Selecting Media Venues

When you are considering media outlets to deploy a story, there are so many choices. How do you know which digital and traditional media venues are the right ones, and how do you prioritize them? The following is a short primer providing a method to select media venues to distribute content in an outreach campaign or a larger initiative. It is based off a presentation I gave last week at the International PRSA Conference.

First, let’s assume you have a message, and that your customers or intended audience will actually care about it. Let’s say the media is unlikely to pick up the story or concept, at least until the market validates it. So your organization elects to use its own content to communicate the concept with customers.

You need to determine your primary distribution point. It’s critical to have a focus. Too many people make the mistake of using every media possible to publish a major piece of content.

Every group of customers have a primary venue or medium they prefer to receive content. Hopefully, your customer data is deep enough to help easily determine your customers’ primary media channels. Using analytics, you can identify those channels and determine what type of content will work.

Your website is unlikely to be that choice, particularly if you are not an actual media company (Red Bull aside). Instead, your website is home base and it should include owned content, but it is unlikely to be the primary communications point that your customers frequent.

Let’s consider Star Wars.com as an example. StarWars.com extends an incredible media universe, as you can see from the many options on their site.

However, we know that movies are the primary Star Wars vehicle. Every other media property dovetails back to the movies, and the movies drive interest in the other media properties. No other Star Wars media property is viewed by as many people as the movies are.

Dovetailing Back to the Primary Asset

StarWarsMediaChoices

Some people choose to post their media across different properties. But more and more brands are looking to differentiate content across media channels by extending their story. They use secondary media choices to amplify and extend the experience. This is called transmedia storytelling in academic circles.

Consider the above chart and how Star Wars uses its many secondary outlets to continue the story. The Star Wars franchise supports itself between movies with unique stories that offer its most enthusiastic customers an extended experience. Each piece can stand alone, but in the end the work around the narrative proposed in the movies.

Disney manages the Star Wars narrative closely so there are no conflicts. In fact, Leland Chee, the Keeper of the Holocron, is an employee whose sole job is to maintain story integrity.

Disney invests in the media platforms that are most likely to be used. You can see the website promotes all of these properties.

In areas that are not as well viewed or consumed, Disney allows third parties like Lego and publishers/novel writers to license the brand, and extend it. While not directly promoted on the Star Wars home page, these properties are also managed by Leland Chee and fit in the master narrative.

This is distributed storytelling at its finest, creating a cascading effect across a wide variety of media.

Applied to Corporate Content

Brian Solis Keynote

The same principles used by Star Wars franchise can be applied to any serious content initiative. Of course, none of them will have the budget of Star Wars, but even a small campaign can make use of transmedia channel selection methods.

Consider the recent Vocus (now Cision) Brian Solis/Gapingvoid eBook my company helped produce and promote. What If PR Stood for People and Relationships was distributed on SlideShare as the primary medium.

Secondary choices included select social networks, a live event at Google HQ that extended the SlideShare presentation, blogs that extended the book’s logic, and native ads. These were the channels that Cision/Vocus customers usually interact on. Each of these content choices featured different takes on the book, from analysis and live commentary to quotes.

FutureMedia

Tertiary choices included a fantastic Canva user -enerated contest that had more than 60 entries. I had my doubts about this, but Cision Community Manager Adrienne Sheares stuck to her guns, and this turned out to be a very good content extension. I included this and influencer blogs as tertiary as they were content pieces that were beyond our control.

Tertiary media choices are tough. You don’t know what you will get, but investing them is important. Many times they can take an effort to a new level. At the same time, if unsuccessful tertiary efforts can just burn resources. I like to use tertiary choices as acknowledged risks and to experiment, as Cision/Vocus did with its successful Canva effort.

It’s important to experiment. You learn what your true brand advocates enjoy. Test new media and see how they can benefit your relationships and overall storytelling capabilities.

How do you approach media selection?

You may also like “Transmedia Writing” and “Transmedia: Multichannel Storytelling Transcends Platforms.”

The PR Industry Can’t Help Itself

Agencyinsanity

Of all the professional skill groups that can be included in the marketing toolkit, public relations is the most ridiculous (PR is also used for public affairs and other non-marketing activities). Filled with backwards unethical and untrained professionals that consistently spam people and promote attention metrics instead of actual outcomes, the PR profession can’t help its poor image.
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