Thursday 29 May 2014

To win an award you have to enter…

Charlie Laidlaw is a director of David Gray PR and a partner in Laidlaw Westmacott.
Business success involves determining a commercial and marketing strategy, setting realistic objectives, and creating a promotional programme to help make it happen.

It’s about engaging with customers and getting them to trust your company over a competitor.  It’s about image, communicating a sense of brand value and converting sales.

But how to create trust with potential customers who may not have heard of you?  However, one often overlooked tactic can provide the third-party endorsement that smaller companies generally struggle to find.

Entering business awards should be front-of-mind for any company, because excellence is something every company strives for – whether that’s customer service or technical innovation.

There’s a business awards scheme for every business sector, so finding an appropriate award category shouldn't

be hard.  In addition, there are personal awards - in HR, accountancy, marketing…you name the job title, and there’s an award to be won. 

Nor does it matter how big you are.  There are awards for start-ups, entrepreneurial awards, or  innovative new products.  Or there are awards in the workplace - for best practice in flexible working, best places to work, social inclusion, or recruitment policies.

Here are some tips on how to make your entry stand out from the crowd.

1.       Enter appropriately.  Writing a killer submission is a lengthy process, so best not waste time on an award category that you are unlikely to shine in.  Concentrate effort on the awards and categories where you really have something to shout about.  (If in doubt, speak to the awards organiser).

2.       Read entry guidelines.  Judges look for clarity and generally set an upper word count.  They will also indicate what they’re looking for to support your entry – whether that’s sales figures, customer endorsements, media coverage etc.  Focus on what’s important for your entry, and cut the waffle.

3.       Leave yourself time.  Writing an award submission takes far longer than people anticipate.  For a start, facts and figures have to be assembled, and other people in the company consulted.  Better to set a timetable that gives you time to think, rather than completing it in a mad rush.  (A rushed entry is rarely a good entry).

4.       Appoint a champion.  While several people in the company may have an input to the submission, put one individual in charge, and task that person to complete a draft of the submission(s) well ahead of the deadline.  (There’s nothing worse than an entry that looks like it was written by a committee).

5.       Make it interesting.  There’s no point being over-technical or using too much jargon.  Your entry should be memorable and interesting, right from the first sentence.  Think of it as an elevator pitch: grab the judges’ attention in the introduction.

6.       Make it real.  You’re justifiably proud of your company and want to shout about its attributes.  But beware of making unsubstantiated claims to be “the best” – using sales data to demonstrate healthy growth is a better way of demonstrating success.

7.       Get another view.  You might think that your submission is right on the button and has ticked all the boxes.  But get someone from outside your company to take a look at it.  A point you thought was blindingly obvious might not be that obvious to an outsider. 

In conclusion, what’s important is that you take the time to really understand what the judges are looking for, and how to make your entry stand up to scrutiny.

In our experience, every successful or ambitious company has a story to tell, about itself, its products or its people, irrespective of size or sector.  It’s how you tell that story that matters.


Thursday 22 May 2014

A PR spectrum from cock and bull to nursery rhyme

PR involves pitching stories to the media although, inevitably, some stories are better than others.  However, much better to make sensible use of the material you have, rather than turn it into cock and bull.

It’s what 18th and 19th century coach travellers did, so the story goes, when they stopped at a town called Stony Stratford, north of London.

Travellers would refresh themselves in one of the town’s two main coaching inns, The Cock or The Bull, where fanciful tales and so-called news would become hopelessly embellished.  The two establishments still exist.

The town’s website says that “the High Street still contains a wealth of coaching inns that thrived in this period, including The Cock and The Bull; in these inns travellers vied with each other in the telling of outrageous stories…”

The story may or may not be true, but it’s an interesting angle on how – in the wrong hands – a perfectly good story can, through spin and exaggeration, devalue both the message and the messenger.

At the other end of the scale is the story so subtly told that its significance is hidden.  That’s best exemplified in our much-loved nursery rhymes, written in a bygone age when any kind of careless gossip could swiftly lead to the gallows.  Back then, subtle PR was a life-saver.

Take, for example, this innocuous rhyme:

Mary Mary quite contrary
How does your garden grow?
With silver bells and cockle shells
And pretty maids all in a row.

It’s actually about the 16th century Queen Mary of England whose brutal persecution of Protestants earned her the nickname of “Bloody Mary.”  The garden is the cemeteries she filled with her victims; silver bells and cockleshells are slang for torture implements, and the maiden was a form of guillotine.

Queen Mary was also the inspiration for another rhyme:

Three blind mice, three blind mice,
See how they run.  See how they run.
They all ran after the farmer’s wife,
Who cut off their tails with a carving knife.
Did you ever see such a sight in your life?
As three blind mice.

This refers to three Protestant bishops who were convicted of treason and burned at the stake - but not before, reputedly, being blinded and dismembered.

Equally loved is this:

Jack and Jill went up the hill
To fetch a pail of water.
Jack fell down
And broke his crown,
And Jill came tumbling after.

Jack and Jill are King Louis XVI and Queen Marie Antionette.  They both lost their crowns (and their heads) in the French revolution of 1793-94.

The derivation of this rhyme is more widely known:

Ring-a-ring o’ roses
A pocket full of posies
A-tishoo! A-tishoo!
We all fall down.

In the USA, the third line is often reproduced as Ashes!  Ashes!  It’s actually about bubonic plague in the 17th century, with one of the first symptoms being a rosy rash.  For protection, people would carry sweet-smelling herbs with them.

Other rhymes describe historical events:

Humpty Dumpty sat on a wall.
Humpty Dumpty had a great fall.
All the king’s horses and all the king’s men
Couldn’t put Humpty together again.

No, it’s not about a giant egg.  It’s actually a large cannon that was sited on a tower during the English Civil War.  The tower was hit by cannon fire, and the tower and Humpty fell down.

Other rhymes are more complex:

Old Mother Hubbard
Went to the cupboard
To give the poor dog a bone
When she came there
The cupboard was bare
And so the poor dog had none

These are the lyrics that were published in 1805, although the rhyme is much older.  One explanation is that it goes back to Henry VIII, with the King wanting a divorce from Catherine of Aragon so he could marry Anne Boleyn.  The “dog and bone” refer to the divorce, the cupboard is the Catholic Church and Cardinal Wolsey, the highest Papal representative, is Old Mother Hubbard.

One rhyme stands out for being utterly salacious:

Georgie Porgie
Pudding and pie
Kissed the girls and made them cry
When the boys came out to play
Georgie Porgie ran away.

This is poking fun at a (reputed) gay relationship between King James I and the Duke of Buckingham, who was also an (alleged) lover of the French Queen Consort.

Goosey goosey gander,
Whither shall I wander?
Upstairs and downstairs
And in my lady's chamber.
There I met an old man
Who wouldn't say his prayers,
So I took him by his left leg
And threw him down the stairs.

The derivation of this is less clear, but is probably anti-Catholic propaganda.  Catholic prayers were said in Latin; Protestant prayers in English.  There again, "goose bumps" was 16th slang for the symptoms of venereal disease – and being "bitten by a Winchester goose" was slang for how you caught it.  The “Winchester geese” in question were south London prostitutes.

Lastly, this:

Ladybird, ladybird, fly away home
Your house is on fire
And your children are gone.

The ladybird was regarded with affection by farmers as it ate aphids, and it’s thought that this rhyme may be about encouraging the bugs to fly off before the farmers burned stubble in their fields.  However, it may not be that simple.  Another possible derivation is that the rhyme was a warning to Catholics who wouldn’t attend Protestant services.

Nowadays, in an age of free speech, we can write what we want and make the meaning clear.  But we shouldn’t forget that the right of free speech has been hard won and that, in past times, it could get you into all sorts of trouble.

In PR terms, it was therefore better to invent a nursery rhyme than a cock and bull story.  Nowadays, neither end of the PR spectrum is much good!

Charlie Laidlaw is a director of David Gray PR and a partner in Laidlaw Westmacott. We are specialists in national and international PR strategy and delivery.  You can contact us at +44 (0) 1620 844736 or Charlie@davidgraypr.com or connect with us on LinkedIn or Facebook.