While more than 80% of all media releases that land in newsrooms still cliff-dive directly into the wasteland of "File 13", a veritable cornucopia of sustained impact, publicity, goodwill and damned fine PR lies dormant.
Despite the media explosion and kaleidoscopic panorama of communication tools available to public relations and communications execs, good ol' quality column-centimetres remain reliable yet tantalisingly elusive.
Not only do public relations courses at universities and colleges have a strong and appropriate emphasis on the writing of press releases, but the plethora of workshops, seminars and ad hoc training programmes in this seemingly arcane craft underscore its lingering importance.
Two news editors and a chief sub/managing editor told me last year that fewer than 10% of the PR releases they receive actually make it across their desks. "I bump what I think has potential to a reporter. If he or she screws it up ... well, then it's just not used," the chief sub summed it up.
And yet each will gladly publish a good feature piece "if we could get it". My own experience over 30 years in journalism and PR, and now as a teacher of these, supports her view. Writing for the media is a craft and demands talent. The principles can and should be taught, but there is a huge chasm between head-knowledge and penmanship.
The fact that so many releases are still-born stuns me. I shudder to think how many great features or powerful and compelling human-interest pieces have never seen the light of day. I have yet to meet the client company, no matter what its field of business, that doesn't have at least one damned fine feature hiding away somewhere.
You just need to know where to look. That, folks, is the Lost Treasure of Freelancia.
The secret is threefold:
Know Where to look,
Know What will "sell", and
Tell It to Sell It.
These are fundamental skills seasoned journalists have learnt and honed over many years. In the same way as one may learn karate or tap-dancing, it takes years of experience for the moves to become second nature.
Here are some simple guidelines to identifying and working with top freelancers:
Reputation. While real estate agents and outdoor advertisers will chant "Location. Location. Location", the freelance journalist's mantra is Reputation, reputation, reputation.
Credibility. A sure way to distinguish real professionals is by their track records - and the good ones will be proud to show you. Ask to see their cuttings books, especially the more recent ones.
Business expertise. Have they been to the mountain or do they just talk a good climb. Do they speak Boardroom or Bottomline. Many have worked in public affairs, promotions, advertising. Ask for referrals and check him/her out. Professionals don't mind and this will help you match the freelancer to the job.
For the really good all-round freelancers to have survived demands adaptability. Check if they are still on top of developments today.
Are they solutions-orientated? The outstanding freelancer is highly creative, original, overflowing with ideas - and questions. They see connections where others meet dead-ends, and the response: "Okay. But what if ..." is as common as their refusal to take "No." for an answer.
Freelance writers, photojournalists and editors are hungry, highly professional, versatile, keen to forge lasting relationships, creative, competitive and damned good at their craft - otherwise they don't survive.
With the vast benefits to be gained through using reputable and seasoned freelancers, the fact that the public relations industry, which prides itself on creativity in most other spheres, seems mired in the old mindset of carpet-bombing newspapers, magazines, radio, TV and the internet with tons of trashcan fodder doesn't make sound sense.
