Even as the country is gripped in
uncertainty, the national media still needs to give
their audiences a “breath of fresh air” and break the
tension. That was the consensus of a panel of national
media producers/PR executives that addressed the March
meeting of the Publicity Club of Chicago.
 |
|
From left: Fried, Roper,
Washington |
The meeting was devoted to
providing insights for garnering national TV
placements. Panel members included Kathy Posner,
chairman of Comm2 who has placed national client
stories and has herself appeared as a guest on a
number of national shows; Claudette Roper, president
of Roper Company, which provides PR support for the
Miss USA Pageant and BET; and George Washington, a
Time-Warner producer who recently completed a stint as
a producer for the Judge Mathis show.
Moderator Laurie Fried, a founder
of Oprah Winfrey’s Harpo Productions and today
director of public relations and communications for
the National Marine Manufacturers Association, had
some tips for the overflow crowd:
-
Know the show you are pitching;
-
Know the audience;
-
Give your topic a twist that
will interest the producer;
-
If you don’t know whom to pitch,
watch the credits at the end of the show and see
what topics they cover; and
-
Help the producer do their job
-- package the story by pitching the issue, coming
up with the slant and providing guest suggestions.
Laurie asked the panel to relate
PR success stories.
Claudette Roper opened the
discussion by relating the way a local story received
widespread national media coverage. She was called
upon to help raise money for Girl X, the young girl
that was raped and severely beaten at a Chicago
housing project. Instead of holding a usual
fundraiser, Claudette created a “vigil” to bring
attention to the cause and elevate it beyond a
fundraiser. This became a powerful image that
generated national media and donations.
George Washington recalled
that in his role as member of the Democratic committee
to elect Bill Clinton in 1996, he was called upon to
create something memorable that tied to a recent rash
of black church burnings in the South. He put together
a united choir of black singers that was one of the
emotional highlights of the convention. It was
impactful, timely and created something out of the
ordinary for convention events.
Kathy
Posner recalled that when she was first assigned
the job to promote a new talk show hosted by the then
unknown Jerry Springer, there wasn’t a great deal of
interest. Her calls to USA Today TV reporter Jefferson
Graham went unanswered, until she came across his
email during an online chat room discussion relating
to food. When Graham noted that he and his son loved a
particular cereal brand, she emailed him that she
wanted to do a story on him for a food magazine with
which she was affiliated. The interview was held, a
relationship began, and he wrote a feature story on
Springer’s show that ran the day of the big TV
syndication show, propelling Springer to new heights
of visibility
Kathy also related her biggest PR
coup, which coincided with her first foray into
consumer PR. Asked to promote a consumer brands
product that used a laser to gauge distance for home
decorating or repair, she labeled it the “Yuppy
Yardstick.” The name struck a responsive cord around
the world and it was a sensation. Her initial reaction
was ‘Boy, this is an easy job.” She learned quickly
that this coverage is rare.
Other advice from the panelists
included:
Claudette Roper
“Create an atmosphere where you
are perceived as a value to a national show”.
“Be very considerate of a
producer’s time. Don’t send big gimmicky packages.
With new security measures in place in light of 9/11,
the package will never be delivered. Phone first…use
email as a backup.”
“If you’re unsure how to pitch a
show, ask peers who may have had experience with the
show. Ask them what sort of pitch works.”
“It’s never a good idea to have
someone pitch themselves to a show’s producer. It’s
perceived as “disturbing” and the person pitching
typically is not familiar with the show or its guest
needs.”
Kathy Posner
“If war does break out, don’t
pitch anything for a week or two. Give it some time
and then try and pitch something off beat that will
give the audience a tension-breaker.”
“Don’t pitch yourself to a talk
show. You will only look pathetic.”
“Shows are always looking for the
next star. They are more apt to book an interesting
unknown person than someone who is overexposed. It’s
OK to mention that your guest was on another show, but
don’t book them on a similar show in the same market.
Experts connected to timely topics can get away with
double bookings much better than other guests.”
George Washington
“Shows are always looking for
personalities that jump off the screen. Although luck
plays a big part, dynamic personalities are always
needed.”
“If we go to war, producers
eventually will be looking for something refreshing
that will allow their audiences to escape the madness”
“Emails largely go unanswered or
even looked at. Phone first. You still may not get
through, but find other ways to reach decision makers
by going through the back door, or seek different
contact points.”
Laurie Fried
“I have a few do’s and don’ts: 1)
Don’t promise more than you can deliver (if you say
someone gives a great interview, they better be
articulate), 2) Don’t follow up more than once a month
or you’ll be a pest. Be animated and outgoing and tell
your story idea quickly,” 3) assess the situation and
match the talent to the appropriate show. Do your
homework, 4) Pay attention to sweep weeks. Don’t even
think about pitching a producer in November, February
or May.”
“It’s OK to book someone on two
shows in a market, but you don’t want to became a
media whore. Letting producers know that your talent
has done previous interviews is acceptable, especially
if it’s in another marker that doesn’t compete in
yours. Producers appreciate experienced talent.”
“Think about ways to tie in with
charities. This sometimes is the leverage necessary to
book a guest appearance. Be creative. Think out of the
box.”