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They’re out there – what almost all organizations are looking for – those 15 minutes of fame, first introduced to the world by Andy Warhol in 1963. His statement was simple: “In the future, everyone will be world-famous for fifteen minutes.” It became the rallying cry for anyone seeking media attention. And, was most often only truly satisfied by a spot on the nightly news. In kinder, gentler media times, some good preparation and a nice-looking talking head stood you well. As for bad news, “no comments” were survivable and the networks were the only game in town.
Today it’s more complicated. With ever-increasing number of media outlets and the lines completely blurred between what is hard news and what is entertainment or fluff, it’s much more complex. The strength of the Internet ensures that stories will outlast us all. True, when TV stations call, it may be a dream come true. That is, if you’re ready and the news is good. It just takes a lot more preparation on your part. But even a controversial story with a potentially negative (from the media’s standpoint) bent doesn’t have to be a nightmare if you know what to do and have put programs into place long before the networks come a knockin’ on your doors.
Chapter One: plotting the course
The 24-7-365 environment combined with the sheer numbers of TV outlets mean that any item or issue can be fodder for a story. When the reporter or producer calls is too late to be thinking about where your organization stands on a particular issue. Savvy organizations are including a communications component as part of the strategic plan. This process has five parts:
First, identify all possible story opportunities and issues that could effect your organization in the coming year.
Second, look at your organization’s goals and mission and pit that against the possible areas of media interest. Decide where you will want to take a proactive stand and where you will want to be less visible, merely reacting “if-asked.’
Third, develop a list of questions and answers that the media could ask for all possible scenarios, issues, opportunities and challenges. This is a critical piece. While you can’t control when or if the media will come to you, you can be ready when the time comes. This is more than an exercise. This Q&A, becomes the basis of your script and lets you see vulnerabilities in your infrastructure – long before the cameras roll. A word of caution though. While this is an internal document, don’t put anything in it that couldn’t stand the scrutiny of media eyes.
Next, choose your spokespersons – and prepare them to do the best job possible on camera. Have agreement (via a predetermined spokesperson policy) about who will speak when. And, be sure to get everyone to speak in plain language.
Finally, keep this process alive by constantly reviewing your Q&A, tracking trends and revisiting your organization’s position – particularly on the most sensitive of issues.
An excellent example of this process in action belongs to the American Pain Society (APS) . Almost five years ago, APS was able to effectively define its strategic vision and translate that into how the Society would be viewed by the outside world. The work they have done has served them well in responding to controversial industry drug-related issues. APS could tell its story because it had done the homework and reaped the rewards.
Chapter Two: a full toolbox
Once your information infrastructure is built, you need to create the tools that will further your story when the time comes. As most everyone knows, a press kit is really a collection of background pieces and news about an organization. It grows over time, as news and feature stories are developed and reprints are added. The contents can also be streamlined by industry and specific media outlets. At the very least kit materials include:
organization backgrounder
fact sheets on issues and programs
simple charts/graphics that illustrate specific stories (i.e.: survey results, industry trends)
biographies on key leaders, particularly spokespeople
FAQs about the organization, the products, industry trends
New releases that pertain to the particular subject
This information should be posted on a web site in downloadable formats as well as in developed hard copy. Keep in mind the overall goal of these materials is to assist in telling your story. Even if the these things wind up on the cutting room floor, they will help drive the story your way.
However, no toolbox would be complete without remembering the old adage that “the message is the medium.” Television has gone well beyond the talking head stage. Whenever possible, look towards the visual. Will you need a video B-roll to augment your story? Are there samples or working models you can have on hand to move your message along? Is there a set of electronic graphics that will help illustrate your point? Anything that makes your story more dimensional will serve you well.
Years ago, during flood coverage with the American Red Cross, the media was ecstatic to be able to film an actual clean-up kit with boom, bucket and mop. Those materials led much of the evening news and helped spin the story in a different light – with more impact than a verbal list would have accomplished.
Chapter Three: look to your village
Forget about the axiom, “If it bleeds, it leads.” Today media outlets, especially television, are all looking for the local angle to the story. Therefore, if it’s appropriate for your organization, mobilize your members and allow them to provide the local ties. It’s a winning situation for all concerned. Of course, make sure they have the tools and training to do the best possible job.
For years, The American Dietetic Association (ADA) has been the poster child in this arena. Need a dietician for a nutrition related story? Just go onto their website and in a few clicks you’ll connect with their volunteer media spokespeople. These people, according to the ADA site, “represent the 25 largest media markets as well as specialty nutrition areas” . . . and serve as the “resource for expert commentary, story ideas and background on the full range of food and nutrition topics. Spokespeople conduct interviews on behalf of ADA.”
Think of how your own organization would benefit from a similar program.
Or, perhaps it’s technical expertise that is needed. Take the time to develop spokespeople that will enhance and validate you messages. You’ll be better off ands the media will be pleased.
Chapter Four: a matter of style
Coming off well on television doesn’t take movie-star good looks but it does require a bit of work. “Mediagenic” spokespeople are those who appear to know what their subject matter, speak like real people and look relaxed in their own skins. Many of the best spokespeople you’ve seen aren’t even true public figures. But it seems they have a certain style made for TV. In reality, this style has most often been honed through time spent with a video camera.
This is the most effective way to spot bad habits like eyebrow twitches, jiggling feet, bobbing heads or busy hands. It’s also the way to improve on-camera posture, cure the mumbles and curtail rambling answers – before the real cameras roll. To ensure your organization’s most effective interview potential with your designated spokespeople, invest in some trial on-camera time.
Chapter Five: your mother was right
She told you over and over, “Practice makes perfect.” And, with respect to television, never was this statement more important. In a radio or print interview you have the luxury of a longer answer or the ability to read off your media materials. No so with TV.
Effective interviews are those who answer the questions in the proverbial sound bites.
The problem: that’s exactly opposite from the way people normally speak. We start with the small stuff and gain momentum until, at the end of our comment, speech or presentation, we make our points. It’s like a typical triangle.
To be effective on a TV interview, you must master speaking in an inverted triangle. Put your main point out there first (that’s your sound bite), as concisely as possible. Then offer supporting data, if time permits or if asked.
So back to mom. It’s not easy to speak meaningful sound bites in effective inverted triangles. But you can do it, all it takes is practice.
Chapter Six: the bad and the ugly
Up to now we have been talking about what to do when there is a good news story, a reason to get your organization out there via television. But, what if it’s not good? What should you do if there is a TV camera parked on your doorstep, asking questions you’d just as soon not answer?
Intellectually we all accept that no organization is exempt from the threat of bad press. However, you can give your organization a leg up with a commitment to developing a crisis communications plan that integrates with your other media activities. Just remember the fundamentals still apply. The more you have analyzed your organizations issues and potential vulnerabilities -- and have answers to those pesky if-asked questions, the better you will do if disaster strikes. To be most prepared, it’s advisable to add the following to your media tool arsenal:
Lists of constituents (with contact information)
Chain of information
Media lists
Situation appropriate media materials
Fully functioning (and well-prepped) crisis management team
Chapter Seven: some rules to live by
Television, more than any of the other media venues, is probably the most “real.” Even though there are often taped segments, TV gets its power from the visual. Following these simple rules will make your organization’s experiences more satisfying:
1. Talk from the viewpoint of your audience’s interest.
Don’t use jargon.
2. Don’t mistake the reporter for your audience.
The reporter is the conduit to get your message to the audience – the reporter’s leaders or listeners.
3. Speak in personal terms whenever possible to enhance credibility.
By taking personal responsibility, you become more believable.
4. If you do not want a statement quoted, do not make it.
There is no such thing as an “off the record” or “not for attribution” statement.
Statements made for “back grounding” or briefing purposes simply don’t exist in the real world
If an inaccurate statement is made by the reporter or yourself, correct it immediately.
5. Do not argue with the reporter or loose your cool.
You’ll never win the argument.
Audiences and reporters will sense hostility.
Reporters are sometimes deliberately argumentative to elicit a response.
6. If a question contains negative language or words you don’t like, do not repeat the reporter’s negative words.
You run the risk of having the reporter’s negative language attributed to you.
State the answer in a positive way.
7. A reporter’s direct question eserves a reply.
You need to respond but not necessarily answer the question.
8. If you don’t know an answer, say so.
Don’t speculate.
Refer the reporter to someone who can answer the question or tell the reporter you will get back to him later – and do so.
9. If you cannot answer a question, never say “no comment.”
Always give a valid reason for not being able to answer; for example, a legal case is pending or the information requested is of a proprietary nature.
10. Listen to the question.
Be sensitive to the reporter’s intent.
If you are unsure of the question, rephrase it before answering.
If you miss the point of a question, you may appear to be evasive.
11. Always answer questions honestly.
Tell the truth, even if it hurts.
Avoid any temptation to exaggerate the positive.
12. Play it straight.
Don’t try to be funny.
13. Even if the interview is over, the camera may still be rolling.
Don’t say anything you don’t want to see on TV, as long as you are in view of the reporter and the camera.
14. The media are not our friends.
With apologies to many of my personal reporter friends, I never talk about anything I don’t want the professional (who is my buddy) to know.
15. There really, truly is no such thing as “off the record.”
Chapter Eight: a final thought
While the current media climate moves the reality of Warhol’s assumed “fifteen minutes” to the realm of the Buzz Lightyear’s (of Toy Story fame) , “To infinity and beyond,” don’t be camera-shy. Your organization can profit when the TV stations come to call.
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