PR Guide to Stellar Briefing Books

The practice of public relations is seen as a creative one, but it often depends on meticulous preparation. The PR briefing book is no exception; it’s a simple tool, yet a critical asset for a brand spokesperson to prepare for media interviews. The best briefing books offer a go-to reference and “study guide” so an interviewee has full background on the reporter, the outlet, and the best messaging for the opportunity.

PR guide to stellar briefing books

Make it easy on the eyes

Since the interviewee may be reviewing the document on the fly while in transit or during the interview(s), it should be well structured and easy to read. The when, where, who, and the featured topic should be scannable at the top of the document. If the executive is talking to multiple journalists, the briefing book should have a table of contents, an interview schedule grid, and the top three recommended messages for each exchange (different journalists may focus on different story angles.) Also essential are the reporter’s background information, a description of his publication, and any relevant preferences for the meeting.

The message is the medium

The most important parts of the briefing book are the messaging and questions sections. Although the PR team will have thoroughly prepped the spokesperson, they will also outline potential questions and recommended points for response. It’s generally impossible to predict a journalist’s questions with 100% accuracy, but sample queries can give the spokesperson a degree of comfort that makes for a smoother dialogue. Additionally, briefing documents should include an “expected outcome” outlining the desired next steps.

Briefing books shouldn’t contain sensitive material

In 2016, Gizmodo got ahold of a stray email thread from a Microsoft employee that included some highly detailed “dossiers” about journalists. While not patently nefarious, the documents included a rather deep dive into journalists’ predilections, including a “tips and tricks” section (presumably to handle or outwit reporters) and information on some reporters’ strong personal opinions about competitive products. The article’s author also found it “creepy” that the briefings included photos of the reporters.

We at Crenshaw Communications do not have a “tips & tricks” section, but we do offer headshots  – simply to put a name to a face. We also include the reporter’s three most recent and relevant articles and their Twitter handles, offering a glimpse into the style and beat of the journalists. But it goes without saying that you shouldn’t put anything in a medium briefing book that you wouldn’t want the reporter to see. (On the more nefarious front, in 2015 Columbia Journalism Review uncovered a company called NewsBios that sold reporter dossiers to PR pros. These dossiers contained some genuinely sensitive biographical information like home addresses and names of pets. Not recommended.)

Aside from the document itself, the PR pros will also brief the interviewee on the reporter’s general style based on previous experience. On the other side of the table, the PR contact will often supply the reporter with background on the spokesperson if they’re not acquainted.

Though a relatively small and tactical piece in the PR puzzle, a well-constructed briefing book  is an indispensable media relations roadmap. See last week’s post for a deeper dive into PR facilitation of media interviews.

A Journalist’s POV: Questions From A NY PR Firm

In the hectic world of consumer and tech PR, finding journalists you can have a relationship with — who will read your emails, respond, and whenever they can, say “yes” to your pitch — is a gift. Liz Brody, Glamour‘s News Director, is one of those journalists. Previously she was news and health director at O, the Oprah Magazine, and a blogger at Yahoo’s Shine! She’s a nutter for dogs, guitarists, and the back of a Harley—and then there was the year she spent playing a breakdancing Alvin the Chipmunk! She also cut her teeth in public relations so she knows the business. She graciously agreed to sit for our “Journalist’s POV” and we let her answer four questions since her input is so valuable.

What’s a big challenge you regularly face as a journalist that a PR person can help with? Finding amazing human-interest stories that have never been told. If a PR person can come up with an exclusive real-life story that is somehow related to the project/product she’s pitching, and she can offer it to me exclusively, I swear I will always answer her emails.

What one piece of advice would you give to a PR rep pitching a story? This is embarrassing to admit, but if she’s read some of my pieces and is familiar with the kinds of topics I’m drawn to, that will give her an edge. So she might be able to say, “I know you wrote about a sex trafficking last year, I am working with a new campaign that I think will interest you.”  Also, once again, if she’s giving me an exclusive idea—just for me. What’s disturbing is when I know she’s pitched the same thing to my five competitors. This comes out in conversation and I know it’s part of the job, but once again if a PR rep is familiar with writers’ work, they should know when a pitch should at least come first to a particular person.

What makes a good / bad interview subject for you? Good: Funny, quirky, open, emotional. When you can just have a conversation.
Bad: When you can feel the talking points talking. And they won’t get off the script.

What about a subject line will compel you to read it? Unless you have something really funny or genuinely intriguing to say, don’t try too hard to dazzle me into opening. I have seen variations on this that sometimes actually work against the sender. You know what works? If you can reference a colleague who knows me well and knows my interests, simply say “Sally Smith thought you might be interested.”

A Journalist’s View: Three Questions From A PR Pro

Rachel Weingarten is a weekly style columnist for and opinion columnist for amNewYork who also freelances for CNN Digital, Fortune, Newsday, USA Today and many others. Rachel is the author of three non-fiction books including Ancient Prayer: Channeling Your Faith 365 Days of the Year.

The most important rule to remember when pitching a freelance writer is…Unlike writers on staff, we tend to have existing ongoing relationships with numerous outlets. Depending on the product, person or project, it’s entirely possible that we can include your client in one or more stories and publications. Once you have an existing relationship with a freelancer, don’t be disappointed if they reject your pitch to one of their outlets; it’s best to be open to different outlets, even they aren’t your initial targets.  For the same reason, always try to offer more than one facet to your pitch. This is a great way to create an ongoing relationship. One more thing, if your contact is a regular contributor or columnist, check to see if they’re still with the publication when you pitch.

As a freelancer, I am typically working on… any number of stories with a workload that might ebb and flow. For instance, I write a weekly column for, am an editorial columnist for amNewYork and contribute to lots of other publications as a freelancer. I also take on new assignments regularly. I do copywriting and marketing copy, so in a given week I could be writing a minimum of two articles and thousands of additional words. Or I might be working on my books while keeping up all of the rest. And during all of this, I also might be researching and interviewing sources for upcoming articles. My writing is a business, and as such I create structure and manage many moving parts. But I also have clients and editors that I love working with, so I’ll happily accept extra assignments from them even during the busiest times- I just try to figure out how to manage my deadlines better.

Sometimes I am at the whim of my editors which means… that I might not be able to predict when a story of mine might run. In fact, I usually have no idea whatsoever when my pieces appear. I usually tell publicists that it’s entirely possible that they’ll see a story before I do. It also means that sometimes stories get killed or sections or product recommendations are cut. And while I value my relationships with publicists, I also realize that I have to smile and accept the decisions of my editors.

That’s right, we all have to smile and accept the decisions of editors!