"Back to CYA on a Mission"

Six former wards came back to the California Youth Authority (CYA) earlier this month. This time they volunteered to return. They were on a mission to deliver a message to the wards at N.A. Chaderjian Youth Correctional Facility, which houses California’s most violent youth offenders ages 18-24. The diverse panel of ex-convicts purposefully stepped through the fences of Chaderjian as law-abiding citizens. They each wore visitor’s passes clipped on their shirts and security alarms attached to their belts for their safety in the event that a riot “kicked off”.

Once inside the razor wired fence, I observed the former wards, some who were once rival gang enemies, hugging, exchanging phone numbers and sharing personal family photos with each other. Meanwhile, a large group of heavily guarded and structured wards were being escorted on to the dim, sky lit, concrete gym floor. The CYA alumni’s immediately began greeting the wards with warm smiles and hand shakes. Once seated, Chaplain Carlton McAllister, a CYA alumnus, introduced the panel and offered a faith filled prayer and a joyful song of praise. As I scanned the audience, I observed many of the wards staring at the panel speakers during the song, appearing to wonder what the panel members were about and what they had come to say.

“You need to stop being punks, anyone can run behind a gang, but it takes a real man to live for Christ and to stand alone.” A quiet hush fell over the gymnasium. You could have heard a prison-made cuff-key drop, as Levon Davis, now also known as Dr. Levon Davis shot these words toward wards with a force that captured their attention. Dr. Davis, a once harden criminal convicted for a double murder stood before the audience of offenders a transformed man who presented a bold, thought provoking, and inspirational message. “If it comes down to you and your friends, your friends are going to snitch you off. They ain’t going to take the blame for you,” Davis said confidently and boldly. Some of the audience members snickered, while others nodded their heads in agreement. “Why hold loyalty to someone who is not going to be loyal to you? When it comes down to it, the only thing that is really stable, that will get behind you, is God. Christ is the Answer.” Davis spoke these words with conviction and from experience.

Davis has had experiences that have now distinguished him from his past life style and previous mistakes. He has excelled since his release almost 10 years ago from the CYA and is a rehabilitated man, a scholar in his own right. Davis earned his PhD in counseling, is president and founder of Blessed Faith Bible College, which is accredited to the doctorate degree, he owns and operates a Christian music production company, and if that isn’t enough, he is a devoted husband and pastor of Blesses Faith church in Sacramento, California. He has come a long way from the cellblocks he was confined to over 10 years ago and the reality of his life is that his new beginning was initiated behind the bars of the CYA. Davis told the audience that he took advantage of every vocational program offered to him at the CYA and in addition, he enrolled in a correspondence college while serving his sentence. Davis credits the CYA and his strong faith in God for his successful transition into society. The CYA provided him with the resources and opportunities to succeed, and it took his initiative and commitment to turn those opportunities into reality.

Another success story and former guest of the CYA was Noel Patillo, son of celebrity gospel artist, Leon Patillo. This former ward also had a word for the wards, which he communicated, in part, through rap. His artistic flavor and talent got the spirit moving throughout the gymnasium, and the audience was tapping their feet and bobbing their heads. His words were profound and chillingly descriptive. “My parents were separated, my dad was always on the road, and mom was a dope dealer. I grew up in a dope house,” said Patillo. In a private interview he told me that his dad always told him that he needed to “get it right” because God had something for him.

Patillo, a former Bay Area gang member who was incarcerated for attempted murder believed his path on the straight and narrow came in a round about way. “God kind of tricked me in to getting saved,” said Patillo. He confessed that initially his interest in going to church was more so an interest in the opportunity to see the women who would occasionally volunteer in the institutional chapel service rather than an interest in God. This passionate interest eventually led to Patillo’s exposure to a man from an outreach ministry who began to speak the Word into his life. Patillo stated that the man ministered the Gospel of Jesus Christ to him for three consecutive days, and on the third day, the man said the sinner’s prayer with him. “I felt a change at that moment. I no longer wanted to fight, because I was always mad. I was angry, because I was locked up, because I took a rap for my cousin. Even though I accepted Christ in my heart, I was still riding with the Bay Area, but my heart wasn’t in it. I finally got some courage, and I just told them I wasn’t ridin’ no more. I was going to do my program and take care of my kids.”

After his amazing transformation, another miracle took place in Patillo’s life, the miracle of his mother receiving Christ and him being the person to lead her through the prayer of salvation. “She was up visiting and God had been talking to me for a couple of months about this new life he gave me, and I said okay. That week she came up there, I brought my Bible with me, and I took her to Romans 10:9 - If you confess with your mouth the Lord Jesus and believe in your heart that God raised Jesus from the dead you will be saved. This was someone who taught me the ways of the street, and here I was talking to her about Jesus. Then she just opened up her heart and started crying. I said the sinner’s prayer with her, and she accepted Christ. She started going to church after that.” Behind bars Patillo had received freedom from his physical and mental shackles and now he shared the gift of freedom through Christ with his mother.

After his release in May of 1995, Patillo earned his Associate of Arts Degree in Computer Technology. He is currently working toward his Bachelor of Arts Degree in Computer Technology. He is a youth pastor at True Vine Ministries in West Oakland, and he operates and owns a legal broker business. He has accomplished much despite his shaded past, and the CYA was where his miraculous transformation began.

Vanna In of Cambodia appeared before the wards looking like a preppy college student; however, his former lifestyle was anything but that of a college student. “I had no problem going to make a name for myself, or putting a gun to somebody’s head to rob them,” said In. He told me that he wanted to join the largest and worst gang. “If I was going to join a gang, I wanted to do it right. I wanted to join the most ruthless one.” In a private interview he disclosed that he came from a verbally and physically abusive home and that he was driven by his anger and the need to feel accepted at any cost, and at anyone else’s cost. He went on to tell me about his amazing conversion while awaiting trial for a gang related murder.

“When I was in jail in ’94, I started reading books by Chaplain Ray, who had all these books of inmates whom had given their lives to God. I was more interested in the stories than what God had done in their lives. I was reading the books just to kill the time. Then I was reading this one book called “Al Capone the Devils Driver” and in that book before each chapter there was a verse, and the verse that captured my heart was John 15:16 - For you did not choose me, but I chose you; I said what? Why would God call me after all the things I have done. I heard a soft voice that said, “Give your life to God” and as soon as I heard that, I closed the book. Then I started reading the book again, the voice said the same thing again, “Give your life to God”, but this time I said, okay. God you must be real, because you came to me a second time. So I woke up one of the brothers that use to witness to me and asked him to pray for me. It was about 2:30 in the morning. I use to worship a statue. Buddha never taught that we can be loved and forgiven and that God wanted to have a relationship with us. God gave me hope. When you have hope in God, no matter what you go through, you know your going to make it.”

After In’s spiritual awakening, he stated that he began reading the Bible daily and while incarcerated at the CYA he came across a young preacher named Levon Davis. “In January of 1995, I went to a Chapel service, I said wow! Look at this guy preach, and he’s an inmate, so I said, if God can use him, God can use me.” What a realization for this young man that God could use him for good. This revolutionary thought transformed his mind and ultimately his life.

I asked In what advice he would give to inmates to help them avoid the pitfalls of the streets once released? In said, “Separate yourself from the negative influences. What I learned from Y.A. was very good. I learned that insanity is doing the same thing expecting different results.” In’s achievements are commendable and the lessons he learned at the CYA were instrumental in helping him to break the vicious cycle of negative behavior in his life. The CYA provided the resources and the opportunity for positive change, and the hope he discovered in God gave him the will power and determination to follow through.

Joshua Ortega repeatedly stated in his high-powered message, “God is good!” He said, “I read the stories in the Bible and it seemed like Jesus was a pretty good guy,” as he gave a joyful chuckle. Ortega gave his life to Christ after picking up a Bible while incarcerated. He stated that he experienced joy at the CYA although his sentence was 35 years to life. He stated that the joy he experienced upon giving his life to Christ was equivalent to the joy that he now experiences after having his sentence miraculously modified by the court. He is now enjoying his freedom in society, has a great job, and is an active member in his church. Ortega commanded the floor with his presentation.

Richard Chandler took the floor and reminded his captive audience to look at the big picture. Chandler, a former gang member, spent 12 years of his life in the CYA and State Prison. He stressed the importance of family and considering how a person’s actions affect their loved ones and everyone around them. It was a message that emphasized a principle that many CYA counselors work to teach wards on a daily basis, accountability.

Shakir Villalobos, a former gang member from East Los Angeles, spent seven years in the CYA for a gang related murder. At age 12 Villalobos was jumped in to his neighborhood gang. “I was looking to find my identity, I was doing anything for their approval”, stated Villalobos. “If there is something on the outside that you’re not on the inside, then you’re on no one’s side.”

Villalobos was released from the CYA seven years ago and has been happily married for the past 4 years. He is the father of two beautiful daughters and is gainfully employed as a construction worker. He credits his success to the mentoring that he received at the CYA from Darwin Benjamin, a former Youth Correctional Counselor (YCC), and Chaplain Carlton McAllister. Villalobos stated that he still maintains a close friendship with his two mentors and remains accountable to them. He laughed as he told me how Benjamin calls him from time to time to ask him how his marriage is doing. He stated that he responds by saying, “Fine”, and then Benjamin will ask to speak with his wife.

Villalobos continued by sharing an analogy he received from Darwin that helped him explained how he connected with Christ and how he was able to view his relationship with Christ. “We all know how to dance for the neighborhood. When Jesus comes up to you, he doesn’t want you to stop dancing, he just wants you to change partners. When I heard that from Darwin, it just clicked in my mind, there is no difference. I wanted to switch my life to Jesus.”

There was one powerful testimony after another being shared with the wards at the CYA, and they cheered and applauded each speaker enthusiastically. At the end of the program, they all lined up and prepared to leave the gymnasium in an orderly fashion. I was able to witness something powerful from the looking glass of a photojournalist, which was very different. I was fully equipped with a duty belt as a Youth Correctional Counselor and prepared to respond to any occurrence, but I experienced a perspective from behind the lens of my camera that was gratifying and hopeful. I perceived that some of the gang tension had dissipated; many of the wards were leaving with smiles and their faces appeared to be illuminated with hope rather than snarling or shouting obscenities at their known rivals. They stood in line to leave the gymnasium and extended respect to the panel members by shaking their hands. From my perspective, some mental shackles were broken and some potential bridges were being constructed even if only within the minds of the wards. It was good to know that the wisdom of the panel had been imparted to these young men.

All of the panel members currently service their communities through outreach programs within their churches. Vanna In also works as a counselor at a non-profit organization helping high-risk youth obtain employment. “We are looking for guys that want to change, but can’t find a job because of their lack of skill, education, and criminal history.” All the speakers left their contact information for the wards, for guidance and assistance. Chaplain Carlton McAllister and N.A. Chaderjian Gang Coordinators, Don Nickerson and Bob Galano orchestrated this All-Star, successful event. They received heartfelt accolades from some of the panel members who expressed their appreciation for their encouragement and mentorship during their incarcerations.

McAllister, Nickerson, Galano and a team of others whom helped host the event, are optimistic about the future of the wards at the CYA. A large part of this optimism can be attributed to the new administration at N.A. Chaderjian. The institution has been plagued with gang violence since it opened in 1991. The administration’s approval of the organizer’s request to use former inmates as an arsenal to be deployed against the on-going campaign against gang violence has pioneered the way for the implementation of progressive and innovative programs at N.A. Chaderjian. The former inmates must meet certain criteria to participate in the program, including but not limited to being law-abiding citizens and possessing a willingness to pour back into an institution that was instrumental in their personal success.

Nickerson shared his thoughts about the success of the event. “Chaplain McAllister gathered an excellent group of young men to speak to our ward population. Their personal testimonies and the opportunity to make real change was inspiring. I have to believe they planted seeds in the hearts of the young men who attended the assembly. It is my hope that we can have future events that challenge our wards to become men of character and integrity.”

It appears that the program had a positive impact, because the percentage of incidence of gang violence in the institution has decreased as compared to past years and many gang members are severing their gang ties.

Photos and Story by Ray Johnson/Npaphoto.com

(Photos and Captions are available)

Rayford Johnson has been a photojournalist for the Sacramento Observer Newspaper going on 18 years. The newspaper has won numerous of distinguished awards. He also is publisher of Npaphoto.com.

The Art Of Persuasive Pitching

Media placement is an art. Practicing it often requires as much attention to approach and style as it does to the focus of your story. While it’s important to know how to use creative formatting techniques that can enhance editorial reception to a story (see article, “Using Publicity As A Creative Marketing Tool”) publicists can benefit from mastering some useful tips prior to approaching, by e-mail, snail mail or phone, the keepers of the media gate.
Some Basic Assumptions:

* Always tell the truth. Make sure your product or service does what it says it does and your information is accurate. If a question is put to you that you do not have an answer for, indicate to the reporter you’ll get back with the information. If you don't, the info will come from someone else--and not necessarily from a source that will help your organization. Never “imagine” or “fudge” an answer. Remember, candor equals credibility. If your organization has taken an action that has reaped negative consequences, counsel your client to admit the mistake (unless the client is constrained from doing so by legal counsel). Negativity can also be mitigated if you can anticipate a reporter’s tough question, and frame an answer that puts the action into historical perspective; or by developing a positioning statement that lessens the harshness implied in the question. (For example, when a poisonous substance infiltrated Tylenol bottles, the company issued the statement that “we are victims too”).

* Know your outlet before you call. Have you read the magazine or newspaper in advance? Have you watched the tv program? Have you listened to the radio show? With print media, do you know the specific beat of the editor or reporter you intend to make contact with? Have you read his/her stories? It's fine to cold call but don't cold call blindly (unless there really is vagueness about that person's turf).

* Attitude. There are some p.r. people whose emotional lives seem to count on an editor’s acceptance; and who feel like failures when the editor says “no.” “Unattachment” is the best attitude. “Unattachment” doesn’t mean “detachment” or “apathy.” It means coming from a centered place, with self-confidence in yourself and your ability to communicate a story effectively – but without being attached to the outcome. You’ll find this a liberating approach, one that disallows you from becoming intimidated by an editor or producer, and one that enables you to return to the same person in the future with no regrets. When an editor perceives that you are not overly emotionally invested in a story, you may actually get a better hearing. Be warm & polite, professional...and clear. See that individual as a peer and colleague. If they're brusque in the moment, they may be having a bad day. Simply ask if there's a better time to get back to them.

* That said, believe in your story and believe in yourself. The best p.r. people see themselves as resources of news and information who work with journalists to fill valuable time & print space.

* Be more empathetic than sympathetic. Being empathetic enables you to build on what was said and resond with alternate approaches. Being sympathetic means you’ve probably foreclosed the possibility of an alternate approach.

* Get out of the reporter’s way. When you’re providing a reporter, editor or producer information where the story is time-sensitive, relay the information and get out of the way. There’s a time for pitching an idea, and there’s a time for simply relaying information. In the case of the latter, act like an editorial assistant. Do your job and get out. You’ll earn the journalist’s respect when you do so.

* Don't waste their time. When you call, communicate in sharp and crystallized fashion, the essence of the story. Keep it brief, respect deadlines and ask in advance if the moment is ok for that editor/ producer. NEVER call when you know an editor is under deadline pressure. Keep your message on-point and as brief as possible, but craft it in a compelling and creative way that will earn attention.

* Personalize. I've seen too many impersonal, photocopied pitch letters, whether via e-mail or snail mail. If you send something in advance to a call, or as a follow-up to a call, personalize. Don’t be overly chummy (unless you’ve been on good terms with that journalist for a long time). But keep sensitive to the fact that you’re a human being, and you’re communicating with a human being. For e-mails, craft a provocative phrase in the “subject” area. Too many e-mail messages get unread without a compelling lead.

* Listen to the editor. It's as important to listen as it is to talk. Be sensitive to any verbal feedback, cues or clues that can assist you in fine-tuning your pitch. Keep your antennae fully extended.

* Respect the 'no' and be prepared for it. Ask quick, important questions: What is it about this story that doesn't seem right for you? Is there anyone else for whom this story might work better? Suggest how the story can be adapted to the outlet's needs. Best of all, suggest three to five different angles in advance. This reduces chances for rejection.

* But when you get your final no, let it go and release it. YOU haven't been rejected, just your story. And if you've handled the approach professionally and cordially, you'll always be able to come back with another story at another time. Regard your list of cultivated contacts as resources and investments for the long-haul, not for quick fix purposes.

* Occasionally, pass along an item of interest that lies outside your own sphere of self-interest. Be someone who's not always out to get something. Also, supply your most important contacts with your home phone number.

* Get out from behind your desk. The better you get to know the journalist on a one-to-one basis, the better your chance of a receptive ear.

* Getting beyond voice mail. Leave a succinct, provocative, targeted message. If you don't hear from them in two days, try calling early, or leave a message with an editorial assistant or colleague. Call back that other person to learn if your message was received and if there's a return message. Sometimes, you can ask the switchboard for the department that person works in, rather than a specific voice mail.

Remember that an editor or producer is buying you as well as your story. The bottom line is trust. It's up to you to earn it.

Mike Schwager is President of Worldlink Media Consultants, Inc., based in Ft. Lauderdale, Florida. He is an accomplished veteran of media interview training, and has conducted successful trainings for scores of CEO’s and other senior executives, politicians, celebrities and authors. Website: http://www.mediamavens.com. E-mail: michael@mediamavens.com.

GETTING YOUR MESSAGE ACROSS

You have a story to tell. Your company has developed a revolutionary new product, or an improved version of one that is known and respected in the marketplace. Most companies are media-savvy enough to take a proactive approach to publicity. Yet there are many firms that instead sit on a new development, waiting for the press to come to them because they are unsure of how to “break the news.”

The vehicle for the announcement is critical. One should avoid the “shot-gun” approach to publicity. In most cases, a technique referred to as “editorial cultivation” works. Determine the appropriate initial outlet – a magazine or newspaper, for instance – and approach that venue with your story. Once the story breaks via your primary media choice, other vehicles can, and usually will follow.

There is nothing wrong with the standard news release, except that most are written without first contacting the appropriate editor at the preferred publication. The first hurdle is deciding who to contact.

Finding your target audience
Establish your subject and audience. Once you have done so, the job becomes a matter of prioritizing the several most important print outlets for your story. If you already know your audience’s preferred industry publication, put it on the top of your list. For backups, refer to a directory like Bacon’s Magazine Directory, The Ayer Directory of Publications, or Ulrich’s International Periodicals Directory, all of which provide names of the leading magazines and journals listed under each industry. For each specific magazine, in addition to circulation figures, these sources list the outlet’s primary editorial contacts, including addresses, phone numbers and e-mail addresses.

Weigh the impact, immediacy and relevance of your story. In some cases, your news may have an impact on a wider marketplace and editorial audience than the sphere of influence of a trade magazine. Examples would be a merger, an acquisition or an initial public offering. Such news must be immediately disseminated. The best avenues may be: a national newspaper such as The New York Times, Wall Street Journal or USA Today; a national wire service, such as The Associated Press or Reuters; a business wire such as Dow Jones or Bloomberg; a business magazine like Business Week or Industry Week; or even a national news magazine such as Time, Newsweek or U.S. News & World Report.

A number of Internet resources through which breaking news can be disseminated quickly are the PR Newswire http://www.prnewswire.com and Businesswire http://businesswire.com. PR Newswire and Businesswire will carry a story over their wires and on the Internet for a fee paid by the source. Newswires provide the “insurance policy” that a story will definitely get out. Even if the article is printed in a newspaper or magazine, the newswire provides a good secondary backup for the dissemination, and the article will appear exactly as it has been provided to these outlets.

News releases, especially informative, well-written and succinct ones, are the sources of the majority of ideas and leads for a trade magazine editor. The news releases should be written in what is called the “inverted pyramid” style, with the “fattest,” most pertinent facts on top, and the less salient facts further down. The headline should capture the essence of the story, and the subheadings should clarify the impact.

For a technical news article, details are vital. Keep them as clear as possible; and translate technical jargon and “buzzwords” specific to a certain segment of the industry you are targeting, into terms that even a lay person can understand.

Reach out and touch someone
For trade magazines and national news magazines alike, the initial phone call – or “cold call” – must be well-planned. Develop a pitch, or verbal presentation, that informs the editor of the significance of the story, and its relevance to his or her outlet. Keep your pitch short, succinct and newsworthy. Just as you would write a news release with the “fattest” or most pertinent facts on top, organize your verbal pitch to give the most important and interesting details right at the beginning.

One thing I do for all of my pitching is to capture in my mind the “essence,” “vision” and “overview” of the story, especially in the context of the news of the day and the aspect of the story that may be “evolutionary” or “revolutionary” in the context of historical perspective.

Try to keep the tone conversational. Communicate your story in a clear, concise, yet enthusiastic fashion. Point to the relevance and impact of your story on the editor’s readership, as well as to what is new and unusual about its content. If the editor “bites,” or at least seems interested, offer it as a first-exclusive if this particular media outlet is a prominent one and important to your organization. In all cases, be prepared to e-mail or fax the information, and send photos, technical illustrations or diagrams to visually describe technical information. Schedule interviews between the editor and your spokesperson if this is requested, or if it’s important to your organization to get its representative quoted.

Try to avoid voicemail, unless you have honed the pitch to a point where it is brief, clearly worded and convincing. Voicemail is a notorious playing field for “phone tag” and does not allow you to ask follow-up questions or to gauge the editor’s response, thereby fine-tuning your own approach. Voicemail is also used by some journalists as a method to “screen out” calls. Leaving a voicemail message supplemented and elucidated by an e-mail message does make sense, and in my experience e-mail often works, particularly after a live conversation has occurred (no matter how brief) or voicemail message has been left. After an initial communication, whether by voice and/or e-mail, follow-up in a day or two if you’ve not yet heard back from the editor.

Etiquette and other matters
Respect deadlines. If you reach the editor live, and you discover he or she is near deadline, immediately indicate that you’ll return the call later. Better yet, learn in advance when that magazine’s deadline is occurring, and avoid reaching the editor at that time. If you do call at a good time, be personable, keep your pitch brief and relevant.

Know your story. Keep your enthusiasm high (but stay centered), and make sure you understand the story thoroughly. Confidence in the importance and viability of the story always communicates over the phone. Be warm, polite, professional and clear. If the editor is in a bad mood, be astute enough to know that you are not the cause.

If the news is very important to the company, the person entrusted with the call should be someone who has public relations or prior journalistic experience. It is prudent for a professional communicator to initiate the approach and deal with the editor as the primary contact. If the editor requires someone with technical expertise and in-depth knowledge of the technology, an expert’s name and contact information should be provided for a follow-up interview. Media relations representatives should always lead the editor back to themselves as the primary contact. And, this is important: as the media relations rep, remember in very “hot” news stories with short deadlines to get out of the editor’s way once you’ve “pitched” and “sold” the story. After that, see yourself as an “assistant” in helping the editor get the facts and the interviews, end of story. Don’t try to manipulate the story or get in the editor’s way, in any way. You’ll be respected for that, and will be able to come back to that person in good graces in the future.

On some occasions, the reporter or editor may wish to speak to the chief executive officer (CEO). If this happens, know in advance if the CEO is available for an interview. If so, make sure that he or she is prepared, as some CEOs may not be seasoned spokespersons. In this case, a conference call could be arranged between the CEO, p.r. representative and the editor.

Listen to the editor. Whether you initiate a cold call, speak to an editor calling in response to an e-mail message, or receive a cold call from an editor who is querying about a story or lead obtained through the newswire, it is as important to listen as it is to talk. Be sensitive to any verbal feedback, cues or clues that can assist you in fine-tuning your response.

Respect the “no” and be prepared for it. After an initial rejection, ask quick, important questions: “What is it about this story that doesn’t seem right for you? Is there any way this story can be adapted to better suit your needs?” Suggest changes. Best of all, prepare three to five different angles in advance, as this reduces chances for rejection.

What may be appropriate for one editor may not be appropriate for another. Before concluding a conversation, ask if the news might be more appropriate for someone else with a different beat, or in a different section of the magazine. If referred to a new person, introduce yourself by way of that referral. If you have exhausted all your angles to a story, thank the editor for his or her time and release yourself from this connection. Sour the contact, and it will be difficult, if not impossible, to maintain a credible relationship in the future.

Cultivate your contacts. Whenever feasible, try to meet the editors and reporters who are important to you. Offer to take them out to lunch, but do not be insulted if they decline. The better you get to know the journalist on a one-to-one basis, the better your chances of winning a receptive ear.

Do not be discouraged by the rejection of a story idea. If is far more important to keep the channels of communication open. Record the vital information about your journalistic contact in a Rolodex or software address book, such as Sharkware. Also, supply your most important contacts with your home phone number and/or cell phone number, signaling them that you can be reached after business hours. This practice communicates professionalism and reinforces your reputation as someone who goes “beyond the call of duty” to meet editorial needs.

Packing the punch. If your company is one of the fortunate few whose news is printed in a national publication, the story automatically becomes a prime candidate for the leading magazines within your industry, as well as for generic print and broadcast media. Remember, too, that broadcast often follows print (especially if you’ve placed a major wire service story or placed a story in a USA Today or Time Magazine).

When working with the media, remember to do your homework, hone your pitch and maintain a positive attitude.

THE PUBLIC RELATIONS CHECKLIST

* News releases should be double-spaced. Include the media contact’s name, phone number and e-mail, as well as the date and location from which the story originates.

* If a new product is being announced, include all operating parameters. Clearly described how the product works and how it differs from what currently exists in the marketplace. Do this by quantifying the benefits and advantages of this product and comparing it with competing technologies. Stress the user or customer benefits, and explain tangible results.

* Avoid terms such as cheaper, more efficient, fastest, unique and revolutionary without providing parameters by which these benefits can be measured.

* Products or other news leads should tie in with current trends or larger- scope news stories.

* Do not use acronyms without spelling them out, or buzz words without explaining them for the layman.

* For financial news releases, focus more on how the takeover, merger or acquisition will impact the reader or the marketplace, as opposed to the details about money and market shares.

* Provide quotes from executives who can comment on both technical and market information. And always go to the bottom of the line in asking.

* Use photos, charts, graphs or tables, with captions and information, to elaborate upon your story, especially if this is a new trend.

* Ask the journalist what he or she will require to make the interview successful.

Mike Schwager is President of Worldlink Media Consultants, Inc., based in Ft. Lauderdale, Florida. He is an accomplished veteran of media interview training, and has conducted successful trainings for scores of CEO’s and other senior executives, politicians, celebrities and authors. Website: http://www.mediamavens.com. E-mail: michael@mediamavens.com.

GETTING YOUR MESSAGE ACROSS

You have a story to tell. Your company has developed a revolutionary new product, or an improved version of one that is known and respected in the marketplace. Most companies are media-savvy enough to take a proactive approach to publicity. Yet there are many firms that instead sit on a new development, waiting for the press to come to them because they are unsure of how to “break the news.”

The vehicle for the announcement is critical. One should avoid the “shot-gun” approach to publicity. In most cases, a technique referred to as “editorial cultivation” works. Determine the appropriate initial outlet – a magazine or newspaper, for instance – and approach that venue with your story. Once the story breaks via your primary media choice, other vehicles can, and usually will follow.

There is nothing wrong with the standard news release, except that most are written without first contacting the appropriate editor at the preferred publication. The first hurdle is deciding who to contact.

Finding your target audience
Establish your subject and audience. Once you have done so, the job becomes a matter of prioritizing the several most important print outlets for your story. If you already know your audience’s preferred industry publication, put it on the top of your list. For backups, refer to a directory like Bacon’s Magazine Directory, The Ayer Directory of Publications, or Ulrich’s International Periodicals Directory, all of which provide names of the leading magazines and journals listed under each industry. For each specific magazine, in addition to circulation figures, these sources list the outlet’s primary editorial contacts, including addresses, phone numbers and e-mail addresses.

Weigh the impact, immediacy and relevance of your story. In some cases, your news may have an impact on a wider marketplace and editorial audience than the sphere of influence of a trade magazine. Examples would be a merger, an acquisition or an initial public offering. Such news must be immediately disseminated. The best avenues may be: a national newspaper such as The New York Times, Wall Street Journal or USA Today; a national wire service, such as The Associated Press or Reuters; a business wire such as Dow Jones or Bloomberg; a business magazine like Business Week or Industry Week; or even a national news magazine such as Time, Newsweek or U.S. News & World Report.

A number of Internet resources through which breaking news can be disseminated quickly are the PR Newswire http://www.prnewswire.com and Businesswire http://businesswire.com. PR Newswire and Businesswire will carry a story over their wires and on the Internet for a fee paid by the source. Newswires provide the “insurance policy” that a story will definitely get out. Even if the article is printed in a newspaper or magazine, the newswire provides a good secondary backup for the dissemination, and the article will appear exactly as it has been provided to these outlets.

News releases, especially informative, well-written and succinct ones, are the sources of the majority of ideas and leads for a trade magazine editor. The news releases should be written in what is called the “inverted pyramid” style, with the “fattest,” most pertinent facts on top, and the less salient facts further down. The headline should capture the essence of the story, and the subheadings should clarify the impact.

For a technical news article, details are vital. Keep them as clear as possible; and translate technical jargon and “buzzwords” specific to a certain segment of the industry you are targeting, into terms that even a lay person can understand.

Reach out and touch someone
For trade magazines and national news magazines alike, the initial phone call – or “cold call” – must be well-planned. Develop a pitch, or verbal presentation, that informs the editor of the significance of the story, and its relevance to his or her outlet. Keep your pitch short, succinct and newsworthy. Just as you would write a news release with the “fattest” or most pertinent facts on top, organize your verbal pitch to give the most important and interesting details right at the beginning.

One thing I do for all of my pitching is to capture in my mind the “essence,” “vision” and “overview” of the story, especially in the context of the news of the day and the aspect of the story that may be “evolutionary” or “revolutionary” in the context of historical perspective.

Try to keep the tone conversational. Communicate your story in a clear, concise, yet enthusiastic fashion. Point to the relevance and impact of your story on the editor’s readership, as well as to what is new and unusual about its content. If the editor “bites,” or at least seems interested, offer it as a first-exclusive if this particular media outlet is a prominent one and important to your organization. In all cases, be prepared to e-mail or fax the information, and send photos, technical illustrations or diagrams to visually describe technical information. Schedule interviews between the editor and your spokesperson if this is requested, or if it’s important to your organization to get its representative quoted.

Try to avoid voicemail, unless you have honed the pitch to a point where it is brief, clearly worded and convincing. Voicemail is a notorious playing field for “phone tag” and does not allow you to ask follow-up questions or to gauge the editor’s response, thereby fine-tuning your own approach. Voicemail is also used by some journalists as a method to “screen out” calls. Leaving a voicemail message supplemented and elucidated by an e-mail message does make sense, and in my experience e-mail often works, particularly after a live conversation has occurred (no matter how brief) or voicemail message has been left. After an initial communication, whether by voice and/or e-mail, follow-up in a day or two if you’ve not yet heard back from the editor.

Etiquette and other matters
Respect deadlines. If you reach the editor live, and you discover he or she is near deadline, immediately indicate that you’ll return the call later. Better yet, learn in advance when that magazine’s deadline is occurring, and avoid reaching the editor at that time. If you do call at a good time, be personable, keep your pitch brief and relevant.

Know your story. Keep your enthusiasm high (but stay centered), and make sure you understand the story thoroughly. Confidence in the importance and viability of the story always communicates over the phone. Be warm, polite, professional and clear. If the editor is in a bad mood, be astute enough to know that you are not the cause.

If the news is very important to the company, the person entrusted with the call should be someone who has public relations or prior journalistic experience. It is prudent for a professional communicator to initiate the approach and deal with the editor as the primary contact. If the editor requires someone with technical expertise and in-depth knowledge of the technology, an expert’s name and contact information should be provided for a follow-up interview. Media relations representatives should always lead the editor back to themselves as the primary contact. And, this is important: as the media relations rep, remember in very “hot” news stories with short deadlines to get out of the editor’s way once you’ve “pitched” and “sold” the story. After that, see yourself as an “assistant” in helping the editor get the facts and the interviews, end of story. Don’t try to manipulate the story or get in the editor’s way, in any way. You’ll be respected for that, and will be able to come back to that person in good graces in the future.

On some occasions, the reporter or editor may wish to speak to the chief executive officer (CEO). If this happens, know in advance if the CEO is available for an interview. If so, make sure that he or she is prepared, as some CEOs may not be seasoned spokespersons. In this case, a conference call could be arranged between the CEO, p.r. representative and the editor.

Listen to the editor. Whether you initiate a cold call, speak to an editor calling in response to an e-mail message, or receive a cold call from an editor who is querying about a story or lead obtained through the newswire, it is as important to listen as it is to talk. Be sensitive to any verbal feedback, cues or clues that can assist you in fine-tuning your response.

Respect the “no” and be prepared for it. After an initial rejection, ask quick, important questions: “What is it about this story that doesn’t seem right for you? Is there any way this story can be adapted to better suit your needs?” Suggest changes. Best of all, prepare three to five different angles in advance, as this reduces chances for rejection.

What may be appropriate for one editor may not be appropriate for another. Before concluding a conversation, ask if the news might be more appropriate for someone else with a different beat, or in a different section of the magazine. If referred to a new person, introduce yourself by way of that referral. If you have exhausted all your angles to a story, thank the editor for his or her time and release yourself from this connection. Sour the contact, and it will be difficult, if not impossible, to maintain a credible relationship in the future.

Cultivate your contacts. Whenever feasible, try to meet the editors and reporters who are important to you. Offer to take them out to lunch, but do not be insulted if they decline. The better you get to know the journalist on a one-to-one basis, the better your chances of winning a receptive ear.

Do not be discouraged by the rejection of a story idea. If is far more important to keep the channels of communication open. Record the vital information about your journalistic contact in a Rolodex or software address book, such as Sharkware. Also, supply your most important contacts with your home phone number and/or cell phone number, signaling them that you can be reached after business hours. This practice communicates professionalism and reinforces your reputation as someone who goes “beyond the call of duty” to meet editorial needs.

Packing the punch. If your company is one of the fortunate few whose news is printed in a national publication, the story automatically becomes a prime candidate for the leading magazines within your industry, as well as for generic print and broadcast media. Remember, too, that broadcast often follows print (especially if you’ve placed a major wire service story or placed a story in a USA Today or Time Magazine).

When working with the media, remember to do your homework, hone your pitch and maintain a positive attitude.

THE PUBLIC RELATIONS CHECKLIST

* News releases should be double-spaced. Include the media contact’s name, phone number and e-mail, as well as the date and location from which the story originates.

* If a new product is being announced, include all operating parameters. Clearly described how the product works and how it differs from what currently exists in the marketplace. Do this by quantifying the benefits and advantages of this product and comparing it with competing technologies. Stress the user or customer benefits, and explain tangible results.

* Avoid terms such as cheaper, more efficient, fastest, unique and revolutionary without providing parameters by which these benefits can be measured.

* Products or other news leads should tie in with current trends or larger- scope news stories.

* Do not use acronyms without spelling them out, or buzz words without explaining them for the layman.

* For financial news releases, focus more on how the takeover, merger or acquisition will impact the reader or the marketplace, as opposed to the details about money and market shares.

* Provide quotes from executives who can comment on both technical and market information. And always go to the bottom of the line in asking.

* Use photos, charts, graphs or tables, with captions and information, to elaborate upon your story, especially if this is a new trend.

* Ask the journalist what he or she will require to make the interview successful.

Mike Schwager is President of Worldlink Media Consultants, Inc., based in Ft. Lauderdale, Florida. He is an accomplished veteran of media interview training, and has conducted successful trainings for scores of CEO’s and other senior executives, politicians, celebrities and authors. Website: http://www.mediamavens.com. E-mail: michael@mediamavens.com.

Discover the Sophisticated Side of Mickey Mouse

Is it possible for sophisticated travelers to really enjoy themselves in the land of Mickey Mouse? Absolutely! Walt Disney World has undergone a transformation much like that of Las Vegas, with an abundance of fantastic themed resorts and sumptuous dining choices.

Maybe your image of Disney is of lackluster, motel-style accommodations. Not so! All deluxe property choices are unique and offer that special Disney touch. You'll find them to be adorned with impressive lobbies, painstakingly landscaped grounds, first-rate restaurants, elaborately themed pools, and gracious accommodations. All offer top-notch recreational facilities and services. In fact, each resort is so marvelous it can be difficult to choose which fantasy you wish to indulge.

Let me tell you about my favorites:

• Disney's flagship resort, The Grand Floridian, with its red-gabled roofs and Victorian elegance, draws inspiration from the grand Florida seaside "palace hotels" of 19th-century America's Gilded Age. Just a short monorail ride to the Magic Kingdom, it spreads along the shore of the Seven Seas Lagoon with spectacular views of Cinderella's Castle and the Wishes fireworks display. Aquatic enticements include a crescent white sand beach dotted with brightly striped, canopied lounge chairs, a large sophisticated pool in the central courtyard, a new beachside Florida springs-style pool, and a classy marina sporting a wide assortment of watercraft. A full service health club and spa, tennis courts, five restaurants, two lounges, and sophisticated shopping round out the list of exceptional offerings.

• A navy blue blazer should be in order for a stay at Disney's Yacht Club where guests find the sophisticated ambience of a posh Eastern seaboard hotel of the 1880s. Fronting Crescent Lake and a sliver of beach that stretches over to the adjoining Beach Club Resort, it's just a short stroll to Epcot's International Gateway entrance and only a boat ride away to Disney-MGM Studios. Best of all is the Yacht Club's 3-acre mini-water park complex, Stormalong Bay, offering sandy bottom pools, a giant "shipwreck" waterslide, a tidal whirlpool, bubbling hot tubs, a kiddie pool with its own slide next to the beach, and enough length to float lazily in inner tubes to your heart's content.

• The Animal Kingdom Lodge is a stunning celebration of African wildlife, culture, cuisine, and art. Its authentic architecture and 33 acres of grasslands filled with hundreds of roaming, exotic animals is simply a stroke of genius. The six-story, horseshoe-shaped structure is surrounded by a landscape of golden boulders, tall bamboo, yellow flame trees, pampas grass, copperpod trees, and date palms. In it's imposing, 5-story, thatched roof lobby are massive chandeliers formed by resplendent Masai shields, a large mud fireplace, and handsome safari-chic seating. From common lookouts as well as from 90% of the guestrooms are wonderful views of playful zebra, lanky giraffe, sprite gazelle, huge ankole cattle, herds of wildebeest, flocks of exotic birds, and more, with over 200 animals in all.

• Last but not least is The Wilderness Lodge, Disney's dramatic depiction of an early 1900s national park resort. I challenge you to keep your jaw from dropping open on your first encounter with its awesome eight-story lobby of ponderosa pine logs, a massive 82-foot tall fireplace, and authentic 55-foot Pacific Northwest totem poles. Outside is a breathtaking scene of sparkling waterfalls, rushing creeks, and towering pines. The sound of crickets is heard beneath the bridges and along the meandering pathways lined with natural grasses, junipers, and wildflowers. And on the shores of Bay Lake is Wilderness Lodge's very own erupting geyser surrounded by a steaming expanse of geothermal activity.

What about Disney's dining choices? Once just a hot dog and hamburger haven, Disney's reputation for dreadful theme park food is now a thing of the past. Think Pan Roasted Striped Bass with Aromatic Rock Shrimp Lemongrass Risotto, 6-Hour Braised Veal Shank with Orzo Pasta and Soy Glaze, or Cornbread Stuffed Quail with Foie Gras and Sauce Maltaise. Just a mere sampling of the incredible meals to be found at many of the over 270 dining spots on Disney property. In a radical culinary transformation Disney hired top-notch chefs to create exciting menus for some of the highest rated restaurants in the country and first-rate sommeliers to fashion outstanding wine lists.

Here are some of Disney's best restaurants:

• The California Grill on the 15th floor of Disney's Contemporary Resort offers an unbeatable panorama of the Magic Kingdom and the Seven Seas Lagoon along with picture-perfect views of the Wishes fireworks. From pristinely fresh sushi to exceptional New American Cuisine to sensational desserts and an outstanding California wine list, this place has it all. Don't be discouraged if all the coveted window seats are taken; an adjoining observation platform offers a bird's-eye view of the fireworks extravaganza.

• For top-notch and innovative seafood specialties, head to the Flying Fish at Disney's Boardwalk where entrees such as Potato Wrapped Florida Red Snapper with a Creamy Leek Fondue are the norm. Contemporary and trendy, yet whimsical, this restaurant will absolutely delight the senses with its festive room of flying fish mobiles, sea blue sparkling mosaic floors, and golden fish scale pillars. Named a Wine Spectator Restaurant Award winner, it boasts an excellent international list. Don't forget to save room for the unforgettable desserts, in particular the banana napoleon with warm caramel sauce.

• Fine dining in a sophisticated setting combined with virtually flawless service sets Victoria and Albert's in Disney's Grand Floridian Resort apart. Here in this AAA Five-Diamond awarded restaurant you're served a sumptuous seven-course meal on white linen set with Royal Doulton china and sparkling crystal. Those seeking a special evening should book the newly-remodeled, 6-person chef's table found in a candle-lit alcove in the kitchen, a spot perfect for an up-close, behind-the-scenes look at Disney's top chef in action.

• Epcot's Bistro de Paris is a charming Belle Époque dining room with an air of exclusivity. Filled with gilded mirrors and crimson banquettes, its billowy white drapes frame windows that overlook the World Showcase Lagoon. Servers with delicious French accents roll out sensational dishes prepared with only the freshest ingredients. After dinner enjoy a dessert of crepes prepared and flamed tableside while lingering over cordials and coffee in anticipation of the Illuminations spectacle.

• Disney's Animal Kingdom Lodge's premier dining room is the seductive Jiko where floor to ceiling windows look out on a boulder-strewn creek. Twin clay ovens draw the eye to the open kitchen where an eclectic blend of creations prepared with African flair are turned out in exotic presentations. Accompany your meal with a selection from the all South African wine list, the largest in North America. And don't leave without ordering the incredible dark chocolate filled beggar's purses served with a honey dipping sauce, one of Disney's best desserts.

So, for those who think that Walt Disney World is just for kids, think again! It's a world of fantastic resorts and innovative dining just waiting to be explored. You may never even make it to the parks.

Cara Goldsbury is the author of The Luxury Guide to Walt Disney World: How to Get the Most Out of the Best Disney Has to Offer available at 800-247-6553, http://www.luxurydisneyguide.com, Amazon.com, or your local bookstore. Visit her at http://www.luxurydisneyguide.com

Plastic Surgey: The New Beauty Norm?

This is a good topic to discuss especially now since the popularity of all the make-over shows. I have always been curious as to why people, mostly women, have this idea that they are expected to look a certain way in order to "fit in" with society.

We all would like to believe that quaint saying, "beauty is in the eye of the beholder", but how true and meaningful is that phrase when the beholder has been brainwashed, so to speak, into subscribing to the belief that beauty is the artificial look we see on glamour mags, in TV commercials, and even in some children's books? For some time now, that image has consisted mainly of white women and the "white standard of beauty".

I decided to take this question of plastic surgery and the search for beauty and see how it can affect some women in the African-American community. According to the American Society of Plastic Surgeons, African-Americans make up only 6% of plastic surgery patients. Why is this? Do African-American women have a more positive self/body image or is it that many cannot afford it? And for the 6% who do have surgery, to which standard of beauty were they trying to aspire?

I chose to start my search for the white standard of beauty in 1960. I chose that year because at the time, a TV show was airing that sought to teach moral and societal lessons through fantastical tales.
Two episodes of this show were very telling and prophetic, and they both dealt with how society viewed beauty and the expectations placed on women to be "beautiful".
That show was, The Twilight Zone.

Beauty in 1960...
Rod Serling offered us a tale of beauties and beasts in episode #42 entitled: Eye of the Beholder.
Here's a brief synopsis of the show I found at The Twilight Zone Guide:
Janet Tyler anxiously awaits the outcome of her latest surgery. Janet, who's abnormal face has made her an outcast, has had her eleventh hospital visit - the maximum allowed by the State. If it didn't succeed, she will be sent to live in a village where others of her kind are segregated. As her bandages are removed, she is revealed to be very beautiful. The doctor draws back in horror. As the lights come on we see the others, their faces are misshapen and deformed. As Janet runs from her room crying, she runs into another of her kind, a handsome man named Walter Smith. He is in charge of an outcast village, and he assures her that she will eventually feel she belongs. He tells her to remember the old saying: "Beauty is in the eye of the beholder."
Although the show was filmed in black and white, we can clearly see that Ms. Tyler is Caucasian. The doctors appear to have darker skin, nevertheless, the idea here was that the viewers empathized with Ms. Tyler because she was the classic blonde, slender beauty commonly seen in 1960's fashion magazines.
As the show closes, the narrator speaks:
"Now the questions that come to mind. Where is this place and when is it, what kind of world where ugliness is the norm and beauty the deviation from that norm? The answer is, it doesn't make any difference. Because the old saying happens to be true. Beauty is in the eye of the beholder, in this year or a hundred years hence, on this planet or wherever there is human life, perhaps out among the stars. Beauty is in the eye of the beholder. Lesson to be learned...in the Twilight Zone."

1964: The Standard Continues
Episode #137, in Season Five, is called, "Number Twelve Looks Just Like You", and was adapted by a short story called "The Beautiful People". In this episode, we meet Marilyn, a young woman who is about to go through a rite of passage in her community. This rite is called "The Transformation" and it requires citizens to choose among several models of bodies into which they will be transformed. The message here is that this society only sees one standard of beauty and that one will not be happy unless they look and act just like everyone else. Opening Narration:
"Given the chance, what young girl wouldn't happily exchange a plain face for a lovely one? What girl could refuse the opportunity to be beautiful? For want of a better estimate, let's call it the year 2000. At any rate, imagine a time in the future when science has developed a means of giving everyone the face and body he dreams of. It may not happen tomorrow--but it happens now, in the Twilight Zone."

Once again, the beautiful people are all white and we don't see any women or men of color. What was this episode trying to tell black women about beauty? The closing narration:
Portrait of a young lady in love--with herself. Improbable? Perhaps. But in an age of plastic surgery, body building, and an infinity of cosmetics, let us hesitate to say impossible. These and other strange blessings may be waiting in the future--which after all, is the Twilight Zone."

Beauty 40 Years Later

Some aspects of beauty standards have changed, but not much. We do see more black models and beautiful black women, but when you look at the majority of the more famous ones, (Tyra, Halle, Janet, Vanessa Williams, Beyonce, a few of whom have had plastic surgery, on their noses and other body parts), you can see straight away that they have many Caucasian attributes: small, pinched noses, lighter complexion, lighter eyes, straight, lightly colored hair. It is rare that you will see a model with very dark skin, a tight afro, wide, round, larger nose, and full, large lips. Flip through any issue of Vogue or Glamour and look for that image I just described. Then look for the first image I described.

So, are black women trying to aspire to the white standard of beauty when they seek plastic surgery?

According to Cynthia Winston, assistant professor of psychology at Howard University in Washington, D.C., We really don't know much about how blacks are influenced. Most of the research focuses on perceptions related to skin color. Foe most African-Americans, perception can be shaped by their environment. For example, an African-American woman growing up in an all-white neighborhood in Nebraska may be more likely than an African-American woman raised in inner-city Detroit to compare herself with white images of beauty.

(Source: African-American Women & Plastic Surgery: Self-Improvement or Self-Hatred? By Angela D. Johnson, Sept. 2, 2003)

Now What?

I suppose, it all comes down to how one feels inside about themselves. But there is this viscous cycle of doubt that women constantly face so it's often hard to reconcile your inner voices with the outside images thrown at you everyday. Many women buy into the trends and fashions that dictate beauty. TV shows and print ads abound with images of sexy women. Fitness clubs persuade women to join not so they will lower their risk of heart disease, but so they will aspire to be beautiful on the outside. No one tries to sell things that will help them on the inside.

In the end, you can look at all of this and say that there will always be standards of beauty and those who aspire to live up those standards, and those wanting to make a profit off those standards (cosmetic companies, ad agencies, modeling agencies, fashion designers, plastic surgeons, psychotherapists). The media portrays what people want to see and apparently, it's sex and "beauty".

Ms. Martin currently resides in sunny Southern California with her son. When she's not writing, she works part-time as a preschool teacher where she hopes to help all children develop positive self and body images.