(How to Take a True Event and Turn It Into a Compelling Story.)

The majority of editors I have worked with have a strict blanket policy denouncing it in all its forms, citing the need to maintain strict levels of journalistic integrity. “Once you start letting people change what you write to suit their own agenda, you may as well hand them full control,” one editor told me.

And it is a valid point. There is also the danger of overcomplicating matters. If you grant one party copy approval, in the interests of fairness you should offer every contributor the same privilege. If there are only one or two, there shouldn’t be much of an issue.

But imagine the article you wrote includes material from a dozen or more different sources, they all demand copy approval, and then they all want to amend the copy for some ambiguous (no doubt marketing-related) reason. That level of interference would send you right back to the drawing board. On one memorable occasion, a company asked me to re-write an entire feature because I had inadvertently placed one of their main competitors ahead of them in the copy, which in their view was tantamount to endorsement.

High-profile celebrities often let the media know in advance what topics they don’t want to discuss, and at the same time making clear the topics they DO want to discuss. I once interviewed Jason Statham for a magazine and was told in no uncertain terms that under no circumstances would he be discussing a certain actress with whom he had recently been romantically linked in the tabloid newspapers.

Some take it several steps further. I remember attending a press conference featuring the entire cast of the Avengers, and being quietly informed at the start that any question not specifically related to the topic at hand (i.e., the movie) was off the table and may lead to the journalist responsible being ejected from the venue. The next few minutes were a frenzied blur of panicked reporters hastily revising their notes.

You might think requests like this are perfectly reasonable, and in a sense you would be right. Yes, celebrities have media commitments but nobody should be expected to talk about things they don’t want to. But on this occasion and others like it, the result was every journalist in the room going back to their respective editors with slightly altered versions of what was essentially the same overly-sanitised article. That’s what happens when everyone is given the same answers to the same questions.

An old trick I learned is to save any potentially problematic questions until the end of the interview or press conference. That way, if sparks fly you already have enough material to write your article. However, by doing this you run the risk of burning your bridges and getting yourself removed from certain media lists.

One instance where copy approval is not only justified but recommended, is when you are writing about unfamiliar topics, or using material translated from another language. In the case of the latter, always have the content, and in particular any quotes, double checked and cross-referenced, preferably by actual people more attuned to a language’s complexities than an online resource.

Technical writing that perhaps contains a lot of numbers or calculations can also be a minefield, as it is very easy to get something wrong. All it takes is one misplaced decimal point. And if that happens, not only do you and the title you are writing for lose credibility, but you also lose the respect of the people you are writing about and they may never have anything to do with you again which can be very damaging to a freelancer when reputation is everything.

That said, errors and typos are much easier to correct in the modern age where the majority of titles are digital. Websites and online magazines can be corrected later, print can’t. Once that is out there, mistakes and all, it can’t be taken back. And one way to avoid this is to offer relevant parties copy approval. Just use it sparingly.

The post When to Grant Copy Approval (And When Not To) appeared first on Writer's Digest.

(10 Interviewing Tips for Journalists.)

It’s not that we don’t like people, quite the contrary, observing and writing about humanity is our job. Once the ice is broken some of us magically transform into extroverts. But we may experience an initial blast of anxiety when yanked out of our comfort zone.

Despite having interviewed hundreds of people during my career I was extremely anxious at the prospect of conducting cold interviews (essentially vox pops, or person on the street interviews) for some recent assignments. This was surprising since I presented at a conference a few months ago and was not at all nervous. And I did vox pops all the time as a newspaper reporter, television journalist, and producer. So, what happened?

After some quick self-analysis, I realized I’m simply out of practice, and it’s circumstantial. I’m experiencing what many long-term remote workers go through—a sense of isolation. This not only affects confidence and self-esteem, it can also induce a touch of professional shyness.

Presenting at an event is also vastly different to interviewing random people as a roving reporter. Just as the dynamic between a journalist and an interviewee is different to simply chatting with strangers at the grocery store. And again, conducting a scheduled in-depth interview with one person, who you’ve already connected with, is much easier than approaching strangers and asking a question when they’re not expecting it.

If you’re with a camera person or videographer, vox pops are fun, but it can be daunting out in the field alone. This is almost as bad as cold calling someone about a controversial topic.

However, the stress quickly dissipated after the first few interviews, and I ‘found’ my old self again. I felt exhilarated and very much alive afterwards. While it should be par for the course for a journalist, this is how years of remote work has affected me. And I know I’m not alone.

If you haven’t conducted an in-person interview for a while and are thrown to the wolves with an assignment involving approaching random strangers for comments, these tips are for you!

‘Vox Pops’ or ‘Person on the Street’ Interviews

The phrase “vox pop” comes from the Latin vox populi and simply means “voice of the people.” So, you’re giving the public a platform to share their opinion on a subject—somewhere other than the comments section on social media posts. YouTube and TikTok are littered with video vox pops, and they’ve become hugely popular (and slanted) click bait.

But in ‘real’ journalism, (and yes there’s a difference), these types of interviews are very important and when done properly, with integrity and balance, they offer a glimpse into the genuine feelings of the public, at least in one area of the country. 

So here are 5 tips for conducting person on the street interviews aka vox pops.

5 Tips for Conducting Vox Pops

1. Take a deep breath and remind yourself of your role as a journalist and the purpose of the assignment.

This will help put things in perspective and give you inner strength and a much-needed confidence boost.

The main issue for most of us is the discomfort of asking complete strangers for their thoughts, coupled with the fear of rejection or receiving a rude response. And let’s face it, these are legitimate concerns. It’s human nature. But as a journalist you’re out in the field, boots on the ground, to gather the voice of the people. That’s an important purpose and a significant privilege.

Keep in mind also that while some may not want to talk, many people are more than happy to share their views and opinions. This is quite evident on social media where people are desperate to be heard. How much better is it to share these thoughts in real-life? Some people may never have been asked their opinion before, so giving them a voice could make their day.

2. Spend a few moments observing the scene wherever that may be, a city street, small town, a college campus, or at a protest.

If you’re attending a protest, always make sure the situation is safe for both you and the interviewee. Keep in mind that if you’re at a march you may have to walk and talk.

But let’s use an airport (one of my scenarios) as an example. The story here is disruption to air travel, so the first task is a general observation of the scene: ticket desks, schedule boards, and TSA lines. How many cancellations are there? Are there long lines? Do people look harried and hurried?

Instead of jumping right in, grab a seat at a coffee shop or in the waiting area, jot down notes describing the scene, and casually watch people, listen to conversations, and plan your approach. This will be different for each venue of course. A protest or a march is fast moving and so there will be less time to observe, so no coffee for you!

3. Use your ‘Spidey Senses.’

Who seems most approachable? Who looks stressed and is most likely to have experienced flight delays and/or cancellations? Is it that man slumped in his seat? The lady holding a sleepy baby? The young couple deep in conversation?

Next comes the hard part, approaching total strangers to ask for comments.

To break the ice, I strike up a conversation with a friendly looking older lady sitting nearby, just casually asking if she’s experienced any delays that day. We speak for several minutes chatting about her visit and where she’s from. She’s had no delays, and I mention what I’m doing, and she wishes me luck. So, this was my practice, my litmus test. I enjoyed the interaction with a lovely person who was more than happy to converse. So now I feel ready to speak with more people.

4. Be respectful.

Be aware that you’re approaching people without their permission, in a public place, and essentially entering their personal space. It’s quite natural for someone to be on the defensive. Imagine how you would react if a stranger approached you out of the blue while doing errands in town?

I always approach with a smile, and just to get a general sense of the situation, in this instance, I start with a simple question, as if I’m also a traveler, “Hey there, have you guys had any flight delays or cancellations today?” If they say no, I decide on the spot whether to pursue the conversation further.

But I spend most time trying to spot those who have experienced delays and by now my ‘spidey senses’ are working overtime. I overhear a lady asking someone, ‘did you get on another flight?’ So, naturally I approach them both for an interview, identifying who I am and who I’m reporting for, and the nature of the story.

When you do get an interview, ask for the following information: full name, ensuring it’s spelled correctly, age, occupation, their backstory, where they’re from, why they’re traveling, and any other details the story or publication requires. It’s also good to get contact information just in case you need verification later.

If you’re asking about a specific topic or an issue a good approach is, “Hi I’m Alison, and I’m with (state your publication) and I’m out today asking young people about the election, so what’s your view on what’s going on right now?” When you give the whole spiel and tag a direct question—what do you think about?—at the end, I’ve found people are more likely to respond automatically.

At the airport I wrote down quotes old school style, but in other situations recording the conversation might be easier. Always ask permission to record and be aware that this can put people off. Try and gauge someone’s possible reaction to such a request.

If a person is rude, and it happens often, just respond politely, saying, “okay, I understand, but thank you.” Then brush it off and carry on. They might be busy, shy, in a bad mood, don’t like speaking to strangers or simply dislike journalists. It could be anything. Don’t take it personally.

5. Seek out a variety of viewpoints.

For balance, try and gather a variety of different viewpoints, especially if it’s a political topic or a controversial issue. You also need to approach and include a diverse group of interviewees, in gender, race/ethnicity, and age. Remember when reporting, we want to represent all people in our society.

Good luck out there, believe in yourself, and remember, this is important work and you’re giving a voice to ordinary people.

*****

The Writer’s Digest Guide to Journalism is a practical, informative, and well-researched introduction to journalism and its best practices, with actionable advice, tips, techniques, explanations, and anecdotes straight from the field. In this digital guide, writers will learn how to write an effective news piece, skills need to be an effective journalist, outlets for publishing journalism, journalism associations, and so much more. Both inspirational and pragmatic, The Writer’s Digest Guide to Journalism is packed with valuable resources for aspiring journalists.

Click to continue.

The post 5 Tips for Conducting Vox Pops (or on the Street Interviews) When You Don’t Feel Like Talking (IRL) appeared first on Writer's Digest.

(10 Interviewing Tips for Journalists.)

As the consultancy is primarily involved in the plastics industry, the digital magazines covered things like company acquisitions, personnel changes, technological developments, new applications, legislation, scientific breakthroughs, etc. This is all very niche, probably of interest only to people directly involved in the plastics industry. But there are a lot of them. According to recent a report from the Plastics Industry association, over a million people work in the sector in the United States alone.

As a journalist, you master certain skills and carry them with you as they form the building bocks of your career. These skills might involve basic computer literacy, research methods, interview techniques, etc. Plus, I had over two decades of publishing experience to call upon. However, none of this changed the fact that I had never worked in plastics before, so in my new role I quite often had very little idea of what I was writing about.

The thing is, it doesn’t matter. This is the 21st century. We have the internet, the best resource known to man, at our fingertips. You can pick up an assignment about the most obscure topic in the world, and be a virtual expert in three hours. A journalist is simply a conduit. You don’t have to know every little detail about some obscure area of business. You just have to find people that do. Then you simply find a common theme, often tied to some new development to make the piece more newsworthy, and then write it up to the accepted house style. If you can, try to include at least one original quote, which adds legitimacy. Of course, most interview subjects regurgitate the same information to every media outlet that asks them, in which case it becomes more about how you frame it.

My first assignment proper was to write a 2,500-word feature on plastic compounds in EVs. I didn’t even know what an EV was (for the record, it stands for ‘electric vehicle’) so you can probably imagine how overwhelming it was. But after a while I started seeing my lack of industry knowledge as an advantage. One of the most difficult things to do in any form of writing is to make difficult concepts easily digestible. Approaching the topic from a layman’s perspective means you do this subconsciously, for your own benefit. One thing to avoid is using specialized words or phrases. Instead of showing off the depth of your knowledge and appealing to industry types this often has an alienating effect, especially if English is not the reader’s first language (as an international publication, only around 40% of our readership are native English speakers).

A prime concern for me, as with most writers, is word count. There is more flexibility elsewhere, but every feature I write for the magazine needs to be in the 2,000-2,500 words range because that has been determined the optimal length and works best for the advertising department, who may have sold ad space to 3D manufacturing companies knowing we had planned to run a feature about it.

After several years in the job, I have now devised a system. In the first instance, I write up a list of relevant companies or individuals (which can be filed away for later reference) and send them a media enquiry outlining my intentions for the article and asking if they would like to contribute. Some companies send you the perfect package; a well-written, original 300-word submission with a couple of good supplementary images. Others may need more direction or instruction, and a large percentage of the article might be scraped together from news articles, press releases, and the odd second-hand quote. Some companies and PR departments like to send you completely irrelevant material hoping you’ll be able to slip it in somewhere. Or they will submit dated information you have already covered elsewhere.

At the final count, I might find myself with 6,000 words-plus of material, which I then have to deconstruct and decide what to cut and what to keep. On the flip side, other times I don’t have enough material, and the feature might finish a few hundred words short. In those situations I need to get creative and bulk things out. You can wax lyrical a little, drop in some statistics, make some comparisons, or even references older stories.

At any given time, I am usually working on several different features at various stages of development. One might be almost ready to submit (always before deadline!), another might be at the polishing or self-editing stage, while I might be researching one or two others. Don’t forget that just as in the consumer press, some features are time sensitive and designed to coincide with certain events penciled into the international calendar.

The arrangement the magazine I work for has with the majority of companies it deals with can be best described as mutually beneficial. We need material, and they need publicity. The same companies we write about take out advertising in the magazines, and are also active across other departments. That said, something drummed into me early on was the importance of impartiality. For that reason, we never allow outside influences, like the possibility of upsetting an advertiser by painting them in a negative light, to affect us. News is news, after all.

The post How to Write About Unfamiliar Topics With Authority! appeared first on Writer's Digest.

The first thing I learned about interviews is to not put my recording device directly on the table. If someone taps on the table, that sound will resonate through the surface. It will be very loud in your recording. 

Who to interview? 

If you’re writing about a specific topic, make a list of experts and/or people with lived experience. Take some time to research who is out there. Who would you like to speak with most? Put them at the top of the list and work down from there. 

Contact people one at a time, or for a bigger piece, maybe in twos or threes. Wait until you get a response before moving on. You don’t want to contact 30 people and end up only interviewing two of them. This wastes your time and theirs. 

Profiles vs. Other Pieces 

A profile focuses on a single person. For instance, I interviewed astronaut Robert Thirsk for a profile piece in INSPIRED 55+. Since the article was mainly about him, I didn’t interview anyone else. 

For something longer or less focused on an individual, you’ll want multiple interlocutors. Try to vary the perspectives you get. 

When I wrote about women in British Columbia who sail their own boats, I cast a wider net to see who might be interested in providing a quote. I included women who sail, of course. I also included comments from people who worked in the marine industry. 

Since my aim was to provide commentary from a variety of people, I didn’t end up interviewing most of my interlocutors in any detail. Think of it like a deep dive versus an overview. 

Balancing Interviews and Other Information 

For the women who sail article, quotations from interviews only made up a small portion of the text. The meat of the piece relied on other research and information. The quotes were there to enliven the story and make it real (Look! These are actual humans!). 

Context for the quotes is key. Introduce the topic first. Then expand on it with some contextual or factual background information. What point are you trying to make? Your quotes should support the point if each paragraph where they appear. 

Here are four tips I’ve gleaned from my interviewing experiences. 

Get a Good Recording 

This might seem obvious, but as I said, things can interfere with your recording that you may never have thought about (like someone gently tapping a table, which sounds like gunshots when you play it back).  

Where should you meet? While a cafe seems neutral and appropriate, they tend to be noise-riddled spaces. Even seemingly quiet cafes might have coffee grinders, or someone’s dog might start barking outside (or inside), or a baby might cry, or there might be that one customer whose voice carries through the whole place above all other conversation. Even if your recording comes out well, you might find yourself distracted throughout the interview. 

A better place to meet is a library study room, an office, or (if appropriate) at someone’s house (unless there is also a risk of barking dog/crying baby, or yard work, or neighbors vacuuming…) 

Outside can be okay if it’s sheltered from traffic noises. And wind. Wind is the worst possible thing for a recording. If you are going to be outside, put a sock or glove over your recording device. There’s a reason those film boom mics have big fuzzy things on them. (Fun fact apropos of nothing: The fuzzy things are called dead-cats.) 

Take Notes as You Go 

Even though you are recording, jot down anything that jumps out at you in the moment. When you’re watching a person speak and hearing their words for the first time, things can resonate in a way that gets lost with just a recording. Especially if it’s only audio, with no visual. 

Taking notes by hand has also been shown to help with memory (see https://www.scientificamerican.com/article/why-writing-by-hand-is-better-for-memory-and-learning/ ). Actively taking notes during an interview helps you focus. It speeds you through your writing process, because when you sit down to write, you will already retain more of what was said. 

The things you write down can also help you focus your article (book chapter, etc.). These are things that you found significant or meaningful. Maybe it was a particular turn of phrase. Maybe it was a fact that you didn’t know before. Maybe your interlocutor said something that contradicted what they said in a different conversation, or that you read about them. Or maybe there’s something you want to follow up on later, but you don’t want to interrupt them in the moment. 

Don’t Transcribe Everything, Just What You Need 

Once you have your recording, you’ll want to go back over it. Transcription takes way longer than you think (unless you’ve done a lot of transcription, in which case you know why professional transcribers charge so much). Instead of trying to capture every word, just play back the recording and transcribe the passages you will actually use. If you need general information instead of exact quotes, then you can take notes like you would in a lecture. Except you can pause the speaker (which would have been helpful when I was in university). 

Even better, if you’re recording the meeting on a video call service, turn on captions. This will automatically generate a transcript of your conversation. Sure, the transcript will contain some minor errors, but that’s what the recording is for. Anyway, you’ll only end up using a few pieces.  

Which leads me to the next point. 

Identify the Most Fitting Quotes 

In my experience, you will inevitably end up with more than you can use. Unless you’ve conducted an extremely focused and specific interview, you won’t be able to use it all. Anthropologists have boxes of unused notes and data in their attics (or digital boxes in their dusty digital basements). You can never use it all. 

When I interviewed puppeteer Tim Gosley for Inspired 55+, we spoke for about an hour. The article was 800 words. For comparison, this article you are currently reading is about 1,000 words. 

In that contained space, I had to introduce Tim, give some information about his life, patch in a few quotes, give some more information, describe him a little, and detail some of his work. In 800 words. So yeah. Most of what we talked about, no matter how fascinating, never saw the light of day. 

This limitation is actually helpful though. Once you pull a few quotes, you can think about how they connect. What is the theme of your project? Where is the focus? Do you want readers to know what it feels like to be in this person’s presence? Are you more interested in facts about their childhood? Do you want to convey their voice and follow the topics that they emphasized themselves? 

For me, this process is iterative. I pull some quotes, I write a few lines about the person or the topic, then I see what quotes might fit with that, or how I will get to the next segment or subtopic. Even when I pull interesting quotes, I end up with more than I can use. 

At least in your early drafts you don’t need to worry too much about word count. Write a little more than what you need. Then pare it down to its clean essentials. Don’t be afraid to make a mess. It’s a bit like collage. The picture will gradually emerge as you tame it. 

The more interviews you incorporate into your work, the smoother this process will become for you. One final tip though: Interviews are exhausting. They can be brilliant and fun, or (rarely) tedious and boring, but they are always tiring. Don’t schedule more than two on the same day. Really you should only do one a day, if you can help it. That way, it’ll stay fresh in your mind. 

Interviews can add depth and polyvocality to your nonfiction writing. Get a solid recording and integrate the right quotes to support what you’re trying to say. Then send your work out into the world and figure out who you’ll interview next! 

The post How to Use Interviews in Your Nonfiction Prose appeared first on Writer's Digest.

(Does My Podcast Need Video?)

Hospitality Mindset

Your guests should feel appreciated, respected, and taken care of during the entire process. Remember that the person you’re interviewing might be nervous, and a comfortable environment fosters vulnerability and easy conversation. You don’t want your guest to see behind the fourth wall. They don’t need to know about tech problems or scheduling issues or the hectic morning you’ve had. It’s crucial that you get your own stress under control, focus on the guest, and create (at least the illusion of) a smooth recording experience. Ideally, everyone involved is absorbed in the conversation and forgets about the microphones at some point.

Be ready to pick up the conversational slack. If you were hosting a dinner party instead of a podcast and there was an awkward lull in the conversation, you would likely feel obligated to steer the group discussion in a new and promising direction. Hosting a podcast is similar. The conversation may dip, but it’s the host’s responsibility to track the energy and keep things moving. Remember, you have the reins and you are guiding your guest through this experience.

You also need to be on the same page with your co-hosts or team. It’s extremely awkward and confusing when hosts or producers openly disagree with each other or display tension in front of the guest. No one can give a good interview if the people they’re talking to are fighting with each other. Before the interview, have a check-in with your team to be sure everyone has the same understanding of the setup, goals, who is asking which questions, and overall interview plan.

The recording environment is another big thing to consider when thinking about hospitality. A lot of in-person interview podcasts use a couch or two large armchairs in a living room style setup with lamps rather than recording in a sterile, dark studio. Make sure water or tea is available for the guest and that the room is a comfortable temperature.

Some podcasters will even make the effort to travel to guests’ homes to conduct interviews. This can of course help the guest relax, but it’s also a big draw for audiences even without video. For example, one of the most played podcast episodes of all time was Call Her Daddy’s audio-only interview with Miley Cyress in which Alex Cooper (host) traveled to Cyress’ home for the episode. In this instance, Cyress opening her home was a point of interest even though there were no visuals because it added a layer of intimacy.

Over Prepare

Wonderful, unexpected moments seem to occur more often when podcasters are well prepared. Research your guests, know their achievements and credentials, know what they are currently promoting, and read their bio online if possible. Find out if they have a hobby or recent life event.

If your guest used to be a clown or grows their own mushrooms or was in the background of a music video once—you could open the interview by asking about one of these things.

It’s also good to have more content prepared than you need. Organize your questions and topics into essential and non-essential beforehand for a smooth interview. You never know what’s going to happen during a recording. The guest could be less chatty than expected, be in a bad mood, get cagey about certain topics, or the conversational energy could be low. 

These situations are inevitable, but to avoid awkwardness or cutting the interview short—have extra questions, a couple of open-ended discussion topics, and maybe a relevant personal anecdote ready. Not every host and interviewee are going to have naturally good chemistry, so having extra notes to lean on when improvised conversation fails can make a huge difference.

Stay on Topic (But Also Don’t)

There are certainly podcasts that thrive on letting guests talk themselves into a crazed, embarrassing hole, but unless that’s your goal, gently nudge guests back to relevant conversation by asking a new question. There is a happy medium between hammering through questions on your outline and letting the interview go off the rails. Digressions are often my favorite part of interviews because they spring organically from something the interviewer and host are connecting over (or disagree about, though that can make for equally good content). 

Keep in mind that the excess digressions can be cut out in post production, and sometimes it’s better to let the guest keep talking because it gives you more interview material to choose from. For the most part, I suggest removing or avoiding ‘secondary digressions,’ which is when there is a digression within digression—only keep these if they’re gold.

Incorporate Larger Themes

Depending on the guest, you may be able to openly dive into larger themes and cultural analyses. Guests who are journalists, work in politics, or are literary authors can give this kind of interview. Other guests whose experience falls outside of these areas may need to be guided more subtly through the themes of an interview. Using a combination of open-ended and leading questions to guide the guest in the direction you want to go is a good method in these situations. 

For example, an interview I produced that featured some of Hugh Hefner’s former girlfriends was constructed in a way that allowed the women to share their experiences through natural conversation, but the questions and editing highlighted themes of coercive control and the infantilization of women.

Don’t Talk Too Much

Talking more than your guest is an interview faux pas. Beyond the awkward disrespect, it’s a disappointing experience for the listener who is expecting to hear from the guest and may have only come to your podcast feed because they follow said guest. 

You want the guest to do at least 60% of the talking, so make sure all discussion topics are in their wheelhouse and that the overall tone of the interview is a good fit for the guest.

Avoid Tech Freakouts

One way to make your guests really nervous is by having disorganized tech. Mics, recording equipment, computers, and video calls are notorious for making people nervous. It’s a piece of equipment that they’re not sure how to use but need to use while performing in a (sometimes high stakes) professional setting—pretty nerve wracking. 

If the interview is being recorded remotely over the internet, it’s essential to make time for a no-stress setup and sound check call. This could be with you, the host, if you are tech savvy or an audio engineer or producer. Explaining things slowly and assuring the guest that if tech issues arise there is help and it is not their fault does wonders for creating a relaxed environment.

Warm Up

I think a lot of people forget that podcasting is performing. Just like an athlete or actor, you need to be alert and in a flow state to conduct the best interview possible. 

I like to do vocal warmups and ecstatic dancing (an embarrassing activity that involves throwing your body around wildly to increase blood flow and endorphins) before recording a podcast. Some people go for a short walk, have a chat with a friend or coworker to get into conversation mode, or meditate. Find what makes you feel the most prepared and create your own warm up routine.

The post 7 Interviewing Tips for Podcasters appeared first on Writer's Digest.

Media is how readers find out about books and authors. To get that media attention that will connect you with your audience, it’s essential to establish yourself as an expert—because you are one!

Some authors think the media plan will all come from the publisher. But as an author, you play an essential role in garnering media attention for your work. Your job is to get yourself out there as much as possible. That means training yourself: understanding the media landscape, pitching, preparing for interviews, and creating an infrastructure to keep the momentum going once you start getting featured in the media.

My free resource 10 Questions Every Author Needs to Answer is a great way to get started. You can download it at PaulaRizzo.com/10QWD.

I was a senior TV producer for nearly 20 years before I became a media trainer. I worked in local and national news in New York City and even received an Emmy Award for my work. I’ve gotten thousands of pitches and booked hundreds of authors. I know which pitches work and which ones don’t get responses. As the author of two books, Listful Thinking and Listful Living, I’ve put my knowledge into practice when it comes to doing media myself.

Here is how to create a sustainable media strategy, from before your book comes out to after the initial phase of promotion concludes.

Before Your Book Comes Out

Yes, the media strategy starts before your book even has a publication date. Maybe even before your book exists at all!

Establishing yourself as an expert can happen at any stage, and the earlier, the better. For instance, I started my blog, ListProducer.com, in 2011 and began creating videos and trainings on productivity before my books came out.

By the time my first book, Listful Thinking, was published in 2015, I had already created a catalog of evidence to share with producers and editors showing that I could speak about my work. That way I could point to my blog while pitching and say, “Look at all this content I’ve created about list-making and productivity.” It backed up my expertise. Plus, when it came time to get a traditional book deal, it was easier to sell myself as an expert because the media already gave me their seal of approval.

You can begin creating media on your social media platforms, through a blog, or by launching a podcast or live-stream show. When producers look you up, having an active online presence with high-quality material will show them that you’re professional, knowledgeable, and reliably able to share your message with an audience.

Remember, media begets media. The more media you do, the more that you’ll get. You can always use one media segment to pitch another.

Pitching the Media

Pitching the media can seem intimidating at first. But crafting the perfect pitch requires some prior planning. Over the years I’ve developed a pitching formula—I use it to pitch media, so I know it works. As a producer, I always gave a careful look at stories that had these elements.

Remember, the media won’t just find you. It’s important to tell them that you’re there, that you’re available, and that you want to be featured. That’s where the three elements of a perfect media pitch work their magic.

The perfect pitch has three elements: the hook, the twist, and the takeaway.

The hook answers the question Why now? Why is this story idea interesting and relevant right now?

The twist answers the question How is this different? When I was a producer, I appreciated a pitch that wasn’t the same narrative over and over.

The takeaway answers the question What does the audience leave with? What action do you want the audience to take after they watch your segment? This is what makes your pitch meaningful.

Using these questions to guide your pitch is key to making it stand out above the rest. And don’t be a snob! You can’t hold out for “Good Morning America” and turn down smaller or local channels. It all matters. And guess what, you likely won’t get those big opportunities at first. Start small, practice, get better and more confident. Then, the bigger media outlets are more likely to book you if you have a good track record of previous media appearances.

Preparing for Media Appearances

Your pitch worked. Now what? I developed an approach I call the Accordion Method for preparing for interviews that I use with all my media-training clients. The Accordion Method is about having a small, medium, and long answer for the questions you think you’ll be asked. It works for all kinds of media opportunities.

First, you need to do some research and watch or listen to previous interviews. That way you’ll have a sense of the kinds of questions common to the show or anchor and the order in which they’re asked. Gather as good of a sense as you can and then jot down the questions you expect.

For each question, come up with a short answer—and think in headlines and soundbites. You want to make the producer’s job easy. Producers are always more likely to ask back experts who speak articulately and concisely. This short answer needs to be attention-grabbing.

Then come up with a medium answer. You still need to get right to the point, but now you can add a little more detail. Always start with a bang and then explain the context.

Finally, create your long answer. Once again, you start with the headline and add specific evidence for your first statement.

Once you have your Accordion Method answers for the questions you think you’ll be asked, you need to practice—then practice some more! Practice on camera, watch it back, and do it again. Some people think they can “wing it”—but even if you know your topic inside and out, you still need to practice. You need to hear yourself saying the words out loud. This is much different than simply writing them down or reciting them in your head.

Record yourself and listen or watch back. Pay attention to how fast you talk (you probably need to slow down!) and try to cut down on filler words such as like and um.

Smiling also makes a big difference in how you come across on camera. If you’re joining from a home studio, I have lots of tips for creating a setup that looks professional. But most of all, always start with a smile. (Unless, of course, it’s a serious topic!)

And remember—always look directly at the camera when shooting at home, not at the little thumbnail of your video!

If you’re in the studio, pick one eye on the reporter or anchor and stare into it the whole time. This takes the guesswork out of whether you should look at their mouth or forehead or switch eyes. Pick one eye and stick with it. This works for any conversation, and I’ve been told it’s one of my most useful tips.

Keeping the Media Momentum Going

Once your book is a few months old, it’s no longer new and notable.

Does that mean you should stop doing media? Of course not! I still do interviews and am identified as the author of my books. I talk about productivity and lists more than anyone else and people remember me for it. Especially members of the media. They remember me when they need an expert in this area. Focus on keeping the media momentum going by finding new ways to pitch the media that revolve around you as an author and expert, not just on your book.

It’s also essential to keep sharing the media you do. No one will know about it if you’re not promoting yourself. I know many people feel uncomfortable about self-promotion. That’s natural—no one wants to be thought of as braggy or self-centered. But as an author, sharing about what you’re working on is a way of being of service to others. Your message is important, and people need to hear it.

Media training is an aspect of becoming an author that many people are unprepared for. But once you learn these skills, you’ll continue to reap the benefits.

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In a past edition of this column, I explored the ways you can approach creating and sharing content to support your work as an author. But what about the nitty-gritty of video production and content creation?

This is where many people get stuck. You want your content to be a reflection of you and your writing: high-quality and reliable. You definitely don’t want people to second-guess your expertise because of the way you present yourself online. Luckily, there are lots of wonderful tools accessible to you—and I’ll clue you in on my go-tos.

Thinking like a producer means creating content in multiple ways and across multiple platforms, from pre-recorded videos to live video interviews. Producers also know how to leverage tech and on-camera skills for the best possible end result.

Here are my tips for creating content that boosts your profile and supports your goals as an author.

1. Consider your appearance.

Even though an at-home video recording or interview means the camera will only capture you from the waist or chest up, don’t wear sweatpants or pajamas! Get fully dressed, as if you were heading into an in-person meeting or interview. You want to fully embody your professional persona as an author, and the right clothes help you step into that role.

When getting dressed, think about what outfits will be the least distracting. Solid colors such as blue or green are ideal. If you’re using a microphone, don’t wear jewelry that could bump into it while you’re talking and make a distracting sound. If you wear makeup, test out a few different looks so you can see what comes across well on camera. You don’t need to transform into someone else—you just want to come across as your best self.

2. Slow down your speaking.

We all use “um” and “like” sometimes, but it’s time to work on cutting those out, at least on camera. Using filler words distracts from your message and it undermines your credibility. Record yourself and notice what filler words you tend to rely on. Then, try again and practice slowing down and removing them from your speech. My best suggestion is to get comfortable with a moment of silence—it’s always better than rambling.

3. Make eye contact.

Always look at the camera, not at yourself! I know that it feels more natural to look at yourself or at the person you’re speaking with when you’re doing an interview. But when you do that, people don’t get that sense of eye contact and connect with you. It’s much better to make eye contact with the camera. It feels less uncomfortable the more you do it! I have lots of tips and tricks like this in my course, Media-Ready Author.

4. Simplify your background.

When you’re creating content from home, you want to make sure your background is appropriate for video meetings or interviews. Try to have a simple background—you can always move your desk around for the occasion. Having lots of items behind you will draw your audience’s attention away from your message and towards your knick-knacks! If you can easily get your book behind you, do it. Ideally, you’ll have some depth behind you if you can, but if not, a solid color works too. As for virtual backgrounds or blurring effects, I suggest skipping them. You don’t want to look like you’re hiding a messy room behind you!

5. Keep the lighting natural.

You don’t need to spend a lot of money on fancy lighting. Use natural light whenever possible. Never put a window behind you, because it will make your space look dark and uninviting. The more light, the better quality your on-camera image. Remember keep the light on your face, not behind it.

6. Invest in a microphone.

Having a good microphone means you’ll be heard loud and clear during video calls and interviews. You don’t want someone to have to ask you to repeat yourself because your voice sounded too fuzzy.

I suggest the Stick Microphone for when you’re using your laptop, or the Lav Microphone when you’re using your phone. You should test out your new hardware prior to creating any content or using it for an interview—you want to make sure you know how it works before the big moment.

7. Check out noise-canceling software.

Creating content from home means you run the risk of background noise. No one expects that you’ll have a soundproof recording studio, but you should try your best to minimize sounds that distract from your voice. Krisp is an app that allows you to mute background noise during calls. It’s perfect for working from home, since you don’t have to worry about the sounds of your kids or pets interrupting an interview.

8. Make sure your camera is up to the task.

A low-quality camera can’t produce a good image, even with the best lighting. It’s important for your audience and your interviewers to be able to see you clearly. Many smartphones and computers have great cameras these days, but if you want to buy a separate camera, the Logitech 1080p is a great option.

9. Elevate your computer.

Having a computer stand is one of my best tips for elevating your on-camera appearance. Elevating your camera creates a more natural, and level video, as if you really were right in front of your audience. This is super important for creating connection and intimacy with the person you’re talking to. You can also try a standing desk! If you don’t have time to order a computer stand, you can always prop up your laptop with some books. Just make sure to do a quick test to make sure things look right.

10. Practice, practice, practice.

If you’re new to creating video content or doing media interviews, it’s a good idea to practice talking and answering questions before the real thing. Try recording yourself so that you can see how you’re doing. Then you can rewatch and take note of what you’re doing well and what you want to improve on. Try using my 10 Media Questions Every Author Needs to Answer as you practice.

Here’s some things to look out for: Are you looking at yourself or the camera? Are you using filler words? How is your posture? Is the background distracting?

Practicing will help you feel more confident in your presentation, and that will definitely come across in your content. The more content you create and the more interviews you do, the more comfortable you’ll feel.

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The post Think Like a Producer to Look and Sound Your Best appeared first on Writer's Digest.

(10 Interviewing Tips for Journalists.)

Later, after a good cup of coffee, that idea might take hold and wind up on the page, or fade away in the light. Those unexpected moments can lead to a new project or book or a new turn for your character, the one that’s still unfolding.

Some years ago, I agreed to write a big musical piece for an opera company. The only requirement they had was that they wanted me to incorporate into the work stories of people who were new to this country, in any way I saw fit. After I signed, I was so puzzled by this huge undefined thing I had agreed to write that I doubted those sparks would ever arrive. 

Without a shape, an arc, a theme, or so much as a plan, speechless as to what I’d gotten myself into, the only thing I knew to do was to go find people to tell me their stories. I figured I’d record them, then transcribe everything so I would have original lines to work from. I hoped the way forward would then open up like the song about the bear who went over the mountain—after I collected a few stories, I’d see where to go next. That decision changed my writing life.

It didn’t happen all at once. I barreled into the first interview so deafened by my own point-of-view—American-born, white, female, gay—that I put their stories into my own context, and failed to ask what I needed to ask to establish or even understand theirs. That’s what point-of-view is, that’s what it establishes—an overarching context that tilts everything in the piece in more or less the same direction. I had worked so hard to learn point-of-view on the page, I had no idea that your own could deafen you, in your writing or in the world.

One day early in the project, I took a break and went into a nail salon run by a group of Vietnamese women and blithely asked a stylist working there to tell me her story. I thought it an uncomplicated question I had a benign right to ask. I didn’t hear the superiority in my request, the implication that “of course you’re not from here and I am.” Then I added, “I just like stories,” and couldn’t hear this as trivializing her experiences. The final blow: I said the mayor was interested in this work.

I didn’t yet know how suspicious, how careful, people in Vietnam had to become about interrogations and government officials after the communists took over, didn’t imagine she could have endured something like an armed official striding unannounced into her home who might, say, count rice bowls in her cabinet and then arrest them all. There are five bowls here and only four people are registered to live in this house. Who are you hiding?? The woman flinched, then muttered something to the stylist at the next station. Chatter in Vietnamese, loud and agitated, exploded in the shop. They could not get me out of there fast enough.

Context is everything. I didn’t yet know how to listen outside of my own.

Gradually, I learned. I learned as I watched the impact of each of my questions, as over 120 people told me their stories, in depth, over that year. They could talk for hours. Since I didn’t know life in their country or culture or mindset, and didn’t know what they had lost or what they sought, I had to build the world around their story by listening and sensing what to ask. Most important, I noted what they didn’t say—what they assumed, or avoided—and that was often my guide. 

I learned to listen with my body, my heart, and my past all in play. In that terrifying state of empathy, questions burbled up unbidden that seemed to spark something in them, and opened up their world—inner and outer.

Check out Leah Lax’s Not From Here here:

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What I didn’t yet understand was that I was absorbing the varied voices of my society. I internalized something about the cadence and rhythm of speech and specific context that creates a unique character on the page. That is, I learned to write characters by listening to real people, and listening between the lines.

In fiction, we get to know our characters by creating their world and making sure they are a unique product of it. Once a character gains that uniqueness, they take on a life of their own. We begin to listen to them. Their actions will come from their nature, not ours.

Now, when I write, for fiction or nonfiction, before I dig deep into myself to find that flow of ideas and words and characters, before I even sit down in front of that blank page, I get quiet and tune in to the world and its voices with all of my senses. Then I feel more able to capture the world in writing, or create the world that I need to create, which will be different for each character. In that way, hopefully they won’t just come out like various reflections of me.

And if I’m writing about real people, well, by truly listening to them, then poring over their words and writing in the gaps in a way that clarifies all that I learned about their context, I just might find my way to their humanity. Maybe I will also find their intersection with my own, and discover a little more about my world. And myself.

The post How to Find Great Stories and Listen Between the Lines appeared first on Writer's Digest.

But the truth is it’s you publishing the work, so you also have to be able to speak about what you do and what you know. I know this from personal experience.

As an author and a former TV producer, I’ve been on both sides of the interview process. So I know that you need to prepare for on-camera interviews, whether or not speaking is your first preference.

I’m regularly hired to speak or am interviewed as an expert for my usual topics—video, media, and my books: Listful Thinking and Listful Living. However, I still prepare talking points. Yes, every single time! I know it’s the best way to nail any interview. This video will walk you through how I do it.

From my years of experience, I have a few other tips and tricks that I come back to time and again—before the interview, during it, and after it’s over.

Before:

Craft the Questions

Start by thinking about what you’ve been asked to talk about. Is it a new topic or something you’ve been asked to discuss repeatedly? Check out the previous episodes of the show you’ll be on and make sure you have a good sense of what questions you’ll likely be asked. This will determine how you approach your brainstorming.

Write the topic at the top of your notes page. Then write down everything you think of that could possibly be related. Just get all your thoughts down on paper. Once all your thoughts are down on paper, you can go back and edit. Cross out things that are not relevant, add anything you forgot, and see what’s left.

If you’ve handwritten the notes, start a fresh new page and put your notes in a logical order. If you type your notes, copy/paste and reorganize your bullet points. My free resource 10 Questions Every Author Needs to Answer is a great way to narrow down what you decide to speak on.

When preparing how to answer the questions you anticipate being asked, I like to use a strategy that I call the Accordion Method. You want to have a short answer, a medium answer, and a long answer to the questions you think you’ll be asked.

The short answer is the headline: a soundbite that takes just a sentence.

The medium answer is just a little longer, still starting with a bang and then adding a bit of context.

The long answer builds on the medium answer with a few specific details. Once you have these worked out, the next step is to practice. I really mean it. Practicing is essential.

It is also imperative to practice how you’d answer uncomfortable questions in the moment. Get the rocks out of your mouth, so to speak, so that you don’t make a mistake and say something you’ll regret later. Practice with someone who knows publishing: a media trainer, your agent, other authors, a member of your publishing or publicity team, etc.

How do you know which length of answer is required? You’ll know right from the beginning when you know what kind of interview it is and how much time you have. Always ask before an interview how long you have. If it’s a podcast and you have 20 minutes or so, you can definitely use your long accordion answers. For TV you’ll probably use both short and medium answers because those segments are likely under five minutes. But also watch the interviewer, take cues from them on when to wrap up your answer.

In this episode of my live-stream show Inside Scoop, I walk you through how to use the Accordion Method. If you’re ready for an even deeper dive into this I have a whole training called Media-Ready Author available for you here.

No matter how many speaking engagements you do, you have to practice. Practicing out loud is important because sometimes things make sense on paper but sound weird when you’re talking. And it’s better to find that out when you’re alone or talking to a friend than on TV!

[5 Ways to Get and Keep Media Attention After Your Book Launch]

During:

During the interview, it’s time to make sure your hard work pays off. Remember to slow down, smile, and trust in your preparation. You have valuable information to share, and the audience wants to hear what you have to say.

And remember … kill those filler words! Focus on what you’re saying and be OK with a little silence here and there. Um and like are not your friends during an interview.

After:

Don’t let your interview disappear as soon as it’s over. I see this happen all the time—someone spends lots of time getting ready for an interview, nails the appearance, and then … poof! I never see it posted or shared anywhere.

Promote yourself! People won’t know what you’ve done unless you tell them. So don’t be shy about getting the word out. Send out replays to your email lists and post on social media about it.

And always stay in touch with producers. A “thank you” email or handwritten note goes a long way. Producers are always more likely to ask someone back on the show who they have developed a positive professional relationship with.

[How to Pitch Your Book to Broadcast Media]

For more tips on preparing for on-camera interviews, you can check out my free resource, Checklist to Become a Go-To Media Expert.

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