Posts Tagged ‘PR/Marketing Industry’

Driving away with media drives: Part 1

Monday, March 28th, 2011

test drive

Putting members of the media behind the wheel of your new car is undeniably the most cost-effective way of getting widespread, unbiased coverage. Over time, your budget might allow for certain selected journalists to have the opportunity to sample your new model for an extended evaluation, but a short term first look is likely going to involve a number of people in one location.

But not leveraging such an event can prove disastrous for everyone involved, since those initial reviews can be the most important ones your car will ever get.

A media drive is a major undertaking, but it doesn’t have to be expensive or burdensome. Let’s first examine the best way to get started.

Place and Time
Picking the location and timing of your media drive is essential. Too many have made the mistake of offering a drive opportunity at the same time as another major event in an entirely different location. Since many outlets are limited in the amount of coverage they can take on at one time, you don’t want to lose potential journalists just because they are attending a new car show on the other side of the country, or they’re at a major vintage event overseas.

Consult any calendar that might apply to your audience – you will be able to find dates that work well for everyone.

With a date selected, your next decision will probably revolve around a location. The most budget-friendly option is to hold your media ride and drive where your audience will already be. With journalists scattered around the country – and across the globe – the only time you’ll find them all in the same place is around a major auto show like SEMA in Las Vegas or the Los Angeles Auto Show. If your intended audience will be in tune with classic cars or enthusiast-oriented events, consider taking advantage of an afternoon during the Monterey week in August or even the Woodward Dream Cruise in Detroit. Or, you could run your snowmobile ride and drive during the Detroit show in January!

If you choose to piggyback and adjacent show or major event, you don’t want to intrude on the event, or else you’ll risk losing essential coverage. As exciting as your product is, journalists are in town first and foremost for the major event, which probably offers lots of exciting news worth covering. That doesn’t mean that they don’t want to drive your car, but you have to be careful with timing. The days leading to and following a major event are prime driving time, but you’ll want to give journalists plenty of notice ahead of time.

Even if you don’t have all of your details carefully arranged, a simple “save the date” e-mail will alert reporters about an upcoming drive. It’s amazing how few major automakers even bother with this small effort, which serves as a convenience for all involved.

Getting visual: Using USB drives as a marketing tool

Tuesday, March 22nd, 2011

USBs

The traditional press kit is long gone, a victim of both universal budget cuts and an increasingly digital world. In its place, for many, is a far more useful tool for everyone involved: USB thumb drives.

Although budget-conscious firms still sometimes pass out business cards with a a media site URL or, in some surprisingly archaic cases, a CD or DVD loaded with images, the most cutting edge groups have flocked to USB drives.

Capable of storing gobs of information – a minimum of two gigabytes for even the most basic drive – these devices can hold press releases, technical details, high resolution images, video interviews, B-roll, animations and much more. Easy to organize with folders or, in some cases, an on-screen menu, USB drives are absolutely the easiest way to transfer lots of information directly to a journalist. They are easy to pass out at a trade event and they are light enough that tossing them in the mail at a later date won’t burst your budgets.

Members of the media relish their ease of use; simply plug one into any laptop and, within mere seconds, the writer can be pouring over releases, while photo and video editors can be sorting through multimedia content.

More than just information
Yet a USB drive is more than just a way to transfer product information to your intended audience. A catchy design adds more cost, but it increases visibility – both in the short and long term.

Numerous outfits will customize USB drives to your needs, whether you want to make them look like a certain aspect of your product.

A car manufacturer, for example, can have a USB drive made in the shape of a car key, or even a rolling Matchbox-size version of its latest model. Or, a firm might want to emphasize a certain aspect of their industry or their demographic. An eco-conscious brand might choose to highlight their USB drive by making it out of a recyclable material, while a luxury brand could instead decide to make theirs from a mix of fine aluminum and leather.

Moreover, customized packaging might deliver exactly the message you want to convey. Again, recycled materials might make for a good box, or you might choose to include a USB drive hidden away in another media trinket. To mark its return to the North American market, Fiat gave journalists cappuccino cups with the brand’s logo. Tucked away in the box was a pint-size USB drive, which served as a reminder of the automaker’s new 500 minicar.

These USB drives aren’t just quick use takeaways. A unique-looking USB drive has long-lasting appeal, so it might make its way into daily use for a journalist. It serves as a continual and subtle reminder of your brand – and that’s undeniably a positive.

Turning the corner: The legitimacy of online media

Friday, March 11th, 2011

IncludedNetworkLogos_May08

For public relations practitioners, both professionals and those who simply want to get the word out about their product, online media has traditionally been something to approach with skepticism and trepidation.

After all, can’t anyone make their own website? Back in the infancy of the consumer Internet, free web hosting services like GeoCities made it easy for just about anyone to do anything from post pictures of their kitty cat to masquerade as a legitimate online news or information source. Like any other burgeoning industry, the dot-com boom saw personal and for-profit sites skyrocket in both numbers and traffic. With the advent of search engine optimizing-technology, the plethora of useful sites has become more focused and refined.

Now, consumers turn more to online media than any other source. We are spending more time in front of screens, but the advent of tablet devices has made it easier and more casual to surf the web than ever before.

As a result, online media has been brought into the mainstream, quickly replacing print as the default medium of choice.

This should hardly be news, but to many it is still difficult to see the legitimacy of a digital-only publication. As a result, thousands of titles with devoted followers and, perhaps most importantly, a wide range of newcomers, are being ignored.

The rise of the tablet
NPD Group, a New York-based market research firm, recently reported that it expects more than 240 million tablets will be sold by 2015. Paramount to their success is their ability to seamlessly connect to the internet just about anywhere, whether they use home or commercial wifi networks, cell tower-based connectivity or even wifi in the sky 35,000 feet above the earth aboard a Boeing 737.

These tablets are rapidly displacing both books and newspapers as the default go-to source for entertainment and information. Need proof? Witness book store giant Borders’ recent Chapter 11 filing. How the mighty have fallen.

Tablet-based applications bring magazines to readers’ attentions like never before, offering them the ability to virtually sort through newsstands ten times the size they might encounter in real life. These online magazines aren’t fly-by-night publications like early GeoCities web pages. They take serious effort and hefty start-up costs to get running; investment is not for the faint of heart. Not surprisingly, readership is growing at an alarming rate.

Online magazines are packed with functionality beneficial to any advertiser – embedded videos, product tutorials and direct links to product websites mean the days of hoping your audience would remember to call your 1-800 number or log onto your site are long gone. Now, all they have to do is follow a link and they’re in your territory.

Of course, we can’t discount the power of traditional websites, which offer the easy-to-update functionality essential to news gathering.

Traditional print outlets have found their home online, but so have a vast array of startups, many of which have been around since the early days of the web. Their page views are often exponentially higher than print circulation and their cutting edge reporting is rapidly shared through other mediums like Digg, Facebook and Twitter.

Benefiting you
Like any print publication, an online site requires some acclimation to ensure that it suits your target audience.

But the era where online media was ignored has ended, leaving print as a comparatively archaic dinosaur catering to a rapidly shrinking demographic. Don’t be skeptical or afraid of online media: Embrace it before you are left behind.

Media Exclusives: the cautious approach to keeping your promises

Wednesday, March 9th, 2011

sheen

The “Exclusive.” Every media outlet wants one, and every PR professional should understand how to offer one. Stuck between a rock and a hard place is the best way to describe a media exclusive. You want to offer the opportunity to a journalist who’s covered your client extensively, but you don’t want to step on any toes of other media personnel who you may have a relationship with and who has covered your client in the past.

Case in point: Charlie Sheen’s current crisis. The Two and a Half Men star has been plastered all over tabloids and Hollywood’s gossip columns for his awkward and crazy behavior. Recently, he offered an exclusive to one of today’s top media giants: ABC’s Good Morning America and 20/20. The only problem is he offered the same “exclusive” to NBC’s Today Show. The two networks, who’ve been competing against one another since the beginning of television, thought they had the full story on Hollywood’s latest antagonist, but turns out they were both fooled. And as he approaches the beginning of unemployment, it will be hard to convince either giant network that he’s ready to commit and get back to work.

The actor, who’s “waging war” on CBS for breaking his contract, will definitely be scrutinized in the public eye for months to come. But we can learn a lot from his foul ups. First of all, keep your promises. There is nothing worse than to have media put their trust in you and you break the rules. The same goes for the media and embargo dates. You have your trust in the journalist that they will not post or publish your story until the embargo date is up, correct? Keep your promises!

The second rule of thumb is determine if this particular outlet will express your core messages directly and correctly to your target audience. You also need to determine how important an exclusive is in getting your message out to the public. In some cases, an exclusive could be just the ticket to build a relationship with a popular journalist or secure your client’s feature in a top media publication that reaches the masses.

No matter the situation, there is nothing worse than losing your credibility or the trust of a notable journalist. A good rule of thumb is to follow your instincts; if you have the slightest doubt about offering an exclusive then tread cautiously.

Spotting the trends: Has trend-watching become the trend of the moment?

Wednesday, March 2nd, 2011

cartoon

By the time you read this, it’s already too late.

No, you don’t need to hurry out to try to save the planet from disaster (although you might want to consider recycling a little more and maybe conserving fuel).

We’re talking about trends – what’s trendy at the moment, according to journalists and publications, is probably on its way out. This isn’t a backhanded slap at our friends in the media, it’s simply an acknowledgement about how fast trends move today in this increasingly rapid-paced global economy.

And it’s not just trends themselves, it’s the word trend. Tracking trends is a lifeblood for millions of Americans involved in market research, product planning and, of course, marketing and public relations. But by the time a trend makes its way into the media, you’ve probably already seen examples of it on every corner in the country’s trendiest cities, let alone its sleepiest burbs.

We’ve obsessed over trends forever; from following the fashion styles set by royalty to seeing what’s hot on Twitter or Facebook, consumers the world over are positively trend-manic. With the power of social media and Internet journalism, staying trend-setting is even harder than ever. No trend-leader can emerge long enough to stay on top, so the masses follow whatever works to gain popularity the fastest.

Twitter users can stay on top of what’s trending every minute of every day by checking out the moment’s top tweets, while Google keeps tabs on what people are searching.

This matters to us because we can help manipulate trends, even if their staying power is only for a few minutes. Last fall, Ford simultaneously unveiled its 2011 Ford Explorer SUV at events held in major cities across the country – Los Angeles, San Francisco, Denver, Dallas, Atlanta, Miami, Chicago, Detroit, New York and Washington, D.C.

By inviting some of the most-connected journalists, Tweeters, social media gurus and even the old faithful print scribes, Ford helped make “2011 Ford Explorer” the most-searched term on Google all day. That consumer interest translated into sales just a few months later – the redesigned Explorer has seen demand more than triple over the last few months compared to the outgoing model. While a vastly improved product helped keep the nameplate more relevant to the marketplace as a whole, Ford’s dynamic debut made the Explorer a trendy item months before it officially went on sale.

Perhaps the trendiest trend at the moment is simply watching what’s trendy. It’s people watching in a digital world.

Making sense of the tablet revolution

Monday, February 14th, 2011

tablets

A revolution is underway and you may not even know it. What’s more, you might even be complicit in helping to change status quo.

No, it is not a violent upheaval, but it is changing the way we do business faster than almost any technological boom has ever done and its evolution might never end. It is the arrival and sudden dominance of tablets and e-readers, which are rapidly replacing mobile phones, laptops and desktops as the go-to source for information and entertainment for millions of readers. Inevitably, we, as promoters of a product or a service, must adapt our ways.

Apple’s iPad began the revolution, but Android-powered tablets are gaining ground, as we have discussed before. iPads have been graced by Apple’s magic touch, but the Google-developed Android operating system is available on a wide variety of devices. We cannot predict who will win this battle, but we know who will lose: Computers and mobile phones, not to mention print.

No longer is the tablet simply a fun gadget. Their flexibility makes them computer replacements, especially for those on the go.

Changing ways
This new form of contact with an audience causes us to entirely rethink our interaction. We’re still focusing on .mobi websites optimized for mobile phones, but an increasingly large number of users are jumping ship to tablets.

Transitioning mobile-platform applications and websites to a tablet is the easy solution, but why not take this opportunity to think out of the box for this new type of media distribution?

For starters, the horizontal format and far larger screen offers a wider level of flexibility, although it is still limited compared to a full function computer with a mouse, a keyboard and an advanced processor.

The best way to leverage a tablet depends on what you want to do. The print industry has stumbled to adapt to Apple’s strict policies that limit subscriber information and don’t allow for free access for some and paid access for others. In fact, Apple has just informed a number of European newspapers that paid print subscribers will not be able to have special free access to apps that non-subscribers have to pay for.

Just as everyone was starting to understand what it takes to succeed with a tablet, the rules have been rewritten. That does not mean we should give up.

Further proof – as if you needed it
You might have heard that just this last holiday season, virtual books – e-books – outsold their hard and soft cover counterparts. We’re not quite ready to call physical books “relics” or “vintage” just yet, so don’t expect to sell your paperback collection to finance a new kitchen.

But this transition is obvious proof that consumers are warming up to getting their information from a screen, especially one designed with eye-friendly viewing in mind.

The tablet revolution is on. Now it is time to figure out what to make of it.

Giving media the artistic edge

Wednesday, February 2nd, 2011

Camara

If a photograph is worth a thousand words, it ought to be worth $1,000, right?

It only seems that way to most journalists, who desperately need visuals for their content but wind up falling way short when it comes to finding the money to pay for their desires. Budgets have dropped, but the number of outlets has increased as amateur news gatherers with incredibly large followings take on big budget newspapers, cable stations and even established news websites.

Both print and, especially, online journalists need easy access to good photography if you want them to get the word out about your product or event.

Unfortunately, that recipe is all-too-elusive for many companies and services. Most news outlets barely have the budget to buy their own point-and-shoot cameras, let alone enough cash sitting around to be able to hire a professional at a four-figure-a-day rate (plus per diem!). As a result, they often wind up without any photography to illustrate stories, an especially difficult case when it comes to online publications with plenty of room for multi-image galleries. Stories that they would otherwise deem important are relegated to poor positions because they didn’t have visuals.

The easy solution to this dilemma falls on your ability to make images readily available to members of the media. Reasonably high quality images aren’t hard to shoot; they just take some time. Learn the basics of a moderately-priced digital SLR camera, set the scene up properly and you’re probably going to get decent stills of your own product. If it’s an event or a service you want to shoot, you might want to hire a professional – a local photographer might be willing to give a more reasonable rate in exchange for ownership of some of the content you don’t choose to use. Make sure you own the photos you want to use, however!

From there, it’s all about distributing your photos to members of the media. You can sit back and wait for requests, but that won’t reap benefits very quickly and it makes you seem rather aloof. Instead, being proactive by sending out relevant photography with news releases makes everyone’s job easier. If an outlet has good photography to work with, they are considerably more likely to publish the content simply because all of the pieces fell quickly into place.

For archival images, a dedicated media site – or at least easy access to an FTP server – makes downloading photos a cinch for members of the media. You can even provide photography with a strict embargo date to trusted members if you don’t want word reaching the public until after a major announcement.

After an event, make photos available to the media and make sure to identify any important guests or executives pictured – otherwise, you’ll spend half your day fielding phone calls all asking the same question!

Of course, there are a few things you aren’t going to want to do if you want to make your photography easy to use. Don’t put watermarks on images; let the outlet watermark their own photography, for example. Also, when you’re setting up a media site, make it easy to use. A complex design with all sorts of bells and whistles might look good to you, but reporters and art directors need to be able to efficiently download photos. Finally, don’t waste your time with subpar photography. You’ll be surprised with the places your photos will end up – in beautiful magazine layouts, spread across wallpaper galleries online and even in enthusiast websites, when the product is appropriate.

It’s simple: If you scratch the media’s back with accessible photography, they’ll provide the extensive coverage you need.

Minimizing executive interview mistakes

Thursday, December 16th, 2010

media interview

You’ve had hours, days or even weeks to prepare for an interview. You’re up to date on your company’s operations and products. If you’re lucky, the interviewer has even provided you with some hints on what to expect from the discussion.

Then the interview comes along and you stumble, never fully getting your point across and not knowing the answers to every question. It happens to the best of us, even those who think they are well prepared.

The basics

Look at an interview with a member of the media in much the same way you’d want to interview for a new job. You want to go beyond answering questions – you want to present a compelling, but not overly boastful, case for you and your company. You want to sell your message.

Your answer needs to be more than just words. It needs to be believable, not only because it needs to be accurate and truthful, but it also needs to be something you genuinely take as fact. Be comfortable and try to be yourself.

Anticipate questions ahead of time by working with your public relations team. Collect your thoughts ahead of time; only in certain circumstances should you agree to an on-the-spot interview.

On track

The rapid-fire, “report first, ask later” nature of online and TV media makes it imperative that you keep control of the interview. Don’t let the interviewer take you off track – unless you want to go there.

Answering questions that might move the conversation in the wrong direction with a simple, “That’s a great question for another time; let’s revisit it soon” will endear reporters and lead to what could be a mutually beneficial follow-up interview. It’s a smart answer that can be effective if used sparingly.

Additionally, you must keep control of yourself during the interview. A flustered answer will bomb on more levels than you want to think about – your clear answer, your facts and your credibility are all on the line during the interview.

Tailor-made

Help the reporter by giving answers that can easily be put in context in an article or clip; think of your answers as sound bytes. Your answers should be concise, accurate and, perhaps most importantly, they need to be natural. A short and simple answer that tells the basics is easy for a reporter to use; if they want to dig deeper, that’s their prerogative.

You can’t assume that a reporter will know what you’re talking about, so you might need to build up your answer with background basics. This varies by outlet, so be careful not to oversimplify to an industry trade journal, for example.

Simple answers don’t mean misleading answers; if you’re intentionally glossing over the details or ignoring certain elements, they’ll track down the facts. Ultimately, this tactic will backfire and destroy your credibility.

A timely example

For months, General Motors told reporters that the innovative Chevrolet Volt’s gasoline engine never directly powered its drive wheels. Then, closer to the Volt’s on-sale date, GM revealed that, under certain unusual circumstances, the gasoline engine could indeed bypass its electric counterpart to motivate the vehicle on its own.

It’s a difference that buyers won’t notice because, simply, it doesn’t matter in day-to-day driving. But it betrayed many reporters’ trust in GM and its public relations team, whom the media decried as misleading and engaging in evasion tactics. Not only did the gaffe dent GM among reporters, it made journalists look as though they had been reporting false stories.

The drama that ensued could have been avoided in one of two ways. The simplest answer would be for GM to have told the truth initially, which would have prevented reporters from being misled.  Conversely, GM could have chosen not to reveal the information until it was ready.

Understanding what’s newsworthy

Monday, November 1st, 2010

target-audience

Sensory overload happens every day.  Experiencing “too much” can be as simple as passively sitting through many high-pace commercials during a football game or as active as being forced to make your way through menu after menu after menu, just to change the radio station on a new car’s sophisticated audio system.

This same overload happens every day when working with the media.  Companies want to spread the word about their new product, an upcoming event or a service they provide, but they overwhelm those who they rely on to distribute their information by not selectively targeting the right audience by deciding what is worth sharing.

It’s something journalists do every day by splicing and dicing their notes in an effort to condense their reporting to a few hundred words or a couple of columns.

Just like members of the media, those who distribute the information can learn to read what’s important to their audience to understand what is newsworthy.

Too little, too much

Of course, it’s pretty obvious when you’re not presenting enough information – it’s when everyone is asking those basic questions afterward.  But there’s an increasingly fine line between telling too much and too little.

If you don’t share enough, your audience will miss your points and you risk limited exposure.  More often, we find ourselves sharing too much information that over inundates an audience, risking the same problem of focusing on the wrong news.

But the biggest challenge is deciding what needs to stay and what needs to go.

This is especially prevalent when distributing information to members of the media and the public in a press release, a detailed email, a product or event information packet or even in presentations and discussions.

Selecting what’s newsworthy

Let’s say that you’re introducing a new product.  Ask yourself a simple question: “What’s newsworthy?”

Since you’re invested in the product, it won’t take you long to put together a lengthy list of what you deem important facts.  But the next task is sorting through the information in an effort to present a concise and accurate summary of facts easily dissected by your target audience.

Just what you select depends on your intended audience.  At first, it comes naturally; would you share intricate details about computer software with your grandmother?  No, you’d carefully select the important facets in an effort to only illustrate what is essential.  On the other hand, would you give a broad overview to the editor of a computer magazine?  Nope.  A detailed description is the way to go.

The difficult part is deciding just what is newsworthy for your audience.  Sometimes, it will require a number of discussions – like additional follow-up press releases or emails distributed at a later date or more in-depth sessions with individual members of the media.

No detail about your product, your service or your event is unimportant.  Everything is crucial, but not everything is necessarily newsworthy to every audience.

Picking and choosing a tailor-made release or discussion might take a little more work in the short term, but it will rapidly reap benefits with your audience.  Otherwise, you risk falling into the dreaded trap of overload.

It’s All in the Story

Tuesday, December 8th, 2009

storytelling

In a recent story picked up across the web, John F. Harris opined a shift in how elections are won. In his piece entitled “7 Stories Barack Obama Doesn’t Want Told,” Harris wrote:

Presidential politics is about storytelling. Presented with a vivid storyline, voters naturally tend to fit every new event or piece of information into a picture that is already neatly framed in their minds.

No one understands this better than Barack Obama and his team, who won the 2008 election in part because they were better storytellers than the opposition. The pro-Obama narrative featured an almost mystically talented young idealist who stood for change in a disciplined and thoughtful way. This easily outpowered the anti-Obama narrative, featuring an opportunistic Chicago pol with dubious relationships who was more liberal than he was letting on.


This so called “revelation” is a bit disappointing, though not surprising in a world more focused on distribution channels than storylines. To paraphrase a former president, “it’s the story, stupid.”

TPRM has been a supporter of social networking, online videos and other digital initiatives. But the bottom line is that these are just new ways to reach a target audience. The same principle that has guided marketing firms since a caveman first contemplated how to sell his excess mammoth meat to another is still as relevant today. Telling a compelling story is the single most important skill necessary for success.

There are many companies that can build a Web site, create a piece of collateral or send out an e-mail blast. At TPRM, we believe that it’s important to be able to execute those tactics for clients. But helping clients create a story that connects them to their target market is far more important and valuable. Empty words eventually will disappear, but building a relationship will continually create opportunity.