A Great PR Guy Is Gone — And Why It Matters

harveyImageHarvey Posert Jr. died on October 3 in St. Helena after a brief illness. At the age of 84, he’d lived many lifetimes, from a privileged childhood in Memphis to college at Yale to several years in military counter-intelligence in Europe. Then there were the phases of his career, from the copy desk at The Memphis Commercial Appeal to working for Dan Edelman in New York and San Francisco, before coming to wine country to represent Robert Mondavi and later Fred Franzia, as well as numerous others.

Harvey was a friend of mine for more than 25 years. I was both a professional colleague and a personal friend. By now you might have read articles about him which have appeared in The Wine Spectator, the Napa Valley Register, Napa Life and Wine Industry Insight. In the coming days there’ll be many more tributes, I’m sure.

Pardon the cliché: Harvey was the last of a breed, a giant among men—whether we’re talking about the wine industry or the world of wine PR. What does that mean? He was a thinker; he was also an enormously astute judge of character and personality; he was also someone who shaped our history as wine marketers. He literally created trends to shine a light on his clients.

You can read elsewhere about the specific programs he dreamt up and the numerous achievements of his career. Here are

10 Things I Learned From Harvey

1. Do The Work

Roll up your sleeves. Do the research. Write the materials. Be courteous to the client. Get the work out in a timely fashion.

2. Open Your Eyes

Read everything you can read. Talk to people. Be curious. It’s all ‘grist for the mill,’ the backbone of your creativity.

3. Every journalist matters

No one is too ‘little;’ if you identify yourself as a writer, you’re welcome in the tent.

4. Find the humor

Cultivate a big sense of humor. You can find it everywhere. It’s a leavening agent, a humanizing factor, a common denominator.

5. Standards

Be on time. Be courteous. Mind your manners. It matters.

6. Stay in touch

You never know when a writer will re-appear somewhere; never jettison a writer after having worked together, even if the outcome wasn’t what you wanted.

7. Be modest

PR people aren’t the story; the client is. Be present but don’t look for the limelight.

8. Don’t overestimate but don’t underestimate your audience.

A press release always has to include the obvious as well as the news.

9. Content IS “king”

Be known for your substance, for ideas and programs which have merit and meaning.

10. Niceness counts

Make sure you thank a writer once a story appears. Think of other gestures to express your appreciation. Be human.

How appropriate that Harvey suggested that donations to honor him go to The American Civil Liberties Union.

How To Respond to Attacks And Criticism in the Wine Industry

responseOver the past 25 years of working in wine PR and media relations it has been extremely rare that I have had to advise a client, “don’t respond” or “craft a careful response” to an attack or criticism leveled at them. The fact is, the vast majority of folks working in and around he wine industry simply don’t come in for the kind of public criticisms or attacks that participants in other industries must suffer. And yet, in those few instances when I have had to advise a client whether (or how) to respond to a public attack on their work or integrity, it has always been a most difficult conversation.

What follows is a way of thinking about a response to criticism or attacks if you or your organization find yourself the object of either.

SUBSTANCE
Public criticism or attacks on a person or organization can be either legitimate or illegitimate. They can be warranted or unwarranted. They can be meant in good faith or bad. The first thing you must do is determine under which of these headings the criticism/attack falls. This is very difficult to do because it requires you step back and evaluate yourself or your work. Oftentimes it’s best to lean on an adviser, consultant or friend to help work though this.

If you can determine that the criticism/attack is legitimate, warranted and offered in good faith, then it is probably a good idea to respond. Whether you respond in a public forum or privately is another question altogether. Additionally, you will want to evaluate the impact your public or private response will have on you and/or your business. Try to remember that legitimate criticisms leveled in good faith can be a gift, no matter how difficult reading  or hearing them may be.

If on the other hand it is clear that the attack is illegitimate and unwarranted, leveled without good faith, mean-spirited, perhaps the result of envy or jealousy, potentially libelous, personal or simply delivered without good faith, then it is almost always a good idea to move on, not respond and try to practice the art of empathy for those who are likely bedeviled by issues profoundly personal.

However, if a personal an illegitimate attack is leveled in a forum that will attract the attention of a large number of peers or a large audience, then you may find yourself in a position where a well-crafted response is a necessity if only because lack of a response might result in the initial insult damaging your reputation or because you want to dissuade other troubled people from embarking on the same kind of libel in the future.

This latter situation will rarely arise.

THE ART OF THE RESPONSE
In the event that you need to publicly respond to a legitimate criticism, how that response is delivered becomes very important primarily because it will set the tone for continued engagement. You almost always want to prevent future public discussion of the issue.

• The “Thank You” Response
Remember a legitimate, warranted criticism of your work or actions is in fact a gift because it gives you a chance to be better at what you do. When you receive a gift, you should say thank you. This amounts to acknowledging the criticism, perhaps explaining how you have already been at work addressing the issue raised, commenting on how the issue became an issue in the first place, and probably noting how you will be responding in the future. And, thanking them for their considered thoughts.

• The “Correction” Response
Oftentimes a legitimate criticism stems from a misunderstanding of the facts. If a critic of your work or actions does not have their facts right, then it is best to simply correct them by pointing to the observable fact they got wrong, thanking them, again, for their thoughtfulness, then briefly responding to anything they got right. This should always been done in a civil tone.

• The “We All Have Our Opinions” Response
Because most well-meaning criticisms derive from one’s opinion, this is the most common response you will be giving. If there is in fact a legitimate difference of opinion on, say, the meaning of your work or actions, the importance of your work or actions or the philosophy that drives your work or actions, then it is important that your response first and foremost note that what separates you from your critic is a difference of opinion and that you beg to differ. At the same time, it’s important for your response to acknowledge the philosophical issue at the heart of your difference; that is, it’s important for your response to note the legitimacy of different opinions on this issue.

• The Response to Unwarranted Attacks
If you find yourself in a situation where, due to the size or importance of the audience reading an illegitimate and unwarranted attack on you or your work, you must respond, there are some important guidelines to keep in mind:

1. Don’t respond in the forum that gave voice to the unfaithful attackers.
You want to move any ensuing conversation to more agreeable and favorable grounds. For example, if your work is attacked or if libelous attacks are made on you personally in a blog or news medium, you will want to respond elsewhere, either on your own ground or on ground that is more favorable to you. There is no sense in giving the original attack reason to be seen by more people or to have your response altered.

2. Muster Your Forces
It’s always a good idea to enlist allies in this sort of response. It’s easy enough to ask friends and allies to respond in your stead in another forum or ask them to weigh in along with your own response. There is always more power in numbers

3. Don’t Wrestle With Bottom Feeders
If the attack on you is nasty, mean, and personal, it is never a good idea to respond in kind. When you wrestle with bottom feeders, their mud will get all over you. More importantly, this kind of attack will almost always be seen for what it is: dirty, stinking, mud. Rather, when you must respond to this type of attack, try to do so simply, quickly, briefly, and with a graceful volley across the net that strikes at the heart of the critic’s lack of integrity, then leave the court. For example “I found your recent personal attack on (me, my work, etc) unsettling for its complete lack of all integrity, its blatant lies and for its purposeful mean-spirited nature. You should be ashamed of yourself.”

It is never fun to have to respond to criticism, whether justified or not. But sometimes you must. Try always to do so with a level head and with purpose. If you approach the task in this manner, it is more than likely that you will be able to move on quickly and profitably.

What To Do When They Get It Wrong?

THEY GOT IT WRONG!

Recently I have refereed several situations where writers with online outlets made numerous factual mistakes in an article. Gone are the days of fact checking. It’s such a vivid image, though—can’t you picture the grizzled editor with the night shade slipping down his forehead, cigar clenched between his teeth, roaring his disapproval at a misplaced comma….?! No longer.

What to do? The winery/client is upset. Why didn’t the writer get it right? Names of wines are wrong. Names of types of wines are wrong. The wrong job title was used. A name was misspelled. People will be confused. And so it goes.

FIND A FLAK JACKET

This actually introduces us to a bigger area: it’s the publicist-journalist-client interface. I often talk about providing a flak jacket for my clients; it’s something I really should do (an army surplus store? Where do you find flak jackets today?). So here’s the message: Do Not Take It Personally. Repeat as often as necessary. The journalist isn’t out to screw you. They’re scrambling to finish their story and rush off to the next one. There’s no personal animus. There’s no intent to ‘ding’ you. There’s just Real Life. Busy. Distracted. No time to check. On to the next.

So once the winery and publicist have vented to each other and calmed down, there are a few options. As in almost any situation in the practice of PR, do you have a “real” relationship with the writer? Will they be amenable to hearing about a few inaccuracies…which means they might be open to making some corrections?

If you have a green light there, then by all means contact the writer and graciously ask if some correcting or updating might be possible. Be ready that it might NOT be: some online formats are very complicated and the inputting may not be entirely in the purview of the writer.

If the writer is amenable, then don’t prolong the conversation. I suggest that you copy the text into a Word file, make the corrections using editing software and then send it back. This makes it very easy for the writer to 1) see the mistakes (or corrections) and 2) to input the material. Another alternative of course is to delineate the changes referring to specific lines in the article.

JUST THE FACTS

A word of caution: this doesn’t apply to philosophical differences or turns of phrase: this only works when the ‘mistakes’ are fact-based—-a vintage, a name, a spelling, a release date, etc.

If you don’t get that green light, then console everyone with the old PR adage: INK IS INK.

A Publicist’s Guide to the Difference Between Wine Writers and Wine Blogger

WinebloggerWineWriterThe recently completed 7th Annual Wine Bloggers Conference in Santa Barbara brought together wine bloggers from across the country. By all accounts, it was a rousing success. How do you know it was a success? Wine Publicists were there.

You can count on wine publicists showing up where the ink is. That’s a guarantee. But you can also bet that it hasn’t been lost on a single wine publicists both at the Conference and not at the conference that it was a “wine bloggers” conference and not a “wine writers” conference. This begs the question, what’s the difference?

So you don’t have to wait until the end of this post, let me proved the answer now: nothing.

If that’s satisfying enough, you can move along. But if you want to know why no wine publicists sees any difference between a wine blogger and a wine writer, stick around a little.

Here’s the bottom line: publicists are in the business of helping their clients tell their story, of finding media outlets that will communicate the uniqueness and their client’s brand and products, of seeking ways to tell a wider audience why their client is worth their time and consideration. We don’t care about the media outlet’s disposition: blogger or writer…it doesn’t matter. What matters is the the size, demographics and interests of their audience.

• A media outlet that serves 1,000,000 readers matters.A media outlet that serves

• 500,000 fifty-year old men with

A media outlet that serves 100,000 fifty year-old, wine drinking men will matter most

(Before we get into a sexism discussion, read who buys wine costing $50 or more)

Some wine bloggers have mused in a disappointed fashion that they and their peers don’t get the same attention as other writers; that the wine industry is missing the boat by not catering to the very enthusiast wine blogger community. The industry and publicists have nothing against wine bloggers. The problem is that very few of them have much of an audience to speak of size wise. It’s true that their audience happens to be very enthusiastic. Still, the publicist, having only so much time, will weigh the ROTI (Return on Time Invested) against the potential result. Do they pitch a writer at a 40,000 circulation daily or do they pitch the wine blogger with a much more wine centric audience of 500 readers per month?

Here’s the point. There is no Old Media. There is no New Media. There is only Media. And some of it offers a better return on the publicists (or winery’s) investment in time).

 

Which Wine Blogs Matter?

wbaTracking the breadth and depth of the wine media is not an easy job. Writers come and go. Editors change jobs. Addresses change. Phone numbers and emails no longer work. And of course, there is always the new writer or new column or….a new blog.

This latter breed, the blog—specifically the wine blog—is what I want to draw your attention to in this entry on the Wine Media.

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