Richard Branson, the founder of Virgin Group and a master of PR, once said: “A good PR story is infinitely more effective than a front-page ad.”
Even in today’s dynamic media landscape, this remains as true as ever.
Whatever goals you are trying achieve through your public relations, a good relationship with all the different segments of the media is crucial, but approaching and connecting with journalists, producers or bloggers can feel like a daunting and overwhelming task.
1. Journalists are people too
This may sound obvious but it is often forgotten that journalists are normal human beings too, says Adam Jones, the marketing manager at Aerospace Bristol.
“Don’t bombard them with faceless press releases and don’t expect a reply without providing a personal touch.”
He suggests emailing in the first instance because “you don’t know what you are interrupting”.
He adds: “Don’t just go in with a press release and loads of information like it is a done deal. Send out a few points to pique their interest, if they need more they will come back to you.”
Pandora George, the founder of arts and culture PR consultancy Bullet PR, agrees that it is important to be mindful of journalists’ working environment.
“Editorial teams can be very small, particularly in local press, and the journalists are very pressured,” George says. “Be mindful of busy times in a journalist’s day, and make sure any communications are short and to the point.”
2. Make the right connections
Get to know the key journalists on all media and understand what they cover, advises Laura Bates, the communications manager at the Museum of London. Meeting in person is one of the best ways to begin building relationships.
Bates suggests offering to go to them, as many journalists are short on time, for an initial chat over a coffee. During the meeting you can introduce your organisation, run through what you have coming up and explain why it would be interesting to their readers.
“I find meeting face-to-face helps your emails and calls cut through the noise as journalists are more likely to remember you,” Bates says.
Going forward, she recommends:
3. Think local, act local
Know all of the reporters on your patch, says Laura Wakelin, the deputy chief executive of communications and marketing at the Black Country Living Museum in Dudley.
“Get to know what stories they like, what angles they like and what content they need,” Wakelin says. “There is a lot of pressure on local press now, and photographers are not available anymore so they are more likely to run a story if you have a picture.”
For that reason, Wakelin advises investing in good photography equipment, and in training team members in how to use it.
Another cost-effective approach to photography is building a relationship with a local media college, suggests Will Kallaway, the managing director of PR agency Kallaway.
Invest time in getting to know your local media outlets, says Stephen Sheldrake, the marketing officer at Worthing Theatres, Museum and Art Gallery.
“Pick maybe three or four journalists, take them for lunch and build up from there,” he says. “Then you can comfortably approach them with stories.”
4. Winning over the nationals
"The nationals are the toughest nut to crack,” says Sheldrake. “It is important to pick your moment, and when you do get in touch make sure it’s something they want. Don’t bombard them.
”Be clear on what makes your story of national importance, adds Kallaway. “Why would someone in Scotland be interested in what is happening in, say, Bristol?”
Don’t limit your pitches to news stories. Think of specific angles, longer features and opinion pieces that the museum has an insight into, and research different sections, such as travel, suggests Jane Redfern, the founder of Redfern Communications, which works across the sector.
5. Influencing the influencer
Bloggers are less formal than journalists, says Wakelin: “They want to have a good time so, like journalists, don’t feel the need stay with them all of the time,” she says, because most want to form their own opinion about things. “You can only influence them so much and that is always the slight risk with any journalism – they might say things that you don’t like.”
Consider bloggers that might be interested in themes that you have running through you collection, she adds. At the Black Country Living Museum, for example, a 1940s event appealed to vintage bloggers and those with an interest in the decade.
“Invite them down as they tend to have huge followings,” Wakelin says.
Similarly, some bloggers may visit unannounced and create content off that back of that.
“If it is good content ask if you can share it,” advises Wakelin.
6. What’s the story?
Stories can come from a variety of sources ranging from the everyday business of running a museum, such as new exhibitions and displays, funding decisions and awards or new research, through to anniversaries and human interest stories from your collection.
Previously unknown histories or people-based stories often do well, as does shedding new light on common themes.
Eye-catching images can often sell the simplest story and people also love exclusives, says Bates at the Museum of London.
7. Sell, sell, sell
Although email is usually the most popular method of initial contact, do check with journalists how they prefer to be contacted.
“Email the journalist with a few meaty paragraphs summing up exactly why your story is right for their publication – keep it short and snappy,” says Bullet PR’s George.
“There is still a place for picking up the phone and calling too,” adds Bates.
“As long as you know they cover the relevant stories and you’ve done your research into their publication/outlet and readership you have got a good shot."
8. Social media
There is no doubt that the power of social media is increasingly a crucial part of the wider communications package. Bates says: “It allows you to craft your organisation’s tone of voice and interact directly with you audience. It shouldn’t be solely relied on to do the job of PR, but do think of it as another tool.”
It is a time-consuming task. “It needs serious planning and content creation, regular supervision and responses in real time, so it does require a lot of resource,” Bates says.
9. Life outside the big cities
It is tricky to encourage the national journalists to leave London and the UK's other capital cities, admits George.
“Perhaps offer a first view or an exclusive. If the exhibition is compelling they are more likely to come.”
Media previews are a useful tool, agrees Bates, as they allow journalists to view the exhibition or display, speak to curators or spokespeople and gather any extra information in one go.
“Normally these are held early morning before normal working hours and last for two to three hours, meaning journalists can drop in on their way to work or in between deadlines.”
10. The golden rule
Whatever story you are selling and whatever outlet it is for there is one golden rule, says Lee Clark, the communication and evaluation manager for York Museums Trust.
“Never over promise or oversell a story. The last thing you to do is promise something that you cannot deliver.”
Even in today’s dynamic media landscape, this remains as true as ever.
Whatever goals you are trying achieve through your public relations, a good relationship with all the different segments of the media is crucial, but approaching and connecting with journalists, producers or bloggers can feel like a daunting and overwhelming task.
1. Journalists are people too
This may sound obvious but it is often forgotten that journalists are normal human beings too, says Adam Jones, the marketing manager at Aerospace Bristol.
“Don’t bombard them with faceless press releases and don’t expect a reply without providing a personal touch.”
He suggests emailing in the first instance because “you don’t know what you are interrupting”.
He adds: “Don’t just go in with a press release and loads of information like it is a done deal. Send out a few points to pique their interest, if they need more they will come back to you.”
Pandora George, the founder of arts and culture PR consultancy Bullet PR, agrees that it is important to be mindful of journalists’ working environment.
“Editorial teams can be very small, particularly in local press, and the journalists are very pressured,” George says. “Be mindful of busy times in a journalist’s day, and make sure any communications are short and to the point.”
2. Make the right connections
Get to know the key journalists on all media and understand what they cover, advises Laura Bates, the communications manager at the Museum of London. Meeting in person is one of the best ways to begin building relationships.
Bates suggests offering to go to them, as many journalists are short on time, for an initial chat over a coffee. During the meeting you can introduce your organisation, run through what you have coming up and explain why it would be interesting to their readers.
“I find meeting face-to-face helps your emails and calls cut through the noise as journalists are more likely to remember you,” Bates says.
Going forward, she recommends:
- Being helpful if a story goes ahead by having your assets and spokespeople lined up ready
- Knowing deadlines and when publications go to print
- Being available if there are any queries
- Responding to reactive stories where relevant
3. Think local, act local
Know all of the reporters on your patch, says Laura Wakelin, the deputy chief executive of communications and marketing at the Black Country Living Museum in Dudley.
“Get to know what stories they like, what angles they like and what content they need,” Wakelin says. “There is a lot of pressure on local press now, and photographers are not available anymore so they are more likely to run a story if you have a picture.”
For that reason, Wakelin advises investing in good photography equipment, and in training team members in how to use it.
Another cost-effective approach to photography is building a relationship with a local media college, suggests Will Kallaway, the managing director of PR agency Kallaway.
Invest time in getting to know your local media outlets, says Stephen Sheldrake, the marketing officer at Worthing Theatres, Museum and Art Gallery.
“Pick maybe three or four journalists, take them for lunch and build up from there,” he says. “Then you can comfortably approach them with stories.”
4. Winning over the nationals
"The nationals are the toughest nut to crack,” says Sheldrake. “It is important to pick your moment, and when you do get in touch make sure it’s something they want. Don’t bombard them.
”Be clear on what makes your story of national importance, adds Kallaway. “Why would someone in Scotland be interested in what is happening in, say, Bristol?”
Don’t limit your pitches to news stories. Think of specific angles, longer features and opinion pieces that the museum has an insight into, and research different sections, such as travel, suggests Jane Redfern, the founder of Redfern Communications, which works across the sector.
5. Influencing the influencer
Bloggers are less formal than journalists, says Wakelin: “They want to have a good time so, like journalists, don’t feel the need stay with them all of the time,” she says, because most want to form their own opinion about things. “You can only influence them so much and that is always the slight risk with any journalism – they might say things that you don’t like.”
Consider bloggers that might be interested in themes that you have running through you collection, she adds. At the Black Country Living Museum, for example, a 1940s event appealed to vintage bloggers and those with an interest in the decade.
“Invite them down as they tend to have huge followings,” Wakelin says.
Similarly, some bloggers may visit unannounced and create content off that back of that.
“If it is good content ask if you can share it,” advises Wakelin.
6. What’s the story?
Stories can come from a variety of sources ranging from the everyday business of running a museum, such as new exhibitions and displays, funding decisions and awards or new research, through to anniversaries and human interest stories from your collection.
Previously unknown histories or people-based stories often do well, as does shedding new light on common themes.
Eye-catching images can often sell the simplest story and people also love exclusives, says Bates at the Museum of London.
7. Sell, sell, sell
Although email is usually the most popular method of initial contact, do check with journalists how they prefer to be contacted.
“Email the journalist with a few meaty paragraphs summing up exactly why your story is right for their publication – keep it short and snappy,” says Bullet PR’s George.
“There is still a place for picking up the phone and calling too,” adds Bates.
“As long as you know they cover the relevant stories and you’ve done your research into their publication/outlet and readership you have got a good shot."
8. Social media
There is no doubt that the power of social media is increasingly a crucial part of the wider communications package. Bates says: “It allows you to craft your organisation’s tone of voice and interact directly with you audience. It shouldn’t be solely relied on to do the job of PR, but do think of it as another tool.”
It is a time-consuming task. “It needs serious planning and content creation, regular supervision and responses in real time, so it does require a lot of resource,” Bates says.
9. Life outside the big cities
It is tricky to encourage the national journalists to leave London and the UK's other capital cities, admits George.
“Perhaps offer a first view or an exclusive. If the exhibition is compelling they are more likely to come.”
Media previews are a useful tool, agrees Bates, as they allow journalists to view the exhibition or display, speak to curators or spokespeople and gather any extra information in one go.
“Normally these are held early morning before normal working hours and last for two to three hours, meaning journalists can drop in on their way to work or in between deadlines.”
10. The golden rule
Whatever story you are selling and whatever outlet it is for there is one golden rule, says Lee Clark, the communication and evaluation manager for York Museums Trust.
“Never over promise or oversell a story. The last thing you to do is promise something that you cannot deliver.”
