How creating original video won us the pitch

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Preparing the proposal
On my first day at Bottle as Content Lead, I was invited into a pitch meeting where we were planning a proposal for a prospective client. By the end of the meeting we had come up with some really promising ideas that would go on to form our proposal. On top of the proposal, we wanted to do something to stand out from the other agencies and this was a good opportunity to put my film-making and design skills to the test.

By the end of my first day, I had created a 30 second video, shot on an iPhone,  with some post-production effects created in Adobe After Effects.

We’re not talking high production values here but it was a neat idea, well executed. We made a different video every day that week, keeping them up to date with how our proposal was coming together, culminating in the final video, titled “Nailed it”.

Our client told us that her colleagues were starting to really look forward to the little video that would be waiting in their inboxes each morning.

Our proposal clearly stood out, as we were shortlisted –  then went on to win the account. Cue popping champagne corks!

Why content matters
The videos alone didn’t win Bottle the job. Our strong ideas, good reputation and clear understanding of the brief is what shone through. The videos were a fun gimmick but a gimmick that worked – and as a non-London agency we’re always aware that we often go into competitive pitches as the underdog –  the videos allowed us to demonstrate our creativity, skill and enthusiasm.

We wanted to prove that they’d be an important client to us and we could deliver great ideas quickly and with panache. Every bit of correspondence is a vital chance to reveal personality and to add emotion to an often clinical process.

Ideas for your next pitch
The possibilities are endless when it comes to standing out: hire a brass band to walk down your client’s street, get a plane to write your agency’s name in the sky or train a parrot to recite your entire proposal – or, there are some more down-to-earth things  you can add to your next pitch.

Illustrate your ideas
Stop relying on pictures of cats you found on the internet to sum up your ideas in powerpoint, work with a designer or illustrator to create something simple but original that ties your idea into your potential client’s brand. Send your client small pieces of artwork ahead of the meeting to get them excited.

Send gifts
We’re not talking a case of Dom Perignon here, you can’t bribe your way into your client’s hearts (well you probably can but you’ll feel dirty and hemorrhage money very quickly). Think about something small and quirky that relates to their brief.

Make it personal
Whatever you decide to do, it’s important to relate it to your potential client’s brand. So if you’re pitching to a shoe company, recreate their logo with shoelaces or make a portrait of their CEO using footprints. Real creativity involves going the extra mile.

Agencies often rely on the final meeting to make a good impression but at Bottle we pride ourselves on thinking differently and catching attention… from chemistry meeting right up to the end decision.

Would we recommend it?
A lot of time and effort was put into the videos and it’s hard to justify that much investment as, no matter how good you are, you’re never going to win every pitch. However, I think it was a good lesson for us on the importance of demonstrating your creativity when pitching, not just telling people about it.

By Wes West, Content Lead at Bottle

Follow Wes on Twitter

 

Gorkana meets…Daily Telegraph Stylist and Shopping

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Sophie Warburton, stylist and shopping editor at the Daily Telegraph, on relaunching the fashion website, the mix of high end and high street content and why PRs need to place the reader at the heart of their pitch.

You’ve been stylist and shopping editor for the Daily Telegraph for nearly a yearsophie-warburton – tell us about your role and what you cover.

The role is incredibly diverse; covering both menswear and womenswear (and a bit of beauty) for online, the newspaper, Telegraph Magazine, Stella and supplements. It is a mixture of sourcing product to illustrate fashion features, compiling retail pages and shooting main fashion.

How closely do you work with the rest of the fashion team? How many people are on the team?

The team works very closely together and collaboration is much encouraged at The Telegraph, be it bouncing ideas off one another or a writer and stylist teaming up for a specific feature. We are a big fashion and beauty team working across many platforms; around 15 in total.

The Telegraph fashion website has just been relaunched with a new look – what has changed?

The new site is, hopefully, far more user friendly. It still contains large amounts of well thought out, well presented content, with a balance between breaking-news stories, longer length reads and product. The relaunch has been part of a successful online drive for The Telegraph which saw a new record of 104 million unique monthly visitors in May.

Have changes to online impacted the print fashion content?

We have always thought of the two platforms side-by-side. All our content has to work in both formats, and resonate with both readers. One of the great things about online is that we have very clear analytics about reader engagement, and what type of stories they are picking up on. We would be foolish to ignore this when it comes to the print content.

What does The Telegraph reader look for from style and shopping content?

They are not afraid of spending money, but want something that will last them more than just the season. Our readers are happy to shop both the high street and luxury stores, but are ultimately after chic and timeless buys. We are pushing for our male reader to be a little more adventurous!

How much feedback do you get from readers?

A huge amount from the print readers – they love to write in and share their opinion. We are hoping to encourage greater engagement across Twitter, Instagram and other social platforms. Reader feedback is invaluable.

How would you describe your relationship with PRs?

We try to get out and about to meet with as many PRs as possible, although time is at a premium. Email is the best way to pitch to the team, and we want to be as responsive as possible, giving feedback, be it good or bad (or occasionally ugly).

How best can PRs help with content?

By pitching well considered products and features that are relevant to our reader.

Are you only interested in exclusive content?

Not necessarily, but if it’s not exclusive we need to have a different type of access, different peg, and different imagery.

What should PRs keep in mind when pitching ideas?

The reader (and time constraints).

You also edit a bi-weekly men’s retail column in the paper. Anything PRs can do to help?

The column alternates between shopping pages and news stories. Any interesting new brand, store, or product launches are always much welcomed. It is great if they can share as much information on the initial email as possible, and always include imagery as it is pivotal for the page.

Finally, we understand you have a weakness for unusual jewellery. What is your most recent unusual buy?

A ring, which I love, by the brilliant new London-based jeweller Gee Woods. She’s one to watch.

Sophie was talking to Gorkana’s Richard O’Donnell

Diversity should be more than just a slogan

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Just a few weeks ago Washington DC was awash with rainbow colours and delighted celebrations as the Supreme Court legalised same-sex marriage nationwide. A sea-change for America. And a signal for the rest of us, too.

Faster than ever before, attitudes are changing and what constitutes “mainstream” is diluting. We are embracing difference –  seeing the value of not everyone being and doing and looking the same –  as never before.

This of course helps to enrich society, in so many ways.  And for marketing organisations, this provides a huge opportunity.  And a challenge: to seek to understand and engage groups of consumers that have previously gone unrecognised.

But this embracing of diversity and difference should be more than just a campaign for marketers and the creative industry at large.  It should be something tangible that consumers, clients and employees feel, at their core, is being delivered by brands, corporations and employers.

A key to creating true diversity and inclusion in the culture of a company stems from recruitment.  And here lies the challenge for organisations to shake up the foundations of their workplace philosophy to ensure that inclusivity is something that is indeed tangible for both employees and clients.

Diversity cannot simply be preached by agency leaders as a buzzword.  Instead, a fundamental change in recruitment and in business leadership needs to happen.

The practical steps that can be taken within recruitment and HR to create a more diverse workforce within an agency can be summed up in three key areas: investment, role models and tracking. Investment in creating employee networks, enrolling on programmes such as Stonewall Diversity Champions, promoting diverse talent and developing a clear strategy to drive diversity: all of these are important to attract and retain diverse staff, and to give a real quality of diversity branding to the company’s work.

Role models across all levels of an agency are needed to celebrate and promote diversity. And tracking and measurement of who is within your agency in order to set targets and benchmark levels of diversity are essential to demonstrate that the changes are happening.

The pace of changing attitudes in society about what constitutes mainstream, and the recognition of the value of diversity, have not yet been reflected in the lifeblood of many marketing organisations, or indeed in business at large.  There are some initiatives that are breaking new ground in changing this. Through being an authentic individual in the workplace, an employee can bring out the greater creativity in themselves.  The confidence that comes from being supported in who and what you are, and the ability to reach out to all parts of society that follows from that, are invaluable to the success of a creative business.

If you are committed to building a creative organisation, the first thing you need to do is to embrace ideas and ways of thinking that are different to your own.  This means celebrating difference.  Diversity and inclusion are just as important for the next phase of creativity within the industry, and to ensure effective marketing, as they are for good personnel relationships within a company.

It is not just creative organisations that are starting to recognise the benefits of diversity. For the past twenty years the banking and legal sectors have invested heavily to ensure they have a range of different people in their organisation. For example, Deutsche Bank, IBM, EY, Barclays, Reed Smith and Thomson Reuters have made strong progress to promote LGBT inclusion within their business, implementing the key areas of investment, role models and tracking to drive change.

By 2020 it is estimated that in London the traditional mainstream majority will be outnumbered by minority groups in aggregate.  Across the country, most people will be more at ease with the acceptance and even celebration of difference.  Agencies need to reflect more the people in the market in which they are operating, in order to understand and embrace this huge shift in society to the full.  Only then will the true commercial opportunity be realised.

Shifts in social attitudes; the considerable spending power of minority groups; the creative bonus that comes from recognising the variety within markets; and the importance of supporting and sustaining the confidence of all employees, no matter who they are, and drawing out the very best from them:  all of these are fundamental to the success of contemporary marketing.  And in order to do this, businesses must look to their recruitment, their policies, their culture, and their leadership.

Diversity must become more than just a slogan.

By Lord Chris Smith , Chairman of the ASA and Andrew Barratt, Head of Ogilvy Pride UK

 

John Lewis seeks agency

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John Lewis is on the hunt for a PR agency to develop and deliver a campaign for its new flagship shop in Leeds, which is due to open in late 2016.

John Lewis will be the anchor tenant of the Victoria Gate development, in Leeds, which will complement the existing Victoria Quarter shopping arcade. The shop will sit across four storeys and feature a three dimensional facade.

The successful pitch will cover pre-opening, launch and post-opening phases, and will engage local and national media, as well as community stakeholders.

The successful agency will need to demonstrate a thorough understanding of the city of Leeds, conveying a sense of pride at becoming part of the city, and championing John Lewis’ £32 million investment in the development.

The 18-month campaign will build consumer interest and brand awareness ahead of opening, and maintain this level of interest after the launch, with the ultimate aim of driving footfall and increasing consumer spend at the new branch.

Pitches will take place in August. Interested agencies should send their credentials to [email protected] by Friday 31 July.

The John Lewis Partnership operates 44 John Lewis shops across the UK, johnlewis.com, 339 Waitrose shops, waitrose.com and B2B contracts in the UK and abroad. The business has annual gross sales of more than £10 billion.

Inspiring lessons in communications from Cannes Lions

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Emily MorganAll the inspiring work at Cannes Lions got me thinking about excellence in communications generally. And how although we all really love a big award-winning creative idea we know that clients want and need brilliant basics too.

So here’s an imaginary set of communications awards we can aspire to win… in our own minds.

Best rebuttal: Gently correcting media for inaccurate reporting is a horrible but essential job. And it takes real skill to get the outcome you need without causing offence.

Best media list: Chucking your content far and wide and hoping it sticks is a thing of the past. Precise targeting using audience data and an in-depth understanding of what the media want can be a laborious process for sure. But it’s worth it for the results that lead to measurable outputs.

Best competitor tracking: Knowing what and how your competitors are communicating is essential when considering your own comms strategy. No one lives in a vacuum. Audiences are receiving a myriad of messages but we usually don’t have the budget to track every item of competitor coverage.

Best multi-tasker: Getting a story out can be like making a roast dinner with all the trimmings. In the last ten mins everything needs your attention at the same time. A cool head is essential simultaneously juggling the needs of media, bloggers, clients, teams etc.

Best data analysis: Not being good with figures in today’s age of big data could be your downfall. Creating a ten second soundbite from a ten page data set takes intelligence, an eye for detail as well as big picture thinking.

Best contacts: In an age where ‘content is king’ and quite rightly celebrated, the skill it takes to get someone to look at that content is often over-looked. To build, maintain and nurture relationships takes a huge amount of effort, and the ability to listen not just sell.

Best event bible: A ‘check-list’ is not sufficient for event brilliance. You need to go deep… and it’s a slog to get there. But an event is LIVE… there’s no scope for mistakes and you need to have thought through every possible scenario.

Best blogger research: Really taking your time to get to understand bloggers/vloggers/instagrammers etc certainly takes time. There’s a lot of content to review! Taking the task seriously means spot-on recommendations and ultimately spot-on content.

Given these are imaginary awards, I think I’ll end there and have an imaginary glass of bubbles now with my fellow imaginary judges.

By Emily Morgan, MD, Consumer (Life) at  Red Consultancy

Follow Emily on Twitter too!

 

Gorkana meets…Daily Mirror’s Clemmie Moodie

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Clemmie Moodie, associate features editor at the Daily Mirror, on being very upfront with PRs, having no set readers and an unfortunate incident involving the world’s ugliest dog.

clemmiemoodie

Clemmie Moodie

You’ve been at the Daily Mirror for seven years, and as well as being associate features editor, you’ve just taken over the paper’s entertainment section, The Ticket – how are you finding the new remit?

It’s very early days so we are all still finding our feet, I think. But now that I am across both film and music, and able to forward plan a bit more, the idea is to increase content in both The Ticket and the front of the paper.

Which colleagues at the Daily Mirror do you work with most closely?

I liaise directly with the features desk – Clare Fitzsimons, Nick Webster and Jess Boulton – and, in terms of The Ticket, speak to David Edwards for all things film, and Gavin Martin for music.

What sort of content does The Ticket cover?

Essentially The Ticket is a comprehensive guide for what’s coming up in the world of film and entertainment, and what we should all be listening to/playing/watching. As well as movie, album and single reviews, it also covers video games and gig reviews. It’s also a great place to discover up n’ coming bands or musicians.

How would we spot a reader?

There is no set reader, but basically anyone wanting to plan their weekend or looking for something to go and see the following week will be reading, likewise anyone wanting to update their Spotify or show-off their muso credentials! Old or young, pretty much every genre is covered.

What sort of feature content works best for the paper and online?

Obviously, exclusivity is key; we want to be running something first that the other papers don’t have. In terms of The Ticket, it is always great to be the first national newspaper to cover an artist who goes on to be massive – it also won’t go unnoticed by the PR (and artist themselves).

We can also run exclusive clips from games or films to run online. In terms of the main paper, I always want to interview people who genuinely interest me, who have done great things or who are massive names. I am far more interested in, say, Sir Ian McKellen than I am the cast of TOWIE.

How would you describe your relationship with PRs?

After 10 years – firstly in showbiz and now features – I’d like to think it was pretty good! I tend to be very upfront with PRs and will always give them a steer on what I’m writing, even down to headlines if they ask (nicely); although these conversations can be painful at the time, it’s better to forewarn PRs and work together than for them to have a nasty shock the following day and lose a relationship.

It’s also vitally important to be decent so that people want to work with you time and time again; I’m not interested in burning bridges.

How can PRs help with content?

Be proactive, read the paper(!) and never be afraid to suggest a feature or interview. I’d rather be bombarded with ideas, than have an empty inbox.

How important is exclusivity?

Very, but clearly the nature of The Ticket means a lot of our content will be generic – every paper will review the next big Disney movie, for example. Having said that, we will always want something that sets us apart from rival supplements.

You tweeted recently: “Just heard my esteemed colleague on the phone, ingeniously fobbing off a relentless PR: ‘Sorry, I’m on work experience.’ How do you deal with “relentless PRs”?

Oh God! I shouldn’t be allowed on social media… No, really – I’m not a huge fan of the phone, and generally prefer someone pitching to me over email. But if it is something that needs an instantaneous yes/no, then obviously call me as well.

Top tips for PRs when pitching?

Be upfront, keep it brief and, ideally, make it exclusive. In terms of interviews, the bigger, the better, but I am also a sucker for anything quirky or sporty, so very often will go for something other people might turn down. Anything that gets me exercising is also usually a winner!

You’ve said in the past that you always wanted to be a sports journalist – how did you end up in entertainment?

By default! I was told by my first ever editor post-university that my CV was “too sporty” and I should consider “evening it out” with a stint in features and entertainment. 11 years later…

Until September last year you were also one of the famed 3AM girls – do you miss it or is it a case of “once a 3AM girl, always a 3AM girl”?

The day Private Eye described me as “3AM ‘Girl’ Clemmie Moodie…” was the day I knew enough was enough. But yes, I can still drink like a Wasps prop – and am quite often still staggering around a party at 3am.

You’ve won several awards over the years, including Most Funny Columnist at the 2013 LAFTA Awards. To finish, we challenge you to make us laugh…no pressure!

Er, thanks for that. Unfortunately this isn’t a joke – during my recent “interview” with Tuna, the world’s ugliest dog (which we blurbed on the front page), Tuna the Chihuahua sported a massive erection throughout. The poor photographer had to crop the photos, and the video, and I am still traumatised. I’ve not heard the end of it in the office, either. Does this count?

Clemmie was talking to Gorkana’s Richard O’Donnell

Gorkana meets…Attitude

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Gorkana catches up with Attitude editor Matthew Todd on celebrating the gay men’s magazine’s 21st birthday and launching the inaugural Attitude Pride Awards.

Attitude turned 21 this month – how does it feel to come of age?

It’s strange. When Attitude started in 1994 the age of consent for gay men was 21, so this birthday holds some significance. So much has changed for gay people; it’s mind boggling. It’s amazing and kind of moving to see all the things we have done – from Neil Tennant coming out in Attitude, Gareth Thomas giving us his first post-coming out interview, David Beckham being the first straight footballer to be on the cover of a gay magazine, and the first time a serving PM had ever given an interview to the gay press. It’s great to look back.

You’ve also launched the inaugural Attitude Pride Awards, which take place tonight – tell us more.

We do a fantastic event every October – the Attitude Awards – which celebrate the cultural and political figures who have shaped our readers’ year. It’s my favourite night of the year with celebrities from Cher to Sir Ian McKellen to Jonathan Ross to Tom Daley to Naomi Campbell in attendance.

It’s great that the country sees people they know and love celebrating at a gay event, but we also wanted to celebrate the real heroes of the LGBT movement, who are the people on the ground surviving, battling, and helping other people. This event celebrates them. There won’t be a dry eye in the house. All their stories are in the issue that has just come out and they are on the cover, which is very different for us.

Who is the typical Attitude reader?

A homosexual with intelligence, good looks and amazing taste. Subscribe at www.attitude.co.uk. Seriously though, it’s all age ranges and different kinds of people. We have very young people reading us right up to people in their 90s. That is the gift and the curse of editing a gay magazine. The readers are all very different and only share one thing: sexuality. We actually have quite a few straight women readers too. The challenges of appealing to all of them keeps us on our toes, but it’s not easy.

How has the content changed over the years and what is the split of content in each issue?

The tone has changed. It was created to be a perhaps less political magazine than other gay publications at the time. But over those 21 years much of the other gay media has become less political, and I like to think under my editorship we’ve again thrown more serious issues into the mix. There isn’t a set split every month. It depends what we’re covering. We do serious content, for instance we were the only publication to get an interview with all of the major party leaders for the last election, but we also do lots of fun stuff.

Our recent Matthew Lewis cover, showing Neville Longbottom all grown up, went viral across the world after J K Rowling tweeted about it. We cover fun, fluffy stuff but also report on serious issues such as mental health.

Since the magazine launched, the gay community has seen some important legislative changes, from the equal age of consent to gay marriage. How important do you think the gay press has been when it comes to campaigning for these changes?

Attitude is a bit of a Trojan horse in that as it’s not an explicitly political magazine it enables us to engage readers in some of those issues which they might not be reading about elsewhere. We might have a shirtless man on the cover but inside, as we did with the last issue, you might find a big feature about climate change, for instance. I’m very aware of that when we put the magazine together.

Talk us through the main sections of the magazine.

We have the edit section – all the smaller bits about what is happening that month like music, film etc with smaller interviews. Then we have our style section edited by our great fashion director Joseph Kocharian. We have our cover feature followed by our features section. We have our active health and fitness section and then a section that focuses on real life people. People sometimes think that it’s all shirtless men, but we have a dating page, a page on long-term couples, a page on gay parenting, an interview with a gay man over 50 and a guy with a regular body talking about body image every month. We aim to cover a lot of bases.

Which parts of the magazine can PRs help most with?

Predominantly, it would be with reviews, the style section, travel, lifestyle, feature ideas and cover stars. We have a brilliant website that gets more than two million hits a month so we reach a lot of people with a lot of interests. Gay people are across all demographics so we cover just about everything.

The magazine’s covers have become renowned for attracting big celebrities, both gay and straight. What type of celebrity resonates most with readers?

As with all magazines, attractive people shift copies. But there are also specific cultural covers – like putting Beth Ditto on the cover as the first lesbian. We’ve had Stephen Fry too and Will Young guest edited an issue for us. Kylie has always launched issues with us. We had Madonna’s only UK gay press interview; Elton and David gave us their only interview for their civil partnership; David Beckham gave us his only gay press interview; we had Heath Ledger’s only UK gay press interview for Brokeback Mountain; and Tom Hardy’s only gay press interview in the world. One month it might be the Prime Minister, then Lady Gaga, then someone handsome from a soap opera. We try to mix it up as much as possible.

Can PRs help with cover model ideas?

Absolutely. We’re always receptive to helpful ideas.

Top tips for PRs when pitching?

Be short and sweet. Contact us by email and send kisses and cakes.

And finally, what will Attitude be doing to celebrate London Gay Pride this year?

We are throwing our 21st birthday and inaugural Attitude Pride Awards, at the Grosvenor House Hotel, tonight, where celebrities will give awards to 12 amazing every day heroes from the community. The cream of the gay (and gay friendly) world will be there, so I’m really excited. Alan Cumming is hosting directly after he hosted the Tony Awards so it’s going to be a fantastic party and a very emotional evening I expect.

Matthew was talking to Gorkana’s Richard O’Donnell

 

A bold question – but what is PR?

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Matt FosterIt is a question that is not easily defined. Even PR professionals admit that it is hard to define exactly what PR is. A lot of PRs understand what PRs do but how to sum it up in one definition is a difficult thing.

We met with Matt Foster, an Account Director at Waggener Edstrom to get this thoughts and to see if he could define the indefinable.

Matt began explaining what PR isn’t. It’s not: “all about who you know’, cheap advertising, Max Clifford, long boozy lunches with clients, or simply  writing press releases”.

PR is about third parties telling the world exactly how good you are. Matt explained explained this through analogy: “If you see an attractive person and want to ask them out – advertising suggests that you show off how interesting, attractive and fun you are, whereas PR suggests that you get your  friends to do the job for you. PR is all about third party advocacy.”

Matt also explained that the role of the PR has changed over the last 15 years. When he first started he lamented the days of being stuck in a room calling journalists in attempt to ‘sell in’. Whereas now it’s all about digital and social media, and the power is in the hands of the ordinary people.

For those in PR, content is king. Journalists want quality content and not irrelevant spiel. The utmost importance for good PR practice is to build solid working relationships with journalists. Matt stated that in the Healthcare sector for example, this doesn’t always include swanky champagne receptions, as the industry has to communicate ethically.

Matt continued to note that there is no typical week or day for a PR professional and that according to the PR business model, a consultant is remunerated according to billable/non-billable time i.e. the time it takes to do campaign planning and execution, coming up with creative, researching etc, drafting, videoing and pitching.

Matt emphasised that PR is all about sustaining relationships; the team have their own Media & Influencer Hub who build a database of contactable journalists and influencers. When approaching a journalist, the idea is not to ‘sell-in’, but rather promote an opportunity for the journalist to write the best article they can with your help. That is what he explains to juniors in the team and that fundamentally, practice makes perfect.

When a PR professional is properly prepared and has their pitch points ready, this is when journalists will buy in. He notes that you should treat the journalist as an extension of the team. They are simply the front end of the news creation whereas the PR professional is the back end.

In response to what he’d say to those interested in working in PR, Matt said that it’s an exciting time to join due to the new digital media landscape. The shift in how PRs now work means that there is more conversation and what is important nowadays is joining the conversations and creating engagement.

Furthermore he admitted that although PR is a very difficult industry to start off with at the beginning of your career due to relatively low pay and a heavy workload – it is worth sticking to as the more senior you become the better the pay becomes.

In summary, the life of a PR professional is varied and it seems that there are no two sectors the same; however it does require a lot of work. With the final message being that the key to successful PR is building great relationships and engaging in conversation.

Written by Matt Peake.

Interview with Matt Foster from Waggener Edstrom

 

Who’s watching? What is the role of online video today?

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The role of online video,  when it comes to news stories – is one which has shifted significantly over the last 5+ years. When I started out as a broadcast journalist more than 10 years ago, the so-called ‘integrated newsroom’ was still in its infancy – with the odd story being ‘put online’ (usually as an aside, or afterthought) to support what we may be broadcasting live on radio or TV.

Today, according to the recently released Reuters Institute Digital News Report, consumption of video news has increased in nearly all countries questioned.

The likes of Buzzfeed of course, rely on a sociable news model, taking their news beyond the ‘online article’ model and instead offering anything from live blogs, infographics and quizzes to promote the sharing of content.

However traditional publishers (Trinity Mirror and New York Times) have grown audiences and advertising revenue through creating their own video output.

Broadcasters are also driving audiences onto their digital platforms, Al Jazeera English (an Edelman client) has seen a 33% rise in the number of people viewing its YouTube content in the last 12 months (up to nearly 16m from about 10.5m) and a massive jump in how many minutes people are watching for (up 47% from around 44m minutes to just over 82m). It says that their online editorial team is dedicated to focusing on original reporting, leveraging their sources and generating stories that offer a depth that won’t be found elsewhere.

The Reuters research shows that whilst live streams are very popular on big breaking-news stories and scheduled events, they do tend to be watched by those who are most interested in news. It is the section of the public who are less news hungry who will make snap judgements about watching a piece of online content. More than half (52%) of those questioned in the UK say that in the last month they’d watched an online video that they felt added ‘drama’ to a text story (an eyewitness account or similar), but a similar amount (48%) say they watched a video which provided context or analysis.

This is where I think PRs who work closely with clients and stay across news stories can add value. We often have access to people who are able to offer specific and detailed analysis on a story that can be easily accessed by audiences. I’m not advocating a brand video – and I think there is a fine balance – as I believe that was potentially the mistake made by some companies (and titles) when the idea of that integrated newsroom was being developed. However, content that gives a viewer something different – a new perspective on a business decision; what a particular company’s actions mean for the consumer; or a future prediction – can be valuable and most importantly, compelling.

Two other key factors came out of the study, which are also well worth considering when it comes to brands developing online video content. The first is how social networks are being used to distribute online news – globally 41% of people say they use Facebook to find, read, watch, share or comment on news each week. It means that we, as viewers, almost have an inbuilt filter in what we’re seeing on our news feeds – birds of a feather and all that. Brands using Facebook to distribute need to understand that they may resonate with existing supporters, but their content may only be viewed by a similar demographic.

The second is that whilst the UK media environment has always been a fast-paced and competitive one, 42% now say that they use their phone to access news every week – the competition for peoples’ attention has got even tougher. News outlet apps and their content are not only under pressure to engage quickly – with users viewing on their commute or similar – but are also now competing with Angry Birds and Tinder.

As we continue to be bombarded with information, the position of the online news video is integral to outlets growing their audiences. Our time remains finite and being given updates and opinion we can easily digest and share will be paramount.

Edelman is the exclusive communications partner for the annual Reuters Institute Digital News Report.

Follow Shauna on Twitter for more.

By Shauna McCarthy, Associate Director of Edelman

Pitch your way to better coverage

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Gorkana rounds up key learnings from our journalist interviews and briefings over the last six months to help you get the coverage of your dreams

Know the essentials

Being familiar with what we publish online and in print is essential, says The Telegraph’s music editor, Bernadette McNulty.

The Times’ fashion director, Anna Murphy, says PRs need to know and read her pages, so they understand her journalistic sensibilities and audience.

Lucy Rock, news editor at The Observer, believes it is a huge help to have an understanding of both The Observer and Sunday newspapers in general. There are some misconceptions about The Observer and the types of stories and issues the paper covers.

PRs who understand how The Independent on Sunday’s New Review and its regular features work, and can suggest where their idea could fit best, are invaluable, says editor Mike Higgins.

If PRs appreciate that Ars Technica UK is not just another tech site, then there’s every chance we’ll have a long, happy relationship, says senior editor Sebastian Anthony.

PRs should make sure they know why their story should be covered, says Gareth Beavis, phone and tablet editor for Future Technology brands TechRadar and T3. Look at what he covers and then come up with an angle.

It’s essential for PRs to know the site well and be aware of what it doesn’t cover before pitching, says TrustedReviews editor Evan Kypreos.

Think about the tangible benefit your story offers to the publication’s readers, says Nursing Times editor Jenni Middleton. Simply tell the team what you did and why you did it.

Get to the point

Pete Picton, editorial director for Mirror.co.uk, says the team wants the main point of the story in the subject line. They often don’t have time to read the email, so the subject line needs to engage them. If they do open an email, their attention needs to be grabbed within the first three sentences.

Sky News reporter Richard Suchet says it is harder and harder for PRs to make a story stand out as he is bombarded with emails. Sometimes less can be more when it comes to grabbing his attention.

“Unless you have a big exclusive story for me, I am afraid I probably don’t have ages and ages to talk,” says the Daily Mirror’s showbiz editor, Mark Jefferies. PRs need to be brief on the phone. If a pitch requires lots of detail, send it in an email, don’t explain it over the phone.

PRs need to get straight to the point when it comes to emails, and the subject line is crucial, says Independent on Sunday editor Lisa Markwell. The team is constantly inundated with emails trying to grab their attention, so a pitch email needs to stand out.

It’s always helpful when PRs go beyond “stage one” of pitching with a generic press release, and provide a tailored offer for Time Out, says editor-in-chief Caroline McGinn.

Nursing Times news editor Steve Ford knows that some PRs have no choice but to call him, but he’s looking for a strong angle and a PR that is armed with information.

Be ready at a moment’s notice

PRs need to be ready to offer what the team needs at a moment’s notice, says Sky News senior producer Ruth Gold. It’s all about making life easy. A PR may be representing a company CEO who is only available at a certain time, but her advice is to be more flexible or risk losing coverage.

Put yourself in the shoes of the person you’re pitching to, says Mirror.co.uk’s Pete Picton. Digital moves so quickly and often someone on the team may only have 10 minutes to work on a story.

Yahoo! UK news editor Simon Garner likes the way PRs are starting to think about how newsrooms work. If a PR can stay on what’s trending and use what they’re pitching to identify what the leading stories are that particular week, they’re onto a winner.

Honesty is key

The Pool’s co-founder, Sam Baker, wants total honesty from PRs. Selling everything as if it’s the best can be a turnoff. If you have a good relationship, tell her that while what you’re pitching may not be the greatest thing ever, asking for a favour can often prove fruitful. It doesn’t always work, but it does build trust.

Everyone wants exclusive content, but if a PR approaches The New Review’s Mike Higgins honestly about where else a story is going and how it’s being covered (if they know), he’s happy to have a conversation about what angle the magazine could take.

Ars Technica UK’s Sebastian Anthony wants all the juicy details up front. Tell him straight up why you think this development should be part of the greater technological story.

Time Out’s Caroline McGinn says the magazine is honourable and will very rarely pull something if they have committed to it. She expects the same treatment from PRs. If a PR pitches an idea that they subsequently can’t deliver, it will result in a big black mark against their name and who they work for.

Cut the puff

“Obviously, we’re not interested in running pure puff pieces for brands or particular products”, says The Observer’s Lucy Rock. A story should be exclusive and relevant to the paper’s readers.

PRs shouldn’t expect the Daily Mirror’s social team to simply regurgitate content, says head of social content Alex Hudson. “If it’s puff or just wishy washy then there really isn’t any point in sending it to us.”

PRs need to remember that Time Out is independent, says Caroline McGinn. So if the team is pitched something that has a corporate spin, it’s not going to work. If a PR is pitching interview time with an artist who is linked to a corporate project, the team is unlikely to take it.

The Daily Mirror’s Mark Jefferies knows that PRs need to balance the needs of clients with the needs of journalists. If the content, story or quotes are good, their requests can normally be accommodated in print or online. The worst thing is poor press releases or quotes which are just blatant attempts at advertorial.

Online means opportunity

PRs often seem split into print and online, says The Telegraph’s Bernadette McNulty. “There is a focus on when things are running in print and less interest in what original material we can run online or how we can present the story differently.

“Increasingly, online audiences at The Telegraph have started thinking about digital formats differently and not letting print dictate commissioning. It’s good for everyone as there are more readers for any review or interview, so it would be great if PRs came with that broader view.”

Yahoo! UK’s mix of content is quite vast and often a story will be purely picture-based, says Julia White. She is constantly looking for video opportunities and for key news line and tries to lead socially when it comes to interview techniques.

Channel Mum sees its role as facilitating a big collaboration between brands, YouTube creators and audiences, says founder Siobhan Freegard. “We’re really keen to hear from PRs who are looking to deliver messaging to mums in a really friendly, authentic way. There really is a broad range of opportunities for PRs.”

If the story is good enough for the Daily Mirror’s Mark Jefferies, it doesn’t matter when you call him, he’ll get it in the paper. And if it is the middle of the night he would break it online. “These days showbiz never sleeps.”

Manners cost nothing

PRs sometimes need to take no for an answer, says The Times’ Anna Murphy. “If I say it won’t work for me, it’s because it won’t. PRs who try to persuade you they are right and you are wrong aren’t doing themselves any favours long-term. As a former magazine editor, if there is one thing I am good at it is making the correct decision for my reader.”

Future Technology’s Gareth Beavis appreciates that PRs are busy, but don’t call up and read out the press release or ask if he has received it. Try looking at what he covers and then come up with a suitable angle instead.

Time Out deputy editor Jonny Ensall says his strongest relationships come from PRs who aren’t pushy, but rather are immediately available and able to make things happen quickly – especially when he has a slot that suddenly needs to be filled. PRs who have a willingness to help and get information over quickly are invaluable.

PRs should ask, not tell, according to Nursing Times’ Jenni Middleton. She is often told in pitches that her readers will love a story – if there’s anyone who’s going to know what Nursing Times readers like and don’t like, it’s her. Equally, calling 30 seconds after sending a release is annoying – how can the team have read it yet?

Journalists hate to be badgered about something, especially when it’s not even a big story, says the Daily Mirror’s Mark Jefferies. The best thing a PR can do is make a release and quote as user friendly as possible.

Build your little black book…

The Pool’s co-founder, Lauren Laverne, says it’s about having a good experience when a PR first makes contact; and coming to her with the right brand or person that works.

The New Review’s Mike Higgins likes to meet with PRs and finds the best stories come out of face-to-face conversations. Trying to find out what drives a journalist is a big help when pitching, but if they’re trying to sell in something that bores him, it goes straight in the bin.

“Invite us out for a coffee as it’s so easy to forget an email from a person we’ve never met with a “Dear [algorithm]” top”, says the Daily Mirror’s Alex Hudson. Meet us before you pitch anything specific so we can give you a better idea of the things we’re after.

Time Out’s Caroline McGinn believes relationships work best when they are brought together by a shared passion for experiencing the best of London and showcasing the new things the capital has to offer. PRs and journalists often get into their careers for the same motivations – both are inspired by curiosity.

Sky News’ Richard Suchet has built good relationships with PRs. There are some PRs who send him emails that he will always read because he knows they are worth reading – even if he won’t be able to use the story at that time. If he knows he’s receiving something from a trusted PR, who doesn’t email that often, he is more likely to sit up and take notice.

Yahoo! UK’s Julia White is often won over by pretty images and lots of stats. Sending products to the team, rather than just a press release about it, can also draw attention. Everyone on the team is also a big fan of cake!

One of Simon Garner’s (Yahoo! UK) favourite pieces of content was a partnership with the Sony World Photography Awards after Sony approached the team and gave them exclusive access to its entire library of pictures. The team ended up running several galleries over consecutive weeks.

….because journalists can’t do without PRs

The Times’ Anna Murphy says: “There is no one better than a great PR. When I come across a PR who understands my reader and my editorial product, and can help me as much as I can help them, I am delighted.

“There are a few people I know I can call who will get me thinking, and give me ideas. And, it goes without saying, they are the people I will always be happy to talk to when they call me.”

“PRs are our life and soul,” says TrustedReviews’ gaming editor, Samantha Loveridge. “We don’t exist without them and vice versa I guess.”

Christian Guiltenane, editor of aTEEN, Attitude’s new digital magazine for young gay men, says: “For a magazine that is so new, PRs I have approached have been very helpful indeed.”

TheChicGeek’s creative director, Marcus Jaye, describes his relationship with PRs as: “ great”. “I think everybody knows me!”

“I have good relationships with a number of PRs and press officers working in a variety of fields”, says The Observer’s Lucy Rock. “I welcome approaches from any organisations with story ideas/interview opportunities which would appeal to our readership.”

The Yahoo! UK team all have great relationships with PRs and rely on them for help with content.

“I’d never realised how hard PRs work and how difficult it can be, especially in the entry positions,” says Future Publishing’s Gareth Beavis. “We work really hard to maintain friendships with PRs and try to understand what their clients want.