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Working Th E Me D I A The Social Change Media guide to Working th e me d i a newciti z e n B O O K S Contents Going public. 4 Understanding the media. 5 What makes a good story . 6 Build good media relationships . 9 Choosing your media . 11 Writing your media release . 14 Throw away your media release. 21 Think long-term . 22 Timing is important . 23 newciti z e n Media events and launches . 25 B O O K S p ractical tools for citizens Ethics and defamation. 28 Radio interview techniques . 30 First published in 2000 by Pluto Press Australia, Locked Bag 199, Annandale NSW 2038 Television interview techniques. 35 Copyright © Les Robinson 2000 ISBN Les Robinson has been a cartoonist and a graphic designer. He now creates social marketing campaigns for Social Change Media in Sydney. New Citizen Books is an imprint of Pluto Press Australia. Order additional copies of New Citizen Books through http://www.newcitizen.com.au Sources Parts of the text are based upon Social Change Media’s Guide to Using the Media, first prepared in 1987 by Les Robinson with John Schauble which included TV interview material adapted from Film Australia's Executive Development Scheme. Working the media 3 Going public Understanding the In our democracy the media is a vital media intermediary between citizens and the powerful. (mostly) are not engaged in a corporate conspiracy against the common good. Just Politicians are often astonishingly because they don’t run your story does sensitive to criticism in the media and a not mean they are ‘working for the other well-placed media story can be an side’. Usually the ‘other side’ complains effective way to obtain a response from just as bitterly about media bias. immobile, smug or recalcitrant representatives and bureaucrats. Also contrary to the common belief, journalists are not there to perform a Equally, media stories can be a way of community service. They are not a public influencing private corporations, address system. That doesn’t mean they especially when they threaten expensively are evil. It just means they are purchased corporate reputations or reveal professionals working mostly for private potential legal liabilities. corporations whose business is selling This booklet contains most of the advertising. If we want our story told we essential skills and facts you’ll need to have to expect less and work a little make your story public – in print, on radio harder to satisfy their professional needs. and television. It is essential to understand that (usually) It will be up to you to supply the other neither the journalist, nor the editor, nor ingredients of successful media the media corporation gives a toss about ‘management’ – guile, persistence, the rights or wrongs of an issue. Their diplomacy and, of course, the story. narrow concern is whether they can print or broadcast ‘a good story’. Contrary to common belief, the media It’s your job to give them that good story. 4 Working the media Working the media 5 What makes a good tribulations, triumphs, discoveries or views. story This may seem artifical, when, for instance, we believe the real story is Knowing how journalists and editors about genetically modified foods or the define a good story is a vital part of dangers of nuclear power. But it’s part of being an effective media manager. good communication – readers relate to a Mostly, journalism is a very conventional story better when they they can business and a good story is defined in empathise with real human dramas. very conventional ways. To be acceptable to journalists your story should aim to: ❏ Be new The event must be recent and preferably ❏ Report a real event unreported. That is, someone must do News is active. It depends on actual something today. This is called ‘breaking events and happenings. Hence if nothing news’. Journalists never run old stories. has happened lately it may be necessary to create an event in order to get your ❏ Have a strong ‘angle’ story told! As we noted, news reporting is a Demonstrations and launches are actions conventional businss. Here are a few created solely for the sake of media typical story angles to keep in mind: coverage. These events may be artificial – ‘we name the guilty’ but they provide the essential rationale for a journalist to cover your issue. – ‘we name the heroes’ ❏ Have a human focus – ‘we report something particularly frightening, tragic, ghastly, pitiful ‘Pesticides kill frogs’ might be a good or unjust’ story, but a better story is: ‘Scientist reveals pesticide link to frog deaths’. That – ‘we reveal a sensational brawl’ is, someone is doing something. – ‘we bring you heart-warming kids The human element is vital and the or animals’ (photos essential) central drama of a good story should be about a real person’s experiences, joys, – ‘we reveal genuinely novel, surprising or amazing facts’. 6 Working the media Working the media 7 ❏ Be credible Aim to build good You need hard proof. Assertions without supporting evidence won’t cut it with media relationships journalists or their readers and viewers. Suspicions, opinions and hearsay are not It’s important to develop good working ‘stories’. relationships with the journalists, editors, You’ll need a ‘smoking gun’ – an eye chiefs of staff and news directors who are witness, an official report, a scientific likely to cover your story. That way they’ll study, incriminating photographs, an get to know your issue and be more likely independent expert, or a respected to see you as a credible source. commentator. These are the people to target with your Sadly, the exception to this rule is any media release and follow-up phone call. statement by any ‘hot’ media personality, Find out their deadlines. Don’t be afraid to senior politician or business mogul. This call and introduce yourself. Invite them to generally constitutes a ‘good story’ a special breakfast or lunch briefing (and without the need for any supporting don’t forget to provide the food). Stay in evidence. regular contact and offer them interesting items of insider information. Don’t be afraid to offer exclusives. Remember that journalists are busy, hard- working people. They work under pressure and – like normal mortals – get frazzled close to deadlines. The easier you can make their jobs, the better your relationship will be. Do your homework and be well prepared. Present them with a good story, simply and succinctly, and you’re at the start of a fine relationship. Avoid calling them close to deadlines unless your story is particularly important. It’s important to be honest when dealing 8 Working the media Working the media 9 with journalists and editors. Don’t lie, exaggerate or make allegations you can’t Choosing prove. They have no time for fools or your media false leads. Journos can misquote you and get things The first step is to do some research and wrong. Personal contact is a way to make decide which media will most effectively sure they are clear on the important influence your target audience and be issues. Most journalists will not read you likely to run your story. If you decide on their story before it's published, but if newspapers, pick up a copy and check the there is something very sensitive or staff details. Here you can find out who potentially damaging in the story, ring the Chief of Staff is and which journalists them anyway and try to check if they've cover your area of interest. got it right. With radio and TV you should target the If a journo does a good job, ring and specific programs which are most likely to thank him or her. It will help build your cover your type of story. relationship. Different types of media have different advantages. Here are some points to keep in mind when choosing which media to aim for – LOCAL PAPERS – are often neglected but are free and have high local readership. They are always looking for news and have wider definitions of newsworthiness than metroplitican dailies. The AAP NEWS WIRE. It’s a real advantage to get a story on this because it goes to every major media outlet in Australia. AAP journos collect stories in just the same way as print journos. METROPOLITAN NEWSPAPERS – the toughest nut to crack because they have hundreds of stories to choose from and only a limited amount of news space. 10 Working the media Working the media 11 TELEVISION NEWS – high on visual check out the titles in your newsagency. impact, short on detail. So think ‘vision, vision, vision’ and make sure that your Media lists spokespeople are well prepared with Listings from companies such as Media succinct, high-impact newsbites. Monitors, Info Australia and Margaret RADIO STATIONS – are hungry for news Gee may be available in your local and frequently run stories not covered library. These are comprehensive, elsewhere. They will base your story regularly-updated directories of all media around a pre-recorded telephone in the country with names of key staff interview – so have points prepared in and contact numbers. advance. TALK-BACK – know what you are going to say, say it clearly, and never get drawn into an argument. LETTERS TO THE EDITOR – an effective medium that should not be neglected. Often one of the most-read parts of a newspaper. LIFESTYLE SHOWS and PRINT FEATURES – don’t write them off. They have high readership, and often you can find a ‘lifestyle’ angle to your story; for example, family health, tips from local heroes, environmentally friendly actions or products. SPECIAL INTEREST MAGAZINES, JOURNALS AND NEWSLETTERS – use these when you want to reach a highly targeted audience e.g.
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