common for a publicist to pitch a radio or TV station on a particular issue for several weeks with no response, until a short article about the organization or guest appears in the paper. Presto, the station is calling back to request an interview. Be ready to respond quickly.
Make radio and TV stations part of your regular media list. Your news release may spark the interest of a producer. Once you have established a reputation for providing stations with guests who are articulate and issues that are topical, they will call you and ask you to suggest guests. Establishing rapport with broadcast journalists is extremely useful. TV and radio reporters are less likely to be informed about your organization than their counterparts in the print media. Your personal contacts can make the difference between getting on the air and not.
Public Access to the Airwaves
Most stations allow public service announcements (PSAs) in their programming. The amount of time a station makes available to the public varies, and some stations are clearly more community-minded than others. There are four public access formats available: 1) Public Service Announcements, 2) community announcements or events listings, 3) on-air editorials and rebuttals to the editorial policy of the station or to an event in the community, and 4) public affairs shows. Generally, the public affairs or community affairs division of a station is responsible for public access programming.
Here, the word "public" means free. If it is appropriate to the requirements of the station's public affairs office, promotes a non-commercial event, is for the public good, and is submitted in the proper manner, your announcement or message can make it onto the air easier than you might imagine--and for free.
Another possible source of free air time is public access cable TV, which in the last few years has become more and more common around the world. The types of organizations involved in, and the degree of quality in the production of various public access cable TV shows varies greatly. However, it is worth exploring in your market.
In some instances you may be able to literally produce your own show for public access TV, and get your message to the public without any intermediaries. While the audience for public access TV is not as large as that for commercial cable or network television, it is generally a faithful audience. The viewers will watch for your organization on a particular public access station if they have seen you represented there before.
Editorial Replies
An editorial, in print or on the air, is the opinion of the media outlet's management on a certain subject. However, while a newspaper or magazine may choose not to print a differing opinion, radio and TV broadcasters [in the U.S. and some other countries] are required to grant equal time to opposing viewpoints within the community. This is referred to as an editorial reply or rebuttal.
If a radio or television station broadcasts an editorial with which you disagree, write and tell them. More importantly, request equal time to reply, on-air, specifying why you disagree and why you are the proper person or organization to respond. Stations may feel obligated to allow equal time for opposing views, but who they choose to present those views is up to them.
If you or the organization you represent are the subject of a negative editorial, you should have the first right to respond. There may be many people or groups who want to respond to a station's on-air opinion, but precedence should be given to those directly involved. If you are directly involved, call the station immediately. If you are not directly mentioned in the editorial, but can convince them that you are the best spokesperson to respond, you may also end up on the air. There is nothing prohibiting any private citizen from responding to a station's opinion.
If you convince the station of your case, they will notify you. You will be asked to submit your opinion in writing, to be edited for style and length considerations only. The station is not interested in editing your opinion. In fact, many radio and TV stations relish the chance to present opposing points of view.
Most TV stations have an editorial mailing list. You may call the public affairs departments of the stations in your area and request written transcripts of the station's editorial positions and on-air statements regarding certain issues. Not every transcript will directly affect your organization. However, it will give you a good idea of the station's editorial stance and exactly what sort of issues it deals with on a policy level.
When submitting a rebuttal, your position doesn't have to be exactly opposite for a station to agree to let you reply. As soon as possible, submit something different on the same subject and follow it up with a phone call. (You could say, "Channel 2 was correct in pointing out X-Y-Z; however, it failed to address A-B-C.") Obviously, you'll have a better chance if your position is clearly against the station's.
Make sure your reply (or your cover letter) clearly conveys that you are representing an organization that has substantial support in at least some parts of your media market. Obviously your letters should be typed (double-spaced) and timed exactly to the station's specifications.
Editorial Reply Tips
1. Don't make a personal attack. Don't always assume that the station is "out to get you" or your organization, or that the individual who broadcast the editorial is your enemy. Whatever the opinion, it was probably reached after considerable discussion with the station's full editorial board. (They may have been misinformed, or only heard from the other side.)
2. Use your best salesman. The head of your organization may not always be the right choice to represent you before a television audience. In these cases, the best person for the job is the one who presents the image your organization wants conveyed. Who looks and sounds best, and appears most comfortable on the air?
3. K.I.S.S.: Keep It Short and Simple. The same rules apply here as for print editorials or letters to the editor. You will probably be allowed no more than one-and-a-half minutes to reply. State your opinion up front, then why you disagree with the station's position. You don't have to refute the station's editorial point by point. Present your case in any fashion you want. Your only obligation is to present a different point of view from that of the station.
4. Be passionate. Have the courage of your convictions. You now have a powerful public relations tool at your disposal. Give your audience something to ponder, something substantial to think about. Don't beat around the bush or mince words.
5. Rehearse. Once you have written your copy, read it out loud to several people. Do they understand it? Is your argument clear? Does it move them to action? Are you pronouncing all the words correctly?
6. Arrive early at the station to avoid keeping the production crew waiting.
7. After you have taped your reply, ask to review it. If for some reason you don't like it, ask to tape it again. The crew will expect at least two takes. However, keep takes to a minimum by being prepared. When you are through, ask for a copy of your reply on tape.
Free Speech Messages
Take advantage of free speech messages (FSMs). These do not have to be in response to something already broadcast or covered by the station, but they should reflect your concern, or strongly held opinion about a newsworthy event or occurrence. You request FSMs in the same way you go about obtaining PSAs or editorial replies.
Public service directors are looking for issues that have direct impact on the community and are in the public interest. Controversial issues are permissible.
FSMs are generally a little less than one minute in length, as opposed to the potentially lengthy editorial reply, and are usually recorded at the studio. To the casual observer, the primary difference between editorial replies and FSMs is when they are broadcast. If you have requested, and been granted, an editorial reply, it will air at the same time as or shortly after the editorial to which you are responding. FSMs are usually broadcast at odd hours, either very late at night or early in the morning. They are followed by a rejoinder along the lines of: "The preceding opinion does not necessarily reflect the opinion of station K__."
Tips for Getting on the Newscast
Know the "media gatekeeper." Most of the time, television and radio reporters find their own news. Sometimes it falls into their laps. And sometimes you just have to put it in their laps for them to find. A TV station's assignment desk is the gatekeeper to that station's newscast. If you have a story you think is worthy of coverage, you're going to have to get it past the assignment editor (A.E.). It's the A.E.'s job to winnow through the day's events and mete out the resources of reporters and camera crews to cover them.
There are different categories of A.E.'s; weekday, evening and weekend editors are the usual divisions. Find out when they come on duty and how they prefer to be approached. Learn their names. In today's competitive news market, having a professionally friendly rapport with the evening A.E.'s at your local TV stations can put you ahead of the game.
Alert the station in a timely fashion. If you're planning an event far in advance, alert the assignment desk well in advance. They may put it in their "futures drawer," filed by the date of the event. A few days prior to the happening, send out (perhaps by fax) a media advisory reconfirming your event. The day before (for morning functions) or the morning of (for evening events) your potential story, phone the assignment desk and ask if you are scheduled for coverage. TV coverage is almost never guaranteed any further ahead than that.
In television, as in most media, the breaking news comes first. If your organization is involved in a breaking news story, call the TV assignment desks, and make the call quick and to the point. Ask if they are aware of the breaking news story. If they are not, give them the details as succinctly as possible, emphasizing any visual elements.
Telephoning a Radio Talk Show
Many people listen to radio talk shows without ever telephoning the show to get on the air. One reason is that some people feel intimidated by the idea of being heard by thousands, if not millions, of people. Another reason is that listeners (viewers) believe that it is nearly impossible to get on ("I always get a busy signal!").
Thinking of your call to a talk show as a conversation between a friendly stranger (the talk show host) and yourself will help alleviate nervousness. Most people talk to strangers frequently--store clerks, for example. Do most of us feel nervous about that? No. So think of your call to a radio show as something similar, except that the subject matter is something that interests you.
Listen carefully to the other callers. Do they sound like Rhodes Scholars or broadcast professionals? No, of course they don't. They sound like ordinary people. Remind yourself that you are just as capable as they are, which, of course, you are.
A little perseverance is all it takes. Talk shows are big, big business for radio (and television) stations and syndicates, and they have invested considerable resources into researching such questions as how many listeners (viewers) they have and who their callers are. This research shows conclusively that, for both big shows and small local ones, only 2% of the listeners (viewers) ever call the show. And this 2% calls repeatedly.
This tells us several things. First, it tells us that it is possible to get on a show--that not getting a busy signal is not simply a one-in-a-million fluke--because most of a show's callers are calling in repeatedly. Second, it tells us that it is okay to call in repeatedly, because that's what nearly all the other callers are doing, too! (It also tells us how it is that some talk show hosts recognize the voices of some of their callers. It's not a feat of prodigious memory, it is merely that these callers telephone often.)
Make a habit of occasionally listening to radio talk shows. Write down the telephone number, and put it wherever you keep frequently called numbers in your home. And the next time you have an opinion to share, call! And if you have a car phone, make use of the minutes and hours spent at traffic lights and traffic jams by spreading the word to thousands of your fellow citizens!
How to Prepare for a Broadcast Interview
Remember, the purpose of the talk show is to provide interesting, stimulating, topical discussion (which in turn attracts listeners, which increases advertising and thus revenue to the station). You will be more interesting if you are well prepared for the talk show. Your assertions during the show are open to challenge, if not within the interview itself, then possibly in a balancing interview.
Production formats vary. Talk shows run anywhere from 10 minutes to three hours, but any one guest is rarely on more than one hour. The interview can either be in person (at the studio), or over the telephone. When possible, hosts often prefer that you come to the studio. Some shows are pre-recorded while others are live.
Be sure you know the specifics of how your interview is going to be conducted. You need to know the time, place, format, context, and duration of the interview in order to adequately prepare.
Choose the two or three most important points you want to discuss. These are the key points that you believe you should make, irrespective of the questions asked. If the host and you have a similar point of view, these points will be likely to come up naturally. If not, make sure that you include them when you feel it is appropriate.
Review current developments in the subject area just prior to going on the air. Make sure you are fully up to date on the issue or news story by reviewing the most current newspaper and magazine articles and watching the television news on the topic. Guests who demonstrate that they are in full possession of the facts are more likely to gain the respect and confidence of the audience.
Ask for a pre-interview (or list of questions which the host will ask) prior to the show. The pre-interview is an opportunity to suggest specific issues you would like to discuss. It also affords a chance to get an idea as to what direction the host is likely to steer the interview.
Be prepared for any possible counter-argument that might be put to you. Realize that the listener is more likely to be influenced by a rational, reasoned argument than by dogma (an unchangeable set of doctrines).
Use anecdotes to underline your points, whenever possible. Draw from your own experiences and build mental pictures through vivid and descriptive words that evoke specific images and emotions. Your examples should be brief, factual, recent and relevant. Most effective anecdotes have been thought out in advance.
Never be late for a television or radio appearance. Once on the air, follow the same guidelines you would when being interviewed by the print media.
Look neat and professional. Simple, tasteful, neutral-colored clothing is best for a TV appearance. If it's a radio show, only the host and the technicians will see you, but how you present yourself will affect how the host treats you. Remember, you're representing your organization to the host as well as to the listening audience.
How to Act on the Air
Most talk shows start with the host introducing the guest and the subject to be discussed. After the introductory remarks, the host asks the guest some general questions. For example, he or she may ask you how you got involved with the issue or what you think about the problem in general. These questions will be followed by more specific questions, and then the host may invite listeners to call in and ask questions.
Some callers will be hostile and/or obnoxious. Do not get into an argument with them. Let the host settle all disputes. If the host does not, let the caller continue--listeners will become offended and the obnoxious caller will end up making himself/herself look foolish.
Always be confident in what you say and be able to back up what you say with facts. Do not contradict yourself, and if you do not know the answer to a question, don't "wing it." You will run the risk of ruining your credibility should your information subsequently be found to be false. Be honest, and say why an answer cannot be given. For example, "I don't know," or, "I'd rather not answer until I review that information fully."
Use conversational style; be friendly and informal. Simplicity is essential. Use short and concise sentences that come to the point. Try to speak from experience, use anecdotes and illustrations that are both relevant to the point being discussed and to the experience of the listener/viewer.
Do not limit yourself to answering the questions asked by the host. For example, if the interview is short and you are pressed for time, you may wish to offer a brief response answering the immediate question and then make a transition to the other points which you wish to make. But always respond first to the question at hand. Talk show hosts look dimly on being treated as stage-props for monologues.
Difficult or embarrassing questions are usually best answered directly. This can be done without giving ground on your position. (For example: "If you mean by that question is my husband the biological father of all of our children, the answer is no. Nevertheless, he is the most wonderful, loving father to them all, and I think that is to his credit.") You will gain credibility with both host and audience if you give a frank response.
Under certain circumstances, you may wish to avoid answering a particular question even when you know the answer. If this is the case, your indirect response should address an aspect of the question, providing relevant details while avoiding the point of the question. Provided such answers are articulate, interesting, and impart valuable information, the host will seldom hold you to directly answering the question.
Remember, your goal is to communicate the information you want the audience to hear, and the host's goal is to provide an interesting show (few radio talk show hosts see themselves as investigative reporters--they are entertainers). Do not necessarily feel constrained by the host's questions. Answer questions about inconsequential matters briefly, then move on to a more important point which you wish to make.
Be credible. The most useful impression that you can make on the audience is credibility. Only when the listener/viewer is prepared to believe you, or for that matter any speaker, will he or she begin to pay attention to what is being said. For this reason the style of your presentation is very important. The image you want to project is one of being friendly, sincere, natural, considerate, helpful and competent. The following are tips for maintaining credibility:
To be sincere, say what you really feel, and avoid acting.
To be friendly, use an ordinary tone of voice.
To appear natural, use conversational language and avoid pretentious language. Admit it when you do not know the answer.
To be considerate, demonstrate the capacity to understand views other than your own.
To be helpful, offer useful, constructive, practical advice.
To appear competent, demonstrate an appreciation of the question and give accurate answers.
Don't fiddle with or clutch anything.
Maintain eye contact with the interviewer (and/or camera).
Interact with the host. Be attentive and polite, and maintain control. Sometimes interview situations get antagonistic. Don't be rude or add to the chaos, but insist on your time to speak and present your views. This may mean raising your voice slightly, or interrupting someone who has cut you off. Sometimes being polite and waiting out the interruption will do nothing to get your point across--and that's why you're there.
Stay in control of everything you say. Don't get trapped into talking about unfavorable or unimportant issues by the interviewer. Hosts are very talented at getting people to talk about things the spokespersons don't want to talk about. Stick to your talking points.
Don't belittle the audience or interviewer. Phrases like, "What people don't realize is . . ." sound patronizing.
Parting words. At the end of the program, the host will thank you. Respond with: "It's been a pleasure," or, "Thank you for inviting me." (It is okay, however, to say nothing at this time if it is clear that the segment has run overtime and the host is eager to wrap things up.)
Follow Up
If you enjoyed speaking on the show, drop the host a brief thank-you letter and offer to be on again. Many talk show hosts find themselves in a jam once in a while when they can't find a guest. If possible, tell the host that you can be available on short notice in the future.
Monitoring Media Success --Keep Track of Every Article
Keep track of every article and photo that appears in your city or area press, and every mention or interview on TV or the radio. For the print media, there are clipping services available, at various costs, that will cut out, label, and send to you every article mentioning your organization, event, or key words that you specify in advance. Organizational staff members will see the major coverage, but you may never see the full-page reprint of your news release in the weekly newspaper two counties away unless you subscribe to a clipping service.
Clipping services can keep an eye out for articles mentioning your organization on a local, statewide, national or international level. If you subscribe to a clipping service, add it to your media list. Receiving your news releases will help keep it apprised of what key phrases and names to look for when searching for your articles.
TV and radio coverage is generally planned in advance and the air dates known to the principal parties concerned. Some stations will generously provide you with a tape of your coverage, especially if you pay for and give them a blank video or audio tape. However, it's usually better to plan on taping such coverage on personal recording equipment as it is aired. Occasionally stations will keep transcripts that you may request copies of. Video clipping services also exist. However, they can be very expensive.
Ask the Public to Do Something
Include in your publicity a request for the public to respond in a specific, verifiable way, such as phoning or writing in for more information, send petition postcards, etc.
Is the Media Calling You?
If a member of the media calls you, he or she considers you a news source. There is no greater gauge of successful media contact than that. When the media calls you for comment, do your best to make yourself available.
Internal Benefits
Good publicity can be as much an internal morale booster as it is a means of relating to the public. Reproduce your clippings and circulate them to your staff and members, and to the public through your mailing list. Make reports of radio or TV appearances and do the same with these. If you've gotten a particularly good story printed, you can have the clip blown up (like theaters and restaurants do with good reviews), and set it up where members and visitors can see it.
DEMONSTRATIONS: A Manual for Activists
Six Reasons for Sponsoring a Demonstration
1) A demonstration attracts media attention. This educates the public about your perspectives on an issue, indirectly pressures public officials, and increases the name identification of your organization. This, in turn, further increases your ability to acquire more media attention through interviews and guest spots on news shows and radio and TV interviews.
2) A demonstration catches public attention and shows members of the public who are uninformed or undecided about an issue that a substantial number of their fellow citizens care strongly about the issue. People love to be on the winning side. You'll sway many people to your view just by pointing out, or implicitly making it appear, that your view is more popular.
3) A demonstration is a great recruitment tool. By conducting a demonstration, your group obtains high visibility. You'll be contacted by people who will volunteer to help you with your next project.
4) A demonstration increases the morale of your group. Demonstrations, particularly large ones, can be hard work. You and your workers will put in many long hours. But a team spirit and cohesiveness will develop, as working together toward a common goal promotes friendship and unity. After sponsoring a demonstration, you'll find that your group works better together than ever before.
5) A demonstration teaches you and your group many useful skills, and builds the group's confidence. Conducting a big demonstration will challenge your members in ways they have never been challenged before. Your media "expert" will make new contacts, answer tough questions, and learn to handle telephone interviews. The person in charge of physical arrangements, such as the podium, signs, the sound system, and the like, will acquire useful technical and organizational experience. The leader will learn how to delegate authority, manage staff and handle crises. And so on.
6) Conducting a demonstration improves your relationship with other organizations. The next time you have an activity planned, you'll know plenty of people who will lend their name to your project, pitch in, or donate!
The Timing
The timing of your demonstration can definitely affect its success. It's generally easier to get press attention on weekdays than weekends, and late morning or early afternoon rallies are better for attracting press attention than evening or late night rallies (because reporters have deadlines). Demonstrating on special holidays or anniversaries is one way to enhance the significance of your event.
Rally Types
1) Counterdemonstrations. These are rallies held to neutralize the negative effects of another rally.
2) Theatrical Rallies or Pickets. These rallies usually, but not always, feature a small number of demonstrators dressed in some costume, with a clever, catchy theme, designed to attract public and press attention.
3) Ready-Made Rallies. These rallies are organized to take advantage of circumstances when a potential rally organizer realizes that some convention or similar activity has brought a lot of like-minded people together in the same location. Since a ready-made crowd exists, the enterprising organizer develops a theme and gets everyone together for a large, successful, but easy and inexpensive rally.
4) Conventional Rallies. These are all rallies, large or small, that do not fit the description of counterdemonstrations, theatrical rallies, or ready-made rallies. They include rallies held to promote a point of view on an issue, to protest an action by a government, individual or organization, etc.
Planning Your Rally
Theme. A theme is critical to the success of your rally. It should be simple and to the point. It must also represent a point of view that potential rally attendees will consider important enough, and timely enough, to show up for. It is especially important that theatrical rallies have a theme. These, remember, are rallies featuring only a handful of people--perhaps a dozen--whose theme and costumes are clever enough to attract the attention of passers-by and the media.
Strike first. When conducting a counterdemonstration within walking distance of a demonstration you are protesting, start your rally one half to one hour before the opposition rally.
Make photo opportunities. A picture is worth a thousand words. Most people often just thumb through the newspaper, reading only a few articles, but taking the time to look at most of the pictures. This is why it is important to have good photo opportunities at your demonstration. Sometimes, newspapers won't run an article on your event, but they will print a picture, if an interesting one can be taken. Other times, the newspaper will run an article and a picture, and the article is enhanced by that picture.
Photo opportunities also help you get better television coverage. Television is big business. The most revenue goes to the network or the local news station with the most viewers. So, if a TV crew covering two almost simultaneous demonstrations has a choice between showing the film of a larger demonstration, which features ordinary-looking people speaking to an ordinary-looking crowd, or a smaller demonstration, with an exciting photo opportunity, they'll most likely focus on the small but more photogenic event.
Make Your Message Highly Visible
Posters and Signs. Every rally should have hand-held posters and signs. Make sure yours are large, with tall, easy-to-read-at-a-distance lettering. Use a dark color for lettering against a light background, or light lettering against a dark background. Choose script that is easy to read. (This is not the time for calligraphy!) Short, to-the-point slogans are better than long statements. Art is good, but it should not be complex. An American flag, for example, is more easily recognized at a distance, or on television, than a drawing of Uncle Sam. Keep the following in mind: all signs must be readable at a distance, be understandable to an average person in a few seconds, and be just as clear on a black and white screen or photograph as it is in color.
Group signs. Some clever things can be done with posters. For example, you can write a word by putting one large letter on each sign. Volunteers hold each letter in the proper order. On the back of each sign, another letter is written, and, at a pre-arranged signal, all the signs are simultaneously turned around. (The words, of course, must be about the same length. If the words differ in length by one or two characters, use a blank card or appropriate symbol at one or both ends.) In the 1984 presidential race, protesters at appearances of Democratic Vice-Presidential nominee Geraldine Ferraro held signs that said, alternatively, Ferraro and Abortion.
Have a newsworthy person holding a poster that relates to their experiences on the issue in question. At one rally, a man who spent twenty years in a Soviet gulag held a very large hand-drawn map of the Soviet Union with the locations of many Soviet gulags marked. Although it would not have been wise to have only this sort of poster at the rally--because the poster was not readable from a long distance--the effect in this particular instance was excellent. A newspaper ran a photograph of this victim of the Soviets, holding his own map. It was an excellent photographic story that epitomized the theme of the demonstration.
Extremely large posters or banners also make an excellent and photogenic addition to your event. At one rally, members of an international youth organization held three, approximately twelve-foot-long and ten-foot-high banners, with sticks for elevation, which depicted their message through the use of cleverly drawn cartoon characters. These three large posters have received television coverage at many rallies, and were certainly worth the trouble it took for these volunteers to make them.
Prepare for wind. Make large banners for outdoor use from sturdy fabric. Cut holes in the material to permit wind to pass through the banner. In windy conditions, this will make the banner much easier for your volunteers to hold, reduce waving (which may make your banner difficult or impossible to read or photograph), and reduce the possibility that the banner will tear.
Save all posters, banners, and other materials you think you might be able to use in the future.
Make-up. Most people have seen rallies where activists wear make-up, to dramatize what they are protesting.
Costumes. Inexpensive but effective costumes can be hand-made. At rallies protesting Soviet atrocities in Afghanistan, marchers wore raincoats covered with large yellow raindrops to protest the use of "yellow rain" chemical weapons by the U.S.S.R. Most of the raincoats had been purchased for $2 apiece from a second-hand clothing store. The yellow dots were cut out of yellow construction paper and pinned to the coats. The effect of the pseudo-yellow rain-covered coats was quite photogenic, yet inexpensive. After the demonstration, the raindrops were removed from the coats, and the coats were donated to charity.
Sound System. Be sure to have an adequate sound system for your demonstration. If the people who attend your demonstration cannot hear your speakers, they will wander away or talk among themselves, making the event less effective. A good sound system also attracts passers-by to your demonstration, and makes your speakers sound more powerful and energetic. Sound equipment can be rented or borrowed from some high schools, colleges, churches, bands, or nightclubs.
Permits. Permits to demonstrate are required by city authorities in most cities. Applications for permits and information about the procedure can be acquired by telephoning city hall. Applying for permits is a simple procedure. Although the questions asked vary from city to city, you will usually be asked questions such as where your rally will be held, how many individuals are expected to attend, and the phone number of the individual in charge. Often, you will be asked to guarantee that your group will pick up any litter left after your event. Depending upon the city involved, you usually need to apply for a permit at least two full business days before your activity. If you organize an event at the last minute, expect less than 15 participants (the number varies from city to city), or choose a location that will not disrupt the routine of others (such as a city park), it is often possible to hold a rally without a permit. However, if you do not have a permit, the police department can force you to disperse if members of the public complain about your rally. If you wish to march down a city street, you will definitely need a permit, because the cooperation of the city police force will be necessary to divert traffic. In these instances you should apply for the permit well before the deadline. In most cities, you can apply for a permit up to one full year before your event.
Truth Squads and Leafleting
Truth Squads. When your opposition speaks out at a meeting, take advantage of the standard question-and-answer time to ask questions about matters the speaker would rather not address. For example: ask a liberal if he or she can prove an unborn baby is not a human life. And so forth. Do a little advance research on the speaker, so you can ask intelligent questions.
Leafleting is also an easy project to carry out. You merely produce a flyer about an event, speech, activity or opinion you disagree with, and use volunteers to distribute the flyer at the event or activity representative of the issue in question. For maximum impact, flyers should be well-written and well-researched, and make one or more succinct points. Flyers should also be attractive to the eye, so that members of the public and the media will be willing to read them. You may wish to put out a press release about your leafleting project a few days before it takes place.
Both of these projects are easy to organize, require few if any funds, and require little advance planning time. They can be very valuable when properly utilized.
Tabling
As the name implies, all you need is a table in a public place, a cause, and a few people--even two will do.
Try to table where there will be a large concentration of people and/or a frequent turnover of people. Inquire ahead of time concerning permits needed, or other possible restrictions.
Always have a sign and flyers explaining your cause.
Have a banner on the table advertising your organization so people will remember your group's name.
Always ask people to do something concrete, such as sign a petition or petition postcard, write their congressman, etc.
Clipboards give added mobility. They enable you to get out from behind the table to actively approach people.
Have one or more people actively approaching passersby, making eye contact and saying a short, catchy phrase summarizing your objective to get them interested. Then draw them over to the table for the use of a pen or to give them more literature. Those manning the table can then take over while the floating person returns to draw more people in.
Once you have a prospect at the table, open with a question to involve the new person in a dialogue.
Having a VCR and a TV at your table playing relevant clips is a good way to draw people in.
Stay on course. Don't get side-tracked arguing with opponents, or talking at length with sympathizers. Give literature to interested parties, exchange names, addresses and phone numbers with potential new supporters, set another time to talk, or invite them to a meeting, but don't waste your time while others are passing you by.
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