‘Imagine the Headlines’

In media training seminars, our advice to would-be spokesmen or—at the very least—media interviewees is: “Imagine the headlines!”

From the standpoint of communication theory, this is “Agenda Setting.” Face an interview with your agenda, not the reporter’s agenda.

When we tell seminar participants this urgent advice, they sit up, conjure the headline they want, and their statements are shorter and crispier! The advice always achieves the effect of warning someone, “Hey watch what you will blurt out,” or “This is your chance to get that headline-making message across in the news story!”

In other books on writing speeches or making an opening statement in a hearing, experts advise with a question: “What is your ’elevator story?” It is actually asking you to say your piece in one minute, the precise time your elevator will go up or down 10 floors!

Here is a book that has made everything up close and personal: When the Headline Is You. Jeff Ansell, the author, spent some time as an investigative journalist, and then went into media training. He is straightforward about the aim of the book:

“When the Headline Is You is intended to help everyone who interacts with journalists or reporters, including executives, spokespeople,  PR representatives, and corporate communication professionals.”

This is your print version of a media training seminar—bringing you to the field when interviewees are badgered by reporters and into the news rooms where the editors create a reality of their own.

Don’t be surprised when your quotes are reported out of context, he says, or what you say is so edited beyond your recognition!

He asks the question, “What is news.” And he answers—which may be unfair to the journalism profession, but may be forgivable because he is simply making a point about the danger of being unprepared for an interview:

“News is whatever sell papers and ad space. Often, this means news is anything that shocks, titillates, or angers readers or viewers.”

Media savvy. Ansell says almost everyone is unprepared for a media interview. He cites even famous journalists who blundered all through the interview, once the roles are reversed.

That may be debatable, because some came and comes across as really good at speaking and interviews.

The late American president John F. Kennedy was known for his “media savvy,” converting every interview into positive—or raving—news in all media. Two other American Presidents have it. Ronald Reagan, with his broadcast quality voice, sounded very spontaneous, with just the right drama – as in “tear down this wall” pronouncement in Berlin. Bill Clinton has charmed his way with a boyish smile and well-timed sound bites.

Of course, we have President Benigno “Noynoy” Aquino, who projects ease and facility with both Filipino and English when interviewed—and who has therefore become his own great spokesman. Research professionals say that the President is “connecting” with the masses because of his facility with the native tongue.

Experts point out that this also because eloquence it is “in the genes” (vintage Ninoy Aquino!) He is at his best when he speaks impromptu. When he is in command of the facts—which must be often—his interviews make the right headlines.

Hero or villain in the story? It is obvious in this book that Ansell is discussing interactions with journalists in a crisis or problematic situation.

He says; “Unless you’ve just won a Nobel Prize or an Academy Award, rarely does a journalist call because it’s good news. I’ve personally witnessed the darting eyes, sweat-soaked shirt, and trembling voice of a newsmaker or a spokesperson caught off guard by an unexpected inquiry.”

So, like any good media training mentor, Ansell provides tips such as these:  Be friendly, create a buffer zone, ask the reporter questions, be careful of what you say, and avoid “off the record” remarks.

It has been rightly observed here in the Philippines and elsewhere that readers, viewers and listeners form impressions in their minds in simplistic terms: Is he hero or villain? Is he bida or kontrabida?

Another question that an interviewee will ask himself is: Do I come across as part of the solution or part of the problem?

Value compass. The author offers a framework by which the responses of the interviewee can be guided—the “Value Compass.” He calls it a “powerful tool to help you deal with public battles and situations that are unlikely to be won in the court of public opinion.”

The four-sided compass has Nature, Emotions, Well-Being, and Standards—really an acrostic for N.E.W.S.  “Nature” is when you are authentic, compassionate or honest, etc. “Emotions” is how you express a feeling—anger, optimism, relief, etc. “Well-being” is whether you are addressing the goals of comfort, education, health, etc. And “Standards” are the ways you come across—articulate, credible, ethical, reliable, etc.

The compass could be useful in planning for your “messaging” and your “media appearance.” There are other matrices used in media training. In our case, we use Compassion, Candor, Competence as a framework to build “trust.”

Twenty what-if situations. Near the closing pages of the book, the author devotes an entire chapter on “Twenty What-Ifs”—a chapter he introduces with a quip from Mark Twain, “I have been cautioned to talk but be careful not to say anything.”

Two examples of these what-ifs are: “What if you don’t want to answer the question, but you have to say something?” And then, “What if there really is nothing to say?”

Readers are well-advised to go through these what-if questions, consider his advice, and think through the present or fu  ture situations you are in. You will realize how real these situations are—and so it is good to be in a state of preparedness.

The book does not end with a conclusion—it just glides into a tool kit and other appendices. They could be useful too. In this relatively uncharted field of media training, we need more and more theories and frameworks by which to guide spokespersons in a field of landmines.

You either stumble, face down and bloody—or you soar like an eagle, gliding effortlessly up down or down, because you have mastered the art and science of media appearance and interface.

At least once in your life—you are the story and, who knows—still alive and well to narrate the experience—that, indeed, YOU are the headline!

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