The Media Machine
by Anthea Redmond
By contrast, social media - once you've got the hang of the technical side of things - is relatively easy to handle on your own as long as you take some advice from those in the know on how it should be done. The power of social media is legion, but there are still ways to maximise its benefits to your advantage, and you need to learn as much as you can to make it work for you at a professional level. Conventional media publicity however - and by that I mean press, radio, and television - is much more difficult to achieve because it isn't open to everyone, but the appeal and kudos of its status is still as significant and desirable as it's always been. If being on the radio, TV, or in the pages of a major newspaper were as easy as developing a presence on social media, then publicists like me wouldn't exist - and of course they do to comply with demand.
This blog covers a range of topics about which you'll need to be aware if you're involved in the performing arts and desire the know-how to create a media portfolio and the techniques you'll need to approach potential sponsors with regard to financial backing - should you need it - to get you to where you want to be. In my career as a Media & Public Relations Professional, I succeeded in securing media coverage for many of my clients on a regional, national, and international level. I also specialized in securing commercial sponsorship for large-scale community events in the United Kingdom, Northern Europe, and the United States. In this blog I'll underline the methods that work for both of the above - and more importantly those that don't - in the hope this may inspire you in your own endeavours.
If you can't afford to hire your own personal publicist to work exclusively on your behalf (someone like me), then just sit back, relax, take 15 minutes out of your hectic schedule, and read on.
Best Wishes
Anthea Redmond
First of all, I'm going to ask the musicians & performers among you a question:
#1. DO YOU REALLY KNOW WHAT YOU WANT?
I gather you're good at what you do for a living and that's why you're here. So how do you get more people to see and hear just how good you are? It isn't easy because you've tried. You've tried just about everything you can think of, but it still isn't working as well as you thought it might. You're working the same venues with appreciative audiences, but still you need that extra publicity to get you where you want to be. Ability and reputation aren't always enough. That vital step-up to bigger gigs in bigger cities, venues sold out to packed houses, high-profile advertising, regular media coverage, and those hallowed sponsored shows still elude you. Glossy magazines and radio stations are gushing about new people on the music scene who are far less-talented than you are ~ infuriating, isn't it? But how did they get there, these performers who just arrived on the scene out of nowhere? They have some professional publicity guru working for them 24/7, obviously. Well, yes, perhaps they do, but how did they get to that stage where everyone wants a piece of you ~ the biggest venues, the record companies, the TV shows, and the fans ~ that magical moment when the media actively seek YOU out? It doesn't necessarily rely upon brilliance. It certainly doesn't always come to the most deserving. It's dependent upon one thing only ~ determination on your part, and realizing it's never going to happen all on its own. First you must decide if you're ready to give up everything for your art: home, family, security, and to begin traveling all around the country to perform - perhaps overseas. Maybe relocating to somewhere new to be more accessible? Just what will increased media coverage bring ? You need to consider every possible outcome thoroughly before you begin. But, perhaps, you already have. Good. Now let me share a secret with you: You are the best person there is to be your own professional publicity machine. It is possible. Trust me.
You want media coverage. Not just a few lines in the entertainment section in the local weekly rag that hardly anyone reads. You want as many column inches as you can muster. Photographs. Interviews. Articles. The works. All it takes to achieve bigger and better gigs, talent scouts, recording contracts, whatever it is your heart desires. But first you have to decide what it is you DO want. This isn't a trick question by any means. Be careful what you wish for, as the saying goes, because you just might get it. This is important: as important as writing your own music, playing brilliantly, or singing beautifully. You need to begin a campaign ~ YOUR new publicity campaign, and it should run parallel with your music career on a daily basis. You will need a little more than a large notebook, and a list of media contacts ~ oh, yes. You're going to have to acquire some definite ideas of why you're the best there is: the next big thing. If you don't know this yet, take some time out to think about it. You'll need to know the depth and capability of your own talent before you can begin to convince anyone else how good you are.
I spent my entire career promoting raw, previously-unknown talent to the media; and I loved every minute of it. The scale and regularity of media coverage I achieved for many of my clients caused considerable envy among those who believed themselves more worthy, and more established: yet whom, by comparison, actually turned out not to be. My methods worked because I really believed in these people; my enthusiasm was genuine ~ it had to be, because it wouldn't have worked otherwise. I also did my research well in advance, mapped out a plan of campaign, and melded this together with my years in the media industry I knew so well.
Do you possess the enthusiasm to begin seeing things from a completely different perspective? Begin by trying to see yourself as you'd like your fans to see you.
First of all, to succeed you need to be focused, and know what being focused really means. It isn't what you imagine it to be at all, but it's definitely one frame of mind that should never leave you. Secondly, you have to want a media presence really badly, but that doesn't necessarily warrant being aggressive in pursuit of your goals. Editors and Journalists don't appreciate being told what to do, or what to write. Never tell a journalist what to write. That would be fatal. There are techniques available to you which, when applied in a certain way, can prove advantageous to your cause. The next thing on the list, is to develop a thick skin. Rejection is part and parcel of the process in the arena of publicity. Sensitive types should definitely not apply. Just remember, don't take everything to heart: not everyone in the industry has the ability to recognize talent when they see it. Decca Records turned down The Beatles in the early 60s because they thought they couldn't sing. Imagine that?
#2. GETTING STARTED AND HOW TO ISSUE A PRESS RELEASE
Writing a press release: a tricky endeavor for both amateurs and professionals alike.
There's more to writing an interesting piece of news than just relaying some facts about yourself, your background, or that of your band. You might begin by stating names, dates, venues, what's happening and where, who said what, and so forth, but that isn't going to necessarily catch an editor's eye and make you stand out from the crowd. Newspapers and magazines are inundated with hundreds of press releases every day. So what's so different about you? News is an art form in its own right. It's also a competition of sorts, with hundreds of players vying for the prize; and it's very important to know how to play well in order to win. With this in mind ~ let's approach the subject by looking at it from another angle, shall we? I'll begin with how to write a press release, then what happens after you send it to the media vehicle of your choice. In order to maximize your chances of success and broaden your horizons at the same time, I will attempt to make you aware of what goes on in the average News Room.
#3. PART ONE ~ CITY DESK: Here is the News.
Whether it be a local, regional, or national news room, the onslaught of faxes, emails, letters, and telephone calls to reporters, sub-editors, and news editors never stops. All day and throughout the night, events, action, stories, and snippets pour forth in their hundreds to news offices everywhere with varying degrees of interest and importance; and every news source and writer sending them is competing with everyone else for those vital column inches, or a few moments of valuable air time. Not only that, every journalist, feature writer, and presenter on the staff of any newspaper, radio or TV station is also trying to better their colleagues to get their own stories printed, or broadcast something different over the airwaves. For every half page editorial complete with photo some magazine features editor gets approval for, another has to pare down their own article in order to accommodate it; sometimes losing it altogether. It happens everywhere: and it happens a lot. A newspaper or magazine is never bumped up with extra pages to accommodate editorial unless there is a great front page headline to warrant extra sales, or a significant amount of display advertising to support it. News is big business after all, not just a public service; and it doesn't come cheap. Besides this, every radio station and TV network are at war on a daily basis for the most popular time slots to increase audiences, and grab those all-important ratings. Are you starting to get the picture? Good. It's a dog-eat-dog industry, a non-stop, news churning machine that is eternally hungry. It's also very picky, has seen almost everything before at least ten times, and you're going to have to try extremely hard in order to impress. So, how can you get noticed with all of that going on? You first need to be able to visualize this ethos, and take into consideration the enormity of the media before writing that opening line. Now, ask yourself what is so important about YOU and what you're doing compared to everyone else who's competing for the same hallowed column inches? You need to be able to identify and define this with a degree of absolute conviction before you go any further. Typing yourself that press release doesn't look quite so simple now, does it? No, I thought so.
#4. PART TWO ~ THE PRESS RELEASE: a Writer's Nightmare
In my early days as a trainee PR journalist, I was told that any news article had to contain the whole story in the first sentence. Yes, you read that correctly. The rest of the article that comes after is there purely to expand upon any additional details thereof. Sound advice, and one you should take on board and use to your advantage. Let me explain how that works.
[ Example Headline: LOCAL SINGER'S CHARITY CONCERT SELLS OUT IN AN HOUR.] Example Intro: Justin Brown, the 18 year old singing sensation from Phoenix, Arizona, is delighted his forthcoming concert in July at City Hall, Washington D.C. sold out in just under an hour when tickets went on sale earlier today.]
The above performs an all-important function: it grabs the reader's attention, and makes them want to read the whole article. Job done. Objective accomplished. Too many press releases are pushed to one side, or never read at all, if they don't grab the News Desk Editor by the throat. Editors and journalists read scores of advance news bulletins by the hour, every hour, so you need to make yours unforgettable. Keep your press release <short and punchy>, I can't stress this enough. Start with a great opener, state the main purpose of your news bulletin: a show, an event, something you've done, or are going to do. Don't go for overkill. Don't make it sound like a page in a novel. All you want to do in the first instance is attract the interest of a journalist, if he or she needs to know more, they'll ring you and ask - you've included your contact details, right? This is the moment you've been waiting for. They're interested. Congratulations. Add some bullet points, key words, make it different, and you're more or less on your way. If you want to make your news stick out from the rest of the emails that are flooding in by the minute, this is the way to do it. If you're an artist performing regularly at venues you'll have already invested in an EPK (Electronic Press Kit) with your biography, and links to your music and/or performance videos; including this to accompany your press release and CD for review is a great idea. Never assume because you have a voice like Ella Fitzgerald or play the trumpet like Miles Davis you'll automatically get your release published either. There's a little more to it than that. Courtesy is everything when dealing with a journalist. It will open doors for you in the zip codes that count. Last, but not least - and I'm only saying this because I see this faux pas on a regular basis - don't forget to leave a contact number. If only I had a five dollar bill for every time I've seen a press release float across my desk without this this crucial information. You need to make sure what you're sending hits the mark. How can you do that? Well, I'm about to tell you.
#5. THIS CHECKLIST IS IMPORTANT, TRUST ME.
Find out who writes the Entertainment pages in the local newspaper, or produces the <What's On> Listings on air at your local radio station.
Make a written note of their name, and ring them. Yes, I said RING THEM.
It might take two or three tries, but you'll get through eventually.
Introduce yourself properly.
State loud and clear the purpose of your call.
Tell them whats happening to get their attention immediately.
Sound enthusiastic, but never pushy.
Remember, if you don't get excited about what's happening, the journalist won't either.
Outline why it's so important that your news gets out there.
Highlight any community appeal your event will bring.
Establish contact with confidence as conversation begins, but be friendly, always.
Don't be shy, it will work against you.
More importantly, make yourself likeable ~ it's easier than you think.
Tell them you intend sending a press release with all relevant details, but want to share the excitement with them first.
Ask by what method they'd like to receive it ~ Email or Fax.
Take note of their contact details, and keep them safe.
THEN, and only THEN, send your press release by that method.
Make sure you give plenty of notice prior to any event.
Not too much in advance ~ your news could be buried and forgotten.
Not too late to risk missing any publishing deadline.
Give it a day or two, then ring back, to see if they've received it.
Ask if politely if they've had time to READ IT.
If not, sympathize on how busy they must be, and tell them you will send ANOTHER.
Remember to show professionals just how professional you can be.
You will increase your chances TENFOLD if you use this method.
Don't be disappointed if your press release doesn't make it into magazine or newspaper you've singled out. There's lots of competition out there. It could be someone liked your story or your news, but there just wasn't any room for it in that particular issue. It happens. There will be other times, and you will get there. Journalists are busy people. Press offices, radio and TV stations are busy places. News, and the gravity or levity of news, is serendipitous, and therefore makes any feasible expectations or promises from the media extremely difficult to keep. Plans don't always go ahead if the world, or an area of it, changes either by accident or design. Mrs. O'Grady's kitten getting stuck up a tree won't make the front page if there's an earthquake in San Francisco. Say goodbye to that quarter page in ROCK'N'ROLLA magazine if some major rock star dies suddenly on their yacht in Monte Carlo. It's just not going to happen. Important world events will take precedence over anything you've been promised. That's the news ~ and that's how it works. Nothing is guaranteed, absolutely nothing.
#6. PART THREE ~ WHAT TO DO IN PRESS/RADIO/TV INTERVIEWS:
If you're lucky enough to acquire an actual interview with the media. This is the Holy Grail of publicity ~ better than advertising. You can't BUY publicity like this: it's worth its weight in gold. It's your chance to make an impression to the widest audience possible. This is not as unattainable as it seems. Local commercial radio is always interested in new artists on the music scene. These stations being local, and therefore in most cases, funded by local advertising, know it isn't always possible for them to attract big names, so they keep things hot and interesting by promoting new talent from the area; and by giving performers a few precious moments under the spotlight.
Go for it - give it your best shot. Impress the producers of the show - not the host - it's relatively easy to be put through to the production team of any radio show with only one telephone call. When you get your time on air, don't waste it with awkward silences, hesitancy by being lost for words. Be prepared, sound lively, spontaneous - or if you can't manage that - composed. Laugh a little, that comes across so well. Do your homework, talk about what inspires you, how you've progressed. Think about where you want to be five years from now - everyone gets asked that or similar - think of a good answer. Make use of this gift of publicity, moments like these don't come along too often; and you never know - you might get asked back! You'll have anything from 10 - 30 minutes on air (depending on what type of show it is). Don't waste it. You'll regret it if you do.
#7. DON'T FALL AT THE LAST HURDLE - ADDITIONAL POINTS TO PONDER:
Always treat Journalists with respect.
Remember, they aren't obliged to write anything even if they like what you say.
Never expect any press release you write that's been accepted to be printed verbatim ~ no matter how well-written it might be.
Journalists will re-write almost everything themselves to varying degrees ~ expect that, and don't be disappointed.
Never insist that anything must be included in the article ~ this isn't the way to go.
Don't be pedantic about inconsequential details.
Never tell a journalist what to write. Never.
If you send a publicity photograph, they may, or may not, include it in an article: it is wholly dependent upon copyright and the space available.
Newspapers and magazines prefer to take their own photographs and then hang on to copyright.
If you are lucky enough to be published ~ ring up and say, 'Thank You.'
If there is an error in the copy ~ don't complain ~ you got the space, be grateful.
If you do complain, then you risk potential failure with Press Releases in the future.
If you are performing, send tickets to the journalist with whom you spoke, along with a few more for staff members. It isn't bribery, just a matter of courtesy.
Highlight quirky features about your life, or a band member.
The more quirky the better ~ everybody has something.
Try to do some performances for charitable causes, it's newsworthy, impresses everybody, and makes you feel good too.
Keep a portfolio of performances, venues, and news cuttings ~ you'll need it for reference in interviews.
In any interview be lively, funny, polite, positive, interesting, and respectful ~ or attempt to be at least three of these.
Make your space or time on air memorable.
I'm always staggered how unprepared some interviewees are when they arrive at the radio's studio prior to an interview.
Nobody knows you better than you do.
Use this to your advantage.
This isn't as hard as it sounds. It'a just a matter of practicing what you NEED to mention, and rehearsing a little, either on your own or with friends. Write down what you WANT TO SAY, read it back once or twice before you pick up the telephone. It's a start. You'll get better. I know you will.
Now, what are you waiting for? Write your own hype.
#8. SPONSORSHIP ~ WHO COULD POSSIBLY WANT TO BANKROLL YOUR CAREER?
Nothing surprises me. I've heard it all.
For the best part of two decades I've raised commercial sponsorship for all manner of arts events. I became involved in major fundraising initiatives in an attempt to help artists all over the United Kingdom reach new audiences in bigger and more diverse venues previously unattainable to them because of only two things ~ the lack of financial resources and naivety in all things media. I've assisted universities and other educational establishments, private and state-funded art galleries and arts venues, schools, charities, and community-based events in large cities supported by local authorities; plus many talented individuals to find financial support with which to attain their artistic and professional goals; and for the most part, I've done it for free. I have to say, most who crossed my path were a complete joy to work with, some difficult beyond imagination, and a few nightmares to complete the mix. On several occasions, a request for assistance in the quest for the Holy Grail that is funding came across as bluntly as, 'I want to do this but I don't have the money right now, can you find me somebody who does?' I'm not kidding. That's like ordering a BUGATTI VEYRON and expecting your next door neighbor to pay for it. Sponsorship should never ever be viewed this way at all.
First, let me take you on a journey of discovery: let me attempt to show you what sponsorship really means ~ because you really don't know about it from an insider's point of view ~ and I know this as fact. What I'm about to discuss here, could be the difference between success and failure for you in the future. You have to gear yourself up for success, because if you don't, then failure becomes an occupational hazard. Now, might I ask you a pertinent question? In your quest for commercial sponsorship, why should someone you don't know and haven't even met support the career you've chosen for yourself and then be expected to pay all the bills you rack up along the way? Think about it: then give me your answer ten minutes from now.
#9. WHAT IS COMMERCIAL SPONSORSHIP? - YOU 'RE PROBABLY WRONG.
Commercial sponsorship is a <two-way agreement> ~ a contract either verbal or written ~ between a person/or persons and a member of the corporate sector to fund a public event to the mutual advantage of both parties. That's right, I said a <two-way agreement>, and one that is advantageous to BOTH parties, not just the recipient of said funding. This is the important part of the whole initiative that those seeking financial backing don't fully-appreciate when planning an event. In short, the sponsor is agreeing to support the sponsee for their own advantage too in return for providing the cash outlay to pay for the event, and the sponsor therefore expects something <in return> for their money. Just think about that for a moment. Did you have to read it twice? Surely that can't be right. Actually, it is. Commercial sponsorship is big business, and it's a crucial part of any company's annual advertising budget. They might like the cause, want to make it all happen, but they also want something back in return for their investment - and rightly so. If, as the recipient, you take the funding you've been given to create an event and don't keep the promises you've made to the sponsor (whatever they might be), then the sponsor can ask for the money back. Yes, their money back! Imagine that? Especially if its already been spent. You see, sponsors may seem like Santa Claus and the answer to all of your dreams, but they really shouldn't be treated as such. So, what constitutes a promise? Let's see. This information I'm giving you is all about being objective, losing any preconceived ideas you may already have about sponsorship, and altering your perception of publicity and commercial funding by looking at it from the <other side> of things. If you're prepared to do that, even in a small way, then read on.
#10. GETTING YOUR ACT TOGETHER: RESEARCH, PLANNING, & COSTINGS
Whether you're working entirely on your own, or with a team; first you must plan your project in minute detail, and itemize how much it's all going to cost from start to finish. This is more complex than it sounds, because one thing you cannot do in any proposal being put forward to a potential sponsor, is approximate your expenditure. You are dead in the water if you do. All auditors, accountants, and marketing departments who deal with this kind of thing on a regular basis will reject costing approximations on sponsorship applications on sight irrespective of how much merit your individual project has; and for good reason. Don't do it. Approximations are a significator to those in the know on a fiscal level that the application is laziness more than likely, guesswork at best, or worse still: complete and utter dishonesty.
Don't walk into failure before you begin. Don't behave like an amateur. Do your research properly, get written quotes and accurate estimates on paper for everything you need, and write it all down in full in a project diary. Keep this diary clear and itemized, as you might have to let someone important see it at some stage prior to the funding being given. Attach your quotes to the diary, or keep them on file ~ you will need them later. In fact, you will be expected to surrender them, together with your project accounts, if a request is made by the sponsor <after> the event to see how the cash was used. Scary, isn't it? ~ Now, that's something you never considered.
Don't let yourself down by being casual in your approach to sponsorship. Be specific. Don't round your expenditure up to the next dollar. Itemize everything, even pennies, cents, tax, and discounts, and record it accurately. No sum is too small. No detail is unimportant. Write everything down and make any alterations clear: rather too much than too little. Allot tasks and responsibilities to others if you can, event organizing is a big job. If you're doing it yourself, mark down deadlines clearly, and keep to them rigidly. Pace yourself. Organize everything well in advance. Make notes on minor details, alterations, names, numbers, changes to agenda, progress, the whole works. Problems have a habit of popping out of the woodwork when you least expect it, so allow yourself plenty of time. It's called attention to detail. Efficiency always pays off, eventually. All of the above will work to your advantage. I'm only telling you this, because I've learned the hard way by experience, and I'd like to spare you any unnecessary disappointment ~ what else can I do? After all, what's the alternative?
#11. KEEPING YOUR PART OF THE BARGAIN:
When I ask those seeking sponsorship what they plan to offer the sponsor in return for the money, the answer is always the same. E.G. "The sponsor's name & logo will go on the posters" and that's about it. What this means in real terms is, the sponsor's name and logo are placed on the poster 'somewhere' ~ mostly in fine print ~ and usually near the bottom of the aforementioned posters. Big deal. As I've already explained, that's hardly an advantage for a sponsor at all. Do you imagine Michael Jackson's management team said something like this to Pepsi Cola? No, they didn't. The reverse was true: Michael Jackson's presence was almost overshadowed by Pepsi's, and their famous corporate colors smacked you in the eye from all angles. This is because sponsorship is BIG business ~ it has to be. Sponsorship cash comes from profits: money made from taking risks with investments and peoples' jobs, and sometimes from an organization's annual advertising budget; so why should any company who works this hard to make money take a big slice of it, and hand it over to you? I mean, they're not lending you the money you're asking for, they're actually giving it to you. Therefore, you have to offer something real, and of actual value in exchange to warrant this kind of generosity, don't you? Now we're getting somewhere, at last. So what are the promises you can make to a sponsor that you can actually deliver, as opposed to those you probably can't?
Don't give up now, we're almost done.....
#12. SOME DEFINITE ADVANTAGES TO IMPRESS A SPONSOR:
You can make certain the sponsor's name and logo are <prominent> on any publicity material you create where possible: this includes posters, flyers, newspaper advertisements, tickets, leaflets, and merchandise, if applicable. I've seen poor examples of this in the past where mention of the sponsor appears almost as an afterthought tucked away in the corner somewhere. This is a huge mistake and shows a complete lack of appreciation for the sponsor in making the event possible. A bad move, and yet more common than you can imagine. Try to create the highest standard of publicity material you can afford to impress your sponsor, and make allowances for this in your costings. Endeavor to estimate with a degree of accuracy the numbers of promotional material needed ~ don't just guess ~ to maximize public awareness. Print flyers ~ preferably A5 or smaller ~ that are handy for people to pick up and take with them. This, in addition to posters clearly visible on walls and information boards, will get the point across much better, and do the job you want them to do. People tend to forget 80% of the information they see in a ten second glance on a poster as they're walking by, but something taken home in their pocket they can digest later at their leisure.
You can further maximize your event promotion to a wider audience by intelligent distribution methods: this includes libraries, other public information areas, E.G. recreation facilities, public buildings, other music venues, popular restaurants, sports centers, schools, universities, clubs, and leaflet drops in regional newspapers and free sheets. This is all down to YOU, and under your control. How wide and far you go is up to you.
Draw attention to your sponsor personally on the actual day/evening of your event in several ways. Make sure you invite the directors and their guests to the opening night, give them the best seats in the house, and display their logo at strategic points around the venue. Let the audience know who made it all possible, it won't get in the way of your big night in any way. Try to imagine it's your money someone else is spending ~ how would you like to be treated for making such a magnanimous gesture? This may sound obvious, but I mention this for a reason. Make a special effort to acknowledge your sponsor in public by giving them the spotlight at either the beginning or the end of the evening, and orchestrate appreciative applause from the audience, performers, and production staff. It works wonders for the feelgood factor. A sponsor always wants to feel confident about giving you the money you need, don't make them regret it over a lack of courtesy on your part, or blatant ingratitude. A large percentage of first-time sponsors never repeat the process due to bad experiences, or disappointment in an event they financed. A sponsor should always leave an opening night of an event they made happen by wanting to do it all again, when the time is right. Don't ruin someone else's opportunity at obtaining funding from a sponsor by not getting your priorities right on the night.
The press & publicity portfolio I kept highlighting events for which my business partner and I found financial backing, opened many doors for future sponsorship deals. If something you're involved in results in full-color, center page news coverage from a collective of the local, regional, national, and international press, then there isn't a single commercial organization in the world who doesn't want some of that. Also, the high quality of promotional literature we always insisted upon, inspired one huge regional company to adapt their corporate logo and reflect some of the designs we produced in an event they sponsored. Praise indeed. I've never heard of this happening before, but it was such an honor to be thanked this way. When a CEO shakes your hand after an opening night and thanks YOU for allowing THEM to sponsor an event, it's a tremendous thrill. It doesn't get any better than that. Don't make your sponsored event an anti-climax: you are promoting your sponsor's image as well as your own.
You have the power to make your sponsor feel great by highlighting what an important role they've played in making it all possible - because they HAVE. It wouldn't have taken place without them. All businesses like to look good to the public, and sponsorship is a way in which they can do that to great effect by putting something back into the community. It's your responsibility to let everyone know that.
#13. POTENTIAL ADVANTAGES YOU CAN MENTION, BUT NEVER GUARANTEE :
Never tell your sponsor they will be mentioned in an issue of a specific newspaper or magazine via your press release, because you can never guarantee your news will be published. Fact. If an editor or journalist likes your story and informs you they're going to publish it, that doesn't mean the sponsor will be mentioned automatically in the news item at all. The reason for this is, the media look upon businesses as potential advertisers, and any editorial gained by a sponsor is viewed as free advertising, and this isn't encouraged for that reason. The exception to that rule is if a particular major sports or music event has the sponsor's name in the title as part of the sponsorship deal. The O2 Arena, for example. Commercial advertisers support the media and that's where the media earns its money so they don't like giving something as valuable as advertising revenue away for nothing. Some do, of course, depending on the scale and type of event; so all you can hope for is to stress how the sponsor made it all possible for you and the local community, and how good that feels. If a percentage of the ticket sales raised is going to charity, your chances may double, but don't bank on it - especially with the national media. You therefore have to have more strings to your bow than this.
Don't promise a huge audience turnout either, you can only keep your fingers crossed for that. You can sound encouraging about ticket sales if you've worked hard to achieve this. Ask your sponsor who he/she would like you to invite on their behalf, and make a point of doing just that ~ this makes excellent sense. Make sure you allocate a number of free seats for your sponsor and their guests, and/or offer them free tickets for any important customers they'd like to invite. Everyone in business knows other people in business, plus local politicians, and people of note in the region. Local public figures attract the press in their own right, so this can be extremely advantageous to your cause. It's all about WHO you know in this business, and it's all perfectly acceptable to encourage influential or important guests to your event.
#14. CREATING AN EFFECTIVE SPONSORSHIP PROPOSAL:
Always make a written sponsorship proposal outlining what your event is about, your aims or goals, the community or recipients it will benefit, and why you need the amount of money requested, plus the inclusion of a comprehensive list of itemized costings. This is your one BIG shot at obtaining the funding you need, so give it all you've got. Keep it to two pages or less. Don't make it too long and drawn out, because what you are looking for at this stage is to peak a potential sponsor's interest which will lead to an invitation to come and discuss the matter further in person. Don't give everything away in the initial approach and keep some of the details and bonus features up your sleeve to impress them even more.
To accompany the written proposal, you need a covering letter: keep it short and punchy ~ exciting and intriguing ~ and make sure you get across to the company why you have chosen THEM as your your ideal sponsor, and you must think of a plausible ~ if not commercially astute ~ reason for doing so. Always send out letters to a NAMED person who deals with requests of this nature - NEVER anonymously with a Dear Sir or Madam. One of the best tips I can give you, is not to waste time sending letters en masse to dozens of businesses listed in a telephone directory all at once hoping for a bite of interest. It's a lot of work and pain, for no gain, and you just can't keep track of every one to whom you write. It's much better to do it one or two targeted sponsors at a time, or a maximum of three if you must; but definitely no more than this. In my first sponsorship venture many moons ago, I once managed to get four companies all wanting to sponsor the same show, and I had to turn three of them down, and this proved to be a huge problem. I'd told four potential sponsors how I'd handpicked each of them, and then had to own up that this wasn't the case at all. I had to eat humble pie and it proved to be a major embarrassment. So, the guidance here is to make the potential sponsor feel special, it works much better when they realize you've chosen them above all the other competition out there.
Remember, companies receive dozens of requests like these for financial backing on a daily basis, and it takes something really different and well-presented to catch their eye. Make sure it's your event they choose.
Love, Good Luck, and Best Wishes as always ~
Anthea Redmond
REDMOND PRESENTS & JazzBitesRadio.com
AKA @Jazzigator
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