Eric Yaverbaum, Robert Bly, Ilise Benun. Public Relations for Dummies, 2nd Edition

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When planning such responses, use the 15-10-15 formula to ensure concise-

ness. Time the direct response to about 15 seconds, the transition statement

to 5 or 10 seconds, and the positive conclusion to about 15 seconds. That

way, the response will not exceed the 40- or 45-second period that is usually

most effective in a news interview.

Simple transition statements include the following:

! You should also know . . .

! One other related topic that we should discuss . . .

! What’s important to remember, however . . .

! Let me also add . . .

When the list of questions and responses is as complete as possible, rehearse

the answers — out loud — until you’re confident with them.

Handling hostile interviewers

Some interviewers like to heighten the entertainment value of their pro-

grams or interviews by baiting their guests or trying to get them emotionally

involved. The types of interviewers described in this section are the excep-

tion and not the rule. Usually, interviewers are very accommodating and are

interested in what their guests have to say. However, being prepared for all

types of interviewers is important.

Never say anything to a reporter that you wouldn’t be comfortable seeing in

print, hearing on the radio, or seeing on TV. Reporters will not always honor

an “off the record” request. If you say it — even if you say it’s off the record —

it’s on the record. The media’s job is to report and gather news, not promote

your product or business. If you give them something juicy, they’ll use it

whether you like it or not.

! The Interrupter: The Interrupter constantly interrupts your thoughts

with controlled questions or comments that throw you off the main

point. When dealing with an interrupter, you can do one of two things:

• Stop, listen to the question, suggest that you’ll address that topic

in a moment, and then continue your thought with, “As I was

saying. . . .”

• Ignore the interruption, complete your thought, and then address

the interviewer, “Now, Sally, you asked me something else. What

was it again?”

! The Machine Gunner: The Machine Gunner fires several questions in

rapid succession. Suggest to the interviewer that he is posing several

questions and ask, “Which one do you prefer that I address first?”

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! The Paraphraser: The Paraphraser is an antagonistic interviewer who

incorrectly (and unfairly) restates everything you say. Respond by

restating your position: “I guess I didn’t make myself very clear. What I

said was. . . .”

! The Personalizer: The Personalizer tries to separate personal views from

professional ones in order to solicit a more controversial response. Don’t

get trapped into contradicting yourself or expressing inconsistent ideas.

! The Dart Thrower: Probably the most dangerous type of hostile inter-

viewer, the Dart Thrower attempts to convict you, your company, or

your industry by innuendo. Never answer a Dart Thrower’s question

without first addressing the innuendo. If you don’t respond, you’ve tac-

itly admitted the truth of the implication.

! The Repeater: The Repeater’s technique is to ask the same question

over and over with slight modifications each time. Concentrate on what

is being asked. When the same question resurfaces in a different form,

point out to the reporter that you’ve already answered that question.

! The News Relater: This interviewer makes a special point of scanning the

day’s headlines and looking for stories that may relate to your company’s

interests. The day’s news then forms the basis of the News Relater’s line

of questioning. This can be frustrating when they want to pursue the

issue, and you don’t feel it has the slightest relation to what you’re doing.

! The Hypothetical Questioner: This interviewer loves to ask questions

that begin, “Suppose. . . .” (For instance, “Suppose you discovered an

employee had harassed a customer when delivering to her home?”)

Avoid answering hypothetical questions unless you’ve anticipated the

made-up scenario and are comfortable in dealing with it.

! The Pauser: The Pauser’s interviews are filled with silences, especially

as you complete a thought. This tactic is meant to throw you. Instead,

seize the moment as a chance to deliver your key message points. As

you complete the first thought and meet the Pauser’s empty look,

smoothly transition into another thought.

! The Gossip Monger: The Gossip Monger brings up rumors about other

companies and asks you to comment on them. Resist the temptation to

respond. Don’t comment on what others are doing or saying unless

you’re being interviewed to supply expert commentary on a given event.

! The Limiter: The Limiter hurls negative questions about a very specific

topic and tries to keep you from bridging to a positive message — even

after responding directly to the questions. When being interviewed by a

Limiter, insist on bridging into more positive waters. Steer the discus-

sion toward what you’ve done to resolve the problem and what you’re

doing to prevent it from happening again.

! The Presumptive Negative: The media is invariably skeptical, adopting

what may sound like a negative stance when questioning the people

behind institutions. Respond by challenging the form in which the ques-

tion is asked and launch into a positive statement.

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In any media interview, total and complete concentration is essential; you

need a sharp antenna. Total concentration becomes imperative when you’re

dealing with antagonistic, hostile interviewers. So maintain a polite, distant,

and measured stance.

Bettering your broadcast interviews

People who are cool and collected in almost any situation may get anxious

when facing the prospect of a TV interview. Being a little nervous is healthy

and positive. That nervousness creates a heightened sense of awareness — it

sharpens your antenna. So let yourself be a little nervous — not to the point

of being immobilized, but just sensitized. Plus, by following the basics, you

can calm the butterflies in your stomach and deliver a credible performance

that interests viewers and gets them on your side.

You’re the expert! You know more about your company — its history, its phi-

losophy, its people, its products, and the issues it faces — than the reporter

who is interviewing you or the audience. You’re being interviewed because

you’re the expert. Your knowledge is your strength. Speak from that strength

and succeed as an effective company spokesperson.

Mastering your look

How to sit is very important. Here are some pointers for perfect TV interview

posture:

! Cross your legs at the knee, not the ankle.

! Fold your hands one over the other (not clasped) on your lap.

! Lean forward slightly in your chair. This “attack” position helps keep

you alert and concentrated.

What you wear is important as well; your wardrobe can speak volumes about

you. And if you don’t dress appropriately, your audience will focus on your

clothes rather than your message.

Men should follow these wardrobe guidelines:

! Choose a dark suit in a solid color; avoid patterns or stripes, which

appear too busy on the screen.

! Choose a tie in muted tones.

! Don’t wear a white shirt. Light blue is a better choice.

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Women can use these general rules for on-camera dress:

! If you like pastels, wear them; they work wonderfully on television.

! Avoid wearing very bright or flashy jewelry; it doesn’t televise well.

! Don’t wear large or dangling earrings.

Whether you’re male or female, choose comfortable, nonconstraining clothes

so that you can focus on your message and not have to worry about your

garments.

Preparing before the interview

Here is a list of ideas that anyone can do at absolutely no cost to prepare for

an interview:

! Arrive early to familiarize yourself with the studio — at least a half-hour

before your appearance. After the interview begins, you don’t want to be

distracted or intimidated by unfamiliar sights and sounds.

! Watch the program to determine the format, interviewer’s personality,

length of interviews, and attitude toward the industry audience.

! Read newspapers and watch television to catch late-breaking news.

! Prepare. Rehearse key messages and “gee-whiz” information — little-

known facts that you can release to support your point.

Focusing at the studio

After you arrive and before you go on air, is a key time to get yourself in the

proper frame of mind. Following are some suggestions to make sure you don’t

spend your first 30 seconds on air getting yourself to that stage.

! Make friends. That’s the bottom line. You want the media to believe you

and write favorably about your company.

! Introduce yourself to the producer, host, or other contact person.

Review the agreed-upon format and subject areas of the interview.

! Ask to see the studio for the set arrangements. Sit in the chairs to check

comfort levels and lighting. Ask for changes if appropriate.

! Prepare your props.

! Allow studio personnel to put makeup on you. It will make you look better.

! Drink water or warm tea with lemon to loosen up your throat. Avoid milk

products and powdered donuts.

! Take a few minutes to relax and refresh yourself.

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! Remind yourself of the two or three messages you want to communicate.

! Remember posture, eye contact, and gesture rules.

! Give a full mic check.

! Stay positive. Remember that you’re trying to reach the audience, not

the interviewer.

Nailing the interview

The most important thing to remember to get your interview right: This is

fun and a terrific opportunity. Following are some tips so you don’t overthink

when you’re actually on the air.

! Stay focused and keep talking. Look the interviewer in the eye, even if

she isn’t looking at you. Unless otherwise instructed, focus on the

person you’re speaking to. If you look your best and maintain an alert,

attractive presence, you’ll come across as the kind of person who cares

about yourself, your company, and your audience.

! Look into the camera lens as if you’re looking directly at the person

asking the question, and talk directly into it.

! Part your lips slightly when listening; your expression will be less stern.

! Sit up straight.

! If the subject is light, show your sense of humor. If it’s serious, let your

feelings show on your face. Anger is much trickier — generally, it’s best

to show dignity and calmness instead of going full-throttle on those

feelings.

! Even if you think you’ve said something inaccurate, keep talking, per-

haps correcting yourself in the next few sentences. But don’t stop and

say, “Can we do it over?” unless you’ve asked ahead of time if that is a

possibility.

! Have fun! The interview will turn out best if you relax and enjoy yourself.

Being enthusiastic about the subject will make the interview a pleasure

for the host and the viewers.

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Chapter 13

Tuning In to Radio

In This Chapter

! Understanding the advantages of radio over other media

! Landing a spot on a radio talk show

! Getting ready for your interview

! Impressing your audience while on the air

! Obtaining a tape of your interview

any people live with the radio — in their homes, in their cars, and on

the go. Many consider it their primary method of gathering informa-

tion because they can multitask while listening — they can get ready for

work, make dinner, and commute. In fact, 82 percent of adults age 18 or older

listen to the radio while they drive. This high percentage might also be attrib-

uted to the fact that radio is a medium built on habit. With preset stations on

the car radio, the clock radio, and even streaming audio, people’s radio ten-

dencies tend to vary little day to day. Data gathered over the last five years

reveal little change in where people listen to the radio. The lone shift here

has been a steady climb in car listening over the past five years.

The newest evolution of radio is the advent of satellite networks, like Sirius

Satellite Radio and XM Satellite Radio, which enable radio listeners to have

more and more control over what they listen to, whether on their radio or

over the Internet. Some analysts estimate that subscribers to satellite radio

will reach 74 million by 2015.

The selective quality of radio has produced loyal listeners. This loyalty

assures advertisers of a consistent audience of the type of listener that the

radio campaign is designed to attract. And most large manufacturers have co-

op advertising programs for radio through which the manufacturer reim-

burses the local advertiser — a supermarket, retailer, or other distributor —

for a portion of the advertising expenditures.

Opportunities to get on radio talk shows are plentiful. In North America, there

are 459 national radio talk shows, 251 syndicated radio talk shows, and 5,102

local talk shows. About a third of these shows are general interest; the others

cover specialized topics ranging from agriculture and business to sports,

health, personal finance, and travel.

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All this to say that radio is a very important part of the strategic PR mix, one

that often gets overlooked. It’s perceived as not as “sexy” as TV or as “perma-

nent” as print. However, it’s a very effective and influential form of communi-

cation and should definitely be part of your media outreach — this chapter

explains how.

Getting the Facts about Radio

If you’ve every thought radio wasn’t worth your effort, check out these facts

about radio and radio advertising from the Radio Advertising Bureau in New

York:

! Radio reaches 77 percent of consumers daily and 95 percent of con-

sumers weekly.

! The average consumer spends almost five hours a day reading, listening

to, and watching media. Forty-four percent of this time is spent listening

to radio versus 41 percent watching TV and 15 percent reading newspa-

pers and magazines.

! Radio, more so than other media, generates immediate purchases. More

consumers buy products within one hour of hearing a radio commercial

than within one hour of seeing a TV commercial or reading a newspaper

or magazine ad.

! Consumers spend 85 percent of their time with ear-oriented media such

as radio and TV, but only 15 percent of their time with such eye-oriented

media as newspapers and magazines.

Radio is everywhere. It goes places other media can’t. The time lapse

between exposure to the promotional message and the retail reaction (that

is, the time between when the buyer hears the commercial and goes to the

store to shop for the product) is the fastest with radio: 2 hours for a radio

commercial compared to 3

⁄2 hours for television, 3

⁄4 hours for newspapers,

and 4 hours for magazines. Radio has the fastest rate of return.

Looking at the Advantages

of Radio over Other Media

PR novices tend to focus on print media to the exclusion of radio and TV. As a

result, the more seasoned PR professionals may be able to get broadcast cov-

erage for their company or product that their competitors can’t.

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Actually, overlooking radio producers in your PR campaign makes no sense,

because radio offers a number of advantages other media do not:

! Economy: Radio commercials are inexpensive to produce because the

listener’s imagination — and not a costly photographer or video produc-

tion house — provides the picture. And radio time has a lower cost per

thousand than newspapers, magazines, and television. Of course, in this

chapter, I show you how, through PR, you can get all the radio time you

want, absolutely free. So the cost is virtually zero.

! Selectivity: Radio offers a wide selection of program formats, each cater-

ing to a specific segment of the population. (I list various formats later in

this chapter.)

! Penetration: Radio reaches nearly 99 percent of the consumer market.

! Mobility: Radio can reach customers just about everywhere, even at the

point of sale.

! Immediacy: Advertisers can change their message quickly and easily.

They can get new commercials on the air rapidly. A commercial can be

written and taped or read live literally the same day, if necessary.

! Flexibility: Radio enables advertisers to talk to customers during the

time of day and in an environment that’s likely to induce a selling

response.

! Intrusiveness: Radio can pervade a listener’s mind, even when interest

doesn’t exist. Radio can and often does invade the mind of a preoccu-

pied listener, forcefully delivering a message. Have you ever found a Top

40 sound running through your head? Constant exposure on the radio is

the reason.

! Audience: Radio can reach virtually any segment of the consumer

market, including people who don’t frequently read newspapers (teens,

for example). It reaches newspaper readers who don’t read retailer ads

because they aren’t regular customers. It reaches prospects for your

business whose names are not on the mailing lists you rent or who don’t

read unsolicited mail. And radio enables you to pinpoint your target

audience by demographics, psychographics, and geography. A psycho-

graphic is a psychological characteristic of a target market. For example,

market research shows that baby boomers are nostalgia oriented, so

using spokespeople and images from their youth appeals to them when

you’re marketing products.

We live in an age of electronic information, with people reading less and watch-

ing and listening more. Therefore, getting on radio and TV enables you to reach

additional prospects who may not read the newspaper or magazines.

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Another advantage is that radio doesn’t require intense concentration on the

part of the listener. You can listen to the radio while doing other things, making

radio especially appealing as a medium in today’s time-pressured society.

Taking Advantage of Satellite Radio

AM radio reinvented itself when FM became the dominant form for music.

Now, AM is thriving, thanks to talk format. Broadcast television survived

cable TV. Likewise, as satellite technologies move into the radio space, tradi-

tional radio (which is now being called terrestrial radio) will also find its own

place.

But for PR practitioners, satellite radio is a godsend. Across the United

States, as of the end of 2005, Sirius Satellite Radio has 120 channels and XM

Satellite Radio has 150. That means you now have hours and hours of more

opportunities to promote your company, your product, anything. So the

faster you hop on the satellite radio bandwagon, the greater the reward.

Pitching to satellite radio is no different from pitching to terrestrial radio,

although the demographics of satellite radio are broader and more national.

You can actually segment out the audience and focus on strong demographic

profiles. So, for example, with terrestrial radio, you can target country music

listeners in a specific geographic area. But with satellite, you target country

music listeners across the country or the world, for that matter.

With so much new space available on satellite radio, becoming the host of an

Internet radio show is a simple way to not only attract the media and great

PR, but also to become the media itself. It also instantly positions you as an

authority, whatever the topic you’d like to be covered on.

One drawback, however, is that because satellite is so new, you can throw

your measurement techniques out the window. There’s no way yet to know

how many people are actually listening. But that will change. It’s a bit like the

Wild West. It will be fluid and changing and you’ll have to change with it. But

it’s definitely here to stay.

Don’t discount traditional radio, however. Although these new national satel-

lite services promise listeners more choice, consistent niche programming

and less commercial distraction, they don’t offer local news, weather, and

sports. So the future of traditional radio will focus on being “live and local”

and interacting with listeners in a positive way.

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Getting on the Radio

You don’t have to be a celebrity to be a guest on a radio show. Hundreds of

radio shows are in need of interesting, informative guests. Celebrities do get

lots of airtime, but at least as much airtime goes to people who, like you, have

knowledge of a specialized subject of interest to a particular audience and can

communicate this knowledge in an interesting, enjoyable, and clear way.

Radio talk shows are a great way to get your message to the world because

they are always looking for interesting guests. Approximately 30 percent of

radio and TV producers surveyed say that they’re interested in booking

guests who speak on topical issues; 16 percent are interested in having

people speak about new products; and 12 percent like to book authors.

This book’s appendix lists several directories of radio talk shows and their

personnel, including the producers, receptionists, program managers, and

hosts. To get on a radio show, you begin by contacting the producer, because

the producer usually decides who the show’s guests will be, especially at

larger radio stations. At many smaller stations, the hosts are often their own

producers and are therefore the ones you should contact.

Making a pitch for yourself

How do you go about pitching yourself as a potential guest? Here are some

guidelines:

! Be brief. As in any sales call, you immediately say who you are and why

you’re calling and give reasons why the person should listen to you —

why she should consider having you as a guest on the show. The most

effective way to convince a producer that you are a good fit with her show

is to be familiar with the program. Turn on your radio and listen to the

program a few times before calling to pitch your story. A radio producer is

more likely to book you if, in addition to having a good story and being a

good guest, you’re a listener or even a fan. For more tips on pitching your

story to producers, refer to Chapter 14 (the techniques are very similar).

! Don’t pretend to be a publicist. If you’re calling for yourself, say so.

Don’t try to overimpress or exaggerate, and don’t lie. Producers can tell

a phony immediately.

! If the producer isn’t interested, thank her for her time, get off the

phone, and call the producer of the next show you want to get onto.

Don’t argue with a producer who turns you down, and don’t try to prove

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