This playbook is designed to help you figure out how to get the public to fall in love with you and stay in love with you through the good times and bad. That, in a nutshell, is the job of a public relations professional.

Achieving success in the court of public opinion is a lot like achieving success on a basketball court. You want to be playing offense as much as possible, by spreading positive stories about your brand to positively influence how people feel about it. You want to score as many points as possible, so when you’re forced to play defense, you have enough to cushion the blow and stay ahead in the game.

Please bear in mind that, as a public relations professional, you do not exist to be your company’s cheerleader. You’re the coach who must poke holes in every play. You exist to see the company through a skeptical lens and understand how the public views it in a positive AND negative way. It isn’t always comfortable, but that’s how you win. 

This concludes my ability to use sports metaphors.

TV. Radio. Print. Facebook. Twitter. Instagram. Blogs. Podcasts. There are a million ways to send a message to a targeted audience, and there are about as many theories on the best strategies to get as many eyeballs as possible on that message.

Here’s my theory: if the content is underwhelming, no one is going to pay attention to it. There are many ways to describe underwhelming: boring, unoriginal, poorly produced, etc. And, of course, everyone has a different opinion about what is underwhelming. Some people dislike Kim Kardashian. But guess what? She’s EVERYWHERE and it isn’t by accident. She understands her audience and knows exactly how to reach them. From an ROI perspective, Kim K is brilliant. She knows what kind of kontent to kreate.

In order to connect with your audience, you need to understand what kind of content they will devour. Are they important businessmen who enjoy a diverse vocabulary? Are they 10-year-old boys who like fart jokes? If you can get someone to laugh and/or cry, there’s a better chance they will share the content with their friends. If they view the material as valuable for their business model, there’s a better chance they’ll give you a call. Whatever the call to action, the content needs to be compelling enough to get your audience on its feet.

I believe good content is also the best way to cut through the increasing noise caused by an increasing number of media channels. How many people out there watch the 10pm news while checking their Facebook feeds on their phones and their email on their laptops? There’s so much competition, mediocre content is going to get lost in the shuffle.

As a reporter, my job was to sniff out stories that viewers would find interesting– interesting enough to change the channel from CBS to NBC. What follows are some tips on how to sniff out those stories within your own brand… and then get the press to tell them for you.

As a PR pro, you need to think of yourself as the reporter for your company. Your job is to seek out stories and tell them. Yes, you need to report on news and events, but go beyond that. Find out about the cool things employees are doing. It doesn’t even have to be related to what your business does. Employees are the brand ambassadors. If someone is raising money for a good cause, pimp that out to reporters. It is inevitable that the reporter will mention, oh by the way, this great person just-so-happens to work at your company. And it becomes a case of guilt by association– but in a good way. I feel like I’m always hearing stories about flight attendants doing nice things for passengers. People love that stuff… and then they love the airline as a result.

Scattershots to get you started:

Find a hook to hang the story on. If reporters have a hook for the story, you’re halfway there. So how do you do that?

• Pay close attention to current events and figure out ways to inject yourself into the news cycle. Here are some real-life examples that have made it on TV:

You’re a physical therapist and there’s a big golf tournament in town. Pitch a story about common golfing injuries and how to avoid them.

You’re a yoga studio and there’s a big earthquake in Nepal. Hold a yoga class to collect donations for the Red Cross.

• Look at the calendar. There is a national-awareness-fill-in-the-blank day and month for EVERYTHING. Find something that fits your company and its mission.
• Stay ahead of current events, by signing up for press releases from the governor, lawmakers, council members, cities, utilities, NON-PROFITS, etc. Consider joining forces with them. If it’s a high-profile story, leech yourself onto it somehow.
• Get behind good causes and cutting edge causes. Make a donation to a local non-profit and then ask them to brag about you on your behalf.
• Pitch stories that contain:  puppies and/or cute little kids. Anything cute that tugs at your heartstrings. (Viewers and general managers eat that stuff up.) Good sound. Good characters. Good video.
• There is a big difference between company newsletters and press releases. Newsletters are about events and items that only people working for the company would care about. Ask the question– why would the public care about this? If the answer is– “they wouldn’t”, don’t put it in a press release.
• If your goal is national coverage, start local. Good local stories often get picked up by national feeds, etc. Much of what you see on network news starts at the local level.
• Use pop culture to your advantage. What’s the song of the summer? Is that somehow relatable to you? Do you have a connection to a celebrity that’s doing something cool at the moment? People love a distraction from the daily grind, and pop culture is a great vehicle for that.

Timing is everything in news. Don’t be under the impression that anything is a slam dunk. There is often no rhyme or reason why one story pitch is picked up and the next one isn’t. Don’t get discouraged or angry. Just keep pitching. You aren’t being a nuisance. Newsies have short attention spans and even shorter memory spans. They are easily distracted by shiny objects. They will drop you for something bigger in a heartbeat. And when that something bigger falls through, they will be desperate to get you back. Be flexible and forgiving. You might feel like sloppy seconds, but swallow your pride, because that’s how you get your story on the air.  

When you make a pitch through a phone call or email, keep it casual. The less “official” sounding, the better. Personal emails are often more well-received than the standard blueprint PRESS RELEASE.

Do’s:

• Keep press releases brief. Get to the point.
• Call the newsroom/your reporter contact/assignment editor 15 minutes before the morning or afternoon meeting to pitch your story. That’s when everyone is desperately trying to find a story to pitch.
• Schedule stories to happen when nothing else in the world is going on. Sunday afternoon at 2:30pm is the best bang for your buck. NOTHING happens on Sundays. Yet, for TV news, Sunday at 10pm is one of most watched newscasts of the entire week. It will get play at 5pm, 10pm and again on Monday morning. 2:30 is the best time because photogs and reporters arrive around 2pm. So it is still early enough to get play on the 5pm. Know their schedules so you can plan accordingly.
• If the story must happen during the workweek, schedule it to happen between 10am and 3pm.
• Cater to shows like the morning shows with visual events that can happen live between 5am and 7am.
• Follow the news cycle (local, national and international) and look for opportunities to inject yourself into it whenever possible
• Do the reporter’s job for them. Have two or three (no more, no less) subjects lined up and ready to interview. If they are “good characters” and give good sound, all the better. Have some great visuals and natural sound available. Write down key points and statistics that are important for the story. Give them a good hook that explains why this is newsy. And give them some ideas of what the “other side” of the story might be. Get the story shot in 60 minutes or less, ideally in a location 10 blocks from their station. Don’t waste their time with endless chit chat after a shoot.
• When reporters want a story/interview, they want it yesterday. When they call you, they want you to answer on the first ring. If it goes to voicemail, it’s too late. By the time you call them back, they’ve moved on to someone else. You’ve lost out. They’re on deadline.
• Help a photographer carry the tripod. Meet him or her in the parking lot.
• Mix in “personal pitches” with your press releases. There is an unwritten rule about bringing press releases to editorial meetings. It makes a reporter look lazy. Reporters like to think that they’re getting the “inside scoop”. They don’t want a story that everyone else already has. They want an exclusive. (But they want it neatly packaged at a convenient time in a convenient place.) So give them the illusion of that by sending pitches that are not in the form of a press release.
• Also, to accomplish the above, put some of the info on Twitter. Bait reporters into thinking they’re doing detective work by coming up with the story idea on their own.
• Create more smaller events, rather than fewer bigger events. You don’t want to put all of your eggs in one basket for reasons listed above. And regardless of whether it is a big or small event, it will usually get a standard 30 seconds of airtime.
• Train your CEO (or whomever will be dealing with the press) to not be an arrogant prick. At least when the media is present.
• Lure them with free food. Deliver it to the newsroom. They will act like they are insulted, but every crumb will be inhaled.
• Use the old trick– “all the other news outlets will be there. I’d hate for them to beat you on this story.”

Don’t’s:  

• Send out press kits. They go in the garbage. Save your money and a tree.
• Don’t overthink it. Just pitch. This isn’t brain surgery. Just pick up the phone or send an email. Don’t obsess for hours over this. The longer it takes you plan and plot, the less time it has to digest with a reporter.
• Don’t try to schedule a shoot three weeks in advance. If you do, be prepared to reschedule. And don’t complain about it. Every day is different. There could be breaking news. Or three people could call in sick. You can’t predict the news cycle. Do your best. Make the pitch. Be on stand-by. Be flexible. Be ready for them to call every day for a week. And if they call one of those days, you’ve won.
• Don’t send in b-roll you shot yourself. Have the press come to you.

Newsrooms are filled with characters that would keep a psychologist entertained for days. Understanding how they operate and what makes them tick is critical for anyone in the field of public relations. If you don’t get it, they will know it instantly. And they will laugh at you.

Newsrooms are dysfunctional and chaotic. And they are thrilling and fun. It is not uncommon for a random meat and cheese tray to be left on a communal counter for a few days, only to have a hungry reporter or photographer eat from it anyway. (One photog I know affectionately calls it “sweaty cheese”.) Sometimes there are mice. There is often a lot of swearing, crass jokes and inappropriate comments made about various public figures about whom reporters are supposed to remain unbiased. Every newsroom in the world has its own culture based on the people in it. It is both a place newsies love and a place they love to hate.

The people in a newsroom work nights, weekends and holidays. Most are paid very poorly. And they all interact like a big, messy family. When you’ve survived floods, murder scenes, presidential races, endlessly boring city council meetings, and live shots in a blizzard together, your co-workers become your confidantes. When you’re changing clothes in the passenger seat of the news truck on your way to breaking news three hours away, intimacy is inevitable. When you miss a deadline together, friends become foes. Newsies love each other and hate each other all at the same time. They’re competing with each other and yet they’re on the same team. They don’t even understand themselves most of the time.     

The players (an asterisk indicates the people who can make or break a PR campaign):

News Director:  Hires and fires. Oversees all news content. Works with other department heads (production, promotion, sales) to keep the station functional. Are powerful, yet paranoid that they could canned tomorrow. In a very fickle industry, they’re in an impossible situation.

*Assistant News Director:  Runs day-to-day newsroom operations. Is in the scrum making executive decisions about content and coverage. Often acts as the newsroom therapist for anyone on the verge of a meltdown.

***Assignment Manager/Editor(s): In charge of the “planner”– the calendar containing all events and stories happening on any given day, which often determines what goes on the air that night. Accumulates story ideas to pitch to the newsroom. Directs newsroom logistics. One of the most thankless jobs in the newsroom. Be nice to this person and develop a good relationship with this person. It will pay off.    

Managing Editor: Some newsrooms have them. Some don’t. They ultimately serve as quality control of news content.

*Executive Producer: Oversees producers of all the newscasts.    

Anchors: Often veteran reporters who’ve worked up through the ranks. Help manage newsroom operations and produce newscasts. Occasionally do stories themselves. Put on lots of makeup. Read out loud. Typically have zero responsibility to fill the show, so they are not under pressure to contribute. They are also among the most paranoid people in the newsroom, next to the news director. Highest on the pay scale.

***Reporters: Search out story ideas. Make contacts. Spend their days out in the field, gathering news. Do interviews. Write stories. Do live shots. Work under tight deadlines. Are waiting on the day they get called up to anchor. Always working on their resume tapes to climb up to a bigger market. Often paid poorly.

*Photographers: Shoot stories, either with a reporter or out on their own. Edit stories. Their day is usually determined by the assignment editor. Poorly paid. They are among the most under-appreciated people in a newsroom and often ignored out in the field. But they have power even most folks in a newsroom don’t understand. They are a secret weapon. Be good to them and they will be good to you.  

***MMJ’s (Multi-media journalists) (aka One Man Bands): These folks are both reporters and photographers rolled into one. They have long existed in small markets, but are becoming more numerous in large markets as stations continue trying to do more with less. This is one of the crappiest jobs in TV news. They are given the same assignments and expected to meet the same standards and deadlines as two people. They are poorly paid. Are waiting on the day they get called up to anchor.

**Producers: In charge of a single newscast. Decide what stories to put in their show, and the order of those stories (called “stacking the show”). Write stories and teases. These are the folks who often end up in management.

Editors: Edit video for newscasts

Digital/web producers: This is a relatively new and evolving position in newsrooms. They are in charge of what goes on the station’s website and social media channels.

(Anyone in a newsroom can pitch a story. But for the folks marked by an asterisk, their jobs depend on pitching stories. I will discuss reporters more thoroughly in a minute.)

Critical points during a typical weekday (times can vary slightly depending on how an individual newsroom functions) (based on Central Time):

Newsies live and die by the clock. In fact, there is typically a giant, digital clock looming over them in the newsroom reminding them how fast they are running out of time to make their deadline. Every second that goes by is valuable and not to be squandered.

9am: morning meeting. Everyone gathers in the newsroom to pitch story ideas. This is when decisions are made about what stories to cover and who will cover them. The focus is mostly on the early evening newscasts. Dayside reporters are often scrambling at the last minute to find a good story to pitch and throwing themselves into a panic attack in the process.

9:30am- 1pm: When “dayside” reporters with a 5pm deadline want to be out in the field getting their story in the can.

1:30pm: afternoon meeting. Updates on any changes since the morning meeting. Story pitches for the late evening newscasts. This is when decisions are made about what stories will air at 9pm and 10pm. Nightside reporters are often scrambling and having a panic attack at the last minute.

2pm- 6pm: When “nightside” reporters with a 9pm deadline want to be shooting their stories.

Morning show coverage is often planned out a day or two in advance.

Terminology/Jargon:

Package or pack: Longer format story. Runs about 90 seconds. Typically covered by a reporter and a photographer. Includes interviews from two or three sources.

VO/SOT: Stands for VIDEO and SOUND ON TAPE. This is a shorter story than a pack. Runs about 45 seconds. Typically covered by a photographer. Includes an interview from one source.

Nat pack: “nat” stands for “natural sound”. A package without a reporter voice track.

Before you start pitching stories, you need to understand how reporters operate and what makes them tick. They are your ticket to getting longer-format stories on the air on a regular basis.

Reporters are folks who every single day are under crazy pressure to find an exclusive, lead story. Nearly every day is a test met with blood, sweat and tears. The big story they accomplish on Monday is forgotten by Tuesday. They may give the impression that they are cool and confident, but most have incredibly fragile egos and can be reduced to tears by a nasty viewer email. Yet, despite all the negatives, most reporters can’t resist the thrill of being in front of the camera and at the center of the action. Like a moth to a flame.

It is not a glamorous job. I remember the moment I made that realization. It is a long story, but it ends with me peeing on the side of a dirt road next to a pile of frozen, decapitated animal carcasses. At one point, my favorite food item was a gas station sandwich. Reporters are exposed to hot, hot heat and bitter, freezing cold. The smallest comforts are appreciated and remembered.

When dealing with reporters/photographers/assignment editors, remember the term disarmament. Before you get down to business, disarm them with cordial chit-chat. If you know what kind of music they like/sports they watch/books they read, talk to them about it. Find a passion you have in common with that person and use it as a way to bond with them. Don’t be fake. In my experience, pop culture does the trick. It has a powerful way of bringing people together. Who doesn’t like music? Or movies? Or PRINCE? After you’ve disarmed them, they’ll be more receptive to your pitch and/or willing to go easy on you in a crisis.

Most reporters fit at least a few of these descriptions:

• Driven by fear, paranoia that they’ll get canned and replaced by a cheaper, younger version of themselves.
• Paid poorly.
• Work long, crappy hours, often on weekends and holidays.
• Under intense pressure every day to feed the beast (fill time in a newscast).
• Anxious.
• Are treated like parasites by 75% of people they interact with on a daily basis, including their boss and the subjects of their interviews.
• Are treated like a celebrity by 5% of people they meet on the street.
• Egomaniacs who use the phrase “don’t you know who I am?”
• Pageant queens and drama geeks who couldn’t cut it in Hollywood.
• Under the impression that they’re on their way to network anchor status.
• Have been told they’re a dime a dozen and can be replaced tomorrow.
• Altruistic. Got into this biz to make a difference in the world and view it as a noble cause.
• Procrastinators.
• Often show up late to interviews, perhaps in protest to the rest of their day being dictated by the clock.
• They don’t like confrontations any more than you do.
• They hold grudges against people who’ve done them wrong.
• Accustomed to people writing in to the station to tell them they have bad hair, look fat, sound stupid, etc. While they may say otherwise, it hurts their feelings.
• Well versed in dealing with people from all walks of life– CEO one day and a convicted criminal the next.
• Good at sweet-talking anyone to go on camera at their most vulnerable/emotional/intimate times.
• Shop at Goodwill because they can’t afford Gap

How they view PR people:

PR people are often a joke to reporters and photogs, because PR people don’t try to meet them at their level. News isn’t corporate, and when PR people act corporate, it rubs them the wrong way. Newsies are cynical, skeptical, tired, hungry and just want to get their damn story in the can. They don’t have time to mess around with red tape, “guest passes”, dragging all their gear up an elevator to a board room, and setting up lights. They want the CEO to meet them out in the parking lot so they can shoot the interview and go home.

• Totally clueless, inexperienced and out of touch with what they’re dealing with every day.
• Stuck up.
• A lapdog for the CEO.
• Most assume that the PR person is probably paid more, gets to punch out at a reasonable hour, and works in a nice office not infested by mice.
• 50% of reporters want your job for those reasons.
• Think that you think you’re better than them.
• They know exactly why you are calling them. They know you want something from them. And it can feel cheap.

How to win them over:

This is important not only to get stories on the air, but in the event of a crisis. If you’ve won them over already, there’s a good chance they will go much easier on you should a PR disaster strike. That is when you really need them in your corner and when the investment will pay off– big time.

Treat them like you’re their friend. Consistently. Better yet, actually become friends with them. Learn about them. Kids, hobbies, hometown, favorite music. Find something in common with a reporter and bond over that. They are just like everyone else. They’re humans. They’re often extroverts who like to go out and have a good time. And they’re also often lonely transplants from somewhere else. Make them feel welcome.

Reporters are well aware that you want something from them. So instead, surprise them! Just email to say– ‘hey, I really like that story you did yesterday on something totally unrelated to my business. It was really well done. I learned something, etc.’ They will remember that and will like you for it.

Remember that story ideas are worth their weight in gold to a reporter. Especially reporters who are new in town and have zero contacts in the community. Every day is a desperate attempt to fill a news hole. They are under immense pressure to deliver. By feeding them ideas, you are helping them out. Send them story ideas that aren’t even related to your PR campaign. They’ll remember that and will like you for it.

After you make a pitch, be ready to:  answer your phone even if you are sitting on the toilet, organize interviews in ten minutes or less, and give killer soundbites. They will call you back. If you consistently deliver, you will become their low-hanging fruit. That should be the ultimate goal for a PR person. Do you ever notice how you often see the same two dozen people interviewed over and over again on a certain channel? It’s because reporters get tired. So they have their fallbacks. Or low-hanging fruit. That is what you want to become.  

And remember, there is a crazy high turnover rate in newsrooms. Especially in smaller markets. So be prepared for your solid contact at WXYZ-TV to leave at the drop of a hat. And then get ready to start this whole process all over again.

Don’t be afraid of them:

While it is important to suck up to reporters and photographers as much as possible, PR folks don’t need to cave to crabby news crews who are complaining about everything and/or being jerks. There is a fine line. And it can be tricky to find.

Just like any relationship, it is a balancing act. Be prepared to pick your battles. If a reporter is blatantly being an ass, you don’t have to put up with it. Remember, they need you just as much as you need them. Think of it as an arranged marriage. You have to figure out how to get along. And when you need to stand up for yourself, don’t be afraid of them. Be a shark. Lay the smack down. And then send them flowers the next day. Do NOT hold a grudge. That will get you nowhere.

Keep. It. Simple. If your response to a crisis is complicated, it will only make matters worse. Come up with a plan of attack, DO IT FAST in order to stay ahead of the chaos and stick to that plan. It is critical that everyone involved is on the same page at all times. And never ever view the press as the enemy. I repeat. DO NOT VIEW THE PRESS AS THE ENEMY. More on that in a minute…

Be the first to make a move. Post a statement on your website. Send out a tweet. Invite the press to come talk. Or the very least, answer your phone when they call. If you’re not ready to talk at that moment, just tell them that. But don’t hide. Because that only makes the story juicier and drags the whole thing out. And remember, the news cycle moves fast. You’ll be old news tomorrow and the press will be chasing another scandal the next day.

Show empathy. Spin. Smile.

Show empathy. Always start by showing empathy. When appropriate, say “I am sorry”. Saying ‘sorry’ does not admit guilt. And people want to hear you say it. You can skirt around a delicate scenario by simply saying something like, “We are sorry that our customers are in this situation.” Be sincere. Viewers can spot a fake from a mile away, which only makes matters worse. BE HUMBLE. When appropriate, don’t be afraid to say “we made a mistake.” Take responsibility for your role in the crisis from the first second shit hits the fan. Be honest, forthcoming and transparent. If the press finds out later that you lied, your ass is grass. If there are limitations about what you can reveal, explain exactly why you can’t reveal that information. Promise to: learn from the mistake, do everything in your power to make it right and do everything in your power to make sure it never happens again.

Spin. Figure out a way to turn the negative into a positive. Use the situation as a reason to donate to a charity, for example. Distract them with something else great the company is doing.

Smile. Do not leave the situation with a scowl on your face. Be a gracious loser. Leave them with that impression of you. Thank people for being patient. Thank them for their understanding and forgiveness. It is amazing how forgiving the public can be. People love to see someone get a second chance and succeed. Viewers love a phoenix rising from the ashes. They are fully aware that you are human. As long as you are humble and sincere, there’s a good chance things will blow over and people will forget about the whole thing sooner than you think.

Do not view the press as the enemy:

In my opinion, this is the biggest mistake you can make in a PR crisis. If you are defensive from square one, that sets the tone for how the story is presented and it can do even more damage. Don’t ever be a dick to reporters. At least, to their face. You will probably hate their guts. They will probably be assholes. But if you’re an asshole back, that will only escalate the situation and make it worse. Take a deep breath. Be humble. And be nice. There is a good chance that will soften the interviewer and improve the entire situation. And remember that many reporters don’t like confrontations. It makes them uncomfortable, too. They’d rather be talking to someone who WANTS to talk to them.

Practice. Practice. Practice.

Oprah Winfrey likes to say, “The vultures are waiting to pick your bones.” It is a brilliant line, and it gets you in the right frame of mind for this next piece of advice. Prepare yourself for every horrible question a reporter could ask you. And then practice your response. Practice staying on message. Practice deflecting. Practice bringing the question back around to something that makes you look good. Practice staying calm. If a reporter asks you a question, there’s no rule that says you actually have to answer it. Dance around it. Reporters often will just let it go and move on to the next question. It becomes a test of stamina. And if the reporter is under a time crunch, he/she is often the first person to cave because he/she needs to wrap up the interview and make deadline. To see examples of the best in the business, just watch any Sunday morning politics program.

• Keep soundbites short and sweet
• If time allows ahead of time, practice what you want to say and the key points you want to hit.
• Practice staying on message. Try to cram your company’s name into one sentence as many times as humanly possible.
• Remember, unless it’s a live shot, it isn’t live. It’s taped. So relax. They’re not going to use a clip of you bumbling around. Takes too long for air. So if you screw up, don’t sweat it. Relax. And start again.
• Make chit chat with the reporter/photog ahead of time. Ask what their favorite music is. Or movie. No one ever asks them questions. It flatters them. And loosens everyone up.
• Look at the reporter asking the questions, not into the camera lens.
• Be authentic. Be sincere.
• Don’t be formal. Try to have fun with it, if the situation is appropriate for it. Use informal language. Don’t use jargon that viewers won’t understand.
• Beware of pregnant pauses. Reporters like to use this trick because it often leads to killer soundbites. They’ll just sit in silence after you’ve answered a question. People don’t like silence. It makes them uncomfortable. So they’ll just blurt something out. Often times something they really don’t want to share. So if you’re confronted with a pregnant pause after you’ve answered a question, just smile politely and keep your mouth shut.
• Wear solid colors. No turtlenecks (due to microphone issues). If appropriate, wear a shirt and/or hat with your company’s logo on it.

This Playbook is a living, breathing document. There are several chapters I haven’t had time yet to write, and there are probably a few typos I haven’t caught yet. So feel free to check back for updates and improvements.

PR is not a science. It is driven by emotions and personal points of view. When you enter uncharted territory, it is often a matter of trial and error. But the fact is, you have to act. Doing nothing is worse than doing something. Even if it turns out to be wrong. And the best course of action is learning from it and doing better next time.

If you remember nothing else, remember this: we are all humans. Including the public. And the public is often much more forgiving than most of us realize. Don’t be afraid of them. Embrace them and love them. Flaws and all. And, in many cases, they will love you back. Flaws and all.

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You can also contact me through 515 Productions, my husband’s amazing video production business.