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MEDiA REiJ^TiONS • MEDiA TRAINING

Follow Me: Message Maps Lead The Way To Better Media Interviews By Tripp Frohlichstein

Frustration would be the best word to describe the mood of a particular CEO a few years ago. His media trainer had filled him with messages to get out during an interview. "Get to one of your three key messages and you'll be fine," he was told, "it doesn't matter what the question is, just get to your message."

Unfortunately, an excellent reporter — one who paid attention to his answers — would inter- view this CEO. The CEO was skewered for not answering the questions as asked. He got confused as to which messages were appropriate to use and when to use them.

At about that time, I had begun suggesting to clients that having one message—the one point to get across — was an easier way to handle inter- views. 1 asked, "What is the single most important message you want to communicate?" There is less confusion in the minds of people, whose main job is running a company or department, not commu- nicating with reporters.

1 also recommended (and stil! do) not to push (or bridge) to the message if it wasn't appropriate.

But the question remained: "How do you develop your message and then how do you sup- port it — all the while keeping it simple?"

Teaming with George Stenitzer, then Ameritech PR executive and award-winning annual report developer (now with Teliabs), the idea of a message map was born.

Instead of a linear list of talking points, this lit- erally puts all the talking points on one page — and in a map format, with all "roads" leading to the central message or "home base."

Now, I travel the country consulting with PR agencies to help their clients develop simple, easy- to-use message maps that are useful tools to refer- ence in any type of interview situation.

Developing The Message It's easy to say "get your message out to the

audience." The trouble is, most groups do not know what

their message is, and some spend millions of dollars trying to flesh it out.

It reaiiy is much simpler than that, and cer- tainly less expensive. By considering the specific audience you want to reach and the needs of that audience, you can zero in on your overall message.

In a majority of cases for a company, your mes- sage will be concem for the customers and how the company is helping them. It's that simple.

Sometimes, the shareholder, employee, or community is the focus of the message. However, you will find that by focusing on concem for the customers, the needs of the shareholders are, in tum, usually met.

Home Base Having a home base is the key to effective com-

munications. The first thing you must do before an interview

is to know what that home base is. Home base is your main message, your single most important communication objective (e.g., serving the cus- tomer).

Knowing and communicating your home base is the most important factor in conducting a suc- cessful interview.

A question from a reporter is merely a starting TACTICS/MAY 2003

point—you don't evade or avoid it. You answer it. Then, when appropriate, you move on to discuss your own objectives and ultimately reach your home base.

A typical home base is "we care about our cus- tomers."

Positive Points To just have a home base is not enough. Any

company can say it cares about its customers, but can this be proven? Many times it cannot.

A reporter was talking with one company exec- utive who proudly pointed out that his company listened to its customers. The reporter then asked what changes had been made as a result of that cus- tomer input. The executive was stumped.

You need to develop positive points, or primary messages that support your home base. Like the home base, they are more qualitative in their nature yet still support the main message. If home base is "we care about our customers," a positive point might be "we listen to our customers" or "our employees are skilled (which helps customers get a better product)." It is a sub message that adds credi- bility to your home base.

Most interviews should use no more than three positive points (although you may have many more) to support home base.

Positive Proof Points Positive points still aren't enough. You also

need positive proof points. These are quantitative facts that prove your statements to be true. While a home base and positive point is "we care about our customers and we listen to them," the positive proof point could be "we've added illustrations to our instruction manuals because customers said more visual support was needed to learn equip- ment operations." Another proof point for this home base might be that "when calling a customer service operator, your call is usually answered within four rings."

A few more examples of positive proof points:

POSITIVE POINT

We have expertise

Product reliability

Competitive pricing

POSITIVE PROOF POINT Average length of employee service

Product warranty or guarantee

Price comparisons or reductions

Assuring delivery quality Use of protective packaging

Excellent customer service 24-hour toll-free product support

In establishing positive points, you should search for distinguishing points as well. For exam- ple, some companies might offer support services during normal business hours. Yours might be the only one offering weekend support, along with live operators, making that a distinguishing point.

Distinguishing positive points also may be "hot buttons" for the audience. Although others may offer similar positive points, it is important that the

audience knows that you have them too. It might be, for example, that while fairly common, a vol- ume discount is important to customers. If so, it belongs on the map and in the interview.

• Positive, proof, and distinguishing points are often difficult to find. Remember, in searching for positives, "what is routine to you is not routine to me." What this means is that something you do regularly may not seem worth mentioning to the customers or your audience. In fact, it might be fas- cinating to the outsider.

One man tells the story of his father, a former telephone company lineman. It had been a stormy night in Oklahoma. His father had been out all night in the storm repairing phone lines. When he completed his overtime shift, and showed up at home, his son told him how much he admired what he had been doing. His father, unimpressed, simply told his son that this was his job to do, and it really was no big deal. Sure, no big deal, to him, anyway. To the son and others outside the situa- tion, it was an admirable feat.

So when developing positive points, you must look at things as an outsider might. Positive points must also pass the "who cares?" test.

If an automobile dealer tells you the car you are looking at was delivered to the car lot by train, you probably couldn't care less. However, if that fact is important, it is incumbent on the dealer to explain why (such as "you'll get more life from the engine because the car wasn't jostled on the highway").

Message Maps The most effective way to present your message

effectively is with a message map. This combines your home base and positive points in a way that is easily understood. This applies to both you and your audience. If you see how various points are interrelated, it will be easier to explain to a listener.

A message map is similar to a road map in its function. It points you in the direction you want to go (home) and tells you how to get there.

Constructing a rnessage map is a positive experi- ence for participants. Instead of detailing what you are failing to accomplish, you focus on the positive side of what your organization is doing. The chal- lenge is to find all the things you are doing right.

When complete, the diagram will resemble an airiine hub and spoke map. All routes lead home. From the central message, or home base, one spoke may focus on how employees help customers, and another focuses on the product line, another focuses on the customer service, and another may look at cost.

Message maps can be used to develop answers to questions from customers, the media, sharehold- ers, colleagues, and just about any other stake- holder. A message map can also help organize marketing brochures and help plan a speech. A master message map may be extensive. After devel- oping it, use only the parts you need for any given situation.

Based on a sample message map, here are some questions and answers.

Reporter: Tell me about your conipany. Executive: Our goal is to serve our customers.

We do that with a wide variety of products, excel- lent quality and superior service.

MEDIA REL^TiONS • MEDiA TRAtNiNG

"Who's That Talking In My Earpi«:e?'' The Art Of Doing A Remote Intervi ew By Shirley Brice

It's one of the hardest types of television inter- views to do. Known as a debrief, talk back or remote live shot, the person being interviewed sits in a remote location, with only a camera and an earpiece — no human contact, nothing to react to except a voice. You're not talking with a "live" person — you're speaking to a camera. The experience can be unsettling if you're: not prepared.

If you have a client being interviewed in this sit- uation, how do you prepare them to be at ease and to sound conversational?

"Act as though; you are in the same studio with the people who are interviewing you," Edwin Meese III, former U.S. attorney general, tells Tactics.

Meese, who served in the Reagan administra- tion, now works at the Heritage Foundation in Washington, D.C, and regularly appears on many network news programs. "The most frustrating thing is when you have other people in a debate sit- uation or discussion and people talk over each other," he says.

National talk shows and network newscasts rely heavily on live remotes. They provide another visual dimension to a program. "We can come to you — you don't have to come to us and our stu- dio," says Steve Sanders, news anchor for WGN-TV in Chicago. "Oftentimes, the interview is more relaxed if they're in a setting they're most comfort- able with," says Sanders.

So, how do reach that comfort zone without having a person to look at?

Remember, it's only a conversation. Try to focus on this point before the interview begins. There are plenty of mechanics to deal with in a live remote; but the bottom line is that the audience only sees it as a conversation.

Focus on the camera. Keep your focus con- stantly on the camera lens, even when you think the interview is over. You'll get the "all clear" from the producer when it's safe to look away. If you need a break during the interview, look down and slightly to the side. In the training business, this is called a reflective glance down and it's something we all do in normal conversation.

Ignore distractions. Don't be distracted by the technology in a live remote. There might be a lot going on in the background — a producer on the phone or a photographer speaking on a headset. Try to block out distractions and focus only on the interview.

Ask about video/audio delays. With foreign remotes, there might be a slight audio delay because

. Secretary of Defense Donald Rumsfeld has an earpiece fit- ted in preparation for a remote interview with CNN.

of satellite technology. In that case, complete a thought and then wait for the next question. Generally, with live remotes done in this country you'll have real audio in your earpiece, which means there shouldn't be a delay. Most live remote crews will also provide a video monitor but, since most stations use a delay, it's best to keep the moni- tor off.

Double-check your earpiece. Before the inter- view starts, make sure you clearly hear the anchor or producer. Most earpieces or IFBs (interruptible fold back) can be easily adjusted. During the interview if you lose audio, simply end your comment and wait for the producer's cue.

Keep body language open. Before you go on, make a mental note of your body language. Are your hands tightly clasped or arms folded? Start ges- turing even before the interview begins. This creates more facial expressions and verbal emphasis.

Relax beforehand. Close your eyes for 30 sec- onds and totally relax your mind and body. If you're

anxious, focus on how successful the interview will •tum out. Visualizing builds confidence and takes away jitters.

Keep answers concise. Short and compact answers work best. News anchors detest long- winded responses and industry jargon.

Take chances. Producers look for colorful sound bites—something that might make news on another broadcast. They want a lively show, not some formal presentation. If you feel like reacting, go right ahead. There are no fast rules in television. Natural, spontaneous reactions work the best.

Stand your ground. If you've got a fellow guest who interrupts, stand your ground and politely say, "I want to finish my point." Some interviewees and hosts will try to control the interview by interrupt- ing.

Do your homework. To avoid surprises, pump the producer or booker prior to the show for a gen- eral outline of the interview. They probably won't give you specific questions but should provide gen- eral parameters.

Bridge to your message. Have several distinct sound bites in mind before beginning. When answering questions, bridge to your message by using expressions such as, "That brings up . . . " or "Another issue...," Answer questions fully but don't feel obligated to reveal company secrets. When you are posed with a sticky question quickly bridge to one of your main points.

Mistakes? No big deal. Everyone makes mis- takes in normal conversation. If you find yourself stumbling on air, slow down and let those mistakes roll off. Don't beat yourself up.

There's an old broadcast expression, "Television is not brain surgery." It certainly isn't an exact sci- ence —there are no fast and hard rules. Yet, some general principles apply that can either make or break a live remote. Remember, it's only a conversa- tion with another human being. Trust your instincts and let those natural conversational nuances come out. #

Shirley Brice spent nearly 10 years as a television anchor and reporter. For the past 16 years, she has worked as a broad- cast consultant, talent coach and media trainer. She works with a variety of clients — individual broadcasters, televi- sion-station management and corporate executives. She can be reached at [email protected].

Message Maps Continued from Page 20

Reporter: Tell me about your company. Executive: Ou r goal is to serve our customers.

One way we do thi^t is through our wide variety of products. For example, product A is lightweight while product B is versatile. Our customers expect that ldnd of choict,' and we make sure they get it.

Reporter: Tell me about your company. Executive: Ou r goal is to serve our customers.

One way we do that is by having excellent employ- ees atpur company. In fact, the average employee has 12 years of experience, meaning they'll get the job done right and quickly the first time. We keep

those ernployees by offering good pay and excel- lent stock options. In the end, happy employees mean happy customers.

All three of those answers were easy to come by given the map and the general nature of the ques- tion.

Sometimes, the questions are more specific. Again, the map will lead the way. An example:

Reporter: Do you inspect the product? Executive: Yes, three times before it will be

offered for sale. And those inspections are working. The average life span of the product is seven years and only one out of every 75 products we make needs major repairs after five full years. This is all

part of our commitment to quality, which is what our customers expect.

In the end, using a message map helps you con- trol most communication situations by helping you know what to say while reaching your audi- ence with what they want or need to hear in an honest, straightforward fashion. t0

Tripp Frohlichstein is a media and pre- sentation trainer based in St. Louis with nearly 30 years of experience as both a news executive and media consultant. He can he reached at trliCa'aoI.coni

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