Dealing with print and broadcast journalists is an art
which can keep a simple encounter from deteriorating into a
confrontation. This is usually one of the most intimidating
experiences for spokespersons, especially during crisis
situations, but practice helps.
CALL BACK. Don't grant interviews out of convenience or by default.
Get the vital information from the journalist (deadline, affiliation, purpose, etc.)
... then hang up. Call back when you are ready. Don't be intimidated by
ambush interviews. It's o.k. to tell a reporter that you need to clear up an
important matter (e.g., phone call, rest room) before you'll be able to answer
his/her questions. Enforce protocol.
CREATE AGENDA ITEMS. Creating a list of expected questions and
designing effective answers is helpful ... but insufficient. You must also create
a list of "agenda items." What key points do you want captured in the story?
What do you want the readers and viewers to read or hear? Take the offense.
If you don't have any positive items, why are you granting the interview?
Interviews are not conversations.
BRIDGES AND TURNING TECHNIQUES. Each question is an opportunity
to communicate one of your agenda items. You want to bridge from the
reporter's agenda to yours. Use turning techniques to exit negative themes to
positive points. Clumsy bridges will make your answers seem awkward at best,
evasive at worst.
Sample transitions:
Another thing to remember is ...
Let me just add ...
The real issue is ...
What's most important is ...
I don't know about that but I can tell you ...
Before I forget I want to tell your audience ...
That's an interesting question. Let me remind you though ...
Before we get off the subject, let me just say ...
ARE YOU THE BEST SPOKESPERSON on this topic ... or just handy?
Determine as soon as possible whether the reporter's interests lie within your
area of responsibility and expertise. If not, get the reporter in touch with the
appropriate person. Media relations is more farming than hunting. Cultivate
the relationship for the long haul.
ESTABLISH GROUND RULES - TOPIC. Get the journalist to narrow down
as finely as possible the topics he/she intends to explore. If time permits, confirm
these in writing. You can best meet their information needs if you are well
prepared ... and you can only be well prepared if you know what to prepare for.
If questions are posed that are far afield from your agreed-upon topics, then the
ground rules have been violated. You now have the option of continuing or
pointing out the violation. Only an unethical reporter will lure you into an
interview under false pretense.
TIME is also an important consideration for establishing ground rules. The
appointment has a logical beginning but what about the conclusion? Will you
expose yourself to four hours of grilling or would thirty minutes suffice? Ask the
journalist how much time they think they'll need. If uncertain, schedule a short
interview ... with the option of extending it if it's to your advantage. Interviews
cut short for lack of time are vulnerable to misunderstanding and factual errors.
An abrupt or hurried ending may frustrate or anger the reporter.
RESEARCH THE REPORTER. When you know in advance that a
particular reporter will be interviewing you ... study their style beforehand.
Catch them on the evening news or seek out their work in the local paper. While
the camera crew is setting up their equipment ... chat with the reporter. Get
comfortable with the person. Carefully probe their subject knowledge, bias,
experience, etc. Capitalize on the pre-interview smalltalk to build rapport.
VISUALS. Television journalists want to find something visually interesting
for their cameras ... likewise for print reporters. They may want the interview
to take place in front of the picketers, accident, fire, etc. Choose wisely. The
more graphic the visuals, the more likely you are to make the news. Dull visuals
are less likely to get much play. Orchestrate visuals to your advantage ... but
remember that file footage is forever.
GROOMING-STAGING. Select the best location for the interview. What
impact will a plush surrounding have on the journalist? What distractions
exist? What will you wear? Is your attire appealing to the viewing audience?
Groom for credibility and acceptance. Avoid excessive jewelry.
BODY LANGUAGE. Look alert. Sit up or stand erect. Avoid nervous
gestures. Look enthusiastic and energetic with natural gestures. Put down pens,
pencils, glasses ... anything distracting. Use gestures to emphasize key points.
EYE CONTACT should be plentiful and directed to the journalist. The
reporter is your barometer for how well you are communicating. Read his/her
body language. Have a ready smile on your face, in your eyes, and in your voice.
Be likeable. Remember, we tend to accept ideas from those we like and reject
equally good ideas from those we dislike.
AVOID JARGON. Talk from the viewpoint of the public. Speak within the
audience's frame of reference. Don't rely on the journalist to accurately
interpret your remarks.
HUMANIZE THE MESSAGE. Speak in personal terms. Don't just spew
out company policy. Use personal endorsements and experiences when it is
advantageous. It's difficult to warm up to large, cold companies ... but easy to
like a friendly face and ready smile.
ONE-LINERS. State the most important fact at the beginning ... followed
by supporting points if time allows. Be brief. Your performance is measured in
seconds (sound bytes) not minutes.
"Television is to news what bumper stickers are to philosophy." -RMN
DON'T ARGUE with the reporter. The reporter has the last word. Your
hostile attitude or unkind remarks may be reported without mention of the
provocation.
USE YOUR WORDS. Do not repeat offensive or negative language. Don't
let reporters put words in your mouth. Once they contaminate your vocabulary
... it's quotable.
BE DIRECT and forthright whenever possible. Direct questions deserve
equally direct answers. An overreliance on turning techniques may cause you
to appear uncooperative or evasive.
PEOPLE FIRST. When human safety or similar serious concerns are
involved, deal with those considerations first. Demonstrate concern for the
people involved ... before you discuss the impact on profit.
DEATH OR INJURY. Do not release the names of the victims. Refer the
reporter to the hospital, police, fire department, or medical examiner's office,
depending on the circumstances.
"I DON'T KNOW" is a legitimate answer. Don't bluff. Don't guess. "I
don't recall" is also effective and it may set up an opportunity to bridge to more
familiar material. Offer to find out ... if it's information you want them to have.
DON'T SPECULATE. "What if" questions lead to more "what if" answers.
An enterprising journalist can manufacture a story armed with this technique
... and your cooperation. "I couldn't speculate about that but what I can say is
..." (bridge).
RUMORS. Don't speculate. Bridge to your agenda items. Don't volunteer
information.
CALL BACK. Don't grant interviews out of convenience or by default.
Get the vital information from the journalist (deadline, affiliation, purpose, etc.)
... then hang up. Call back when you are ready. Don't be intimidated by
ambush interviews. It's o.k. to tell a reporter that you need to clear up an
important matter (e.g., phone call, rest room) before you'll be able to answer
his/her questions. Enforce protocol.
CREATE AGENDA ITEMS. Creating a list of expected questions and
designing effective answers is helpful ... but insufficient. You must also create
a list of "agenda items." What key points do you want captured in the story?
What do you want the readers and viewers to read or hear? Take the offense.
If you don't have any positive items, why are you granting the interview?
Interviews are not conversations.
BRIDGES AND TURNING TECHNIQUES. Each question is an opportunity
to communicate one of your agenda items. You want to bridge from the
reporter's agenda to yours. Use turning techniques to exit negative themes to
positive points. Clumsy bridges will make your answers seem awkward at best,
evasive at worst.
Sample transitions:
Another thing to remember is ...
Let me just add ...
The real issue is ...
What's most important is ...
I don't know about that but I can tell you ...
Before I forget I want to tell your audience ...
That's an interesting question. Let me remind you though ...
Before we get off the subject, let me just say ...
ARE YOU THE BEST SPOKESPERSON on this topic ... or just handy?
Determine as soon as possible whether the reporter's interests lie within your
area of responsibility and expertise. If not, get the reporter in touch with the
appropriate person. Media relations is more farming than hunting. Cultivate
the relationship for the long haul.
ESTABLISH GROUND RULES - TOPIC. Get the journalist to narrow down
as finely as possible the topics he/she intends to explore. If time permits, confirm
these in writing. You can best meet their information needs if you are well
prepared ... and you can only be well prepared if you know what to prepare for.
If questions are posed that are far afield from your agreed-upon topics, then the
ground rules have been violated. You now have the option of continuing or
pointing out the violation. Only an unethical reporter will lure you into an
interview under false pretense.
TIME is also an important consideration for establishing ground rules. The
appointment has a logical beginning but what about the conclusion? Will you
expose yourself to four hours of grilling or would thirty minutes suffice? Ask the
journalist how much time they think they'll need. If uncertain, schedule a short
interview ... with the option of extending it if it's to your advantage. Interviews
cut short for lack of time are vulnerable to misunderstanding and factual errors.
An abrupt or hurried ending may frustrate or anger the reporter.
RESEARCH THE REPORTER. When you know in advance that a
particular reporter will be interviewing you ... study their style beforehand.
Catch them on the evening news or seek out their work in the local paper. While
the camera crew is setting up their equipment ... chat with the reporter. Get
comfortable with the person. Carefully probe their subject knowledge, bias,
experience, etc. Capitalize on the pre-interview smalltalk to build rapport.
VISUALS. Television journalists want to find something visually interesting
for their cameras ... likewise for print reporters. They may want the interview
to take place in front of the picketers, accident, fire, etc. Choose wisely. The
more graphic the visuals, the more likely you are to make the news. Dull visuals
are less likely to get much play. Orchestrate visuals to your advantage ... but
remember that file footage is forever.
GROOMING-STAGING. Select the best location for the interview. What
impact will a plush surrounding have on the journalist? What distractions
exist? What will you wear? Is your attire appealing to the viewing audience?
Groom for credibility and acceptance. Avoid excessive jewelry.
BODY LANGUAGE. Look alert. Sit up or stand erect. Avoid nervous
gestures. Look enthusiastic and energetic with natural gestures. Put down pens,
pencils, glasses ... anything distracting. Use gestures to emphasize key points.
EYE CONTACT should be plentiful and directed to the journalist. The
reporter is your barometer for how well you are communicating. Read his/her
body language. Have a ready smile on your face, in your eyes, and in your voice.
Be likeable. Remember, we tend to accept ideas from those we like and reject
equally good ideas from those we dislike.
AVOID JARGON. Talk from the viewpoint of the public. Speak within the
audience's frame of reference. Don't rely on the journalist to accurately
interpret your remarks.
HUMANIZE THE MESSAGE. Speak in personal terms. Don't just spew
out company policy. Use personal endorsements and experiences when it is
advantageous. It's difficult to warm up to large, cold companies ... but easy to
like a friendly face and ready smile.
ONE-LINERS. State the most important fact at the beginning ... followed
by supporting points if time allows. Be brief. Your performance is measured in
seconds (sound bytes) not minutes.
"Television is to news what bumper stickers are to philosophy." -RMN
DON'T ARGUE with the reporter. The reporter has the last word. Your
hostile attitude or unkind remarks may be reported without mention of the
provocation.
USE YOUR WORDS. Do not repeat offensive or negative language. Don't
let reporters put words in your mouth. Once they contaminate your vocabulary
... it's quotable.
BE DIRECT and forthright whenever possible. Direct questions deserve
equally direct answers. An overreliance on turning techniques may cause you
to appear uncooperative or evasive.
PEOPLE FIRST. When human safety or similar serious concerns are
involved, deal with those considerations first. Demonstrate concern for the
people involved ... before you discuss the impact on profit.
DEATH OR INJURY. Do not release the names of the victims. Refer the
reporter to the hospital, police, fire department, or medical examiner's office,
depending on the circumstances.
"I DON'T KNOW" is a legitimate answer. Don't bluff. Don't guess. "I
don't recall" is also effective and it may set up an opportunity to bridge to more
familiar material. Offer to find out ... if it's information you want them to have.
DON'T SPECULATE. "What if" questions lead to more "what if" answers.
An enterprising journalist can manufacture a story armed with this technique
... and your cooperation. "I couldn't speculate about that but what I can say is
..." (bridge).
RUMORS. Don't speculate. Bridge to your agenda items. Don't volunteer
information.
FINANCIAL ISSUES require special consideration consistent with
Securities and Exchange Commission guidelines about the release of "material
information." Material information is any news or information which might
reasonably be expected to influence an investor's decision to buy or sell stock,
or which might affect the stock market in general. Do not give investment advice
or predict earnings. Provide only information that is already public.
DON'T LIE. You are gambling with your personal credibility as well as
your company's. Once lost, it's a long, difficult road back. Tell the truth, even
if it hurts. Take your lumps and be done with it. Live to fight another day. Get
on and OFF the front page.
DON'T EXAGGERATE the facts. Reporters are not stupid. When they
learn the truth ... and they will, you'll pay. Hyperboles may prolong the life of
the story or completely overshadow the more compelling aspects.
OFF THE RECORD doesn't exist. There is no such thing. If you don't want
it reported, don't say it. Reporters are always working, telephone calls are
always being recorded and microphones are always "hot." I'm not paranoid ...
just experienced.
REQUEST CLARIFICATION. Do not answer questions you don't
understand. Ask for clarification. Occasionally, this technique can be used to
buy time to think. It can also slow down an overly excited journalist in a state
of frenzy.
LAUNDRY LIST. When presented with a laundry list of questions, select
the one you prefer and proceed with an answer. It is not your responsibility to
keep track of multi-part questions.
INTERRUPTIONS. If the reporter interrupts your answer with another
question, don't answer it. Be assertive in exercising your assumed right to finish
an answer before moving on. Do not grab the microphone. Do not get angry.
Do not interrupt the reporter. Be pleasantly assertive.
DON'T ATTACK the competition. Mud slinging rarely makes converts.
Disassociate yourself from third parties. "I can't speak for them, but I can tell
you ..." (bridge).
CAMERAS AND MICROPHONES are to be ignored. Talk to the
journalist. Let the camera crew capture that discussion. Don't let your eyes
wander over bystanders. Look at the reporter. Look and be alert.
FLUBBED LINES are common. Every reporter has stepped on his/her
tongue before ... and so will you. It's o.k. to stop your statement and start over
(if you're being taped). If live, be assertive in correcting the error and keep
going.
DON'T SAY "NO COMMENT." If you can't answer a question, then
provide a brief explanation why. A terse "no comment" looks as though you
have something to hide.
STOP. After delivering your clever one-liner, stop. Do not get lured into
lengthy elaborations by a quizzical look from the journalist. Perhaps ask, "did
you have another question?" Rambling on camera is a risky proposition.
Sometimes less is more.
REVERSE SHOTS. Frequently, reporters will tape "cutaways" and
"reverse shots" showing themselves listening intently or asking you questions.
These are edited in later. Make certain the questions are asked the same way
and in the same tone the second time around.
CLOSE ENCOUNTERS. Television journalists must stand uncomfortably
close to you in order to stay in camera view. This can be intimidating and the
last thing you need to worry about is "bad breath" ... yours or theirs. Carrying
a pack of mints can add to your comfort level. If the microphone bounces off
your teeth, ask if it needs to be that close.
FOLLOW UP. Years ago interviewees asked to see the story prior to
publication as a condition of granting the interview. Internal publications and
some "trade pubs" might buy this condition but most won't. Most reporters
consider this to be a form of censorship and will balk. Instead, offer your
availability to double check any facts or clear up any points of confusion.
Smother the journalist with availability. Factual errors should not occur due to
your inaccessibility. Make your follow up letter as professional as you hoped
their article would have been. Be fair. Be frank. Perhaps pitch a follow up
story.
All rights reserved. None of the above may be reproduced in any form
without written permission from K. W. Huskey Associates.
For more information on dealing with print and broadcast journalists,
see Spokesperson: A Public Appearance Primer.
Media spokespersons should check out the Society of Professional Journalist
Code of Ethics at www.spj.org/ethicscode.asp.
