Easy Step by Step Guide to Building a Positive Media Profile [Secure eReader]
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eBook by Pauline Rowson
eBook Category: Business/Sports/Entertainment
eBook Description: Editorial coverage carries at least two and a half times the weight of advertising. It is a very cost effective way of raising an organisation's profile. This book looks at how to build a positive media profile for an organisation. It provides information on how the media works and how to build good media relations. It also shows how to write a news release and get it published, how to conduct a radio and TV interview and how to handle a bad news story. In this guide: How to build and maintain good relations with the media How to get good media coverage for your organisation How to write a news release and get it published How to conduct a radio and TV interview How to handle a media crisis Reputation is a vital ingredient in building and maintaining a competitive edge. The media play an important part in communicating that reputation, whether for good or bad. People still believe what they read in the newspapers, what they hear on the radio, what they see on television and now what is read on the Internet - yet these images and stories are manipulated in one way or another. More than ever before we are influenced by image. Knowing how to communicate the right image and message is now an essential skill. This book will show you how to harness the power of the media and utilise it for the good of your organisation. This guide is written in as clear a style as possible to help you. I recommend that you read it through from beginning to end and then dip into it to refresh your memory. The boxes in each chapter contain tips to help you. Also at the end of each chapter is a handy summary of the points covered.
eBook Publisher: Rowmark/Rowmark, Published: 2004
Fictionwise Release Date: February 2005
When asked to attend an interview in a television studio, try to allow enough time to reach the studio without being too rushed. Find the toilet and try to settle yourself. Don't give yourself too much time or your nervous tension can mount.
As for radio, don't be tempted to have a stiff drink before appearing or drink tea or coffee. Stick to water.
Remember that nothing is ever ?off the record?, so don't reveal anything you don't want to be used to anyone in the studio ? they may feed this information to the interviewer, who could then use it in the programme to throw you off your stride.
When you meet your interviewer, try and ask him what his first questions is to be. I say try, because that may be difficult. You may not have time to see him before the interview and you will also have other people wiring you up with a microphone and positioning you in the chair etc.
Television studios are bright and hot and the glare of the lights takes some getting used to. The television studio is also a lot smaller than many people imagine. If you get the chance to visit one before your interview, take it. Being familiar with your surroundings will help you when the time comes to be interviewed.
If the studio hasn't been laid out, or has been used for some other purpose, it may appear to be simply a bare room to you, a bit echoing. When dressed for the set, seating is usually arranged around the ?stage? in ranks ? a bit like a theatre ? and there are usually two or three cameras on moveable pedestals.
The director will, from his control room, be able to select from a range of shots of those taking part in the programme. Although a red light will appear on the camera whose picture is being used, do not attempt to try and follow this red light ? it will only confuse you. But do remember that even when you believe you are off camera act as if you are still on camera. You don't want to be caught unawares.
Treat every camera as if it is rolling and on you.
Again, as for radio, treat every microphone as if it is live. Also try not to fiddle with your tie or scarf as the microphone will be positioned there and will crackle dreadfully. All microphones amplify the normal voice so there is no need to shout, or use a special voice like you see some comics doing deliberately on television shows and dramas. Speak as you would in normal conversation, remembering all our tips about voice on pages 73, and let the technicians do the rest.
Refresh your facts from your notes before you go into the studio and again if you have time before going ?live.? Do not use the notes and don't use jargon.
The interviewer normally has a monitor in front of him. Do not look at that or the cameras but concentrate your attention on, and direct your conversation to, the interviewer. If asked a question by someone in the audience (if it is that type of programme), look at the questioner when you answer him, as you would in real life.
If you are running out of things to say or feel you are drying up, or don't know the answer to the question, then if you are looking at the interviewer he will know this by the look in your eyes (probably sheer terror!) and will help you out.