I was in a very unique position this week–I was able to turn the tables on my usual role and look at how my industry behaves while viewing them in a fishbowl. For the past few years (I’m not going to give a figure-but it’s over 20), I have been a network suit in charge of sessions at the bi-annual Television Critics Association press tour. As the head of communications it was my role to shape the session, organize the details, manage the message and communicate with the attendees. My role during the current press tour was to help the cable organizers wherever needed. Basically, I had a wonderful time chatting informally with members of the tour and some of my colleagues. I can’t thank CTAM enough for allowing me this opportunity.
As an “insider” being able to look “out” I made a few observations - some startling and others quite impressive about the work of my peers. Although, I am focusing on some of the points that could have done better I would be remiss if I didn’t comment on some terrific work by the PR departments of Hallmark, HBO, Turner, Sundance, ESPN and a few others.
Again, my blog reflects my opinion and my opinion only, but a few things really struck a chord with me or better yet raised a wild hair on my neck. Here’s my top 10 list of things that I was appalled at during the tour and the reasons why.
1. I was shocked at the number of publicity veterans who did not know what press members were attending the conference. If I had a dollar for every time a publicist-type asked me who was from the trades-well I’d probably have a nice new crisp $20 in my wallet. THIS IS MY MOST APPALLING OBSERVATION. It is our job to know the press and what they cover and WHAT THEY LOOK LIKE!
2. My second burr ‘up my you know what’ is this occurrence which I witnessed three times- Nice smiling kind women who are at the front doors at the sessions who ask you your name as you enter. Once they know your name then mark your name off a list. UGH. Here we go again. It’s up to us, again, that’s our job to know who the press is in the room. And here’s a trick to the publicists who are just getting to know the press - walk up to them before or after the session and introduce yourself. That connection is invaluable.
3. I also get upset when staff, especially publicity employees, who are too uncomfortable chatting with the press who just stand together and talk amongst themselves! Again, we only have our jobs because of the press. I love the press. You can talk to your co-workers any day. While you are at the tour, set up meetings or make a point of getting to know them during your session. They are wonderful people and you won’t believe what you will learn from them. If you are in cable, you can attend the late night hospitality events every night. This is a great way to get to know the people whom you need in your career.
4. Events - If you are sponsoring an event, either breakfast, lunch, dinner, hospitality, etc. - make sure your entire department attends along with talent and key executives. This is a wonderful opportunity especially if you have a product or person that needs exposure to gain support. Many times some of my C or D celebrities got to know members of the press at such events and they have had life long support from them from that moment on.
5. FOOD - If you are holding an event and no matter what time it is being presented make sure that you are providing the critics with enough food. A critic should never have to ask you to order more food. I can’t tell you how often this happened during this tour.
6. Eye to eye contact is very important in this day and age with blue tooth devices and crackberrys. It still is incredibly rude to look down at your device mid-discussion or interview. I need to work on this one as well.
7. Executive etiquette. This is rule number-one for network suits. There is no clapping, hooting or hollering allowed from the network “peanut gallery.” I cannot emphasize this infraction enough. If laughter or for that matter clapping erupts naturally during a session, then it is fine to clap or laugh. But, those on the show’s payroll should never lead the charge in hooping and hollering. This will gain you instant sneers and hisses from the critics and taint their views on your show. TCA is about you (the network) presenting facts and not about you swaying the opinion in the room by your positive support. This is a huge no-no. The best use of your time is observing the mood and tone of the room. It’s a wonderful focus group for you. You can tell in moments how the show will be received. So still still and watch the magic unfold.
8. Understand what the TCA is…I am still blown away by the number of networks who do not know what the TCA is. They don’t have a clue what the function of it is and what the critics are expecting. This covers a wide range of topics from not briefing your talent correctly to not researching what’s been reported before your day. Coming into the Tour, the publicity department should be aware of the trends that have been occurring and what the key executives have been asked.
9. It is imperative that you have one person if not several who is available and easy for the reporters to reach before, during and after sessions. I wish you could see how frustrated the critics get when they want to re-confirm their one-on-ones or when a interview that was promised but then was canceled, yet that fact was never communicated to them. Also, regarding schedules, if any changes are made to your previously posted schedule - please let the critics know in ample time (2 days in advance is best). Critics are used to deadlines and thus rely on the TCA schedule to plan what they are going to write. You may think the slightest change would matter to them, but they do. Please be considerate of their time.
10. Provide enough material for everyone - please realize that newspapers like the LA Times sends reporters all throughout the day. Other critics too may not have been able to attend your session, but they still want your material. All the networks that provided flash drives, DVDS, press kits and/or bags, were distributed immediately after the session. After that, they couldn’t be found. Produce at least 50 to 100 more and leave them in the press room. You won’t be sorry and you’ll get more coverage.
In summary, the heads of communication departments need to keep up with the times. Did any network have a person in the room that was on twitter? I’m sitting here now and am reading what is being twittered about the session immediately before us. You should have someone monitoring that. But, in order to do that - you need someone who knows who’s in the room so you can follow him or her. It all comes full circle.
At the end of the day, my message to all is - BE AVAILABLE and GET TO KNOW who are writing on television. They are a wonderful bunch of characters, each as unique as their postings, columns and voice. They’ve made my life richer in so many ways. They have been generous teaching me how to be better at my trade and help to understand the ins and outs of the industry. If I have had any success, I owe it mostly to them. I will be eternally grateful.