Turning television on
Nick Rabin, Head of Broadcast, Weber Shandwick
It’s a strange phenomenon but we still live in a world where most people believe that if something is on television then it’s true. A recent survey by MORI found that 63% of the British public believed that TV newsreaders told the truth – but only 16% believed journalists.
It doesn’t matter that newsreaders are themselves journalists who read words written by other journalists about stories presented by yet more journalists - in the eyes of the viewing public, they are trusted friends who are invited into their living rooms every night. Companies who forget, or discount that relationship are doing themselves a disservice. The inescapable truth is that as a way of getting your message across, television is unrivalled in its effectiveness.
The broadcasting landscape has changed and it’s set to change even further. The era of multi-channel television has brought exciting new opportunities for companies and individuals to control their broadcast image. The development of 24 hour news channels and the proliferation of factual programming has made it much easier to get stories or even just positive shots on air, and advances in internet and mobile phone technology means that the traditional view of what exactly constitutes the broadcast media is constantly being challenged. All this choice though does not necessarily mean that there’s more money available within the industry. Broadcasters are working under more financial pressures than ever before. Redundancies, budget cuts, a dwindling resource base – that’s now the reality of life for broadcasters the world over. It’s tough and set to get tougher.
What that means for communications professionals, both in house and consultancy based, is that a carefully targeted, tailored and focused broadcast strategy will show dividends. In a previous life, when working as a television producer I was constantly surprised by the number of calls we received from people who didn’t appear to have an understanding of what I was after as a programme maker. The result was simple. More work for me and a missed opportunity for them.
So, what was I after? A good producer or editor will apply a filter to every story; the people aiming to provide the story should do the same. It can be boiled down to one key question: ‘why should I care?’ Using that simple barometer, and with a degree of honesty and realism about the answer, can help formulate an appropriate broadcast strategy and also set realistic goals and expectations.
The key is connecting what’s being offered with what’s being sought. Good broadcast PR is more often than not a result of good matchmaking. And like all good matches, when it fits, it’s a beautiful thing.
The media today is more receptive to well produced pictures and well thought out facilities than ever before, but only if they are truly ‘well produced’ and ‘well thought out’. Put yourself in their shoes and ask some key questions: What is their audience? Does the viewer profile match your target demographic? Is it the kind of story a particular programme runs? Will it look great? Watch your target shows and analyse the coverage. You know the audience you want to reach, find the correct outlet and create a synergy that works for everyone.
It’s possible to waste a lot of time and money producing slick, beautiful corporate films full of graphics, music, commentary and flashy effects. It may look great and advertising agencies may well love it; broadcasters will hate it. They want material they can play with, not material that has already been edited to within an inch of its life. Give broadcast journalists what they need - the raw material they can use to craft their own piece. Get it done right and good pictures can and will secure airtime.
That’s the good news – but there is a flip side. When things go wrong under the glare of the cameras they can go spectacularly wrong. When a crisis hits a company, the chances are that it will be beamed to homes across the globe. Whatever the nature and severity of the issue, using the broadcast media to make sure that your message is coming across loud and clear can sometimes stop a drama from becoming a crisis – or at the very least help control any negative impact.
Companies that fail to incorporate a credible and realistic broadcast strategy in their crisis plans will find themselves wanting when that crisis eventually hits. The one thing that is certain in a crisis is that the media, and their audience, will be watching and they’ll want information. Whether it’s a major tragedy, an issue of safety or a case of poor governance, when something goes wrong, it’s a story - and with such stories that same hungry broadcasting beast that was once friendly can turn nasty.
As a rule, the best way to pacify that beast is to feed it information – but beware, it’s hungry and would rather be fed little and often than be met with silence followed by more information than it can handle. If there are developments, no matter how small, that can give a reporter something to say without making the situation worse, then give it to them. Remember, if you don’t, then someone else will and that someone may well have their own agenda that either confuses or drowns out the story that you want told. Working with the broadcast media rather than against it helps control the message – and if there is damage, to manage it.
The rules of engagement are simple and apply to positive coverage and crises alike. Understand the needs of the broadcast media, know the market and identify the opportunities that will best support your message. Then just sit back, turn on the television and enjoy.