getting more from media...way to increase the “bang for the buck.” use worksheet 8.1 to plan...

This Chapter . . . ••Explores•the•range•of•media•available•for•reaching•new•audiences;•

••Discusses•quantitative•and•qualitative•approaches•to•media•to•reach•new•audiences;•

••Discusses•how•arts•groups•can•utilize•publicity•to•build•awareness;•and•

••Explains•how•interactive•media•can•extend•the•reach•of•arts•groups.•

Chapter 9

Getting More From Media

Chapter Contributors:

•• Chad•Bauman•is•Director•of•Communications•for•Arena•Satge•in•Washington•D.C.•He•uses•blogs,•webcams,•and•personalized•URLs•to•appeal•to•Arena•Stage’s•ticket•buyers•and•donors.

•• Marcia•Volk•is•an•expert•media•planner•with•extensive•experience•in•packaged•goods•advertising.•She•has•worked•with•numerous•arts•groups•to•maximize•their•paid•media•programs.••

•• Deborah•Popely•is•a•seasoned•publicist•and•marketing•communications•strategist•for•nonprofits.•She•is•co-originator•of•the•curriculum•for•the•NAMP•Boot•Camp.••

•• Eugene•Carr•is•President•of•Patron•Technology,•an•e-mail•marketing•firm•catering•to•arts•organizations.•

9.2

Part I: How are You Going to Reach Your Target? Now that you’ve figured out what you want to say, how are you going to deliver your

message? This is a very important aspect of a marketing plan, and one which many

arts managers gloss over without looking thoroughly at all their options.

Direct mail is an important medium for reaching arts goers. Mail solicitation works

particularly well for generating subscriptions and retaining members. But some groups

rely on direct mail to the exclusion of other media that could help them attract new

audiences and improve the return on their marketing dollars. This is particularly true

if an organization has been relying on old lists or swaps with groups that attract an

overlapping segment of arts enthusiasts.

New audience development planning gives you a chance to take a fresh look at your

media options in the broadest sense. When we say media, we don’t just mean TV,

radio, and internet advertising . . . we’re including flyers, posters, postcards, publicity,

standing on the street corner and shouting—all the ways you could communicate with

your audience.

Review the list at the left. While not exhaustive, it does give a pretty fair overview of

the variety of ways you can approach your target audience. You may notice some new

approaches here—or media you’ve dismissed as out-of-reach or too costly. But recon-

sider each medium in light of your target audience: Do they listen to radio? What sta-

tions? Do they respond to reviews? In which newspapers? Will they respond to posters

placed in the neighborhood laundromat and the local dry cleaners, even though they

aren’t considered “ artsy” places? Or is there another location they frequent where you

can place materials? Use what you know about your target audience’s profile, behavior,

preferences and habits to shape your media mix.

AVAILABLE MEDIA

MASS MEDIA

TV ADS RADIO ADS NEWSPAPERS MAGAZINES OUTDOOR

(BILLBOARDS, TRANSIT)YELLOW PAGES PUBLICITY PUBLIC SERVICE ADS

PEOPLE-TO-PEOPLE

DIRECT MAIL BROCHURES TELEMARKETING COMMUNITY OUTREACH SPECIAL EVENTS POSTERS/FLYERS POINT-OF-SALE PERSONAL SELLING

INTERACTIVE

ORGANIZATIONAL WEB SITES INTERNET ADVERTISING ARTS & CULTURE ONLINE CALENDARSE-MAIL BLOGSSOCIAL NETWORKSMOBILE DEVICES/SMS


9.3

Why It’s Called a Media Mix Whatever you choose, don’t rely on just one medium to carry your message. Research

shows people need to see a message as many as 10 times before they act on it. Repeti-

tion and consistency are the keys. Delivering your message through several different

forms of media (for instance: internet ads, publicity and transit advertising) is another

way to increase the “bang for the buck.” Use Worksheet 8.1 to plan your media mix.

Ultimately, your resources (dollars and people) will have bearing on the media mix, but

don’t simply include a medium because it appears to be cheap. What looks like a bar-

gain could actually cost you more per sale than some higher-priced but more effective

medium (more about that in the next section).

Part II: Maximizing Paid Advertising Many cash-strapped arts organizations bristle at the thought of using paid media. The

shear size of the dollar outlay seems overwhelming. But the old adage “You’ve got to

spend money to make money” is very much true here, because when you make a smart

media buy, the results can more than pay for it.

Where Do You Begin? Smart media buys start, naturally, with a plan (... where have we heard that before?).

Begin planning at least six months before the ad will appear. The best prices go to

those who lock in early. Of course, many groups can’t plan that far ahead—their

programs may not be finalized until much closer to debut. Work as far in advance as

possible.

Base the media plan on your objectives—the more specific the better—and any data

you have obtained from past experience. If your objective is to increase ticket purchas-

es for a particular offering by African-American women by 25%, your media plan ought

to include a placement designed to reach that audience with your message several

times during a critical decision-making period. How many times will depend on past

experience, the types of media being used, available budget and the potential return.

9.4

Know Your Target Media is generally bought based on the characteristics of the target audience, including

age, gender, education, income, marital status and race. Geography can be very impor-

tant, particularly if newspapers in your area publish zoned editions. Ad kits are avail-

able from media companies that spell out their customers’ demographics and enriching

characteristics such as their reading habits, tendency to dine out, tastes in music and

similar lifestyle decisions.

Your current audience can help you build a profile for targeting new audiences. On any

given day, there are some first-time participants in your audience. For Chicago’s Hub-

bard Street Dance, for instance, on weekdays the audience is 40% first timers, while

on weekends, the audience is composed of 60% newcomers. Use audience surveys

with incentives like giveaways and contests to gather data about them. One suburban

symphony gave out candy bars named “Symphony” in return for completed surveys.

Some of this information can also be gathered on the phone during ticketing. How ever

you gather this information, be sure to ask where they heard about your offering and

take at least three answers (remember the multiple messages?). Also ask where they

typically look for entertainment options. . . where they get their entertainment news.

Whose opinion do they trust?

Armed with this information, you can not only make better, more cost-effective radio,

newspaper or TV buys and implement targeted direct mail programs, but also develop

creative new ways to approach the marketplace. For instance, if research shows that

your audience drinks white wine and eats out frequently, it could lead you to develop

a promotion with a local vineyard, advertise in the newspaper’s food section, do a

mailing to wine clubs in the area, or package a wine tasting as part of a special perfor-

mance.


9.5

PAID MEDIA TERMS TO KNOW • Reach: the number of different people exposed to a medium over time.

• Frequency: the number of times the average person is exposed to an advertising schedule.

• Effective Frequency: the number of exposures it takes for a person to become aware of an advertising message.

• Rating Points: the percentage of individuals exposed to a particular media vehicle.

• Cost per Impression: the cost of one person having the opportunity to see/hear the advertising mes-sage one time.

• Cost per Thousand: the cost to deliver 1,000 people by a medium or media schedule.

• Net and Gross: Net is the amount of money paid to the media. Gross includes a commission for the ad agency (usually 15%).

How Different Media Stack Up Television is by far the highest-impact, most effective media for delivering a message.

The two major drawbacks are the cost of achieving the necessary frequency, and the

need to produce a high-quality commercial in order to be heard. Many nonprofit arts

groups find it hard to use this medium effectively. Cable TV provides a cheaper alterna-

tive that is also more geographically and psychographically targeted than network sta-

tions. But because cable viewership is still less comprehensive than network television,

the impact is low. If you buy cable, purchase time on several networks to get a bigger

impact.

Newspaper is a high priority for arts groups because it allows them to communicate

details about their offerings. With their extensive listings, newspapers are also still

the place people go to find entertainment options. Since many publish zoned or local-

ized editions, they allow for more precise geographic targeting than electronic media.

Although they cost far more to advertise in, metropolitan newspapers almost always

get better results for the dollar than community papers. Always budget for multiple

insertions—“one-offs” (a single insertion) rarely deliver up to expectations.

In terms of placement, newspapers are a busy place. To get your ad noticed, place as

much white space around it as possible, and position it adjacent to editorial (as opposed

to a collection of ads that are easy for the reader to flip by). A “page-dominant” size,

e.g. 3/4-page, or tabloid size, and use of spot color helps ads stand out. Paid group list-

ings, such as those sponsored by art-form-based associations, can work very effectively,

but you will need to find a way to attract attention among a group of similar offerings.

Local magazines and regional editions of national magazines often reach more upscale

audiences and have higher quality graphics than newspaper. However, the magazine’s

cost per impression is usually substantially higher than that of many other media

options. Since magazines are weekly or monthly, it is difficult to develop an adequate

frequency level with magazines alone. Therefore, they should be considered primarily

as supplements to a more cost-effective and higher frequency schedule. Magazines usu-

ally have long lead times and color is often necessary for adequate impact.

9.6

Radio is primarily a reminder medium. Since most people listen to it away from

home (at work or in their cars), you need to make it easy for them to remember what

you want them to do—therefore, complicated messages and obtuse phone numbers

are out. Radio is the most segmented medium, appealing to small population groups

defined by age and interests. That means you generally need to buy on several stations

simultaneously to generate enough reach.

To buy radio, look at the age, gender, and income level of the stations’ listeners within

a 10-year age span (18–24, 25–34, 35–44, etc). Buy based on rating points, which

reflect the number of listeners reached per airing cycle, not the number of spots. Even

though some radio stations with smaller reach may reach an arts-oriented audience, if

they don’t deliver enough inquiries for the cost, they aren’t necessarily a good buy. If

you can, lock in two to three months in advance. Some other tips:

••Negotiate•among•the•top•five•stations•to•choose•three•that•best•meet•your•

needs.•

••Limit•your•production•costs•by•having•the•station•record•your•message.•

••If•you•can,•make•your•buys•in•January•through•March•and•avoid•the•

expensive•pre-Christmas•months.••

Out-of-Home or outdoor is also a reminder medium because, again, people see it when

they are on the move. It’s not good for communicating details about your offer. Your

goal is to make an impression on viewers with a strong visual and very few (if any)

words. Out-of-home can include billboards, “8-sheets” in train stations and on sides of

buildings, transit ads (interior and exterior), point-of-purchase displays, or poster place-

ments.

Paid Internet advertising can be used in a supporting role to your website. “Banners”

and “tiles” promoting your company can be purchased on sites with large audiences

and appropriate demographics, such as the arts and entertainment sections of Yahoo

and similar search engines. Contests and chances to win free tickets are particularly ef-

fective on banners and tiles. Radio stations can assist with giveaway contests and links

from their websites to yours. Reciprocal links with other sites that reach your potential

audience often can be negotiated free of charge. Since responses to Internet advertising

are easy to count, you can tell pretty quickly if a placement is working for you or not.

HOW TO COMPARE MEDIA • Data from your own tracking . . . which media generated the most inquiries?

• Analyze the cost per inquiry and see which media produced the most for the least money.

• Look at coverage rating and quali-tative information.

MEDIA RESOURCES • Arbitron (available at ad agency) • Nielson • Scarborough • Media Audit • Arbitron Maxprice (includes Scar-borough)


9.7

Stretch Your Budget With Co-Promotions Let’s face it, no one has money to waste, least of all nonprofit arts organizations. You

need to get the most from every paid promotion. Ticket giveaways and co-promotions

with media are good ways to get your product more time and attention. It costs you

very little to give away tickets that may have gone unused anyway, to gain additional

exposure and awareness . . . and you also get a full house!

Ad reps can be very helpful, if you know how to work with them. They can help you

get the placement you want at a better price. They expect you to negotiate, so don’t be

afraid to name your price. One cautionary note, however: Don’t get sucked in by the

“deals” they initiate. Such deals are usually efforts by the media to unload less desir-

able placements—they’re inexpensive precisely because they have limited reach. This

includes “special newspaper sections” and packages where the ad placement is already

selected.

Common Mistakes With Paid Media 1. Dribbling. Dribbling is good if you’re in the NBA, but it doesn’t make the best use

of your advertising dollar. Don’t spread your money out a little at a time, hoping to

increase awareness among some of the people all of the time. Your best bet is to pulse

your advertising in short, intense bursts of about three weeks at a time. This will allow

you to promote at an effective level when it counts the most.

2. Non-specific target. Another way to scatter your forces is to target “everyone.” If

you’re not specific about the target audience, your media buys will be too general, and

ultimately, fail to generate sufficient return from any one segment.

3. Responding to media offers. We spoke earlier about jumping at the bait of

special sections or packages media reps might offer. It is important to negotiate and

compare schedules with all media options. Remember, if it sounds too good to be true,

it probably is.

4. Cheap vs. cheaper inquiry. This is a variation on the same theme. This is one of

the hardest things for novices to come to grips with, particularly when their budgets

are very tight to begin with. A supposedly cheap media buy may be more expensive if

it fails to deliver the inquiries. Pay more and you will probably get more back in return.

9.8

5. Tracking too broad an area or not tracking at all. If you don’t track or if you try

to track too many things, you can’t tell what’s working and what’s not. The risk is that

you’ll keep on putting money into the wrong vehicles and underfund the right ones.

Do It Yourself or Get Help Paid media can be a complicated and technical area that can take enormous amounts

of time to master. It takes a lot of time to gather and analyze media data and make

a good buy. It also takes time to follow up and make sure the placements happen as

negotiated. It may be most cost-effective for you to hire an experienced media planner

to develop your paid media strategy. Many midsize and larger ad agencies will help

nonprofit organizations plan and place ad programs for a small fee or commission.


9.10

Part III: Communicating via “Free” Media Publicity is often referred to as “free” media to differentiate it from paid advertis-

ing. But anyone who uses it quickly recognizes that “free” is a bit of a misnomer. To

be truly successful at publicity is costly in terms of staff time and effort because the

competition is fierce for this free resource. It also takes creativity and salesmanship, so

it can’t be delegated to just any warm body or volunteer.

Through the Looking Glass The goal of a publicity program is the same as the rest of your communications

strategy: to reach specific audiences with messages about your art, while increasing

awareness of your organization. But there is a distinct difference. Unlike a paid ad

placement, you can’t control where, when, how or even if your story will appear—the

media’s reporters, reviewers, editors, and producers make those decisions. The content

of those stories, the spin they take on your message, is also in their hands. Therefore,

as intermediaries and interpreters for your message, you must attempt to understand

the media’s mindset as well as you understand your end customer’s.

What Makes the News Media Tick? Obviously, “the news media” isn’t the monolith it’s often presented to be. Different

types of media have different purposes, editorial perspectives, and needs. In addition,

there are many factors, including personality and individual experiences and tastes,

that impact how a particular news director, editor, or reviewer will respond to your in-

formation. However, they all have one thing in common. They have to make intelligent

news judgments.

Newspapers, radio stations, and TV newsrooms are inundated with an avalanche

of information each day that they must sift through to choose the few items that fit

their format, deadlines and available space or airtime. This includes what is viewed as

“legitimate” news like disasters, politics, and other dramatic events that represent the

backbone of the news coverage and influence what’s left for everything else.

“Publicity is the oxygen of recognition, the polar opposite of secrecy. As such, it’s bound to be on the minds of anyone who wants to gain the notice of the public—or of selected publics.” —Gannett Center Journal


9.11

FIND THE NEWS IN THESE “RELEASES” The Chamber Symphony Art Music Ensemble is pleased to announce that its fifth New England tour will take place

in fall 1999. Once again, the program will present the famed violinist Leonard Brown, along with the five founding

members of the ensemble, playing a classic selection of 18th-century arts works. (There’s nothing new here. You’ll

have to look furt her for something to publicize.)

Passion and power, the search for domination and purpose in life . . . these are the forces that propel “Soul Dances”

forward, another superlative, extraordinary, outstanding work by the up-and-coming, avant garde choreographer, “Z.”

“Soul Dances is an opportunity to witness ecstacy, excitement and surreality,” said June Cleaver, artistic director of

the Suburban Dance Experience. “The board of directors is very pleased to welcome Z to our community.” (Lots of ad-

jectives won’t convince a news person something is worthwhile. The more interesting angle could be the introduc-

tion of avant garde dance to a suburban community.)

The works of Edward C.W. Douglas will be on display at Rotten Apple Gallery from May 1 – June 15. Douglas is a

painter of the micro-urban school of painting, whose diaphanous colors are combined with aggressive, angular strokes

to revolutionize fin du siecle, post-modernist art and ignite a new movement toward high-realism. (All this jargon and

insider language is confusing and off-putting. Tell me instead why anyone would want to see this exhibit.)

News people must have a way to separate the important from the trivial, the compel-

ling from the ho-hum. They need to identify the dramatic, unusual, innovative, or

inspiring story that makes people sit up and pay attention. Hence the basic journalistic

axiom, “So what? Who cares?” In other words, it needs to be meaningful and impor-

tant to a lot of people to justify the time and the space it takes to tell about it. If you

can’t show how your story rises to this level of newsworthiness, it will be difficult to

get it told.

The single biggest reason arts organizations don’t receive news coverage is that they

have no news . . . or have failed to present their information so that the news value is

evident and persuasive. With that in mind, look at the example press releases below.

See if you can determine a better way to present this information:

WHAT’S NEWS?

New, Innovative, Breakthrough, First, Biggest, Only, Unusual, Unique, Offbeat, Important, Significant, Dramatic, Heartwarming, Human Interest, Controversial, Provocative, At-Issue, Celebrity, Public Figure, Timely, Trendy

9.12

The Human Factor Another problem is failing to take into account the other person on the receiving end

of a story pitch. Reporters, editors, and producers are people too, and have individual

ways of going about their jobs. It’s important to talk with them and find out what they

need, how they need it, and what you can do to shape your story to meet their needs.

This includes being knowledgeable about what they cover and how they go about cov-

ering it, and being sensitive to their deadlines and how they like to receive information

(fax, mail, e-mail, etc.).

Don’t be intimidated! The media relies on PR people to alert them to stories (some have

estimated that as much as 70% of news content is initiated by outside sources). You

have something to offer them in a professional relationship between equals. By the

same token, don’t be offended if they don’t accept everything you give them, even if

you followed their directives exactly. You never know what else is happening in their

corner of the world. It is their decision to make, and even though you may disagree

with their choice, you must be able to continue to work with them. Never complain!

Just move on to the next opportunity.

Seven Secrets of Highly Successful Publicists With this understanding of news and the media in mind, here are seven steps that can

help your organization be more successful at publicity.

1. Smart Media Strategy

We see arts groups waste lots of time, money, and trees sending out a general press

kit announcing their new seasons, then wondering why no media did anything with

it. The reason: There was no media strategy. A media strategy simply means looking

at your offerings and choosing to focus your time and energy on publicizing the most

newsworthy programs or elements, then matching them to the different media avail-

able to you. Take a comprehensive look at the types of “free” media available in your

community. Get to know what each one needs, what their deadlines are and who the

decision-maker is. See the chart on the next page for the general media parameters.

Then put together a targeted plan to help you present the right information to the right

media at the right time. Use Worksheet 8.1 to detail the plan.

SEVEN SECRETS OF HIGHLY SUCCESSFUL PUBLICISTS

1. Smart Media Strategy

2. Creative News Angle(s)

3. Well-Written Presentation

4. Compelling Visuals

5. Researched, Flexible Target List

6. Fearless, Persistent Pitching

7. Service-Orientation


9.14

2. Creative News Angles

With the millions of pieces of information crossing the editor’s desk, a creative, smart

news angle can help your story rise to the top of the stack.

As we said, randomly sending out a season announcement is likely to net you nothing.

The information is usually too general and not really news (if you’re in business, you

should be having a season). What is it about those offerings that’s significant to the

outside world? Remember, just because it’s significant to you and possibly to others

engaged in your art form, doesn’t mean it’s significant to the media and customers they

represent.

Start by looking at your season creatively; you may come up with three or four story

angles more apt to generate news coverage. For instance, you could pitch a profile of a

visiting artistic director to your city magazine, timed to appear with the new season

launch. Maybe you have a celebrity actor who will be appearing in your show who

could draw the TV stations to your venue. Or perhaps a show featuring a 1910 Dusen-

berg can be pitched to an auto writer or antiques writer on props. Find other interest-

ing, timely, provocative, or unique aspects and develop creative ways to pitch them.

3. Well-Written Presentation

How you present a story is as important as the creativity of the angle. People who

make their living writing and editing appreciate concise, clear, and grammatically

correct material, and reject sloppy, unclear, verbose presentations. Always spell check

your work, and have someone else proofread your material to make sure it’s clear and

making the point you want it to make. Invest in an Associated Press Stylebook.

If you read newspapers and watch TV, you already know how to structure your release.

The lead or first line should summarize the story. The first paragraph should include

the most important information, especially dates, times, and places for performances.

All information after that should appear in descending order of importance. This

structure is often referred to as the inverted pyramid. General organizational informa-

tion should be included at the end. The whole thing should be 1–1/2 to 2 pages, double

spaced, at the most. Long lists should be relegated to an attachment or fact sheet in the

press kit.

The same rules apply to calendar announcements. The more interesting and unique the headline, the more likely it is that the item will make the cut. Also, be sure you mail them three to four weeks ahead of time to the right person (most media have a specific calendar editor).

NEWS RELEASES SHOULD • Cover who, what, when, where, why, how;

• Get to-the-point quickly; • Use active rather than pas-sive tense;

• Be grammatically correct; • Be written for media needs, not organizational egos;

• Include a contact person’s name, e-mail and phone number.


9.15

What about press kits? They’re very valuable conveyors of background information.

Keep them simple . . . save your slick graphics and fancy letterhead for other audiences.

We like to send press kits out with each pitch letter or story idea. If you can’t afford to

do that, send the kit to media after you’ve talked with editors and surmised their inter-

est in delving deeper into your story. You can also create an easily downloadable press

kit on your organization’s website.

4. Compelling Visuals

A great visual can make a huge difference in gaining media coverage. Most publica-

tions are looking for visuals to fill space and make for an interesting layout. Commu-

nity newspapers in particular depend on outside photos. TV, too, is driven by visuals,

although it needs to be happening right now (referred to as an “actuality”).

Take the time to take high-quality, professional photos for your press kit to send out

with a cutline (brief description of photo, your event and key people pictured) to com-

munity media. The best photos are action-oriented, provocative, or include a celebrity.

Black and white photos are the standard, but high-resolution color is increasingly in

demand.

5. Flexible, Researched Target List

Remember that things change. The longer you work with the media, the more turn-

over you will see. Someone who covered the arts last year may now be working on the

auto section. So you must constantly update your media list to reflect who’s now on

your beat.

Materials should be addressed to the person, whenever possible, rather than to a

“desk.” Before you do a mailing, e-mail or fax a story idea, take the time to confirm the

recipient. This is not just a courtesy. Relying on a small group of old contacts can blind

you to many opportunities to tell your story in new ways. Invest in a good media direc-

tory that offers the most up-to-date media listings for your community.

6. Fearless, Persistent Pitching

To have a relationship, you need to communicate. While your initial contact with the

media will probably be through mail, fax, or e-mail, eventually you must talk with

someone to get feedback about your story. Always follow up by phone, several times if

necessary, to talk about your story. If they’re on deadline, make an appointment to call

back another time, and keep it.

Press Kits

Properly labeled photos Fact sheet on season Fact sheet on organization Bios of key people

RULES FOR VISUALS

1. High quality 2. Dramatic, provocative, action- oriented 3. Star, celebrity, or locally significant person 4. New look/offbeat, epitomizes issue, or metaphorical in nature 5. Properly labeled and explained

9.16

1. Thinking everybody is as interested and

informed about your topic as you are.

2. Forgetting to ask yourself “so what?”

and “who cares?”

3. Too much or too little information.

4. Too late or too early (timing).

5. Lack of clarity of message and identity.

6. Bad artwork or no artwork (TV and print).

7. Failure to follow up or follow through.

8. Failure to research the right media target;

dependency on old contacts and lists.

9. Failure to prepare for an interview and

know what you want to get out of it.

10. Failure to respect the reporter’s needs or

schedule.

TEN PUBLICITY PITFALLS TO AVOID

If they’re not interested, try to find out why—what are they interested in? Is there any

aspect of the story that might strike their fancy? Or ask them who else at their orga-

nization might find it more “up their alley.” This kind of field research can help you

improve your pitch or find someone who is more interested in your story. Or it can help

you be more on target next time out. Continue this “shopping” process until you’re

reasonably certain you’ve exhausted the possibilities.

7. Service Orientation Toward the Media

As we said earlier, the media is a customer, and an important one. If you bring a cus-

tomer-service orientation to your relationship with them, it will improve your results

tenfold. This means shaping your stories to meet their needs, getting information to

them quickly when and how they ask for it (electronic vs. paper), lining up spokesper-

sons and photo opportunities on short notice, and making sure that their phone calls

are answered immediately by a publicist or other knowledgeable person within your

organization.

MEDIA DIRECTORIES

Bacon’s Burrelle’s Working Press of the Nation City PR Clubs

HOW TO PITCH A STORY

1. Is this a good time to talk? 2. What’s the story in 20 seconds or less? 3. What’s in It for reporter, publication? Why do they need to cover this? 4. If you aren’t interested, who might be?


9.17

Worksheet 9.2 PUBLICITY PLAN WORKSHEET

Event:

Timeframe:

1 .

2 .

3 .

4 .

5 .

6 .

Copy and use this sheet to plan a publicity effort for each major event .

Story Angle Possible Media Targets

Timeframe Media Phone/Fax

getting more from media...way to increase the “bang for the buck.” use worksheet 8.1 to plan...

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