Writing tips: How to shift from traditional press release to social media news release

Executive Summary:

PR teams are having to adjust the style and tone of social media press releases (also called Smart News Release or Rich Media Release). This article offers granular how-to advice.

Key Points:

1. Think "info-snacking." Today's readers want visually appealing information broken into smaller bits, including visuals like photos, videos and infographics.
2. Shorten words, sentences and paragraphs. Use more subheads with verbs in them. Picture sentences as pullout boxes floating in an inviting sea of white space.

Sound Bite:

"Plunk down the snacks as if you're arranging carrot sticks, dip and whatnot on a tray for guests. Journalists and bloggers can nibble as they like, clicking and lifting up whatever bits they think they can use in their online story."

*****

Read the whole article:

Going from a traditional press release to a social media news release requires three big shifts:

• Length
• Visuals
• SEO

I'd say there's a fourth category -- tone -- but the changes you make in length (and SEO) will give you the changes you need in tone. And since this post will focus on "how," I'd rather keep it simple, so you can be like Nike and just do it. No need to impress you with my erudition on the whole enchilada. ;-)

Having said that, though, let me address tone for just a quick minute. You'll see how it leads into length.
Imagine yourself writing website copy, which is a little closer to ad copy. But don't go so far as to write like it's a blog post, which usually includes idioms and strong opinions.

SMNR tone usually isn't as direct as ad copy, which uses second-person "you" instead of third-person "he/she/it/they." Nor is it like broadcast copy because you still have to write for the eye, not the ear, which means catching skimmers with a strong "first three words," not letting the punch fall at the end of the sentence.

But the words and sentences in an SMNR are shorter and plainer (not boring, just simpler), as you usually see in all of the forms mentioned above (Web, ad, blog, broadcast). So if you've got sentences with introductory clauses ("Blah blah blah -- comma -- blah blah blah blah blah blah blah blah blah."), break them in half. Often you can delete the first part of the sentence altogether.

Likewise, streamline the vocabulary by using more Anglo-Saxon words than Latinate (next, not adjacent; set, not establish; start, not initiate; build, not construct). And take verbs in noun's clothing, and turn them back into verbs (the deployment of, deploy; the provision of, provide; the implementation of, implement). In other words, shorten everything.
The vast majority of traditional press releases are done poorly, in my opinion. And if you are in PR, you know what I'm talking about. You're sort of forced into a bizarre straightjacket of formality and distance from the customer, which seems contrary to the goal of a press release, but who am I to question decades of entrenched custom?

My advice here is directed at what I know your reality is, not what I think a good press release of either kind (trad'l or social) should look like. So, back to that ...
You've shortened your sentences and words, which has also changed tone. You need to continue deleting or ignoring content that would normally appear in a traditional press release. Most of this will be intuitive. I think you'll choose well, once you know that 50 percent to 85 percent of the words will have to go away. Usually, people I have worked with do this easily, once given permission to cut-cut-cut. So I won't dwell on that here.
Now for visuals. Imagine that you are designing layout not writing copy. Pretend you work for a fashion magazine in New York or you're in the art department at Fortune magazine.

This is really the essence of an SMNR. It's a visual jumping-off point, much the way a resume is a visual jumping-off point in a job interview. People spend time making a resume look pretty at a glance, and it's meant to be glanced at, not really read. It's meant to give the gist, then trigger questions and conversation.

But in the case of an SMNR, it's not questions and oral conversation we're after; it's clicking. You want to give the essence of your announcement, and then let the rest be "snacks" for the new style of reading, which has been called "info-snacking."
Standard "snacks" in this new world are photos, videos, info-graphics and links.

More and more, I'm also seeing slide shows on the top-tier news sites, and I'm liking that trend, by the way. But that's a bigger time investment, and your client may not be able to deliver.

Usually, the PR person doesn't create this kind of content on the spot in response to being assigned a press release. So you need to negotiate for it. You need to ask your client early on for photos, demos and links. Increasingly, clients know they must produce this stuff, so that's no longer as hard as it used to be. But the switch for you is that you must add this conversation to your standard process, and add it early.

Nowadays, the quest for creating visual content should be ongoing, so it's not necessarily related to writing a press release of any kind. The press release is just one more vehicle for delivering what has been produced. This gets into the larger issue of "public engagement" versus one-way communication, but for the purpose of this post, I'm focusing on the needs of a PR person who has been asked for the first time to switch to SMNRs.
Usually, there's a template you can use. BusinessWire has one (called a Smart News Release), and others are also available elsewhere. Edelman calls it a Rich Media Release and uses Adobe software called Contribute (discosure: Adobe is a client).

Just plunk down the snacks as if you're arranging carrot sticks, dip and whatnot on a tray for guests. Journalists and bloggers can nibble as they like, clicking and lifting up whatever bits they think they can use in their online story.

So, going back to content for a moment, remember we talked about deleting a lot?
The words you kept will go into little boxes or box-like chunks floating in white space.

There might be a general intro, then another box for details (perhaps in very short bullet points but no more than four -- three is ideal), then another box for a quote (or an entire section of quotes strung all together like beads on a string rather than interspersed throughout the text as in a news story), all of which should be shorter than what you're used to.

You might even have a box for customer quotes that link to case studies on a website, for example. Or you might link to a Facebook page.
The Karcher Group puts it this way. I'm quoting from its website here:

- Content separated into different sections, such as Key Information, Facts, Quotes, Links, etc.
- Use of popular social media tools, such as RSS feeds and tagging
- Ability to share content on social networking sites like del.icio.us, Facebook, Stumbleupon, LinkedIn, etc.
- Ability to view/download items such as logos, banners, audio promos
- Include links to blogs and other resources
- Embed multimedia elements like video, photos, and audio

Your links, video, info-graphics and photos will tell some of the story that your now-missing words would have told, only better.
More visuals: subheads and headlines. Just as a resume uses boldface to divide up and call out different kinds of content, your SMNR needs boldface subheads. And just as you did for the body of the text, you'll need to tighten the words and content in the headline.

Your SMNR should be an invitation to delve further by clicking on electronic story elements.

I call this "pogo-sticking." The reader isn't meant to glide smoothly from the first word to the last but to hop around, almost at random.

If you're good at helping your client understand what will have traction with the news media and bloggers, those very same storytelling elements are what should be in your SMNR. If you or your client instead prefer company-centric bragging, those will be your elements.
An SMNR is *not* likely to be any more successful than a traditional news release. Format isn't the point. If you have material that will surprise or delight a reader or help him make a decision about something coming up soon in his own life, you will get pickup. If you don't, you won't. You're either useful to readers or you're not. Format seldom improves relevance.
Which brings us to SEO. I have long advocated what the SEO people are now telling everyone these days: Write in the language of the audience. Please, please, please stop trying to coin new words or market categories, without at least also using the vocabulary already in use among prospective customers.

The SEO people will also tell you that this natural language needs to be in key places (headline, subheads, first paragraph, captions, video description). But I have been fighting that battle and losing it for nearly 10 years now, so good luck with that. I'm hoping that this new SEO/Google world we live in will shake clients up a bit and get them out of their self-absorbed marketing bubbles.

For more on that, check out this post by Maddie Grant on SocialMediaToday. Her post also links to the now-famous diatribe by Tom Foremski ("Die! Press Release! Die! Die! Die!").

I recommend going to Business Wire for advice on all of the above. In my dealings, this company has been ahead of trends while well-grounded in ethics and principles that never go out of style.

Can PR ghostwrite client blogs?

Executive Summary:

As marketing departments turn corporate collateral into blog posts, they find the task more time-consuming and difficult than imagined. Should you hire ghost writers? Yes and no. It depends on your audience's expectations. This article tells you how to decide and suggests effective small tweaks to the options you've probably already considered.

Key Points:

1. Social media experts generally caution against ghostwriting blogs. They say the medium and audience expectations make blogs unlike speeches and contributed articles.
2. Analyze your audience and ask key questions about your company's goals and resources before deciding which blogs to ghostwrite or whether to write a particular post at all.

Sound Bite:

"The smartest and most trusted people say, 'Don't ghostwrite company blogs.' But if you absolutely must do it, disclose the contributor's real names or only ghostwrite content the company created previously and is simply re-purposing for easy digestibility."

*****

Read the whole article:

Should your PR team ghostwrite your company's blog posts?

The short answer is "no." The long answer is "sometimes."

Let's do the long answer first. If you absolutely insist on having your PR team write some of your company blog posts, proceed with caution. Give ample thought to:

• your company's goal
• the degree of expertise/attitude/thought leadership required from the author
• originality of content

Questions you can ask yourself while making decisions:

(1) Is the content company-created and is the PR team merely re-purposing it for social media digestibility?

If so, fine. Go for it. But avoid packaging overly canned material in a business-neutral voice. If you must include posts like this, consider interspersing it with more personal and authentic pieces by individuals. Otherwise, your audience is likely to tune out, justifiably so.

(2) What are the audience's expectations?

Consider the degree of skepticism and ethical rigidity of a particular audience. What does the audience value most highly? How will they use the information? Are they likely to be forgiving of sterile business content as long as it includes a tip or resource they can use? Are they expecting a CEO blog with business acumen or an app developer blog with technical depth? If you walk a safe middle line, you may turn off the very people you hope to influence.

(3) Is the time and money worth it if the blog isn't influential?

It's safe to say that a CEO blog carries more weight when it shows incisive thinking and passion, even if not necessarily "good writing." In the world of blogs, "good writing" can be icing, since most posts are produced rapidly in response to an ongoing conversation by a person who isn't a full-time professional writer.

Do application developers carry more weight when they are irreverent and independent? Probably. In some scenarios, it's possible that this level of integrity and authenticity is almost more important to the audience than the content. A rough-around-the-edges post that's spirited and technically well grounded might be better than a smooth vanilla offering.

Writing is time-consuming. That's why people quit blogs after a while or try to hire ghostwriters. But what matters most is substantive content that will influence people. If you don't have that, should you be blogging at all?

(4) Can you manage expectations by disclosing who sometimes contributes?

This is the best practice if the author's credentials aren't the main draw. Avoid leaving a post unsigned or just using the company's name. Commonly, companies-in-the-know say something like "Contributors to this blog include Sam Smith, Jessie Jones and Betty Buttons."

But even so, better to sign each post with "Sam S. for Acme" or "S.S." or "B. Buttons" or "Jessie Jones." If you feel like you don't want the audience to see the "man behind the curtain," then you've got a problem, especially since "transparency is the new black," as they say. At any rate, hiding fake wizards behind curtains is bad -- period.

It's OK to say that your PR team creates some of the blog posts. It's better to do it and say it than to do it and not say it. Otherwise, you risk losing trust down the road. Audiences may think you are hiding something other than a writer's name ("What *else* is this company keeping from me?").

Bottom-line as I see it, the smartest and most trusted people say, "Don't ghostwrite company blogs." But if you absolutely must do it, disclose the contributor's real names or only ghostwrite content the company created previously and is simply re-purposing for easy digestibility.

It's not like a speech. Some people argue that a blog post is like a speech. Presidents of companies and nations hire speech writers, right? Yes, but we all know they do that.

Our *expectation* is that a really talented speech writer did the leg work, the president absorbed the content in full, made substantive changes as he saw fit, then practiced for hours, with coaching.

In contrast, a blog post is perceived as a more informal and less well measured opinion, often formulated quickly, as part of an ongoing social conversation.

In 2004, social media purists said, "No ghostwriting."

In 2010, I see a lot of softening in expert opinion.

People now admit there are gray areas where careful consideration can make a ghostwritten blog OK. For more on that, see an excellent discussion led by Toby Blomberg and John Cass. Thirty-nine contributors weigh in. My favorite comments were those by Lynn Anne Miller, who looked at social media from the corporate perspective.

Edelman's Steve Rubel foresaw the debate in 2004 and said, "What we need to do, however, is separate what works from what doesn't and what level of transparency and input is required. Time will tell."

I agree that we are still determining best practices and that they are likely to change as the blog-reading public itself continues to mature and evolve.

The Yoda of Journalism Speaks

My all-time fave book on writing has been displaced. Sorry, Associated Press, I still love you and “The Word” by Rene J. Cappon, but you’re going to have to step aside for the Poynter Institute’s Roy Peter Clark, the Yoda of journalism.

This Jedi grandmaster’s book was published in 2006, six years after I left journalism to become a full-time writing coach in the corporate world. I didn’t know about it until last week when the Poynter Institute tweeted Clark’s article on J.D. Salinger, who died last week.

I now have a borrowed copy of “Writing Tools: 50 Essential Strategies for Every Writer.” My colleague, also a former AP reporter who now works for A&R Edelman, pulled it off his cubicle shelf for me.

Here’s an excerpt, taken from Tool 21: “Know when to back off and when to show off.”

In “Why I Write,” George Orwell explains that “good prose is like a window pane.” The best work calls the reader’s attention to the world being described, not to the writer’s flourishes. When we peer out a window onto the horizon, we don’t notice the pane, yet the pane frames our vision just as the writer frames our view of the story.

Most writers have at least two modes. One says, “Pay no attention to the writer behind the curtain. Look only at the world.” The other says, without inhibition, “Watch me dance. Aren’t I a clever fellow?” In rhetoric, these two modes have names. The first is called understatement. The second is called overstatement or hyperbole.

Here’s a rule of thumb that works for me: The more serious or dramatic the subject, the more the writer backs off, creating the effect that the story tells itself. The more playful or inconsequential the topic, the more the writer can show off. Back off or show off.

That’s most of one page. The next page and a half gives examples and commentary. The chapter (all 3 1/5 pages of it) ends with a section called Workshop, which lists four activities and more examples.

How I love this man! Like all grandmasters, he’s humble and keeps a low-profile. If you read his bio, you might nod off even before you tune out.

Clark’s accomplishments are in fact immeasurable because they are living things. His uncommonly nuanced wisdom and impeccable judgment guide and transform countless journalists whose growth and contributions in turn spark more growth and contributions by untold others. (Whew! I need to rest. Writing that sentence made me tired! ... OK, here I go again:)

He’s like the Olympic torch, always being carried forward, or a venture capitalist, creating wealth by investing wealth. Or Barbara Streisand, whose perfectionism and perfect pitch let her occupy a different perceptual world than the rest of us. He thinks, feels and sees better than we regular people do, and – most importantly – articulates his vision in a way that propels the rest of us forward.

I never met the man or even so much as exchanged an e-mail. My respect grew slowly over years. I used to read the annual “America’s Best Newspaper Writing” anthologies, which Clark edited for a while. Other editors were Don Fry, Karen F. Brown and Christopher Scanlan, also stars in journalism’s coaching pantheon.

The “America’s Best …” books are compilations of award-winning journalism from each year since 1979. The editors offer insights and raise questions intended to help the reader become a better writer. If you want a snapshot of journalism’s glory days, the "America's Best ..." series is it.

Like Yoda and The Force, Clark's work offers timeless lessons.

Talk like Barack?

Want to talk like Barack Obama? Or do you prefer a little Jon Stewart? It’s easy to change your writing voice to fit the occasion.

My No. 1 advice here is that you write in your own voice first. Focus on content. Only after you know your content is relevant and compelling should you then begin to apply a final varnish.

Voice is varnish, the glossy finish you apply at the end of your creative process.

To talk like Barack, do this:

· Add sweeping references to time

· Emphasize continuity and evolution

· Make all efforts and problems collective

· Use colloquialisms like “look,” “you’re going to see,” “you’re going to have”

· Use multi-syllable words unless talking about human beings

Let’s say, for example, your company is introducing … um, well, let’s call it a tablet computer. The PR team is asked to pitch a case study about the “Smart Tablet” being used by teachers in the classroom. But someone says, “Can you make it inspirational, kind of like an Obama speech?”

The marketing department will hand you this:

Fireside Inc., the leading provider of innovative computing technology, today announced that the Springville Central School District has become the first educational institution in Texas to deploy the innovative new breakthrough Smart Tablet computer with elegant form factor and intuitive interface featuring the X-Blast 1400 operating system, potentially revolutionizing the delivery of classroom instruction.

To Barack-ify it, say goodbye to leading provider, form factor, intuitive interface, deploy, breakthrough, revolutionize and delivery.

Add Abraham Lincoln, use the word “kids” for the human recipients of the instruction, and replace Fireside and Springville with “all of us.”

New version:

I think Abraham Lincoln described this best. And perhaps I’m paraphrasing a little bit here, but he basically said, look, I think it is very important to acknowledge that we can collectively give our kids a decent education much more effectively than we can individually.

Sounds like him, doesn’t it? Problem is, the person who told you to sound like an Obama speech didn’t really mean quite that. To get through the approval process, you’ll need to reel it back in.

My suggestion: Keep much of the original lead paragraph (minus the jargon and hyperbole), but replace multi-syllable words with one-syllable words where possible – for example, say school, not institution.

Let your executive sound like Obama in a quotation. Delete Abe Lincoln, but keep the feeling of “we’re all in this together.”

“I’ve got kids of my own and, as a parent, I recognize the enormous potential for the technology industry to lend a helping hand to schools. Collectively we can do a tremendous job of helping youngsters acquire the education they’ll need to carry the dream forward in the decades that stretch before them.”

At the end of this post, I’ve listed Obama words.

But now let’s look at Jon Stewart, host of the satirical news program “The Daily Show” on Comedy Central. Maybe your marketing department likes the fact that he’s smart and funny, and wants to appeal to consumers who would like to think of themselves as smart and funny, or wish they were.

Unfortunately, you might end up with something like this:

Speaking of education – and someone’s got to – a mentoring program in Texas is giving teachers new tablet computers. Some believe the tablets are smarter than the teachers.

Pa-dum-pum.

OK, so now you realize that you don’t really want to sound like Jon, though it was a nice idea.

Still, you can capture a bit of his smartness, if not his humor at the expense of others, by doing this:

· Focus on the “why”

· Add connotation

· Emphasize contrasts

· Use highly precise vocabulary

It might look something like this:

Looks like a clipboard. But a tremendous amount of ingenuity makes the Fireside Smart Tablet an eloquent new contender in a teacher’s instructional arsenal. Traditional textbooks and ordinary notebooks are at a disadvantage in several respects. For one thing, the Smart Tablet’s infrared sensor captures the notes scribbled in the margin and files them. And a built-in microphone matches the notes to the lecture. So in terms of accuracy, it is, well, impeccable.

Many companies fear this degree of clarity and attitude in a product comparison. And key people in the approval process tend to appreciate formality and decorum.

So what I’m really saying is: Voice matters less than you think. People hate it when I say this. They miss a beat in the conversation as their eyes quickly shoot directly to mine, then dart away and soften while they censor their thoughts. It's like I've taken something from them. They love to feel they are writing in “the client’s voice” or “a cross between the voice of Barack Obama, Jon Stewart and Sandra Bullock.”

But what matters more than words are deeds. Keep it plain, keep it clear, and keep your customers’ needs front and center. Actions do in fact speak louder than words.

Barack Obama: enormous, important, recognition, if you have, then you’re going to see, you’re still going to have, we’re going to see, and once we’ve completed that assessment, then I think that we take a look at, and the question is, that tells me we’re probably in the right place, legacies of the past, certain amount of lag time, transition period, formative years, acknowledge the degree to which, perpetuity, continued grievances, unsentimental, pragmatic, mutual, meeting of the minds, provide social justice, system that works, complete disorder, allow people to advance based on, pursue prosperity, being thoroughly scrubbed, point number one, individual determination, relinquish capacity, mechanisms of, cut out, whole bunch, consistently spoken out, civic institutions, again we are tested, and again we must answer history's call, the spirit that has sustained this nation for more than two centuries lives on in you, the people

Jon Stewart: maniacal, eloquent, upsetting, vexing, indicted, obtuse, periphery, penetrate, dictate, credibility, disparage, fake, intervention, vociferous, scandal mongering, unpunished fraud perpetrated, theatrical farce, cahones to stand up to him, distinguished gentlemen, being swayed, lawns to mow and kids to pick up from school, hiding things, why is…, why are…, fractured mirror to reveal greater truth, play craps, bet with the table, ended up losing

Put pretty tops on contributed articles

PR people are lousy at contributed articles. I have noticed this time and time again. I often find that – for contributed articles – most of a first-timer’s first draft must be deleted. This is seldom true of a first pitch, press release, speaker abstract, award submission or coverage report.

Contributed articles are by far the worst.

I’m saying this very bluntly because I need you to completely clear your head of what worked for you in the past when undertaking a contributed article.

I’ll break this topic into several mini-topics over multiple blog posts, but for now let me give you some structural concepts that will change your approach from the outset.

You need three parts:

1. A pretty top – a first paragraph (or as many as five paragraphs) that really sing
2. A mundane list – your content broken up into three to seven mini-categories, none of which has to be riveting, colorful or remarkably well-written
3. A kicker – a visual and/or memorable catch phrase that makes use of the imagery and tone of the pretty top, preferably something from the very first paragraph (or within the first three)

Imagine your Word document is now a bucket with three compartments. Begin tossing content into each of the three compartments, starting with the middle one – the mundane list.

Start in the middle. The middle compartment is the easiest. Everything your client gave you goes here.

The first compartment is next – the pretty top. This requires your own particular brand of genius. You need to locate or do your own research about your client’s customers, understand their problems from their perspective, and begin collecting words they actually use when talking with one another. You also need “scenery,” a backdrop or set of props that accurately captures their world.

To begin writing the first compartment, you should not write. Yes, you read that correctly. No writing allowed. Instead, you need to search. Online searches generally work really well. But if you have firsthand observations about customers or more detailed research about their problems, that can be better still, though not necessarily essential. It depends on the content and circumstances.

One of my workshops is on what to look for, but for now I’ll give these quick tips:

1. Humans – Look for specific categories of humans among your client’s prospective customers.

Not: users, customers or even “health care providers.”

Instead: specifics like auditors, nurses, network architects, golfers, mechanics, photographers, executives, party-goers, IT managers and piano teachers.

2. Verbs – Look for verbs of your humans in action. They don’t have to be jazzy, but they should be specific to the industry. Like: design, restore, configure, spend, recruit, survey, draw, add, shoot, sound, read, play, send, talk, broil, scoop, swim, march, show, collate, refute, verify, record, persuade, manage, enlist.

After you collect data, detail and imagery for the first compartment, then look again at your middle compartment. Cross-compare the two sets of information and find commonalities. Circle or highlight the commonalities. These are the words you will use in your first draft of your first paragraph. Literally copy and paste them at the top of your Word document. Don’t write yet. Just move the words into the first compartment, helter-skelter. Let this jell. Ruminate for 15 minutes or take a walk. If possible, ruminate overnight.

Come up with an angle that makes sense for both client and prospective customer. Be helpful to readers. Don’t sell. Don’t describe your client or its products. There’s more to this part, but we’ll do it another day.

Now that you have an angle, look at the middle compartment again. Find advice, actions or insights that you can give to readers. Sometimes it works to suggest criteria they can use in making an imminent decision. Organize accordingly.

Now write your pretty top. It sets up the reason for reading the middle. It gives context while hooking readers with info that is truly relevant and helpful from their perspective (not the client’s perspective).

Finally, write your kicker, summing things up in a memorable way that comes full circle with the beginning of your article.

Then comb through the entire piece, fixing and finessing the three parts into a cohesive whole. If possible, let it sit overnight and return to it with fresh eyes the next day.

How to get business press

To hit a home run with the business press, you need to answer this question: "Who will make money from it?"

If you merely describe your product, its benefits and the problem it solves, you're going to strike out. If you offer an industry analyst's forecast about the size of the market in the coming year, you're still out. If you add a happy customer, you're still out.

Pick up a Fortune magazine and thumb through it. Look for an article that doesn't answer the magical question. You won't find one.

Tech PR newbies don't know this. They generally have more success with trade press, who ask, "How does it work?" Technology clients happily provide that info, so it's an easy pitch. [Mainstream press answer the question "What's in it for the reader" and look for quirkiness.]

PR veterans always do a competitive analysis before putting together a business pitch. In particular, they look for a new or changing answer to the magical question. If they're really on top of their game, they pull out the unconventional wisdom, counter-intuitive lesson, or otherwise unexpected tidbit, and lead with that.

Your pitch doesn't have to be an explicit answer to the magical question. But the answer needs to be an underlying element within the larger body of info.

• Should you mention competitors in your pitch? Yes.
• Should you mention peripherally involved industries? Yes.
• Do you have to include data and dollars? Not always, but that adds credibility, and helps nail down in specifics a trend that may be vaguely felt but not clearly understood.
• Do you need a crystal ball? No. In fact, uncertainty of outcome increases your chance of success. Think of a suspenseful book or novel. Not knowing how it ends is a plus. That's what makes people lean in and begin listening for more info.

What if you don't have "news"? No problem.

Journalists define news differently than most clients do. Most clients mistake an announcement as news. The announcement may be a new product, an industry award or survey results. But none of those are news in the mind of a journalist. Why? Because those are expected outcomes. Companies make products, win awards and publicize data -- that's business as usual.

Journalists look for:

• Info readers need for decision-making about their own lives or businesses
• A break in the normal flow of events, an interruption in the expected

So anything that makes a moderately informed person say, "Huh, no kidding!" is news.

I recommend doing a competitive analysis with your head first, then scanning it with your gut second. Any mild sense of surprise will do; pluck that detail up and make it the first line.

If one pitch needs to work for all three genres of press -- business, trade and mainstream -- then make sure you have implied answers to all three questions:

1. Who will make money from it?
2. How does it work?
3. What's in if for the reader?

Become a verb warrior. Try this writer's resolution for the new year

Key points:

- Find out whether you're verb-impaired.

- Fix wimpy, vague writing that induces the MEGO effect. (MEGO = My Eyes Glaze Over)

- Use this list while in recovery.

***

The one way to most immediately see the biggest possible improvement in your writing is to choose higher quality verbs. For this reason, I’m suggesting this as your New Year’s writing resolution.

First, self-diagnose to find out whether you're verb-impaired. Then set out to become verb-talented.

Self-diagnosis

Print a hard copy of a document you wrote and circle all the verbs. Read them aloud as a list. You may realize without prompting that they're generic or repetitive. But even worse, your verb choices may be alienating readers. To objectively evaluate the strength of your verbs, ask yourself the following questions and compare with the following lists.

1. Are your verbs so precise that they aren't easily interchangeable with their neighbors?
2. Do they evoke one of the five senses? Can you picture, feel or hear them?
3. Do they have motion?
4. Are they …

… wimpy ?

§ Do
§ Have
§ Is, was, be, been
§ Serves to (another verb)

… vague?

§ Address
§ Affect
§ Impact
§ Enhance
§ Expand

… overused tech verbs? (fine to use, but other verbs may be more descriptive and precise)

§ Implement
§ Provide
§ Deliver
§ Deploy
§ Establish
§ Enable

Multi-syllable for no good reason?

Initiate (start), utilize (use), facilitate (help), educate (teach), designate (name)

Or are they active and precise?

Before ending this post with a list of super-hero verbs suitable for business writing, may I suggest that you begin harvesting your own favorites from an article or book that you recently enjoyed. My fave verb source is National Geographic magazine.

Secondly, I suggest you develop your ability to capture verbs in the moment of activity, rather than conjure them after you’ve returned to your desk. More on that in a future post.

And if I haven’t convinced you yet that college verbs (often derived from Latin) aren’t as good as plainer verbs (often derived from Anglo-Saxon), ask yourself whether this time-honored saying would still be with us today had it been stated less plainly.

Memorable and to the point: “A stitch in time saves nine.”
Not: “A sufficiently early suture eliminates the necessity for subsequent multiple interventions.”

Ring in the new year by becoming a verb warrior. Challenge yourself to choose verbs well.

Strong one- syllable verbs

SEND, MATCH, BUILD, RAISE, LOCK, FIND, BLUR, FRET, WIN, EARN, GAIN, SHOW, SOLVE, BLOCK, LOOK , STEM, POST, PACK, TALK, SAIL, FLIP, PUSH, CARE, TEACH, SACK, STRIP, BET, PLAY, END, HIDE, SWAY, STAND, LAG, SCRUB, CUT, FORM, BIND, LEAK, BELCH, SPEW, CRACK, HEAR, MEET, NEED, TURN, BUZZ, VIEW, SPEAK, FIT, STORE , MATCH , BREATHE, HOP, SQUELCH, PUT , FLY, RAISE, CHECK, GRADE , SCARE, RACE, FUME,WEIGH, FUEL, BUY, STOP, HOP, SPARK, FLOW, TRUST, WANE, LAND, ROLL, CHOKE, JOIN, CLEAN, SMOKE, CAKE, EDGE, SPEND, RATE, SAVE, STITCH, TRIM, SWIM, FEAR, DIG, ADD, SING, BOOK, BLEND, STIR, MIX, SHARE, DULL, SMOOTH, SLICE, RUN, HOLD, CLIMB …

Also OK

PROTECT, MEASURE, LEAPFROG, DOUBLE, TRIPLE, STUMBLE, COLLIDE, MANAGE, ABSORB, DICTATE, COLLECT, COMPLETE, SUFFER, QUESTION, ADVANCE, REPEAT, BOTHER, REVEAL, FORESEE, TOPPLE, WELCOME, BEFRIEND, COMPLETE, INDICT, PREFER, DECIDE, EVOLVE, LISTEN, REFLECT, CONSTRAIN, TIDY, PRACTICE, WONDER, WORRY, DONATE, EXTRACT, REPLACE, RESCUE, EXCEL, RELEASE, CENTER, PRE-EMPT, HURRY, COLLATE, REPEL, OFFER, INSPIRE, ATTRACT, STUDY, RETURN …

For Christmas, my interview with Maya Angelou: "All Human Beings Try to be Beautiful"

Key points:

- Teach tolerance
- Examine other cultures without fear
- Give every newborn a membership card to the UN

"Just let them know they’re born a member, and that they have all the privileges and responsibilities thereto appertaining."

- Maya Angelou

I wrote this article while working at The Associated Press in San Francisco. It moved on the national wire on Sept. 13, 1995. I tweaked the version below just a teeny bit.

At the time, Angelou was promoting a new book of poems called "PHENOMENAL WOMAN” and had just read “A Brave and Startling Truth” at the United Nation’s 50th anniversary celebration.

This story was the second of two. The first I wrote on deadline about what I thought I was supposed to write about. This second I wrote between assignments later about a question close to my heart:

"What advice can you offer a mixed-race child struggling with his identity?" I was asking about my nephew, then 12.

Guess which story got more pickup. Yep, this one.

Lesson learned: Questions close to your heart yield the best stories. Sometimes what you’re “supposed” to do is wrong.

SAN FRANCISCO (AP) – If Maya Angelou could give children a single luminous insight to help them do their growing, she would deliver it gift-wrapped in poetry and wait for the children to fold back the words to reveal tolerance.

A sampling from Japanese haiku to American inner-city rap could show that “everybody loves flowers or everybody has some fear of the dark,” Angelou said in an interview with The Associated Press.

“I would encourage the child to look at her/his world, at the people in their world, and to try to examine the cultures in their world without fear,” the poet said. “I would try to lead the children into seeing that human beings are more alike than we are unalike.”

Author of 12 best-selling books, Angelou has consummated her reputation for wisdom, particularly regarding a child's emerging sense of identity in a fractious world. Now 66 [now 81], she wrote “I Know Why a Caged Bird Sings” about her childhood self-revulsion as a black girl growing up in 1930s Arkansas. By contrast, her newest book, “PHENOMENAL WOMAN, celebrates self-possessed women in maturity.

Her life speaks well to the history of racial tension in America. She protested alongside Martin Luther King Jr. and Malcolm X, prospered on her own merits during the shift from Jim Crow laws to affirmative action, and journeyed to Africa and back only to discover that a person’s search for roots may have little to do with race after all.

“It’s the striving in itself that is delicious,” Angelou said, explaining her buoyancy amid adversity and pain.

It’s hard to decide if she thinks people survive and forge ahead because they are courageous, inspired or just downright bullheaded.

“We have to kill to eat, and eat to live – and yet we want it,” she said. “If we dare to love, we might be devastated – and yet we want it.”

“The contradiction is so intriguing that very few of us willingly give it up,” she said.

When Angelou speaks, one gets the sense that more of her attention goes into hearing her words than speaking them. She’s alert and listening as she produces the sounds. She enunciates slowly. Her facial expression subtly registers expectation, uncertainty and then something like satisfaction.

Her life story offers hope that even down-and-out youth can pick themselves up and realize dreams of their own making.

Angelou was 16, pregnant and unmarried when she watched ambassadors and diplomats file by on the sidewalk on their way into a San Francisco hotel 50 years ago to sign the United Nations charter. She remembers feeling too black, too female, too tall and too alone to think about following them inside.

But she was invited inside this summer for the anniversary celebration of the charter’s signing. Angelou read her poem “A Brave and Startling Truth” on the same stage with U.N. Secretary-General Boutros Boutros-Ghali.

A few days before the event, Angelou reflected on how far the “united nations” have come and how far they still have to go. She said children’s singing star Barney and Sesame Street’s Big Bird give her hope.

“I mean, look at today’s children loving a purple dinosaur who doesn’t look like anything raised in their homes. And a bird that is 10 feet tall and speaks with a very strange voice,” Angelou said.

"It’s rather natural to fear those things we don’t understand and those people who might look different from us,” she said. “On the other hand, it’s very easy for people to overcome.”

She suggested promoting world peace by giving every newborn a membership card to the United Nations.

“Just let them know they’re born a member, and that they have all the privileges and responsibilities thereto appertaining,” Angelou said.

Her solution includes showing children pictures of the human family’s varying forms of ornamentation: intricately scarred torsos in Central Africa, bamboo-pierced noses in the Amazon, tattooed biceps in San Francisco and diamond-studded earlobes in Paris.

“Let the child see that all human beings try to be beautiful,” Angelou said.

News releases: Fix your broken approval process

The worst thing about news releases is the approval process. Too many cooks, as the saying goes, right? After too many iterations, what comes out in the end often looks like something that's been through a trash compactor.

Does it have to be so painful and unproductive? Can we fix the broken process?

The solution, my friends, is discipline. Or baseball, if you prefer. By that I mean each player needs to play his assigned position in accordance with his strengths -- and no one else's. You can't have the shortstop sprinting to first base or the pitcher standing in center field.

Here are some guidelines to help each approver play to his strengths:

(1) Choose one person to write. Everyone else should be hands-off. Hands-off people should comment and give direction but not write, re-write or edit.

(2) Set parameters for each approver's contribution. Here are the roles I suggest for marketing managers, product managers and lawyers.

Marketing managers should ask, "Does it support the brand and long-term business objectives?" They should comment on messaging and emphasis.

Common overstep by marketing managers: Reciting messaging verbatim in the headline, subhead, lead or quotes. Instead, consider messaging an indirect takeaway.

Some explicit recitation of messaging may be OK, but only if blended with vocabulary and scenarios that are familiar and compelling to the audience. Try to balance messaging with empathy and authenticity, as seen through the audience's eyes. Otherwise, you lose credibility and induce the MEGO effect (My Eyes Glaze Over).

Product managers should ask, "Is it accurate?" They should comment on the technology, features and benefits.

Common overstep by marketing managers: Deleting or moving down social context. Instead, let the top half of the press release answer "why" and the bottom half answer "how." In other words, first establish relevance in the lives of the audience, then explain how it works.

Lawyers should ask, "Could we be sued or penalized?" They should comment on potentially negative consequences related to the SEC and other regulators, intellectual property (trademarks, patents, copyrights) and whether the company can deliver on promises.

Common overstep by lawyers: Changing punctuation and capitalization to meet style standards for legal contracts, and deleting social context for the announcement. Instead, let internal experts use AP style, the industry standard for news media and PR. Look for compromises that prevent legal problems while allowing social context.

The best way to avoid problems is to pay more attention to the pre-writing process. There should be substantive input before creating a first rough draft.

Don't even bother to write a "shell." It's a futile time-waster that creates needless frustration for all.

Instead, ask the approvers to do these tasks in advance:

Marketing managers should:
-prioritize target audiences and messaging
-weigh in on correct emphasis
-explicitly state what long-term business objectives are being served

Product managers should:
-demo the technology for the writer
-provide detail on specs, features and benefits
-weigh in on correct emphasis

A VP- or higher-level PR person on the agency side should "frontload" the writer. By that I mean provide context for the assignment. This should take less than 10 minutes and cover:

-news release's role in overall strategy
-detailed description of intended audiences and problems the product or service solves
-intended effect on audience (including actions to be invoked)
-competitive differentiators and indirect takeaways about the industry or audience, not just the product/service or company
-desired emphasis

Who writes? Usually a mid-level PR person, often an AE or SAE, who understands the task is to balance competing interests while appealing to external audiences. This person is more of a relationship broker than a writer because he won't be using his own voice or acting on his own priorities. The writer is really a mediator.

The writer/mediator does the following:
-receives content and other inputs
-looks for holes and asks questions
-consults with PR team members for frontloading, to find out what's been done in the past and for a mid-point check-in on content and structure (but not wordsmithing)

Ideally, the writer/mediator has access to:
-the sales department’s internal PowerPoints on customers and competitors to better understand the overall business and how to dovetail with parallel campaigns
-internal company and agency research, including Search Engine Optimization, aka SEO, and key initial findings that informed the PR plan in the first place

In many cases, the writer/mediator must develop the context that hooks the immediate announcement into the ongoing conversations of key influencers (while remaining within the parameters of branding and business objectives). A good way to do this is an audience analysis technique I call PDAs (Problems, Decisions and Actions). More on that in a future post.

Why add context? That's what makes it a "news" release. News is info that surprises people or helps them make decisions.

News = announcement + context

If you want to write solely about your product, that's OK, too, but -- technically speaking -- that's more of a backgrounder or fact sheet. Journalists do appreciate those and the SEC may require them, so have at it. You don't have to include context if you are talking primarily to beat reporters who already know your company well.

Throw out 95%

Now the writer has a big pile of inputs and must select the most compelling and relevant 5%, looking for intersections between disparate topics and resources.

Notice I said 5%. Writing is really a matter of deciding what to leave out. The writer should plan on deleting 95% or more of his source material.

Sometimes people ask me if it isn't more efficient to just collect only what matters in the first place. The answer is no because your final product will be shallow if you do. It will lack resonance. It won't have a shelf-life. And it will falter in the approval process.

Good writing comes from good content. First get the best ideas, then simplify and package them for easy absorption by strangers.

OK, getting back to process ...

The writer's unique contribution (separate from that of the others who gave early input) includes appropriate vocabulary and scenarios that will be familiar to audiences.

This last part -- audience vocabulary and scenarios -- is extraneous to what the marketing and product team may have had in mind. It also might feel superfluous and imprecise to lawyers.

However, it's the link to the audience, so please let the PR person proceed with this small contribution. When approving these few phrases, keep in mind your position and expertise. If you're the first baseman, stick to playing first base. Comment and compromise, but don't delete and re-write.

Ideal situation: Get PR, marketing, product and legal to agree in advance on appropriate vocabulary and scenarios. Key point: Look for language your audience really uses and delve into problems they actually talk about among themselves.

This is the same logic behind search engine optimization. But it has always been true, even before there were search engines. Know your audience and speak their language. Be useful to them, from their perspective.

Does the writer have to work alone? No, preferably not. Others on the PR team can help by providing:

-a speedy midpoint check-in to approve content and structure (not wordsmithing, which can still be rough and wrong at this stage) Time: 5 minutes
-a hands-off look by someone who didn’t draft the release and can provide outside eyes as to whether the information is clear to outsiders and mechanically sound (grammar, etc.), and to say what indirect takeaways they picked up on
-a hands-on look by a senior person who can finesse the small stuff while keeping in mind the big stuff (but please read my other blog posts for advice on this)
-proofreading
-submission to the person who will oversee the approval process, perhaps with a note explaining reasons for certain decisions and listing possible alternatives

Questions the writer should ask:
1. What are my client’s hot buttons, preferred vocabulary and customs?
2. What approved language from previous releases should be included to provide continuity and help beat reporters and analysts distinguish new info from background?
3. Have I added context that connects the client to the outside world without becoming distracting or irrelevant (and while remaining within parameters of brand and business objectives)?
4. Is the “why” at the top and the “how” at the bottom of the release?
5. Will the first paragraph appeal to relevant outsiders and make them lean in to listen?
6. Have I blended messaging with news value?
7. Have I met both the client’s and audience’s needs?
8. Are customer types specifically named in the release and generally in the fronts rather than middles or backs of sentences? (not users; instead educators, physicians, Web designers, network architects, business professionals, families …)
9. If I delete the quote, will I have to rewrite the release to fill in the missing content? (If not, then rewrite the quote. The speaker should add substance or remain silent.)
10. Have I added white space through effective use of subheads, bullets and short paragraphs? (White space is inviting.)
11. Do my subheads have verbs in them? (If not, consider rewriting. Drill down deeper. Be more specific.)
12. What is my gut saying that I’m ignoring? (Don’t ignore it. Honor your instincts.)

Discipline and self-restraint are make-or-break factors in fixing your broken approval process. Everyone needs to know their position and respect their teammates.

How to figure out your client's writing preferences

Of course, this has never happened to you, but it might have happened to someone you know:

A hard-to-please client is re-writing your team’s work in the wee hours. Team morale is sliding because new quality control measures haven't helped. Baffled junior staff wonder if they chose the wrong career, and senior staff schedule extra client meetings to get to the bottom of things, to no effect.

In case you ever land in this situation -- or better still, if you want to pre-empt it -- here's what you can do to figure out a challenging client's writing preferences.

(1) Find out who your client admires -- Ask for writing samples from third-party or internal sources that the client likes. These may be from a company the client admires or the work of a favorite internal writer. Most people can’t articulate their preferences, but they know what they like when they see it.

(2) Study a body of tracked changes -- Gather three to five samples of this person’s tracked changes and look for patterns.

(3) Analyze in three specific categories: (a) discretionary vocabulary, (b) sentence structure and (c) content decisions. (That’s for starters. When I dive into these, I tend to find more categories specific to the client.)

(a) Discretionary vocabulary –
Does your client prefer international, global or worldwide? They all mean the same thing, right? Does he like meet, need and look better than assemble, require and appear? Again, same meaning, different words.

But to him, one set sounds right and the other doesn't. He can't tell you why. For most of us, it's a natural inclination to want writing that we are editing to sound similar to the syntax and connotation that matches the voice we hear in our head when we read. Most of us don't realize that we have these personal biases.

Does your client choose customer retention over customer loyalty, dramatically over highly, and stimulate over fuel?

Make a list of words that potentially could have been interchangeable with other words of similar meaning. Analyze them.

Some people have biases for particular sounds – like the “uhl” sounds in loyal, highly and fuel. I can't tell you why, just that I've observed it.

Some insist on generic college words (Latinate) like establish, initiate, consolidate and examine, while others prefer plain words (Anglo-Saxon) like set up, start, join and find. I know of one individual who likes Latinate verbs but poetic Anglo-Saxon kicks at the ends of sentences: “….consolidate ….initiate… cash in on the car’s cachet.”

If you detect an underlying core image, it may be easier to guess which discretionary words will be the best fit. Your client won’t realize how deliberately you made your choice; he’ll just feel comfortable reading what you wrote and won’t know why.

One company’s preferred vocabulary reminds me of music from the 1968 sci-fi classic “2001: A Space Odyssey.” It’s transcendent and expansive – freed from the limitations of, future generations, legendary.

Another emphasizes comparison (double the capacity, aggressive development milestones, outperform, minimal) and perspective (in a roundup of five, range from, longstanding, latest).

One reminds me of a race car: speed, accelerate, perform, grab, win, spin, stop.

(b) Sentence structure –
I know of at least one individual who systematically deletes all introductory clauses without fail. Meanwhile, others insist on them: “At a time when people are traveling more than ever (comma)” or “Demonstrating the popularity of mobile devices (comma).”

One company likes a rhythm of fours instead of the usual rhythm of threes, as in “apples, oranges, bananas and pears” versus “apples, oranges and bananas.”

I know of a company that deletes adjectives, except for certain ones immediately in front of product names – and nowhere else. This company mostly writes with strong verbs highly recommended). Many people do just the opposite. They mostly write with jazzy nouns (and quiet verbs like is, has, do), and love adjectives everywhere.

I know of a veteran professional communicator with an engineer’s love for efficiency but none for colloquialisms. So it’s “enables remote PC access” not “so users can connect to their PC while away from the office.” Another company with similar products prefers just the opposite.

(c) Content choices –
Some companies like to make explicit statements about business strategy in product announcements. Others stick to specs and features. A few (the ones that win awards and get talked about) emphasize social context. (Everyone agrees on emphasizing benefits.)

Once you’ve got these kinds of lists in front of you, the problem is no longer mysterious. You can create a cheat sheet for everyone on the team to use.