creative @work

Ideas on Creativity for Executives in Marketing, Communications and Public Relations

Issue 11 May 2006

other peoples words

All the world's a stage and most of us are desperately unrehearsed. -- Sean O'Casey, Irish playwright (1880-1964)

know what you say, not say what you know

A friend recently asked me what a creative director does in a public relations agency. He knew a creative director in an advertising agency developed ads. But what did I develop? Like a creative director in advertising, we too are involved with developing the strategy, identifying the key issues, and analyzing the research and insights. The difference is that our output is fundamentally different. Advertising purchases media space to place its singlular messages in an advertisement. The consistency of ad campaign means a consistency of its message delivery to its targeted audiences. In turn, this means its easier for the end user (for example, customers) to remember the messages and to act upon them. Public relations has a more complex task since we dont pay for our placements. Instead, our discipline is built on creating relationships between the company and its audiences to deliver our messages, but without paying for the media space to replicate those messages. Although we can and do speak directly to the audiences (through a corporate spokesperson, or a company sponsored event), its more common for public relations to also speak to our audiences through third parties, such as the media or industry association. The best campaigns use a combination of spokespeople, from inside and outside the company. As a result, public relations has lots of people speaking on behalf of itself, often in over-lapping conversations. Therefore, we need a different tool to ensure consistency of messages delivered to all audiences, whether theyre customers, opinion leaders and media. So in contrast to an ad, the first and more important tool which public relations professionals develop and the largest part of my job is the ubiquitous message house. The key purpose of a message house is to organize and prioritize what we and others say to our audiences. In daily conversation, its often the opposite. When we talk, we talk without regard to order or to how we say something. Speaking on behalf of a company requires that we know what we say, not say what we know. Theres a familiar parable which demonstrates the relevance of organized and prioritized messages. Imagine if you and a stereotype of your target audience got into the elevator of a 100-story building. To get to the top floor, this would take about 60 seconds or more. In that time, what would you say to convince your target audience to change their mind, opinions or behavior? Would you say your messages in the right order? And, would you say the important messages first just in case they decided to get out on the 25th floor? Heres a great exercise: ask many people in the same company to write down what theyd say in the elevator, and in what order. Each time I do this exercise, everyone says something different. If you were the target audience listening to all of these different voices, what would you think? At the very least, youd think the company was disorganized. At worse, it wouldnt be an organization youd want to buy its product or service, primarily because you (probably) wouldnt remember all of these different key messages. A proper message house ensures everyone key word: everyone speaks not only in the right order, but that the key messages are outlined first, with the details left to the end of the conversation if time allows. It gives all spokespeople and third parties the same song sheet. Unfortunately, its quite common that someone decides that they dont need the message house, or that they could improve the messages for whatever reason (I speak more fluently, I prefer off-the-cuff discussions, I have my own style, etc.) This instantly breaks the consistency and credibility: the company will sound schizophrenic instead of as one. An advertising agency wouldnt place a different ad in all of the different media. Nor should a company or organization allow a person to change or improve upon the messages. Again, a lack of consistency simply means that it will be more difficult for the target audience to remember the proper key messages.

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A basic message house is comprised of three elements: 1) an over-arching statement also called an umbrella statement, 2) core or sub-messages which support the umbrella message, and 3) evidence, proof or support. Before you and your team actually create the message house, there is a pre-step. You need to determine in advance what is the current mindset of the audience which you are speaking to: what do they believe is true now? (The truth is what is true to them, and it may have nothing to do with accuracy.) You should take a few minutes and list all of the issues or negative perceptions this audience may have about your company, organization, product or service. Why dont they believe you? Outline and prioritize these reasons why not - then put them aside. Well come back to them in a moment. With this step out of the way, its time to create the message house. To start, you need to start in a less-then-obvious order: begin with the three core or supporting messages.

the basic message house

Umbrella Statement Core Message 1 What is it, exactly? Core Message 2 Whats the context or need? Core Message 3 Why is it different or unique?

Evidence, Proof or Support Facts and figures which support your messages

Start with organizing the key points into the three core message categories. 1) What is it (the company, product or service) exactly? From the perspective of the person who will hear these messages, explain it. 2) What is the context of it? How would it compare with other options which they might consider? What is its need? 3) Why is it different? What makes it unique? Anytime you discuss a topic with someone who is unfamiliar with the subject, you should organize your thoughts or messages in this way. You have to tell them what it is, you have to separate it from whatever else they might confuse it with, and you have to tell them why its unique. A good message house follows this same conversation pattern. If you happen to outline the detail or minutiae when youre articulating the core messages, put these underneath the appropriate message in the area to become evidence, proof or support. There are lots of exercises to help people articulate the messages. For many, its a tortuous process since its essentially a word-smithing exercise. It is, I agree. However, Id prefer that we have a discussion in a conference room about the best way to describe or discuss something, rather than have all of the different spokespeople decide for themselves what it is, or worse, to do it in an inarticulate way in a media interview. An ounce of prevention is worth a pound of cure, as my Grandma would say. Once the three core messages are decided upon (and even better, checked with the target audience to ensure that were not simply talking to ourselves), its time to pick the key point from each core message. These three points are then woven into the umbrella message. When completed, this umbrella message is the opening statement which you or any selected spokesperson first delivers to your target audiences. If done properly, the person hearing the umbrella message will ask a question which should prompt any of the three core messages, and if needed, the speaker can use a specific fact or figure as proof or evidence. And last, to make sure you have the absolute true message house, re-check the entire message house against all of the perceived issues: Have you addressed their concerns? Would your messages cause them to re-think what they believe? Do your messages sound like youre talking to yourself, or do they follow one of six important criteria (below) to double-check that your messages are appropriate.

The very best messages should be

Compelling - the messages encourage action Differentiating - the messages are exclusive to you Relevant - the messages have purpose to the audiences Credible - the audiences can believe the messages Defensible - the messages can be defended or proven Sustainable - the messages will last

Only the last one is optional

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And whats this have to do with creativity? Everything. As I mentioned in Issue #9 (Everyday Creativity), creativity is an essential part of any decision made in business. It means you look at as many options as possible before you decide which is the right option. In message development, its coming up with several different messages, and deciding which message is best. If my own experience is any guide, I know that the first message written is not always the best. Typically, a message should be re-worded a few times before the right order, vocabulary and style are appropriate for the person(s) who ultimately need to hear and believe the messages. Finally, by being part of the message development, I find its more easy to determine what to do that is, what mechanism, tactic, third party or event could best deliver the message to the target audience. If theres one consistent message about creativity which I hope Ive delivered in these newsletters, its that business creativity is used through a programs development from strategic direction to the creative implementation. Message development is yet another important step where creativity should be an obligation, not an option.

Best regards,

Andy Eklund Regional Creative Director and Managing Director Burson-Marsteller Asia Pacific

All creative@work points-of-view can be found at http://www.burson-marsteller.com/pages/insights/povs

Burson-Marsteller is one of the largest communications advisory and public relations firms in the world, and proudly holds an unrivalled track record in Asia Pacific. With its first office in Asia more than 30 years ago, Burson-Marsteller Asia Pacific twice in the last four years received PR Weeks Asia Pacific Agency Network of the Year Award. BursonMarsteller Asia Pacific has 25 offices in 14 countries throughout Asia, Australasia and the Middle East.

About the Author

Based in Sydney, Australia, Andy Eklund serves two capacities for Burson-Marsteller Asia Pacific: as regional creative director for client services, and as managing director of training for Burson-Marsteller University Asia Pacific. Formerly Burson-Marstellers worldwide creative director, Andy has taught more than 500+ communications skills workshops in 20 countries. If you would like more information on creativity, innovation or communications training, please contact Andy directly at andy_eklund@bm.com, or at +61 (2) 9928 1500.
2006 Andy Eklund - Burson-Marsteller