Can I Quote You on That?: A Practical Handbook for Company by William Essex

By William Essex

Media touch is a truth of commercial existence. And but this is often the single publication out there that focuses solely on getting the easiest out of touch with reporters. it really is written through a journalist, approximately reporters, and in accordance with a normal and winning media-training direction. Circulating copies of this publication round key executives will be a miles more affordable and less expensive replacement to hiring media-trainers. with the ability to deal with the media successfully could be a major profession virtue. Doing it badly may be destructive either to the profession and to the company.This publication is a realistic advisor to dealing with media touch. It starts off first and foremost touch with a journalist and is going all over to discussing even if, and if this is the case how, to stick to up an interview. The ebook appears to be like at print, radio, tv and on-line journalism. there is a bankruptcy on challenge administration and one on interviewees' felony rights. A key characteristic of the e-book is that it specializes in what reporters wish, why they wish it, and the way to provide it to them in a manner that achieves beneficial media coverage.Can I quote you on that? describes recommendations for dealing with numerous interviews effectively, from the stopover at on your place of work by means of a exchange journalist, via anticipated and unforeseen phone interviews, through calls from newspapers and magazines, radio interviews, phone-ins and dialogue programmes, to the diversity of tv studies, together with the digicam workforce on the place of work, the studio-based interview and the distant studio. there is a bankruptcy on potent interview guidance and an emergency web page for reference if the interview is impending. This ebook is designed to show an knowing of ways reporters paintings and the way to workwith them for mutual benefit.There are solutions to various frequ

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More about this later. The basics 1: who’s the audience? There are two audiences. The first is the large group of disparate strangers who buy the title (or tune in, et cetera). Their characteristics and requirements are defined for 34 Can I Quote You on That? the journalist by a range of inputs. First, there’s the title itself. You can work out who reads Professional Nurse, for example, or indeed Swimming Magazine. You can pretty much guess what they want to read in their magazine. Then there’s market research.

That’s one big fat quote sorted out, but you still need a few more. You try another number. It’s the switchboard, but they put you straight through. Next, the press office puts you straight through. So does the PA who comes on next. Then you’re put through to the office of somebody who’s away until next week. But the voice that answered the phone says, “I can try to answer your questions if you like? I’m the technical manager. ” You ask the questions and get the answers, and better still, this guy has an even wackier job title.

You could provide those. • A story will be visual. The man on the Clapham omnibus, the veteran hack in the crumpled trench coat, the teacher with chalk-stained fingers and the single mum on a tight budget would all prefer to read about one in three people than about thirty per cent of the population. Make it real. Use examples. And if you can possibly come up with a case study of a real-live customer, I want it. • A story will have a human-interest element. See above. But also think about the reader.

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