Tag Archives: Press Release

PR Post Mortem: The Best of EdFringe – Part One

4 Aug
EdFringe Flyerer 2010 Image By  used under a Creative Commons Licence

EdFringe Flyerer 2010 By <p&p> Image Used Under a Creative Commons License

Since the Edinburgh Festival Fringe (or as some people insist on calling it, ‘Edinburgh’, like nothing else happens in the city for the rest of the year, like it’s a more modern version of Brigadoon, without Vincent Minnelli’s somewhat skewed vision of Scotland) has come around again, it’s time to analyse the best, the worst and the unforgettable in Edinburgh fringe PRs.

Ladies and gentlemen, welcome to the very first PR Post Mortem dedicated to the wonders of the EdFringe PR.

I would Like You to Interview My Penis

Hello [Hi!]

Talented character comedian my penis is available for interview if you are interested.  [Chronically underpaid journalist is unsure if this is a character? Or…an actual, like, wang?]

After years on the sketch circuit my penis [ACTUAL WANG ALERT! ACTUAL WANG ALERT!] is hoping to finally get his big break in my Edinburgh show Wrong Way and is looking for press opportunities. [So, this IS a pitch for an interview with a real penis]

I am e-mailing you on behalf of my penis [Oh dear] as he is very shy [Oh Gawd], so if you would like to speak with my penis [Wang!] it would have to be via e-mail. [I will not be ordered around by a penis]

Me and my penis look forward to hearing from you. [Can penises hear? What’s the plural or penis? Penai? Peen?]

HD

I Can Haz Attachments?

Hi Amy, [‘Sup?]

I hope you are well. [You’ve caught me at that awkward moment between TV series. Game of Thrones is finished, but Breaking Bad hasn’t started yet. What’s a girl to do?]

I just wanted to ensure that you had our press releases for this year’s shows. [EdFringe shows? EIF shows?]

Please don’t hesitate to let me know if you need anything further at all. [That sounds fair enough, I’ll go read your sign off]

px [A kiss? On the first email?]

[Oh, there’s a couple of attachments.]

[That’s more than a couple of attachments.]

[There’s more than 10 attachments]

[There are 22 separate attachments.]

[Why would you do that? What have I done to deserve this?]

Short and Sweet

Hello, [Howdy]

I have attached a ‘media release’, I hope you find it interesting. [Um, thank you?]

Thank you [You’re welcome, but who are you?]

Geoff W [Ah, Geoff, that’s great. What can I help…is that it?]

 

I Know You, I Know I Know You

Dear Amy, [Hello there!]

Our paths have crossed at the Fringe before [Nope] (I think we may first have been introduced by REDACTED?) [We were not introduced by REDACTED because I have never actually met REDACTED, so definitely nope]. Are you covering the festival this year? [I live here, so yes.]

I am returning this year with three really strong shows [Super]– all from acclaimed companies (two of which are returning to Edinburgh following hugely well received recent shows) and with interesting concepts. I’d love to know if you would be interested in previewing these in some way. [Ok]

[This section redacted to protect the shows, which do sound really strong, I agree.]

Do let me know if there is something we can do together, if you’d like to book in to review, or if you need any more information. [I’ve got all I need, thanks.]

Best wishes,
PR Person

[After I got this email, I found out that this PR person had sent the exact same email to an editor I know. However, this editor was not at the Fringe last year, and had also never met REDACTED. Sneaky.]

Perhaps the Politest PR Yet

Hi Amy, [Hi!]

Hope I’m not breaking protocol by sending this through [Protocol? What’s that?] but we would like to invite you to see and review my company’s show at this years Fringe. [That’s very polite, thank you]

Thank you in advance for your time: [Girly squeal!] please see below for our press release for our devised production [REDACTED] We are performing every day and we would be delighted if you could make it. [Since you have been so polite, I would be delighted if you would have me]

Please do get in touch with any info, image or interview requests. We love to chat, It would be great to hear from you. [Another girly squeal, you know why? Because it’s NICE TO BE NICE]

All the best,

Nice PR Person

Once, Twice, Three Times a PR

Dear Amy [Hello!]

It’s a pleasure [Give yourself over to absolute, pleasure] to send you the press release for my 2013 Edinburgh Fringe show, [REDACTED].

[Short and sweet, but that’s alright]

Best wishes

Person Doing Their Own PR

Dear Amy [Hello again]

I have pleasure [How much pleasure are you getting from this?] in sending you the press release for my Edinburgh Fringe 2013 solo show, [REDACTED].

[This was the same PR just with a different show name. I feel dirty.]

Best wishes

Person Doing Their Own PR

Dear Amy [Oh, it’s you]

I’m delighted [You’re delighted this time are you? Great!] to send you the press release about my new album launch and Edinburgh Fringe crowd funding project. [Well, at least it’s not about another show]

Best wishes

Person Doing Their Own PR

What They Did Right

  • Most PRs began with my name
  • One of the PRs was very, very polite
  • The Penis PR is just unforgettable

What They Did Wrong

  • Not giving me enough information in the email – this is the one chance you get to personalise your introduction and give the reviewer and idea of who you are, what you are offering, and why the journalist should care
  • Sending the exact same PR twice, followed by another, very similar, PR. It’s pretty lazy, and not very pleasurable either.
  • Why 22 attachments? WHY?

Post Mortem Recommendations

  • Be nice
  • Have an unusual/memorable angle to your pitch
  • Don’t be shy
  • Take the time to write a different email for each show or event
  • DON’T ADD 22 SEPARATE ATTACHMENTS TO YOUR EMAIL

Why Your EdFringe PR Campaign Sucks

3 Jun
Fringe Posters image by Daveybot, shared under a Creative Commons Licence

Fringe Posters image by Daveybot, shared under a Creative Commons Licence

If you’re a performer or part of a theatre company that’s handling your own PR campaign at the Edinburgh Fringe this year, perhaps for the first time, there are three things that form the basis of any Edinburgh Festival Fringe PR campaign; discipline, research and hard work. I know, that’s pretty obvious, but while the Edinburgh Fringe is presented as a fun and unmissable festival (it is) it’s also a bit like a sewer; what you get out of it depends on what you put into it.

But I’m Only at the Fringe for Three Days

Three days? That’s brilliant! Shorter runs at the Fringe are becoming quite popular for various reasons, and the length of your run doesn’t limit your PR campaign. Get in there early, contact journalists; send them an exclusive invite to your first show and promote the Hell out of it.

But I Want to Party Hard

While it may look like the Fringe is one big party, the reality is that the festival is hard work for everyone involved in the Fringe. For performers handling their own PR, the Fringe presents an almost unique experience in terms of promotion.

The Edinburgh Festival Fringe is one of the biggest, if not the biggest arts festival in the world; this year a record 2,871 shows will be performed by 24,107 artists in 273 venues across Edinburgh. The number of shows at this year’s Fringe has increased by 6.5% compared to last year. So, if you want to party, do it in moderation, you have a job to do.

But The Fringe is Too Big

As the Fringe grows, so do the opportunities for marketing a show and producing a strong and unforgettable Fringe PR campaign. A bigger Fringe means more journalists, more publications, more blogs, more audience members, more venues. It means more work to publicise a show successfully.

It means that your Fringe PR campaign must be as important as all other Fringe preparation. Think about all the work you have put into your show so far: the planning, the auditions, the creating of sets, costumes, the booking of a venue, the organisation of Fringe accommodation. Why should PR take a back seat?

So, I Just Shout Loud Enough and I’ll Get Reviewed?

It’s often said that the person who shouts the loudest has the most influential voice in the room, but for the Fringe, and for wider PR, I would argue that having the right voice, rather than the loudest voice is more desirable to journalists.

There is so much ‘noise’ generated by PRs and performers during the Fringe; journalists will be getting promotional messages fired at them daily, so, you have to find a way to make your voice more noticeable and most of all, more inviting to them.

How Do I Make My Voice Heard?

You need to target the right journalists, the right publications, and promote what it is about your show, your piece that will appeal to them. If your show is a political piece, are there journalists who specialise in reviewing and previewing political theatre? Is there a specific publication that tailors to your target audience?

Make a list of your Unique Selling Points (USPs) such as, if this is your first year at the Fringe,  are you performing the world première of your show? What is it that you can offer journalists the competition can’t offer them? Why should they choose you over the thousands of other artists at the festival? Why do you want a journalist to review your show? Once you are clear about this, then you will find it easier to put together your PR campaign.

How Should I Submit My PR?

Once the PR is written and the right journalists have been identified, how will you submit your PR? Will you post it if you have the publication’s address? It’s not as immediate as email, but some journalists prefer it. If you’re unsure, contact the journalist or publication and ask.

If you email it, do you attach it as a separate document, or copy and paste it into the body of the email? Personally, I prefer the copy and paste method, which means I’m not constantly downloading documents. Remember that it needs to be easy for a journalist to find your PR during the busy festival period, so use the show name, venue and company name in the subject line of your email.

Many journalists, especially me and Thom Didbin from Annuals of Edinburgh Stage will thank you for doing this.

How will you begin your communication? A “Hello” is always nice. Seriously, say “Hi”, try to engage with the journalist – good PR is about building lasting relationships, if you get along with a journalist one year, they will remember you the next and might be more likely to see your shows in the future.

What About Social Media?

Social media now forms a pretty big part of any Fringe campaign, and so contacting journalists through this medium, in my opinion, is fine, you just to get your approach right. Start talking to the journalist before the start of the Fringe, build up a rapport; don’t be all promotional all the time.

Simply tweeting a journalist you’ve never spoken to before and asking them to “Please RT” a promotional tweet about your show is lazy – talk to them, don’t just use them as a mouthpiece for your work.

Do Not Do Any Of These Things in Your PR Campaign

Below is a list of suggestions for things not to do when you’re handling your own PR campaign during the Fringe, outside of the Fringe and in general. Personalising your email goes a long, long way.

  1. Email a press release with the subject line ‘Press Release’
  2. Send out a mass email beginning with: ‘Dear EdFringe Reviewer/Promoter/Press Officer/VIP/Broadcaster/Supporter
  3. Send out an email that begins with “Dear Chesney” when the editor’s name is Bella
  4. Constantly email and phone the office of a magazine/newspaper demanding that they review your show
  5. Tweet the same invite verbatim to at least 25 reviewers or publications in a row
  6. Email the same PR multiple times
  7. Email an ‘extended’ PR which gives no new information
  8. Email a PR that gives the wrong start time/the wrong date/the wrong director/the wrong actor/the wrong venue
  9. Write a PR that starts with your star ratings and reviews
  10. Write a PR that uses lots and lots of different colours, fonts, sizes and is not clearly formatted
  11. Write a PR that doesn’t begin with a greeting, but ends with an email signature
  12. Not using bcc in marketing emails
  13. Get the publication name wrong
  14. Issue a demand, not an invitation
  15. Not say thank you to a reviewer or publication for a good review
  16. Send more than one press release per email
  17. Threaten to sue over a bad review – this will not work out well for anybody

Whether this is your first Fringe or your tenth, PR is an important part of your preparation and so, it’s important to keep on top of it, and don’t leave it to chance.

Have you got any advice for companies doing their own EdFringe PR? Get in touch and let me know.

Seven Tips for the Arts PR

28 Oct

Ah, PR types, press releases, media officers, press offices, I love you all dearly, and I need you in my professional life. But there are certain things I simply cannot abide in arts PR, and they must end, frankly, as they annoy me, and they give PRs a bad name – and there are a lot of good PRs out there that I enjoy very good working relationships with – and I don’t want to lump them into the same category as the bad ones.

So, to be blunt, if you work in arts PR, or if you want to work in the industry, here are some tips from one cynical, hardened arts journalist to you. Pay attention, and we’ll get on just fine.

1. Email the Right Publication

Granted, this may sound like obvious advice, but in reality, emailing the editor of Auto Trader magazine about a new performance of  Othello isn’t going to get you coverage. Granted, that is an extreme example, but it’s important to remember that creating a suitable and relevant list of publications to contact is a good idea. This will involve some work and research on your part, but it will be worth it, so make sure you know what publication to contact for arts coverage, and whether they are relevant to you. For example, if you are trying to drum up media coverage for a final year show at a local arts college, email publications that deal with visual art coverage, never assume that the term ‘arts’ – which usually stands for film, TV, theatre and radio – includes visual art as well. Research, and find out who is best to contact or you will waste your time.

2. Email the Right Person

While time and effort will go into identifying suitable publications to contact, the same amount of time must go into contacting the relevant section editor. While some PRs think it best to contact the Editor-in-Chief, this can be pointless, as the Editor-in-Chief will be busy sorting out the whole paper/magazine/website and not have the time to pass on your email to the relevant section editor. Find out who you need to contact directly, so if you’re representing  a band, find out the name, email address and/or phone number of the music editor. If you’re looking for theatre coverage, contact the theatre editor. If you can’t find an email address for these people, find out if there is an arts editor you can contact, because they will be able to point you in the right direction.

3. Get the Editor’s Name Right

Again, this sounds simple, but you’d be amazed how easy it can be to use the wrong name in email correspondence. During the Fringe I was called many names by PRs and theatre companies in email correspondence. I was referred to as Andrew on more than one occasion, I was usually called John by most people, which was logical, as John Roberts is the founder and Editor-in-Chief of TPR. A very nice sounding man started his email with ‘Hello Ben’, by which I assume he meant Ben Judge, the editor of Fest magazine, although I have never found out if Ben in turn opened an email that enthusiastically cried: ‘Dear Amy’. Another person began their email with ‘Dear Anne’, while some stuck to more formal titles, with Ms Taylor, Miss Taylor and even Mrs Taylor all getting a look in. For future reference, please call me Amy, or Ms Taylor – Mrs Taylor is my mother.

The trick is to make it personal, there’s nothing more disheartening than opening an email that begins with ‘Dear Edinburgh Fringe Reviewer’, ‘Dear Journalist’, ‘Dear Editor’ or my favourite, ‘Dear Writer.’ Find out the editor’s name, spell it right and use it in the email.

4. Remember a PR is an Invitation, Not a Demand

In all email communications, it’s nice to be nice. Introduce yourself to the journalist if you’ve never contacted them before, be conversational, be polite, but don’t forget to tell them precisely why you’ve contacted them. Inform the writer that the reason you’re contacting them is to invite them to review your show/film/album etc. If a journalist sent an unsolicited and pushy email to a PR, that said something along the lines of: ‘What does it take to get a pair of tickets to your show?’ Then, the chances are that the PR might think the journalist, is, to paraphrase, a little bit rude. I’ve had emails from PRs to that effect, that have no greeting, just a demand to ‘come and see our show’, or to insist that I ‘send a reviewer along, because we’ve not had any reviews, yet, and we’re getting a bit pissed off’. Giving your email a title like ‘REVIEWER WANTED’ will not inspire me to send someone along – tell me why you’ve contacted me, be welcoming, make me want to spend what little time I might have in the evening or at the weekend reviewing your work.

5. Answer Your Emails In a Timely Manner

I know journalists can get a little lax with their emails, but while we can only work on that, we need the support of a good PR who responds to our emails quickly. There have been times when I’ve received an invite to a show, and responded asking for tickets for a certain date, only have to follow-up 8 days later when I’ve still not had response from the PR. In one case, I had to email the PR two more times; in the first email I asked for clarification of the press tickets, and in the second email I had to say that I needed a response by a certain date, or I couldn’t confirm that I’d be able to attend. I hated issuing a deadline like that, but it worked.

6. Keep Your Promises

If you state in your PR that you can accommodate a reviewer on any given date or any given venue if the show is touring, then please, stand by that promise. Recently, I received a PR for a show that said reviewers were welcome on any of their tour dates, but when I requested press tickets for a certain date in the run, I was informed that they only wanted reviewers to attend on the opening night, as that was ‘easiest’ for them.

They did offer to see if they could get me tickets for the date and venue that I had requested: “I could try to contact the venue and see what can be done…” but they made it sound it like was such an effort for them, and you know what? I wasn’t asking for the moon on a plate, I was merely requesting what their PR had promised – that any date, and any venue was fine. Don’t make promises that you can’t keep.

7. Communicate, Communicate, Dear God, Communicate

Similarly, I’m hearing more and more stories about critics at smaller publications and websites receiving invites to review work, but when they requested tickets, they were rejected by the PR, as they really wanted reviewers from ‘bigger publications’, such as The Guardian. This is rude. It’s like sending an RSVP to a wedding only for the bride to write to you to tell you that you’re also not welcome on the big day. During the Fringe, one of my writers had a press ticket request turned down by a PR with no reason given – what made this even more irritating was the fact that TPR had reviewed the company in question at several times previously and had given them very positive reviews each time. Always check with the company/band/performer before turning down requests, as they could have good working relationships with a number of writers and editors.

Essentially, if the PR fucks up, it reflects badly on the company that they are representing; don’t be the PR that fucks up.

KNUT

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