The Art of Storytelling

Column inches. Sound bites. Web page real estate. Inbound links.

These are the metrics by which the success of a public relations campaign is measured.

If you have news or information about your company that you want to share with the world, how do you go about trying to secure these publicity gems?

The key to getting from point A and point B is the story.

While this might seem like a basic concept, there’s much more to it than simply committing facts to paper. You must shape and craft your story strategically to convince reporters, writers and bloggers that it is important and relevant to their audience.

So, the real question is, what makes a good story, and how do you frame it in a way that persuades those who hold the megaphones to re-tell your story for you?

The process of pitching a story is much more art than science.The process of pitching a story is much more art than science, more alchemy than equation. Just like any art form, there is no formula that guarantees success. However, there are a number of tried-and-true tactics you can employ to increase your chances of getting coverage:

Think in literary terms.

Go back to the basics you learned in English lit class. Good stories are built around archetypal themes: good versus evil, perseverance through adversity, the triumph of the human spirit, the hometown boy makes good – the list goes on and on.

Identify the elements of your story that offer universal appeal and frame your story accordingly. For example, a simple press release on your newest executive hire could jump from a passing mention on the comings and goings page to a full-fledged feature if he or she boasts unique personal accomplishments, offers a different perspective or has overcome great obstacles to achieve success.

Make it timely.

By its very definition, news is “of the moment.” Follow news cycles closely and try to find a way to tie your story to current events whenever possible.

Holiday-themed and seasonal stories are always a solid bet, but don’t forget about other observances and commemorative events. Everything from National Breast Cancer Awareness Month to National Safe Boating Week to America Recycles Day could be a great opportunity for you to present a timely story that offers a connection to the news of the day.

Identify your rock stars.

Reporters are always looking for credible experts to provide insight and analysis. Make the media aware of the resources your company has to offer by presenting bios and lists of topics that your key spokespeople are qualified to discuss.

For example, a travel agent could send information detailing the size of her business and years in the industry and offer to share helpful tips on top destinations or how to find the best airfares and hotel rates.

This tactic works particularly well when timed strategically to coincide with relevant news cycles. In the case of the travel agent, she should contact reporters right before the summer and the holidays, when reporters and bloggers are looking for interesting story angles for the peak travel seasons.

Play the numbers game.

Nothing makes for good sound bite fodder like interesting data. Journalists are fact- and, therefore, numbers-driven. A surprising statistic or one that either validates or disproves a commonly held belief is often the spark that gets media tongues wagging.

Add a visual.

Providing a strong visual, such as a photo, chart or compelling video, to accompany your story will definitely increase your chances of coverage. This is especially true when targeting television or web-based media contacts, who often rely on visuals to give depth to their stories.

Also, if you’re planning an event, don’t forget to include a photo opportunity, especially if there will be well-known people in attendance. There’s no easier way to get your event noticed than a photo of a familiar face, whether it’s the mayor, a hometown celebrity or even a prominent member of society.

Do the heavy lifting.

In the wake of budget cuts and downsizing, many traditional media outlets are stretched thin and are grateful for prepackaged stories they can pick up and run as-is when they have a few extra column inches to fill.

Typically, press releases offer solid, factual information that helps reporters build their own stories. However, when targeting smaller news organizations, you may also want to consider sending a fully written article complete with quotes and photos as well as how-to advice, tip sheets or even recipes.

This approach can be very effective for broad-based consumer pitches and is often used by companies such as financial planners, real estate agents, travel agents, party planners, food companies and health care organizations.

Remember that bigger isn’t always better.

Let’s face it, we’d all like to be featured above the fold on the front page of the Wall Street Journal, but often a well-placed local hit is even more effective.

Focus your time and attention where you have the greatest chance of success – and of boosting your bottom line. If your customer base is local rather than national, craft stories that incorporate elements of local interest to help you attain coverage from writers, bloggers and broadcasters that cover your area.

Know their audience and yours.

The demographics – age, gender, education level, professional occupation, income, geographic location and political leanings – of the audience for each media outlet are critically important to determining the story you should pitch.

You can’t pitch the same story to BusinessWeek and Parents magazine. Understand what aspects of your product or service would generate interest in each publication’s core audience and tell your story accordingly.

For example, I once handled the media relations efforts for a small but very rapidly growing online party supply company. We pitched e-business stories to technology trade publications; wrote articles featuring party planning tips for small local print outlets; offered profile pieces on the owner – a working mother herself – to publications targeting parents; and conducted a media tour offering party trends and budgeting tips to national women’s publications, such as Better Homes and Gardens, Good Housekeeping and InStyle.

Keep it simple.

Although there are multiple angles you could pursue for any given story you have to tell, the only way to succeed is to tell it as simply as possible.

Remember that the reader may have little, if any, familiarity with your business or industry. Break down complex information, avoid using jargon or technical terms and use language that everyone can understand and relate to in some fashion.

Put it to the test.

The most important question in determining the strength of a story is “Would I read an article on this topic?” If you cannot honestly answer “yes,” either go back and reframe it or skip it entirely.

Reporters need to know that what you give them is worthy of their time and attention, so if it’s not worth yours, don’t pass it along. Ultimately, if you want to achieve long-term PR success, it’s important to cultivate your reputation as a source of interesting, factual and relevant information.

By inundating reporters with stories that are not legitimately newsworthy, you’ll do more harm than good and make it far less likely that they’ll take your call when you have something truly valuable to share with them.

If you employ these 10 tactics, you’ll create a strong pitch that will stand out in a sea of bland, boilerplate press releases and greatly increase the chances that your story will end up in the headlines rather than the recycling bin.

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Get it Type: Six Fundamentals of Good Typography in Website Design

Typography is often one of the least appreciated – yet most important – aspects of website design. So much more than just the “font” that is used to present your site’s content, the choice of typeface does as much to set the tone of the site as the colors, images and other visual components of the design. If the content on your website is your brand’s message, then the typography is the voice with which your site speaks that message. The study of typography has a long and rich history. While designers work for years to perfect this practice, by cultivating an understanding of a few basic principles, you can more effectively communicate with your design team as you work collaboratively to make the right typography choice for your website and, through those choices, find the perfect voice for your site. Here are six fundamentals of good typographic design that will help you avoid potential pitfalls and make sound aesthetic choices that will strike the right tone and support the delivery of your message:

1. Know what’s possible.

If you’ve been involved in a website design project in the past, then you’ve likely heard the phrase “web-safe fonts.” For years, limitations in web browsers forced us to utilize a very small group of fonts for our websites. If you requested the use of a font that fell outside of this select group, you would have been directed, instead, to one of these web-safe fonts so that the site’s text could be reliably displayed across a wide variety of browsers. In the past few years, however, this restriction has been greatly minimized as a new feature called @font-face (pronounced “at font face”) has been introduced, allowing us to make use of thousands of new fonts on our websites in a reliable way. This is both a blessing and a curse. The blessing lies in the ability to use the wide array of wonderful typefaces available to us today to create incredibly rich and unique designs. The curse is that, with so many options, it’s all too easy to overdo it and create a muddled mess with competing typefaces that obfuscate the message you are trying to send. Also, despite all of the advancements made in web fonts in the past few years, there are still limitations to what we can and cannot do with fonts on websites, so ask your web design team about these limitations to ensure you make choices that will work on a technical level.

2. Make strategic use of different font classifications.

Different font classifications have different feels and serve different purposes, so developing an understanding of these classifications is a good place to start.

Serif

A serif is “any of the short lines stemming from, and at an angle to, the upper and lower ends of the strokes of a letter.” If you look at a font like Times New Roman, you will notice the little flourishes that hang off the ends of each letter, adding an extra embellishment to those letterforms. Besides Times New Roman, other popular serif fonts include Georgia, Baskerville, Garamond and Palatino. Serif fonts are often used when you want to convey a sense of history or tradition in a design. Historically, serif fonts were used in the body text of printed works because they made large blocks of text easy to read. For computer screens, serif fonts are very versatile and can be used effectively for either body text or headlines. The accounting and business consulting firm KLR uses the serif font Georgia throughout their site to create a look that conveys a sense of professionalism, trustworthiness and experience.

Sans-serif

Sans-serif, or “without serif,” fonts feature letterforms that do not have the extra embellishments found on serif fonts. Common sans-serif fonts include Arial, Helvetica, Verdana, Futura and Tahoma. In printed text, sans-serif fonts were typically used only as headlines because it was easier to read body text set as a serif font rather than a sans-serif, but for computer screens and websites, sans-serif fonts are equally as readable and versatile as serif fonts, so they can be used either for headlines or body text. The straight lines of sans-serif fonts and the lack of extra ornamentation often make these typefaces good choices to create a sleek, modern look. An example of sans-serif fonts can be found here on Fame Foundry in our navigation, our main billboard message and throughout our site in both headlines and body text.

Slab-serif

Similar to serif fonts in that they have extra embellishments added to them, slab-serif fonts often feature thicker, chunky letters whose serifs are blocky with little, if any, contrast between thin and thick lines. Typical slab-serif fonts include Rockwell and Clarendon. The bold letterforms and serifs of this font classification often give them a strong, impressive weight when used as headlines. These fonts are typically not used as body text but are often set in large sizes as headlines. An example of slab-serif fonts can be seen in the logo, navigation and main headlines of Brown Family Seafood’s website, which uses a typeface called ChunkFive.

Display

Display fonts are typefaces that are typically only used at large sizes and are therefore better suited to headlines and large messages than body text. Display fonts typically have lots of character to them and are richly designed. With a wide variety of looks and styles available in display fonts, these fonts can be an excellent choice for headlines since they will add that character to the design, but these fonts are also easy to abuse or overuse. Typically, more than one display font in a design is too much. A few examples of display fonts are shown below:

Grunge

Grunge fonts are typefaces that are designed to show artificial wear, almost like the printing on a vintage t-shirt that has been through the wash many, many times. These fonts, which are also typically used only in headlines or for large, short bursts of text, are a great choice when you are trying to add a worn, textured feel to your design. The city locations listed in the billboard text on Zombie Charge, which tries to recreate a worn and battered look for their zombie-themed adventure runs, uses a grunge font called Umbrage.

Script

Script fonts have a classy, elegant feel to them. These fonts typically have long, flowing characters and very thin letterforms. Because of this, script fonts are often only used for headlines and at larger sizes, because if you set these fonts too small, the thin letters become unreadable. Script fonts are a great choice when you are looking for a high-end, elegant feel and tone. You can see a script font, Allura, used in a number of places in the design for Concord OB/GYN, including in their navigation and main billboard messaging.

Hand-drawn

Fonts that are classified as “hand-drawn” have an organic, if perhaps flawed, look to them. If a script font is drawn by a master artist, then a hand-drawn font is scratched out by an everyday writer who may be in a bit of a rush. These fonts can be used to add a human touch to a design and make it feel like an actual person, and not a digital computer, wrote out the words. The font Mathlete that is used on the billboard message for Sweet Nina’s Nom-Noms has an organic, hand-drawn feel to it that reflects the handcrafted desserts that the company offers.

Novelty

Novelty fonts are often made to replicate popular brands and their distinct characteristic look (think Coca-Cola or Harry Potter). Because of their inextricable association with a well-known brand, these fonts are rarely appropriate to use on a website for another company. Other novelty fonts simulate things like dripping liquid, wood pieces or bones to create the letterforms. While these display fonts are not immediately associated with another brand or company, their overly stylized design also makes them a poor choice for most applications – although if you are going for this type of overly stylized look (for a Halloween-themed billboard message, perhaps), then they can be considered. A few examples of novelty fonts are show below:

3. Always preserve readability.

As you undoubtedly noticed in perusing the above overview of font classifications, most of these fonts are meant to be set at large sizes as headlines. Only serif and sans-serif fonts are versatile enough to be used effectively for both headlines and body text. This is because of readability. If the font you use for your website is your site’s voice, you not only want to be sure the voice is appropriate for your brand but also that the voice speaks clearly. In this case, “speaking clearly” means having text that is easy to read. The overly stylized letterforms of grunge or display fonts and the thin letters of script or hand-drawn typefaces make them difficult, if not impossible, to read when set at smaller sizes. Since body text is set at smaller sizes, using these fonts would be an inappropriate choice. Regardless of which font you use, be sure to view it at the size that it will be set at for the actual website and in the colors that will be used. This will allow you to see the contrast that font has when set against its background so you can determine if the choice you have made provides an easy reading experience for your audience.

4. Avoid overused fonts.

Certain fonts carry a stigma with them due to how they may have been used, or overused, in the past. Fonts like Papyrus have been used in so many – often poorly applied – ways that they immediately have a negative association attached to them. In the case of Papyrus, there is even a website called Papyrus Watch that will show you many examples of how this font has been used and abused. Other fonts become overused in a relatively short time. The typeface Gotham was used by the Obama campaign in 2008, and it quickly started showing up everywhere as other designers jumped onto the bandwagon of this suddenly popular font. As a result, Gotham quickly hit the saturation point and now feels cliched. Some fonts may not be overused in general but only in your niche or market. If your competitors all use the same type choices, there is an easily forgettable, vanilla quality to that approach. By choosing a different typeface, you can set yourself and your site apart from your competition right from the start.

5. Practice restraint.

The wealth of fonts available to use today makes it very easy to overdo it, but by practicing restraint and limiting your site to maybe two or three different font choices at most, we can work to avoid overuse. As Robert Bringhurst says in his definitive volume, The Elements of Typographic Style, “Don’t use a font you don’t need.” By limiting your site’s design to only a couple of choices, you’ll create a clean, clear visual rhythm and ensure that the variety of type styles do not create a confusing mess.

6. Choose complementary fonts.

One way to limit your font choices is to select a pair of fonts that contrast and complement each other, perhaps with one choice for headlines and another for body text. This contrast, and the restraint demonstrated by your choices, will help create a professional and readable presentation. A look at my own personal website shows this contrast. The site uses two fonts, the thick slab-serif ChunkFive for the navigation, main billboard message and logo, and a contrasting sans-serif font, Roboto, for the body text. The thick, chunky letterforms of the slab-serif work well alongside the thin, clean letters of the serif, creating a presentation that is easy to read with font choices that do not overpower the messages I am trying to send.

In summary

With a basic understanding of typographic best practices, you can better communicate with your design team to select font choices that work best for your organization. Some basics to remember include:

1. Despite the advancements made in web fonts in the past few years, there are still limitations to what we can and cannot do with fonts on our websites. Ask your web team about these limitations to ensure you make choice that will work on a technical level.
2. Understand the different font classifications and make choices that reflect the personality of your brand.
3. Always remember that readability is key and choose fonts set at a size and color contrast that make them easy to read on the screen.
4. Avoid overused fonts or fonts that carry a negative association with them from the very start.
5. Don’t overdo it. A few judicious selections should be all you need.
6. Look for fonts that pair well together. Using one font for headlines and another for body copy is one way you can the number of fonts while still maintaining nice variety and contrast.

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