“But I’m not going into news!” (or why you still need to know the basics of media writing to survive in life)

When my daughter was 5 years old, she often protested doing something my wife or I asked her to do with a whining version of, “But I don’t WANNNAAAAAA!” When people get older, they realize that’s not an acceptable answer, so they adopt a different tactic.

In the case of many of my students in the Writing for the Media course, the latter-day version of “I don’t WANNNAAAAA!” is “But I’m going into PR! Why do I need to know this stuff?” I get that from a variety of majors including those entering marketing, interactive web management, advertising and public relations. The argument is that if you aren’t a news hound, you don’t need to deal with all this grammar, interviewing and inverted-pyramid garbage.

Think again.

Everything you will do in any media-related field will require you to communicate effectively with other people. This will include written and oral communication, so you need to know how to write and how to speak in a way that gets a message across to people who need it. You also need to learn how to be almost paranoid about spelling, grammar and style as to avoid becoming a laughing stock among your peers and the public.

You don’t want people coming to the “State of the Uniom”

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You also don’t want to advertise in a way that gets kids too excited about going to their “Pubic School”

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You definitely don’t want your brochures to announce the graduation of people in “pubic affairs:

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In PR, your inability to write a coherent sentence shouldn’t lead to a press release like this one (h/t to Nicky Porter at copypress.com):
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If you read through this list of Five Startup Press Release Fails, you’ll notice a lot of commonalities between what makes for good news pieces and good releases: Quality quotes, getting to the point immediately and avoiding jargon. Good writing is good writing in the media, whether you’re writing a press release or trying to translate a horribly written one into a news story.

I have often told students I can teach them almost anything in this area, except for how to “wanna” do it. If you don’t “wanna,” I have no chance of making you care and if you don’t care, why should the people who will read what you wrote?

A bunch of things PR students always wanted to know but were afraid to ask

Thanks to the wonderful faculty environment we have here at UWO and the nice people I work with, I get a few benefits that some other places don’t. A lot of schools are so large or so “siloed” in their approaches to the various media disciplines that faculty and students don’t spend a lot of time together. Even more, once you choose your path as a student, you tend to end up in a silo or a bubble or whatever else you want to call it. In short, if you’re in PR, you spend all your time with PR students, PR faculty, PR textbooks and PR internships. If you’re in digital news, you are surrounded by news faculty, news students, news gigs and news texts. You never really get out of your zone or  your lane.

I’ve always submitted that this is problematic because you need to know how other people work and think and act in your field. I’ve done a ton of research on the issue of intergroup bias in this regard. (I’m not linking it here, but if NyQuil isn’t working for you, feel free to look for it on Academic Search Premier.) Even more, when people are people, it’s easier to understand and appreciate each other and be honest about stuff that can help them.

To help facilitate that idea, our PR guru Kristine Nicolini asked if I’d sit with her PR techniques class (a small group of about 20 student or so) and answer questions for them based on my experiences in news and working with PR folk. To help facilitate this, she had them write up a bunch of questions and then we kind of went from there. Below is a loose rehash of the items they asked, some things we discussed and a couple things they asked but we didn’t get to. It might not be everyone’s experience, but the answers reflected mine and I think it reveals greater truths as we get toward the end of the term:

ESTABLISHING PR/NEWS RELATIONSHIPS
“What’s your best advice for a PR professional when it’s the first time he/she reaches out to a specific journalist?”
“What makes for a strong first impression?”
“What’s your best advice for a PR professional who wants to create relationships with a journalist?”
“How do you go from just being the annoying PR professional to being an actual contact journalists will go to?”

I grouped these together (a few others were similar, so I avoided duplication) because they all hit on that same basic idea. In order to keep things simple, here are three bits of advice (and these swing both ways in the PR/News relationship):

  1. Get to know me before you need me. If the only time I ever hear from you is when you need something from me, you’re like that annoying friend on Facebook who tags me when their kid is selling Christmas wreaths or the “dude I knew sophomore year” who calls out of the blue to see if I can help him move into a new apartment this weekend. Building relationships takes time and it can’t just be a transaction-based arrangement. If you spend time getting to know me, my job, my needs and my publication, I will, in turn, get to know all those kinds of things about you.
  2. Bank capital and spend it when it matters: Every transaction you have with another human being leads to some level of benefit for one or both of you. It could be a small benefit or a large one, but it’s there. I like to think of this as “building capital” and it has its benefits. When you can help a reporter find a bit of information or provide a quote when you can, you build capital. It’s not like the person “owes you” favors, but when you are there for someone enough times, you feel like you’ll have a better shot of getting what you need when you need it. In other words, I helped you move 13 times over the past three years. Could you help me do X just this once?
  3. Know where the line is: I’ve been professional, decent, humane, friendly and so forth in many relationships with many PR professionals I’ve know. However, there is a line neither one of us can’t cross into “friendship” because that has huge risks. You can ask me for things that I can decline for any number of reasons: (“Hey I have this client who has a book about the benefits of eating yellow snow. You think  you could do a story on him?” “Uh… no. That’s gross.” “OK.”) However, you can’t ask me to break my own ethical code, violate the law or cover up something because “I thought we were friends.” If your boss’ kid gets a DUI and it’s newsworthy, it’s getting published. If your company’s new “Andy the Asbestos doll” is giving kids cancer, I’m not skipping that story. We both know there is a line and we both know how it works.
    I also have to know where that line is. When I know a PR person well enough, I know what’s off limits (it varies) and I also know if the line is a hard line or a flexible line. We agree on the parameters of our relationship and we stick to it.

 

GETTING STUFF PUBLISHED:
“Why can’t I get stuff published when I send it to journalists?”

“What makes you want to write about something?”
“If something comes from a PR person, do you automatically think of it as bad?”

This was a collection of thoughts students had during a part of the chat where they clearly were frustrated. The idea is: “I put all this time and energy into this news release or event or whatever and ‘you guys’ just ignore it or crap all over it. What gives?” Two simple answers both focus on the same basic idea:

  1. I don’t care about you (and neither should you): The main point I make in both books is that audience-centricity is crucial to everything we do in the media. If you’re doing a whole campaign on snowblower safety in June, who the hell is going to care about that in my audience? If I run a magazine on duck hunting and you are pitching me ideas on how to hunt for elk, why would I want to run that? The biggest issue all media writers have is that we get attached to our topics. We feel that it matters to us and therefore it should matter to everyone else. It doesn’t. Focus on the benefits your thing has to the audience I serve as a journalist and we’re probably going to be on the same page.
  2. Do we actually need each other? Not every PR person needs every journalist. If I’m covering crime in Springfield, Missouri, I probably want to get to know the public information officer at the Springfield Police Department very well. I need that guy or gal to do my job in a lot of cases. Do I need to know the head of the local FFA out there? Probably not. Flip that around: Does that FFA head need me? Nope. Does the PIO need me? Maybe, depending on the attitude the police have regarding the local press.
    The goal is to figure out how a relationship between you as a PR person and me as a reporter is mutually beneficial. Why do I want to get to know you as a journalist or why do I want to get to know you as a PR practitioner? What value does each of us possess in that relationship that helps us do our jobs better? How does it help us serve our audiences? Answer that question and you’ll get a lot more out of the whole situation.

THE LIGHTNING ROUND:
Random questions with quick answers that really didn’t fit into any particular area of anything.

“What’s your advice for working with difficult journalists?”
Find out why I’m being a jerk, figure out if it’s something you can/would care to fix and act accordingly. Also, figure out if I’m worth the time and effort. As mom always told me after I got dumped throughout high school, “There are a lot of other fish in the sea… you can do so much better.”

What’s the hardest part about being a journalist?
Mental scars, situational regrets and dead kids. I can remember the name, age and cause of death of every kid (17 and under) I ever wrote about and that goes back more than 20 years.

“What’s the worst thing a PR person can do (to a journalist)?”
Lie to me. If you lie to me, I’ll probably figure it out and then I’m going to be really peeved and I’ll make it my personal mission to make sure you regret it.

“What was the most interesting way a (PR/Marketing etc.) professional reached out to you?”
Someone sent the newsroom a giant box (and I mean like the size of a printer-paper box)  of condoms as part of a press kit promoting safer sex awareness. Also, some music label used to send us CDs in miniature “body bags.” I think it was supposed to make them look “bad ass.” I think our features editor used them to carry his lunch around. If you have a question you’d like to see answered, ask it here and I’ll do my best to answer it.

Got a question? Hit me up here and I’ll give it a go.

The Secret of the Briefs Bin (or how to write press releases that actually see the light of day)

I got a request for a post over the Thanksgiving break: “Can you talk about press releases? You cover this in the book, but what should we REALLY do to make sure our press releases (get published in news outlets)?”

Here’s a quick look at my actual experience writing news pieces from press releases. Hope it helps.

Of all the jobs I had working on the night desk of a professional newspaper, the one really annoying task was to tackle the briefs bin. The wire basket sat on my editor’s desk and was filled with press releases that various groups, clubs and businesses sent to us, hoping we would be enthralled enough with their prose to provide them with free coverage. Once every couple days, my editor would sort through a giant stack of releases and make some quick-glance decisions on their value.

I’d guess that at least one-third of them ended up in the garbage immediately. Those tended to come from out-of-state organizations or contained irrational screeds. A small number of the releases (maybe 5 or 10 percent) became actual stories: The editor would see a lot of value in these and hand them off to reporters who could pour some time and energy into them. Sources were called, people were quoted and stories were born.

The rest, however, had “BRF” scrawled across the top of them and were dumped into the briefs bin. These press releases would, at best, get a four-paragraph brief in the local section. Still, it would be something, so getting that far mattered.

The briefs bin was essentially a “do this when you have time” job for those of us who worked nights or general assignment shifts. When the editor asked, “Are you doing anything?” if you couldn’t plausibly come up with a job that you needed to do RIGHT NOW, she would say, “Well, why don’t you work through the briefs bin instead?”

So, what made for a “good” release, or at least good enough to get some level of coverage from a news publication? Consider the following thoughts:

  • A clear focus:  In a lot of cases, the most important stories were already gone, as my editor had pulled them out and given them to reporters. It was like someone had opened up a bunch of packs of baseball cards and pulled out all the major stars. I needed to find value in the semi-stars and commons that remained. When a press release hit the briefs bin, I knew it wasn’t something that was going to cure cancer, but I needed to find something that would matter to my readers. A strong focus in the headline and the lead sentence would help me figure this out. If the headline was something like, “City wins ‘Arborfest’ award for record-setting 23rd year in a row,” at least I had something to hang my hat on. If I’m reading six paragraphs into this and I’m hearing about “Ever since the dawn of time, trees have been an essential component of human existence on Earth…”, well, I’m probably skipping that one. If the release could be easily converted into a tight, clear brief, I wrote it up and pushed it over to my editor. If it couldn’t, I would usually slip the news release to the bottom of the briefs bin and pick another one. Eventually, if enough of us pushed a release to the bottom of the bin, it became “old news” and my editor would throw it out when she did a “cull” on the bin at the end of the month.
  • Write like I write: I once asked a friend who did press releases as a major component of his job what a “win” would be for him when he sends these things out to news outlets. His answer was, “I’d love it if you would just print the whole thing exactly the way I wrote it.” If that’s the goal, use the inverted pyramid, write in single-sentence paragraphs and follow AP style. Essentially, you want to write like I write for my publication. The less work you make me do, the more likely it is you will see your content published almost verbatim.
  • Appearances count: I say this as a chronically messy individual who will only “dress up” for weddings, funerals and court appearances. I also say this as someone who once tried to turn in a report that had tartar sauce on it. That said, as a professional, your job is to present information to me in a professional fashion. Yes, letterhead looks nice, but I’m talking about appearances in terms of things that make your release easy to read. Contact info should be easy to find and give me a named individual I can reach if I have a question. The font should not look like it was chosen by a toddler, a kidnapper or the Son of Sam. The paragraphs should be double spaced, so I can read them without getting a headache. At 1 a.m. when I was writing these things, ease of use made my day. If I felt like I was playing a game of “Where’s Waldo?” I would usually give up.
  • It’s not about you: The goal of any form of media writing is to reach your audience members in a way that has them see why they should care about the story you are telling. The key way to do this is to tell the readers why THEY should care about something, not why YOU want to tell them something. In short, it’s not about you. The promotional aspect of press release writing allows you some leeway in how you tell them this information, but you want to keep in mind this press release isn’t about you or how cool your group is. If every release you write starts off with “The Smithton Company announced Wednesday an important (NEW PIECE OF INFORMATION)…” you are essentially writing the PR version of a “held a meeting lead.” You get to “play” in the release, but it shouldn’t be all about you.

Thanks for asking for this post! Hope it helped! By the way, I do take requests, so if you want me to cover a topic, pick at a story or generally deal with something on the blog, contact me and I’ll be happy to give it a go.

 

Guest Blogging: PR and Marketing- How do you get your audiences to believe you?

Each week, we will strive to post content from a guest blogger with an expertise in an area of the field. This week, we are fortunate to have Rick Fox, the president and founder of Riverside Strategic Communications, LLC. He has two decades of experience in communications for some of the world’s leading brands, and he is an award-winning journalist and PR professional. His post is about the most crucial aspect of marketing nad PR: How do you get your audiences to believe you? Interested in being our next guest blogger? Contact us here.

It’s often said in marketing and PR that the truth isn’t written or spoken, it’s believed. So, how do you get your audiences to believe you?

Building Trust

The success of public relations, whether using the traditional press release or media pitch, or social media channels such as Facebook or Twitter, relies on effectively connecting with your audience. Whether your goal is to sell a product, get more clicks on your website, or inform consumers about the bad behaviors of a corporation, your success depends on your ability to get their attention and keep it long enough to make your point.

This requires strategic thinking, organization, research, and the ability to communicate. But does that require good writing?

It All Comes Down to Words

We live in a time of skepticism. The terms authentic and transparent are thrown around quite a bit. But in PR, transparency and authenticity really do matter. Your success in convincing others to buy what you’re selling depends on the words you type on your keyboard.

Overused superlatives no longer cut it. If it sounds too good to be true, it probably is. Rather than claiming perfection, strong messaging requires plausibility. Your audiences, reporters and customers alike, prefer to hear pros and cons versus a self-congratulatory message claiming how good your product is.

Don’t get caught up in the buzzwords of the day. Avoid words such as guarantee, financial freedom, and best of breed. Use protection, financial security, and effective instead. Build your credibility by under-promising and over-delivering.

Nuance Matters

When someone asks you for a favor and you say “I can do that” it would reasonable for that person to assume you are going to do it, right? But in PR, the difference between can and will is real.

Take, for example, this response to questions about an employee accused of embezzling funds from a company. “We agree this is unacceptable and this employee will be fired.” You’ve stated that you are going to fire him. But what happens when your internal investigation reveals the funds were simply miscoded by another employee? Could you have instead told reporters that “We agree that the allegations are unacceptable and we can take actions as appropriate when we complete our investigation”

A well-written holding statement should focus on what is, not about what isn’t. For example, one of your buildings has burned and a reporter is asking you what happened.

An unprepared spokesperson may say something such as, “We don’t know the cause of the fire yet. We don’t know how much was damaged. We don’t know when we’ll be operational again.”

A prepared spokesperson will refer to his written statement that states, “All our people are safe. We have a well-rehearsed, fire-safety plan that we executed very well. We’re proud of the way our people acted during this emergency.”

 

What’s Your Story?

If you don’t tell it, someone else will. And when someone else tells it, they rarely do so the way you would want. I had a client who prepared a media statement to use following the release of an inspector’s report that confirmed a pest problem in his restaurant.

After drafting key messages, working through multiple rounds of edits and approvals, a member of his team responded to a reporter and felt good about the exchange. Then he read the first headline, in a highly-credible news outlet, that read as follows: ‘ABC Restaurant staff working to rid kitchen of roaches’. He couldn’t understand how they came to that conclusion. After all, there were no longer any cockroaches in the restaurant.

When he re-read the statement, he quickly realized that he mentioned all of the important things: they were sorry they let their customers down; they took immediate action and were addressing issues to ensure this would never happen again; they immediately saw dramatic improvements. But it’s what he left out that caused the problem. He never actually said the roaches were gone or the problem has been resolved.

Luckily, he had a good relationship with the reporter and was able to add five words to his statement that said, “the conditions present in our restaurant were unacceptable… and have since been addressed.” This simple addition resulted in a new, more favorable headline, while reversing the tone of the story.

Write to Your Audience

Remember, the truth is what people believe. Your communications – tweets, videos, blog posts – all need to be believable before they can be effective. Believable stories require strategic thinking to understand what’s meaningful to your audience, and solid writing deliver a story that hits the mark.

Every word should have a purpose – helping convey exactly what you are trying to communicate. Each message should be proven with facts. Each fact should support your overriding objective. And your objective should be clear.

Evan as the channels we use to communicate continue to evolve, the fundamental ability to write clarity, brevity and relevancy is more important today than ever. Strong writing will separate your pitch from the rest, just as is will separate you from your competition when looking for a job. If you can write, you can tell more effective stories, and if you’re planning a career in PR, telling stories is the business we’re in.

 

Guest Blogging: “To work in PR, you need to be a good writer.”

Each week, we will strive to post content from a guest blogger with an expertise in an area of the field. This week, we are fortunate to have Jonathan Foerster, the communications director for Artis—Naples, a performing and visual arts organization in Southwest Florida. He has worked in both news and public relations and makes the case here that the skills you pick up in journalism writing courses and jobs are invaluable for anyone in corporate communications, marketing or PR. Interested in being our next guest blogger? Contact us here.


Like any communications job, the main role any public relations professional plays is storyteller. From press releases to pitch emails and from Twitter feeds to YouTube channels, if you don’t have a compelling story, no one is paying attention.

All of this is for the service of your company, product or event. We know that the best brands build layers of narrative around their products allowing for multiple points of entry and a variety of strong positive emotions. The style and content that appeals to one part of your target audience doesn’t work for another segment. So, you must have the ability to the same message and translate it to different groups.

The transformation of great ideas into stories that resonate with your audiences requires an understanding of narrative structures, the techniques used to draw in an audience and the ability to easily translate industry jargon into something anyone can understand.

To work in PR, you need to be a good writer.

There isn’t a day in my role as communications director for an art nonprofit where my writing skills, honed by years of working at newspapers and magazines, aren’t critical.
There are obvious areas where my journalism training comes in handy. For example, eight times a year we create a mini magazine that serves as the program book for our audiences. We treat these as not only direct marketing opportunities for performances and exhibitions, but also as a form of pre-concert infotainment. We want our readers to be informed and engaged with the content, which makes them more informed and engaged with our organization.

On a monthly basis, I write letters and speeches for our CEO, I craft language to be used by surrogates who promote the organization and I create uniform communications shared among departments so we always project organizational consistency. I also manage social media and work with vendors to create video projects.

These roles require the ability to subtly change voice from more formal language for the CEO to casual chatter for Facebook posts. I need to translate the same content from language suitable for a college graduate fluent in classical music to a middle school-level reader who doesn’t know an oboe from an elbow.

None of my work would be successful without writing skills and the dedication to keep them sharp and current. Understanding techniques (for example: framing and foreshadowing) and styles (inverted pyramid, anecdotal lede) opens up a world of possibilities that can help set your communications ahead of competitors in the marketplace.

Remembering that first journalism class: “I was scared out of my mind.”

I was recently on a panel that discussed student media and self-censorship. Most, if not all, of the people on the panel were former journalists and several people in the audience had made the transition to the field to the classroom. One theme that came up repeatedly was the way in which students “these days” didn’t have SOMETHING about them. It might be drive, it might be curiosity or it might be a skill. In any case, many of the people who spoke recalled that when THEY were students at THAT age, THEY had whatever it was that the students today seemed to lack in their estimation.

Me? I remember my first journalism class where I thought I knew everything. After working on one assignment, I thought I should go back home and work on that mechanic’s apprenticeship at the gas station.

The instructor was a former journalist, who was working on his Ph.D. He always graded in green because he said green was an affirming color. Well, he affirmed the crap out of me in that first assignment. The paper looked like a shamrock patch had thrown up on it. Arrows and lines were zigging and zagging all over the place like John Madden getting overly excited while using a telestrator. I figured I’d never make it in this business.

A few years later, I had a job at a good local paper, I had been publishing stories frequently and I was given the opportunity to teach that same “first journalism class” that the green-pen instructor taught many years earlier. When he found out I was teaching it, he called me to his office and handed me a file folder with one piece of paper in it: It was my first assignment, still green as a St. Patrick’s Day parade in Chicago.

As I read through all that tortured prose, I remember telling him, “Wow. I sucked.”

“No, you didn’t,” he said. “You were just new at this. When you go to teach your class, remember that in most cases, these students are going to be even worse than you were back then. You need to be patient with them and help them be patient with themselves.”

I thought about that moment after the panel. Maybe those folks were really great journalists since birth. Or, maybe the “Johnny Sain Axiom” on Old Timer’s Day applied here: “The older these guys get, the better they used to be.”

To get a better perspective on this, I asked the hivemind what the folks there could recall about their first journalism class, as in the first time they had to sit down and write for a course. The answers made me feel a little better about my initial experience and I hope they will give you a sense of hope as you start your semester:

This is from an award-winning journalist and professor who spent more than a decade at the Dallas Morning News. She covered the 1995 Oklahoma City Bombing and the 1993 federal raid on the Branch Davidian complex in Waco, Texas:

The class was full of typewriters. A grizzled old reporter from The Boston Globe taught it. He made us write an obituary on the first day. I got a C. I was scared out of my mind.

Here’s an ode to people who marched to the beat of their own drum from a former Wall Street Journal editor who now works for an Ivy League university as a social sciences writer:

My first journalism instructor in college was a longtime news editor at big metro papers. Along with lots of practical stuff, he taught me that desk editors — and particularly the good ones — tend to march to the beat of their own drummer. He was never on time to class — ever. He told jokes no on else got. He waxed on about obscure figures from his past jobs. But when the lead started flying, he was the guy you wanted in your foxhole. He taught me to appreciate all the weird, talented people newspapers attract.

A longtime photo journalist and college journalism professor had this take away: If your experience with your first journalism course isn’t perfect, don’t give up right away. Take another course or two before you decide that maybe truck-driving school is right for you:

My undergraduate writing Journalism professor was very intimidating. An older guy who had lots of real life experience. I can’t say as I enjoyed the class, but I made it through and went on to be a photojournalist for many years.

FROM THE GOSPEL OF BULL DURHAM

As the movie “Bull Durham” teaches us, in the major leagues, everyone can hit a fastball, so you’ll need to work a little harder to be “the best” (It also helps to have a curve ball.)

A former PR professional in the medical field who now teaches all forms of writing noted that her first experience in a journalism class made that concept clear quite quickly:

The professor asked everyone who was “one of the best writers” at their high school to raise their hand. Lots of hands went up. He asked us to look around. “You have competition, now. And not all of you can still be the best. Get used to it.” It was true – I’ve used that line in my classes as well.

The first writing class can be scary as hell for some people and a piece of cake for others. (One member of the hivemind told me that his class was a piece of cake as he was “ the college paper’s editor before I took J101. Doing the work before taking the class made the class pretty easy.” Score one more for getting involved in student media.)

You aren’t going to be the same writer going out of that class as you are coming in. Give yourself a chance to develop and work with the instructor to improve each time you try something. The more you practice, the better you will get.

One last story: One of the toughest women I ever taught was about to graduate and head off to a prestigious job at a top-flight newspaper. She was dogged, determined and relentless in her reporting. She was a disciplined writer and a demanding editor at the student newspaper. For some reason, the students were reminiscing about their first class in journalism and this woman spoke up:

“You know, you scared the shit out of me that first day,” she told me.

“Me? What did I do?”

“I really don’t remember exactly, but I remember just being freaked out of my mind,” she said. “I went home and cried for like two hours. I thought I’d never make it and I thought about changing my major.”

Go figure.

“Nobody is totally worthless. They can always be used as a bad example.” (Or PR in a post-Scaramucci world)

One of Dad’s favorite sayings when I would grouse about someone or something was, “Nobody is totally worthless. They can always be used as a bad example.” That always rang true for me when it came to how I worked as a reporter, a teacher and a media adviser. In many cases, I’d actually form policies based on how someone had done something and how I DIDN’T want to be that person or how I hated the way the person did something.

In examining the Anthony Scaramucci era (a funny term, given that I have fruit in my fridge that outlasted his tenure at the White House), PR expert Aaron Cohen provided some interesting tips on how to “Mooch from ‘the Mooch'” in terms of learning the ins and outs of public relations. It’s worth the read. A few thoughts on a few of his key points:

2. Build solid relationships with reporters.

Notice that I didn’t say “trusted” relationships. Those don’t exist.

It’s fine to play hardball as Scaramucci did, as it can show you’re passionate about looking after the interest of your client or boss. However, bullying or intimidating journalists isn’t going to get you the big coverage you promised.

Remember, even in the age of click wars and fake news, the finest living journalists (the ones you must influence) still report with the highest degree of integrity. Members of the media put their publication’s credibility—and their own—on the front lines every day. Words matter, but so do facts.

This is perhaps the core of all good relationships between news reporters and PR practitioners. I’ll disagree with the “trusted” issue a little bit, in that you can earn trust or destroy trust based on doing or not doing some of the things he notes below (bullying gets you nowhere, while sticking to facts and providing truthful information earns you credibility). However, at the core of the relationship is a professionalism in which it’s clear that you’re not going to be friends, but you don’t have to be enemies, either. It’s a truism that professionals on both sides of the PR/News relationship know and understand. Read Cohen’s take on the “Reporters will quote you” takeaway as well, and you get the idea of how these relationships work. If you want to vent about your day or your coworkers, a reporter should not be a last resort, but no resort at all.

5. Use a nickname for personal branding .

Don’t be afraid of using a catchy nickname as part of your own personal branding strategy. Nicknames to consider for yourself include, “The Bomb,” “The Bird,” “The Dude” and “The Sauce.”

This is the only point with which I’d REALLY disagree.

First, nicknames aren’t always what you’d hoped they’d be. My Dad used to work with a guy who earned the nickname “Shrimpy” when he was about 5 years old. It stuck. You don’t want to be in your 70s and hear someone yelling “Hey Shrimpy!” to get your attention at the grocery store.

Second, they don’t always convey respect. I doubt that a single member of the press corps referred to Scaramucci as “The Mooch” with anything but mockery.

Third, you earn the fungus on your shower shoes and you earn a nickname over time. Don’t give yourself a nickname. It’s the kind of thing that just screams, “I’m way cooler than you think I am.” Most people will disagree with you on that.

Hang on to this list and consider Cohen’s points as you move deeper into the field. It’s a pretty good way to learn something from a bad example.

 

 

 

If your mother says she loves you, go check it out (or why making sure you’re sure matters).

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The adage in journalism regarding verification is: “If your mother says she loves you, go check it out.” The idea is that you need to make sure things are right before you publish them. You also want to verify the source of the information before you get yourself into trouble.

This issue popped up again this week after former White House Communications Director Anthony Scaramucci had exchanged several emails with a person he thought to be former Chief of Staff Reince Prebus. It turns out, the messages came from a prankster, who baited Scaramucci into an “email battle:”

“At no stage have you acted in a way that’s even remotely classy, yet you believe that’s the standard by which everyone should behave towards you?” read the email to Scaramucci from a “mail.com” account.

Scaramucci, apparently unaware the email was a hoax, responded with indignation.

“You know what you did. We all do. Even today. But rest assured we were prepared. A Man would apologize,” Scaramucci wrote.

The prankster, now aware that he had deceived the beleaguered Scaramucci, went in for the kill.

“I can’t believe you are questioning my ethics! The so called ‘Mooch’, who can’t even manage his first week in the White House without leaving upset in his wake,” the fake Priebus wrote. “I have nothing to apologize for.”

Scaramucci shot back with a veiled threat to destroy Priebus Shakespearean-style.

“Read Shakespeare. Particularly Othello. You are right there. My family is fine by the way and will thrive. I know what you did. No more replies from me,” the actual Scaramucci.

“Othello” is a tragedy in which the main character is tricked into killing his wife Desdemona after his confidante convinces him that she has been unfaithful.

As the article points out, Scaramucci isn’t the first person to be suckered by a prank. Other members of the government had been similarly duped via email. In terms of prank calls, Wisconsin Gov. Scott Walker found himself once speaking with a person pretending to be billionaire David Koch, discussing ways to attack protesters and destroy liberals.   (The prankster told his side of the story on Politico.)

News journalists have also been caught short when it comes to making sure they’re sure about the sources and information they receive. In 2013, KTVU-TV in San Francisco had what it thought was a big scoop on the Asiana Flight 214 crash: The names of the captain and crew. However, the information turned out to be not only a hoax, but an intentionally racist set of names:

Three people were fired and a fourth resigned for health reasons in the wake of this error. In digging into this, it turned out that the NTSB found the source of the names to be a “summer intern” who thought this would be funny. In its own investigation, the station found that nobody asked the source at the NTSB for his name or title. The station issued an apology, as did the NTSB.

It’s easy to laugh at these incidents or to marvel at how dumb somebody was to buy into this stuff. However, we used to say around my house, “There, but by the grace of God, go I.” In other words, you could be next.

So here are three simple tips to help you avoid these problems:

  1. Verify, verify, verify: If something sounds too good to be true, it usually is. Look up information on various sites, ask a source for other people who can augment/confirm the information and make sure you feel confident in your content before you publish.
  2. If you aren’t sure, back away: It is always better to be late on something than it is to be wrong. It’s also better to let a random email or a text go without a response than to get sucked in and pay the price later. Some of these are easy, like when a Nigerian Prince promises you untold riches if you would just transfer your bank account number to him. Some are harder: When’s the last time you made sure it was your friend texting you about a “crazy night” and not his mom or dad doing some snooping? We just assume we know the actual source. That can be dangerous, so back off if you’re not sure.
  3. Kick it around the room: One of the best reasons why newsrooms, PR offices and ad agencies exist is to gather collective knowledge in one place. Sure, with technology now, it’s easy for everyone to work “off site” but keeping people in a single physical spot can make it easier to have someone look over your shoulder and see if something you just got “smells right.” Take advantage of other people around you and don’t go at it alone.

Clickbait, murderous gnomes and the Rummage Sale Theory of Journalism

In an attempt to point out how problematic question headlines, question leads and rhetorical questions were in journalism, I wrote a post using a hyperbolic question as a headline to prove my point: Are gnomes in your underwear drawer planning to murder you?

I inadvertently proved a second point: Why people use them and why they’re worse than I thought.

I posted the headline on Facebook and Twitter, which usually leads to a few dozen hits. About 20 minutes later, I went back to make a minor correction and found that my web traffic had spiked. The tweet was being retweeted like crazy (a relative term for a no-name blog) and I was getting people from Egypt, England and any other E place I’d never been showing up on the site. I don’t get paid for this and there are no ads, so web traffic isn’t vital to putting food on the table or keeping shoes on my kid’s feet, but it is kind of a rush to see actual, live people showing up to read something I wrote.

Here’s the problem: They were one-click wonders. For them, it was essentially clickbait.

They showed up because the headline made them curious, but once they figured out this was basically a site for journalism students and contained no actual murderous gnomes, they left. Traffic in the subsequent days was back to its usual collection of my three closest friends and that one former student who keeps looking for spelling errors so he can torment me.

In quality journalism, regardless of if we are talking about news, ad, pr, marketing or anything else, we don’t want to have what I call a Rummage Sale Theory mentality. The idea behind this “Filak-ism” is based in a tradition in Wisconsin, whereby summer comes and everyone in this proud state starts selling stuff out of their garages on weekends. Cities build events around “citywide rummage days” and there are flea markets all over the place.

A rummage-sale mentality says, “I want to sell this thing and get it the heck out of my garage.” Thus, when you are selling a somewhat wonky lawnmower and someone asks, “Does it run?” you might respond with, “Yeah! Runs great!” The idea is that if this person buys the mower, you will never see him or her again. It’s not like someone is coming back in two weeks to knock on your door and tell you, “Hey, that mower sucks!” It’s a one-time transaction-based relationship with someone you will never see again and about whom you care very little.

You have to approach journalism like the owner of a local store: You live there, people will come to you multiple times and if you mess them over, you are in a lot of trouble. People will avoid your store and tell other people about the bad experiences they had with you. You will gain a reputation that harms your ability to do your job.

Conversely, if you treat people right, give them what they need in an honest and upfront fashion and avoid the one-hit-wonder, clickbait mentality, you will develop great relationships that further your reputation as a trusted resource. It’s why ads need to be more fact than hype. It’s why PR professionals profess transparency as the main virtue of the field. It’s why reporters stick to promises of anonymity, even when it would be better for them to throw a source to the wolves.

In this field, we own the store. We live here. We need to act like it.

We can’t sell people broken lawnmowers powered by homicidal gnomes and expect to survive.

Mr. Scott beamed them to a hospital (or why jargon is killing our writing)

Some of you reading the “Dynamics of Media Writing” will go into the news business, where you will end up digging through press releases, trying to find information of interest to your audience. Others of you will go into public relations or marketing and spend time writing press releases and other material intended to pique the curiosity of the news media.

Regardless of which side of the release you are on, good writing and clear communication matter, which is why you need to do your best to eliminate jargon, also known as “cop-speak” or “industry-speak” or just B.S.

Let’s start with the release writers. You need to keep your audience in mind. In most cases, you aren’t filing a formal report, but rather an explanation of what happened in a way that makes sense to people not in your field. One of the best ways to see if you are doing this is to read your work and ask if it sounds like anything you would ever say to another human being outside of work. Consider some of these taken from actual press releases:

“The deputy made contact with an adult female in the vehicle.”

“Hey Jimmy, how was your date last night?”
“Excellent! I made contact with the adult female in her vehicle. I then escorted her to a local alcohol-provision establishment!”

“The body was located in the area of a flowing well which is adjacent to the road West of Kutz Road.”

Well, that really cleared things up…

As reported in our recent earnings briefing, IBM continues to rebalance its workforce to meet the changing requirements of its clients, and to pioneer new, high value segments of the IT industry,

“How was work today, honey?”
“Not too good. I got rebalanced…”

As a PR professional, honesty and transparency remain core values for you. Jargon muddies the water and makes you look like a weasel. Say what you mean and say it to the best of your ability.

The same is true for news writers. When jargon slips into the releases you use to tell anxious readers what company will be cutting jobs or how bad the fire was at the local restaurant, you need to cut through those thickets of verbiage and let reality shine through. This is particularly important when it comes to phrasing that makes no sense. Consider this stuff taken from releases that often weaves its way into stories:

[The fire] was determined to be electrical in nature.

As opposed to what? Electrical in spirit? Did it go to fire college, hoping to be a forest fire, but it couldn’t pass botany, so it went with what it always knew it needed to be: An electrical fire.

He was transported to a nearby medical facility.

First, unless something like this was happening, no he wasn’t…

Second, would you ever say that to somebody if you got hurt? “Mom, I think I broke my ankle! I need you to transport me to a nearby medical facility!”

“Two armed gunmen entered the store…”

Do unarmed gunmen just carry pistols in their mouths? 

A leader of People for the Ethical Treatment of Animals told a group of University of Wisconsin students Thursday that abstaining from meat cannot only alleviate global hunger but is also healthier and can save innocent animals from unnecessary suffering.

As opposed to all those guilty animals and that necessary suffering?

When it comes to writing for any branch of the media, go back through your piece and see if you are overwriting, using jargon or in some other way making a mess of things through word choice. Simplify and clarify are the watch words of a nice, clean edit.

“Picked up some Hookers!” (or why knowing your audience matters)

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A guy I know who works on classic cars made a social media post a while back that told everyone who follows him that he “picked up some Hookers” over the weekend.

Not one person shamed him online or forwarded the information to the guy’s wife. A lot of people responded with comments like “happy for you” or “so excited,” mainly because his audience was other car nerds.

Hookers, in car parlance, are exhaust headers named for their inventor, Gary Hooker, who constructed his first set of these back in the early 1960s. Headers like these provide your engine with more power because they help move the exhaust gas out of the engine more quickly.

In a more general context, it could appear that this guy was bragging about purchasing the services of prostitutes. In a car context, he was just making the engine more powerful.

And that is why understanding your audience matters.

News writers often cover topics that fall into “beats” when they work for general-interest publications like local newspapers or news magazines. Bloggers often have specific niches as do magazine writers for publications on health or hobbies. Public relations professionals have internal publics, who share an intimate understanding of how an organization works, and external publics, who often lack the detailed knowledge of a company or group. In each case, the writer has to understand what the readers know and don’t know as to best fine-tune the material and clarify the vocabulary.

Too often, we forget that people don’t know everything we know as writers, and thus we lapse into jargon, lingo and “alphabet soup” that can alienate the audience. Here are a couple thoughts to help you refine your writing as you work to reach your readers:

    • Who is reading this? Don’t assume that you know your audience or that the audience is as informed as you are. Go check it out. Web analytics, market research and other similar data can help you figure out who is most frequently reading your work. This can help you determine if mostly local folks who know what “The Dean Dome” is or if the audience contains mostly out of state people who need the formal name (the Dean E. Smith Center) and some information about location and purpose.
    • At what level are they reading this? A student once wrote an incredibly good piece for one of my writing classes on the issues surrounding raw milk. As I read it, I felt like I learned a ton and I suggested she get it published, probably in a local agricultural publication. The student, who grew up on a farm and had frequently read the publication, smiled at me like a parent smiles at an innocent child. “Um… This is really way too overly simplified for farmers…,” she explained.
      For me, a non-farmer, she was writing at exactly the right level: Assume I’m somewhat educated but have spent no time on a farm. For farmers, this would have read like a “See Dick and Jane” book. Know how much your audience knows, how much background the readers will need and how slowly you need to walk into a topic to avoid losing anyone.
    • Avoid alphabet soup for the most part. If your writing looks more like an eye chart than it does a story, you probably have a few too many abbreviations or acronyms in there. Some of these letter-based terms make sense within niche markets. If a business journal notes that a CPA for a B2B marketer uses GAAP, this will likely make sense to readers who know that CPA means “certified public accountant,” B2B means “business to business” and GAAP means “generally accepted accounting practices. However, for most of us, it looks like we would either need to spin the wheel again or buy a vowel. AP suggests using generic terms like “the organization” instead of using an abbreviation or acronym that would be confusing to readers.


(Case in point from “Good Morning, Vietnam.”)

  • Help people out. In traditional media, it never hurts to include a brief definition or some context clues for audience members who might need a little help on an unfamiliar topic. If you’re working on the web, a link or two might make the difference between informed and lost readers. Always give people a chance to figure out what you’re telling them.

At the core of all storytelling is language and shared understanding. For health aficionados, adjusting your carbs might lead to weight loss, while car folks know adjusting your carb will help your engine run better. Somewhere in between, the rest of the world resides, so it’s on us as writers to make sure we make our message clear.