Public Relations Writing: The

Essentials of Style and Format 8th

Edition
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 BIvINS
EIGhTh EdITIOn

PUBlIC RElATIOnS WRITING

The eighth edition of Public Relations Writing provides skills for future public relations
practitioners. In addition, it covers basic planning, media relations, media placement and
PUBlIC RElATIOnS
WRITING
distribution, and law and ethics. Students will learn to prepare copy for all areas of a public
relations campaign from news releases and backgrounders to social media releases and
broadcast scripts.

FEATURES OF THE EIGHTH EDITION:

• Emphasis on writing social media press releases and using tools like
Twitter effectively in public relations.
• Real-world advice for managing publicity campaigns with sections on basic
planning, media relations, media placement and distribution, law and ethics.
• NEW section on building media kits.
• NEW section on effectively selecting television and radio placement.
WHAT INSTRUcTORS ARE SAyING:
“This is a strong text that emphasizes practical application.” – Mary Frances Casper,
Boise State University

THE ESSENTIAlS OF STylE AND FORmAT

MD DALIM #1221827 1/2/13 CYAN MAG YELO BLK

“Practical, easy to read, easy to use.” - Amiso M. George, Texas Christian University

“Excellent chapter on ethics and legalities of PR.” - Katria Marie Olson, University
of IIlinois- Champagne

Visit www.mhhe.com/bivins8e for a wealth of additional student and instructor resources!

ThE ESSEnTIAlS OF STylE And FORMAT

Edition
Eighth

TM

THOmAS H. BIvINS
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Contents vii

CHOOSING THE APPROPRIATE MEDIUM OR MEDIA 57

Advantages and Disadvantages of Media Selections 58
NEGOTIATING MEDIA BUYS 62
Evaluating Your Media Buys 63
BUYING THE INTERNET 64
Whom Will You Be Talking To? 64
What Media Will Help Accomplish Your Objectives? 64
Tool-Specific-Options 65
LEARNING TO ADAPT 66
KEY TERMS 66

CHAPTER 5 Media Relations and Placement 67

WHAT IS NEWS? 68
WORKING WITH THE MEDIA 69
Get to Know Journalists’ Jobs 69
Get to Know Journalists as People 69
Guidelines for Dealing with the Media 70
Guidelines for Interviews 71
Guidelines for Correcting Errors 73
MEDIA PLACEMENT 73
Deciding Where to Place Your Message 73
Getting Your Message to the Media 75
Fitting Your Information to Your Outlet 76
MEDIA KITS 78
DIGITAL MEDIA KITS 82
Guidelines for Building a Digital Media Kit 82
CREATING AN ONLINE NEWSROOM 84
What to Include in Your Online Newsroom 85
Online Newsrooms to Study 87
THE SOCIAL MEDIA APPROACH 87
Cooperation Is the Key 90
KEY TERMS 90

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viii Contents

CHAPTER 6 Writing for Web and Social Media 91

THE CHANGING LANDSCAPE 92
A Quick Word about Writing for Websites 93
OK, Let’s Get on with Web 2.0 95
BLOGS AND BLOGGING 96
What to Blog About 97
Writing Blog Posts 98
How to Write Comments on Blogs 99
Micro-Blogging and Twitter 102
How to Write Twitter Posts 102
KEY TERMS 104

CHAPTER 7 News Releases and Related

Materials 105
WHAT IS A NEWS RELEASE? 106
WRITING A NEWS RELEASE 107
The Lead 107
Quotations and Attributions 109
Local Interest 111
NEWS RELEASE FORMAT 112
Timing and Dating Releases 114
Datelines 114
Exclusives and Specials 115
TYPES OF NEWS RELEASES 115
Product Releases 115
Event Announcements 119
Personnel Releases 119
Tips/Hints Releases 124
WRITING NEWS RELEASES FOR BROADCAST 124
PITCH LETTERS AND MEDIA ADVISORIES 129
Pitch Letters 129
Media Advisories 132
THE DIGITAL NEWS RELEASE 134
Standard Release Format 136

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Contents ix

Search Engine Optimized Releases 136

Social Media Release 138
How to Write a Social Media Release 139
The Inbound Marketing News Release 144
BACKGROUNDERS 146
FACT SHEETS 147
KEY TERMS 153

CHAPTER 8 Controlled Publications 154

NEWSLETTERS 155
Types of Newsletters 155
Why a Newsletter? 156
Content 159
Objectives 160
Scheduling and Budgeting 160
Articles 160
Story Ideas 162
Researching Stories 164
Design Considerations 164
Style Sheets 165
CREATING A DIGITAL NEWSLETTER 165
Online Versions 167
E-mail Versions 169
MAGAZINES 172
Content and Format 172
Types of Articles 174
TRADE JOURNALS 174
FEATURE WRITING FOR NEWSLETTERS
AND MAGAZINES 175
Feature Style 175
Writing the Feature Story 178
Common Types of Features 184
EDITORIAL CONSIDERATIONS FOR DISPLAY
COPY 190
Writing Headlines 190

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x Contents

Writing Subheads and Crossheads 191

Writing Captions 191
Writing Pull Quotes 192
EDITING YOUR ARTICLES 192
EVALUATION 193
Methods of Evaluation 193
Evaluating Your Production Schedule 196
BROCHURES 202
Planning Your Brochure 203
Fitting It All Together 206
OTHER INFORMATION PIECES 217
Flyers 217
Posters 219
Booklets and Hybrids 221
The Nonprofit Annual Report 223
KEY TERMS 228

CHAPTER 9 Design, Printing, and Desktop

Publishing 229
DESIGN: WHAT IT IS AND WHY IT MIGHT BE
GREEK TO YOU 230
DESIGNING PUBLIC RELATIONS MATERIALS 231
PRINCIPLES OF DESIGN 234
Balance 234
Proportion 235
Sequence and Emphasis 237
Unity 241
Grids 244
Alignment 244
Type and Typefaces 246
WORKING WITH PROFESSIONAL PRINTERS 249
Printing Processes 250
Paper Choice 252
Ink Choice 255
Binding 256

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Contents xi

Swipe Files 256

Submitting your Layout for Printing 257
A WORD ON DESKTOP PUBLISHING 258
PRINT SCHEDULING AND BUDGETING 260
Scheduling 260
Budgeting 261
KEY TERMS 263

CHAPTER 10 Television and Radio 264

REACHING BROADCAST AUDIENCES 265
Video News Releases 265
Radio and Television Actualities 267
Interviews and Talk Shows 267
Corporate Advertising and Public Service
Announcements 267
WRITING FOR TELEVISION 268
Basic Concepts 268
Writing for the Eye 270
Television Scripts 270
WRITING FOR RADIO 283
Types of Radio Announcements 284
How to Get Your Public Service Announcements
on the Air 286
KEY TERMS 290

CHAPTER 11 Speeches and Presentations 291

TYPES OF SPEECHES 292
MODES OF DELIVERY 292
PREPARATION AND WRITING 293
Specifying Your Purpose 293
Analyzing Your Audience 293
Organizing Your Speech 294
Supporting Your Ideas 297
DELIVERY 297
THE QUESTION-AND-ANSWER SESSION 298

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xii Contents

PRESENTATION MATERIALS 298

Preparing Audiovisual Materials 299
Scripting for Audiovisuals 301
KEY TERMS 303

Glossary 305
Index 317

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PREFACE Preface

This is a handbook for those who, by intention or by accident, find themselves in

the position of writing for public relations. In my years of experience, I have had
as many questions concerning public relations writing from those not in public
relations as from those in the field. Countless inquiries have come from those
who, suddenly having been “appointed” publicity chair for a committee, find
they don’t know the first thing about publicity; or the office manager who has
been assigned, ad hoc, the job of putting out a newsletter; or the small-company
president who wants to create her own brochures on the new desktop publish-
ing software, which she just acquired, but doesn’t have the faintest idea how to
proceed. That’s why you’ll find this book begins with the basics and pretty much
sticks with them.
It is designed to aid both the beginner and the advanced public relations writer.
In it you will find most of the forms of public relations writing, including news
releases, backgrounders, broadcast scripts, magazine and newsletter articles, bro-
chures, and Web and social media copy.
This latest edition has been updated to include more information on writing
for digital environments and using social media to communicate. There is still
a chapter on the basics of writing for the Web and for social media, including
advice for blogging and micro-blogging (Twitter, etc.), and how to get the most
out of online tools like Facebook, LinkedIn, and others. In addition, many of the
chapters now include companion sections on how to produce digital versions of
traditional forms. For example, Chapter 7 on news releases includes a section
on digital releases, Search Engine Optimized (SEO) releases, and Social Media
Releases (SMR). Likewise, Chapter 8 on controlled publications includes advice
on how to write for and produce online and digital newsletters.
Other changes to this edition include a section on ethics in Chapter 2 for pub-
lic relations writers working in digital forms including blogging and word-of-
mouth marketing codes, and best practices. Chapter 4 includes a new section on
buying the Internet. And, in Chapter 5 on media relations and placement, you

xiii

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xiv Preface

will find information on creating online newsrooms and a new section on pro-
ducing digital media kits.
Many of the recommendations contained in this book are based on years of
experience as a writer, both in public relations and in general business practice. It
is my belief that any public relations writer worthy of the name should become
familiar with all forms of writing. After all, good writing is good writing, no mat-
ter what the form. The truly good writer can work in any medium, like the good
artist.
This book is an attempt to put most of the reference material that you, as a
public relations writer, would need to successfully complete the work which is so
vital a part of your chosen profession—writing.

Acknowledgments
A number of people have helped make this new edition possible. John Mitchell,
a longtime friend and faithful user of this book, was especially helpful with his
many examples of fine work. Marilyn Milne, a professional and friend, provided
examples of pitch letters and advisories. Seth Walker, formerly of Intel, provided
me with numerous examples of that organization’s fine work. My brother, Chris,
also provided me with a number of examples from his vast design repertoire
for a varied clientele. I am also indebted to the educators who reviewed the
last edition of the book and made incredibly constructive suggestions for this
latest edition: Sallyanne Holtz, University of Texas at San Antonio; Amiso M.
George, Texas Christian University; Amber Erickson, University of Cincinnati;
Robert M. Kucharavy, Syracuse University; Katrina Marie Olson, University of
Illinois at Urbana-Champaign; and Mary Frances Casper, Boise State University.
Every new item and nearly every change that appear here are based on their
recommendations.
I am also grateful to Nicole Bridge, at McGraw-Hill for her suggestions, fore-
sight, and diligence in keeping me on schedule. And, I can’t forget my excellent
project manager, Jessica Portz, she caught every detail. Finally, I am grateful to
the many professionals around the country whose ideas and creativity inspired
and contributed to much of this revision. They have been uniformly generous
in their willingness to share their work with me. Nearly every time you see a
footnote in this book, it is there to thank those generous individuals and organi-
zations. This new edition is truly a result of their hard work as well as my own.
My thanks go to them all. They share in whatever usefulness this book provides
to you, the reader.

About the Author

Thomas H. Bivins is a professor and the John L. Hulteng Chair in Media Ethics
in the School of Journalism and Communication at the University of Oregon. He
received his PhD in 1982 in telecommunication from the University of Oregon and
taught for 3 years at the University of Delaware before returning to the University of
Oregon. Bivins received a BA in English and an MFA in creative writing from the

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Preface xv

University of Alaska, Anchorage, and has over 30 years of professional media expe-
rience, including work in radio, television, advertising, public relations, graphic
design, and editorial cartooning.

Additional Resources
An Online Learning Center for this text is available at www.mhhe.com/bivins8e.
This Website contains a workbook for students and a password-protected
manual for instructors. Please ask your McGraw-Hill representative for access
information.
This text is available as an eTextbook at
www.CourseSmart.com. At CourseSmart your
students can take advantage of significant sav-
ings off the cost of a print textbook, reduce
their impact on the environment, and gain
access to powerful Web tools for learning. CourseSmart eTextbooks can be
viewed online or downloaded to a computer. The eTextbooks allow students to
do full text searches, add highlighting and notes, and share notes with class-
mates. CourseSmart has the largest selection of eTextbooks available anywhere.
Visit www.CourseSmart.com to learn more and to try a sample chapter.

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1 Writing for Public

Relations

In This Chapter, You Will Learn

• Why good writing is important to • The most often–used tools of

a public relations professional.
• The difference between
uncontrolled and controlled
information.
public relations writing and how
they differ.
• The process of public relations
writing.

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2 Chapter 1 Writing for Public Relations

WHAT IS PUBLIC RELATIONS?

Before we begin to discuss writing for public relations, it’s probably a good idea
to get a grip on exactly what public relations is. That’s not an easy question
to answer. If you were to think that public relations is about putting a client’s
best foot forward, you’d be right. If you proposed that public relations is about
dealing with the media (either keeping your client’s name in the media or out
of it), you’d be right as well. If you believe that public relations is helping clients
and organizations get along with their constituencies, you’d be right again. In
fact, public relations is all of these and more. Public relations is everything from
planning entire communications campaigns to writing a letter to the editor.
It involves any activity that enhances the reputation of your client, mediates
disputes between various publics and your client, helps achieve mutual under-
standing among all parties involved in an issue, advocates on behalf of a client or
cause, provides guidance and direction, and results in positive and mutual well-
being. A quick query on Google nets the following definitions for public relations
found on the Web:
d The business of generating goodwill toward an individual, cause, company,
or product (www.motto.com/glossary.html)
d The acts of communicating what you are to the public. This is not to be con-
fused with publicity, which is just one of the methods used in communicat-
ing the image (www.nejaycees.org/about/jargon.asp)
d Activity, communications, or press coverage that is designed to enhance the
prestige or goodwill of a company (http://rdsweb2.rdsinc.com/help/bi_ct_
expdef.html)
d Any activities or events that help promote a favorable relationship between a
company and its customers and prospects; activities used to influence the press
to print stories that promote a favorable image of a company and its products
or services (www.garyeverhart.com/glossary_of_advertising_terms.htm)
d Communication with various sectors of the public to influence their attitudes
and opinions in the interest of promoting a person, product, or idea (http://
fourps.wharton.upenn.edu/advertising/dictionary/p.htm)
d An activity meant to improve the project organization’s environment in
order to improve project performance and reception (www.mccombs.utexas.
edu/faculty/Linda.Bailey/glossary.htm)
d Professional services in promoting products by arranging opportunities for
exposure in the media (http://freespace.virgin.net/brendan.richards/glossary/
glossary.htm)
d A deliberate, planned, and sustained effort to institute and maintain
mutual understanding between an organization and its publics (Institute
of Public Relations definition) (http://wps.pearsoned.co.uk/wps/media/
objects/1452/1487687/glossary/glossary.html)
d A promotion intended to create goodwill for a person or institution (http://
wordnet.princeton.edu/perl/webwn)

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What is Public Relations? 3

d Public relations deals with influencing public opinion, through the presenta-
tion of a client’s image, message, or product (http://en.wikipedia.org/wiki/
Public_relations)
In fact, modern public relations is an eclectic package encompassing a great
many job descriptions, titles, and functions. The federal government even for-
bids the use of the term public relations to refer to roles whose functions in the
business world would be identical. The practice is rife with terms synonymous
with yet subtly different from public relations. Press agentry, for instance, is usually
taken to mean the role of providing media exposure, whereas promotion com-
bines media exposure with persuasion. Public affairs most often refers to those
who deal with community or government relations; and the federal govern-
ment’s decided-upon replacement term is public information.
Despite the myriad terms applied to the practice, there does appear to be a
rather limited number of actual functions assigned to these roles. Nearly 30 years
ago, James Grunig and Todd Hunt proposed a set of four models, and although
these have undergone some changes over the years, they remain relatively accu-
rate today.1 The models are press agentry/publicity, public information, two-way
asymmetric, and two-way symmetric. In the press agentry/publicity model, the
practitioner acts as a one-sided propaganda specialist. The public information
model presents the practitioner as journalist, carefully disseminating balanced
information to the public. Practitioners in a two-way asymmetric model are seen
as “scientific persuaders,” using social science techniques to gather information
on attitude and behavior characteristics of their publics and then adjusting their
messages accordingly to influence those publics. Finally, the two-way symmetric
model uses practitioners as mediators between organizations and their publics.
A broader categorization views the roles of public relations divided neatly into
communications manager and communications technician. Managers analyze,
plan, carry out, and evaluate public relations campaigns. Technicians provide the
support for the programs in the form of writing, design, layout, production, and
publication within all of the possible delivery systems. Thus, the role of the pub-
lic relations writer is generally that of communications technician. However, that
is not to say that there is always a clear divide between the two roles. No respect-
able communications manager would be incapable of writing a news release,
and frequently communications technicians are involved in various stages of the
planning process, as we will see. All public relations practitioners write at some
time. Public relations is, after all, communication, and the basic form of commu-
nication is still the written word.
Regardless of the prevalence of television, radio, cable, satellite television,
and the Internet, the written word is still powerful. Even the events we wit-
ness on television and hear on the radio were written down originally in the
form of scripts. News anchors on television are not recounting the day’s events
from memory; they are reading from a teleprompter. Nearly every entertainment

1
James E. Grunig and Todd Hunt, Managing Public Relations (New York: Holt, Rinehart and
Winston, 1984), 21.

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4 Chapter 1 Writing for Public Relations

program is precisely scripted—from your favorite sitcom to the MTV Video Music
Awards. And although it may not seem so, most of what you see on the Internet
has been carefully thought out and written prior to its placement on the Web, or
should be, especially if you're a professional working in public relations.
It is no wonder today’s employers value employees who can communicate
through the written word. Employers want people who can write and commu-
nicate ideas—who can pull complex or fragmented ideas together into coherent
messages. This requires not only technical skill but also intelligence. It requires
a love of writing as well. Be forewarned: The subjects of public relations writ-
ing can seem to many to be crashingly dull; however, for writers who love their
craft, the duller the subject, the greater the challenge. Even the most mundane
subject can shine with the right amount of polish.
So, the place of writers in public relations is assured. From the president or
vice president of public relations to the support staff, writing will be a daily part
of life. From enormously complex projects involving dozens of people and whole
teams of writers to the one-person office cranking out daily news releases, edit-
ing weekly newsletters, or updating Web pages, writing will continue to be the
number-one concern of public relations. Through it, your publics will come to
know you and, for better or worse, develop a permanent image of who you are.
It is in your best interest and that of the people for whom you work to ensure
that this image is the one you want to portray.
What is needed before you begin to write, however, is knowledge. Being able
to spell and string words together effectively does not make a good writer. First
and foremost, a good writer must be able to think. To be a good writer you must
be aware of the world around you and understand how your writing is going to
affect that world.
It is essential that you think before you write; otherwise, your writing will be
only empty words, disconnected from reality, or, worse, unintentionally mislead-
ing or false.

WHAT IS PUBLIC RELATIONS WRITING?

All public relations writing attempts to establish positive relations between an
organization and its various publics, usually through image-building techniques.
Most writing in the realm of public relations falls into two rather broad catego-
ries: uncontrolled information and controlled information.

Uncontrolled Information
Information that, once it leaves your hands, is at the mercy of the media is
uncontrolled information. In other words, the outlet in which you want
the information placed has total editorial control over the content, style, place-
ment, and timing. Such items as news releases are totally uncontrolled. For
example, you may write what you think is the most effective, well-thought-out
news release ever presented to your local paper, but you never see it in print. Or
maybe the paper does use it, but leaves out all of your skillfully crafted sentences

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Tools of the Public Relations Writer 5

about your employer. In these cases, the newspaper editors have exercised their
prerogative to control your information. Once you put it in their hands, they get
to decide what to do with it.
Then why, you’re probably asking yourself about now, even use uncontrolled
information? For at least two reasons. First, it’s generally cheaper because you
don’t have to pay for production or placement costs. Second, your message gains
credibility if you can pass it through the media on its way to your target publics.
I’ve sometimes referred to this technique as “information laundering” (humor-
ously, of course). The fact is that our messages are often viewed by our target
publics as having a vested interest—which of course they do. However, when
those same target publics see the same message served up by the media, it seems
to gain credibility in their eyes. Obviously, this is also true for passing the infor-
mation through any credible second party such as magazines, opinion leaders,
or role models. Thus, the loss in control is usually more than balanced by the
overall gain in credibility.

Controlled Information
Information over which you have total control as to editorial content, style,
placement, and timing is controlled information. Examples of controlled
information are institutional (image) and advocacy advertising, house publica-
tions, brochures, and broadcast material (if it is paid placement). Public service
announcements (PSAs) are controlled as far as message content is concerned but
uncontrolled as to placement and timing. To get the most out of any message,
you should send out both controlled and uncontrolled information. That way,
you can reach the broadest possible target audience, some of whom will react
more favorably to one type or the other of your approaches.

TOOLS OF THE PUBLIC RELATIONS WRITER

As with any trade, public relations writing uses certain tools through which mes-
sages are communicated. The most common are listed here.
d News releases are the most widely used of all public relations formats. News
releases—both print and broadcast—are used most often to disseminate
information for publicity purposes and are sent to every possible medium,
from newspapers to radio stations to Internet sites.
d Backgrounders are basic information pieces providing background as an aid to
reporters, editors, executives, employees, and spokespersons. This informa-
tion is used by other writers and reporters to “flesh out” their stories.
d Public service announcements are the broadcast outlet most available to non-
profit public relations. Although the PSA parameters are limited, additional
leeway can be gained by paying for placement, which puts it in the category
of advertising.
d Articles and editorials are usually for newsletters, house publications, trade
publications, or consumer publications. In the case of nonhouse publications,

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6 Chapter 1 Writing for Public Relations

public relations articles are submitted in the same way as any other journal-
istic material. Editorials can be either paid for or submitted uncontrolled and
vie for placement with comments from other parties.
d Collateral publications are usually autonomous publications, such as brochures,
pamphlets, flyers, and other direct marketing pieces, that should be able to
stand on their own merits but can be used as supporting information for other
components in a package. They might, for instance, be part of a media kit.
d Speeches and presentations are the interpersonal method of imparting a position
or an image. Good speeches can inform or persuade, and good presentations
can win support where written methods may fail.
d The Internet has increasingly become one of the most important communica-
tions tools available in public relations. Writing for the Web is challenging and
exciting and can garner results often quicker than any other format.
Although these are not the only means for message dissemination at the
disposal of the public relations writer, they are the methods used most often.
Knowing which tool to use requires a combination of experience, research,
and intuition. It is also good to keep in mind that learning the basics of writing
(even if the basics deal with “traditional” forms) will prepare you to write in any
format, for any medium. If you can write a traditional news release, you can
write a Search Engine Optimized release. If you can write a feature story, you
can write an interesting blog post. Thus, unless you learn to write in the tradi-
tional forms, you won’t have a grounding in the basics you need to write well in
any form. The following chapters attempt to provide you with a framework, or
template, from which you will be able to perform basic tasks as a public relations
writer. The rest is a matter of experience, and no book can give you that.

THE PROCESS OF PUBLIC RELATIONS WRITING

All forms of writing for public relations have one thing in common: They should
be written well. Beyond that, they are different in many ways. These differences
are related primarily to purpose, strategy, medium, and style and format. As you
will see, these elements are interrelated; you can’t think about a single element
without conceptualizing the others. For example, purpose and strategy are inti-
mately related, and choice of medium is inextricably bound to style and format.
As to purpose, a public relations piece generally is produced for one of two
reasons: to inform or to persuade. Strategy depends almost completely on the
purpose of a given piece. For instance, a writer might choose a persuasive strat-
egy such as argument to accomplish his or her purpose, which is to persuade a
target audience to vote for a particular mayoral candidate.
The medium that you choose to deliver your message will also dictate its style
and format. For example, corporate magazines typically use a standard feature
style common to journalism. Newsletter writing, by contrast, is leaner and shorter
and frequently uses a straight news reporting style. Folders (commonly referred
to as brochures) are, by nature, short and to the point. Copy for posters and flyers

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Key Terms 7

is shorter still, whereas pamphlets and booklets vary in style and length accord-
ing to purpose. Writing for the Internet may incorporate any or all of these styles
in slightly to greatly abbreviated formats.
Beginning here and continuing throughout the book, we will deal with these
elements of public relations writing: purpose, strategy, medium, and style and
format.

KEY TERMS
uncontrolled information
controlled information

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2 Ethical and Legal

Issues in Public
Relations Writing

In This Chapter, You Will Learn

• Some of the ethical • Public relations and the Internet

considerations of public relations
• The legal aspects of public
writing, including unethical relations writing, including
persuasive techniques and defamation, invasion of privacy,
unethical language use. and copyright and trademark
• Guidelines for how to ghostwrite considerations.
ethically.
• Guidelines for making ethical
decisions.

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Ethical Considerations of Persuasion 9

Public relations is fraught with ethical dilemmas. No one working in the field
would deny this; however, for the writer these dilemmas take a slightly different
form than the types of problems faced by others in the field. For instance, many
of the ethical quandaries facing public relations people have to do with decisions
on large issues—whether to handle a particular political candidate or ethically
suspect client; how to deal with the media on a day-to-day basis without lying;
what to keep confidential and what to disclose; and whether to do what the
client says, no matter what.
It’s not that such decisions are beyond the scope of the public relations writer.
It’s that a writer spends much more time dealing with the technical aspects of his
or her job than with the bigger picture. This tight focus, however, comes with its
own set of ethical considerations, among which are such quandaries as how to
persuade without violating the basic tenets of ethics and good taste and how to
write words that will later be claimed by someone else as his or her own.

ETHICAL CONSIDERATIONS OF PERSUASION

Some people consider persuasion unethical by nature. They believe in a very
strict version of the “marketplace of ideas” theory that if you provide enough
unbiased information for people, they will be able to make up their own minds
about any issue. Of course, we all know that isn’t true. Although our political
system is based on this theory, to some extent it is also based on the notion of
reasoned argument—that is, persuasion. People who believe fervently enough in
a particular point of view aren’t going to rely on any marketplace to decide their
case. They’re going to get out there and argue, persuasively, for their side.
Since the time of Aristotle, we’ve had access to a number of persuasive
techniques. We also are aware of how easily many of these techniques can be
turned to unethical purposes. In fact, the most frequent complaint against any
form of communication is that it is trying to persuade unethically. This complaint
may seem to be leveled most often at advertising, but public relations hasn’t
gotten off the hook entirely.
Discussed here are a number of techniques that, in varying degrees, can be
used unethically. All of these techniques have been used in propaganda cam-
paigns, but you will recognize many of them as still being used in both public
relations and advertising.

Logic Fallacies
By far the most unethical of the techniques are those codified by the Roman ora-
tors over a thousand years ago. These are commonly referred to as logic fallacies
because they are both illogical and deceptive by nature. Let’s look first at these:
d Cause and effect. We see this in operation all the time. It means that because
one thing follows another in time, the second was caused by the first. This
tactic is most often used to infer that one thing is the result of the other.
Politicians are particularly adept at using this argument. For example, an

biv26231_ch02_008-026.indd 9 26/12/12 6:23 PM

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Katalog der Ausstellung österreichischer Kunstgewerbe. 1910/1911. 1910.
(Österr. Museum.)
Katalog der Ausstellung österreichischer Kunstgewerbe. 1911/1912. 1911.
(Österr. Museum.)
Katalog der Frühjahrsausstellung österreichischer Kunstgewerbe,
verbunden mit einer Ausstellung der k. k. Kunstgewerbeschule Wien,
Mai bis Juli 1912. 1912. (Österr. Museum.)
Katalog der Ausstellung österreichischer Tapeten-, Linkrusta- und
Linoleumindustrie, verbunden mit einer Ausstellung von
Tapetenentwürfen und von historischen Tapeten, 20. Mai bis Juli
1913. 1913. (Österr. Museum.)
Katalog der Ausstellung österreichischer Kunstgewerbe 1913-1914. 1913.
(Österr. Museum.)

Hans Sibmachers Stick- und Spitzen-Musterbuch. Nach der Ausgabe vom

Jahre 1597 herausgegeben vom k. k. Österr. Museum. 1866. (C.
Gerolds Sohn.)
Preis 8 K.

Originalstickmuster der Renaissance, in getreuen Kopien vervielfältigt und

mit Unterstützung des k. k. Handelsministeriums herausgegeben
1873. Mit Einleitung von R. v. Eitelberger. (Schulbücherverlag.)
Dasselbe. 2. Auflage (R. v. Waldheim.)
Preis 6 K.

Stickmuster, mit Unterstützung des k. k. Unterrichtsministeriums und mit

Benützung der besten Vorbilder entworfen von E. Drahan. (Wien,
Hartinger & Sohn.)
Preis 5 K. 76 h.

Wilh. Hoffmanns Spitzenmusterbuch, nach der Originalausgabe vom

Jahre 1607 photolithographiert. 1876. (Österr. Museum.)
Preis 3 K. 60 h.

Spitzen-Album, gelegentlich der ersten Ausstellung von Spitzen- und

Nadelarbeiten mit Unterstützung des k. k. Handelsministeriums
herausgegeben 1876. 30 Lichtdrucke. (Österr. Museum.)
(Vergriffen.)
Italienische Renaissance-Spitzen- und Stickmusterblätter. 26 Spitzen- und
7 Stickmusterblätter in Lichtdruck nach den Stickmusterbüchern von
Bartolommeo Danieli, des Math. Pagano etc. (Österr. Museum.)
Einzelne Blätter 60 und 50 h.

— — 10 Blätter aus dem Spitzenmusterbuche der Isabetta Catanea

Parasole. Lichtdrucke. (Österr. Museum.)
Venezianische Musterblätter aus dem XVI. Jahrhundert für
Passementerie-Arbeiten und verwandte Techniken.
Photolithographien. Mit Einleitung von R. v. Eitelberger. 1879. (Österr.
Museum.)
Preis 4 K.

Dreger, M., Entwicklungsgeschichte der Spitze. Mit besonderer Rücksicht

auf die Spitzensammlung des k. k. Österr. Museums herausgegeben
mit Unterstützung des k. k. Ministeriums für Kultus und Unterricht. Mit
84 Tafeln. 1901. (A. Schroll.)
Preis 24 K.

Die burgundischen Gewänder der k. k. Schatzkammer. Meßornat für den

Orden vom goldenen Vlies. 12 Blätter Photographien mit Text von J.
Falke. (Österr. Museum.)
(Vergriffen.)

Die byzantinischen Buchdeckel der St. Marcus-Bibliothek in Venedig. 10

Blätter Photographien mit erläuterndem Text von J. Falke. 1867.
(Österr. Museum.)
(Vergriffen.)

Umrisse antiker Tongefäße zum Studium und zur Nachbildung für die
Kunstindustrie sowie für Schulen. Zweite vermehrte Auflage. 19
Blätter Autographien. (Österr. Museum.)
Preis 6 K.

Ornamente antiker Tongefäße zum Studium und zur Nachbildung für die
Kunstindustrie sowie für Schulen. 15 Blätter in mehrfarbigem
Tondruck. (Österr. Museum.)
Preis 10 K.
Salvetat, Über keramische Dekoration und Emaillage. Zwei
Abhandlungen, aus dem Französischen übersetzt. (Österr. Museum.)
Preis 2 K 40 h.

Trachtenbilder von Albrecht Dürer aus der Albertina. 6 Bl. in

Chromoxylographie ausgeführt von F. W. Bader in Wien. (Österr.
Museum.)
Preis 12 K.

Ottavio Stradas Entwürfe für Prachtgefäße in Silber und Gold, gezeichnet

für Kaiser Rudolf II. Faksimiliert. (Becksche Univ.-Buchhandlung [A.
Hölder]).
Preis 15 K.

Gefäße der deutschen Renaissance (Punzenarbeiten). Im Auftrage des

k. k. Handelsministeriums herausgegeben, 16 Tafeln in Folio mit Text
von Franz Schestag. 1876. (Schulbücherverlag.)
Preis 10 K.

Das Wiener Heiligthumbuch. Nach der Ausgabe vom Jahre 1502 samt
den Nachträgen von 1514 mit Unterstützung des k. k.
Handelsministeriums herausgegeben. Mit Einleitung von Franz Ritter.
1882. (Gerold & Comp.)
Preis 8 K.

Möbelformen der französischen Renaissance. Nach den im Österr.

Museum und in andern Sammlungen befindlichen Originalen unter
Leitung von Prof. E. Herdtle aufgenommen und autogr. von Schülern
der Kunstgewerbeschule. 2 Hefte à 6 Tafeln. 1881. (Österr. Museum.)
Preis à 4 K.

Prachtmöbel und Geräte vom Ende des XVIII. und Beginn des XIX.
Jahrhunderts, größtenteils aus dem Besitze Sr. kaiserl. Hoheit
Erzherzogs Albrecht. In Lichtdruck von V. Angerer in Wien,
herausgegeben vom k. k. Österr. Museum. 15 Tafeln. 1884. (Österr.
Museum.)
Preis 24 K.

Falke, J. v., Rahmen. Eine Auswahl aus der Sammlung des k. k. Österr.
Museums auf 50 Lichtdrucktafeln. 1892. (A. Schroll.)
Preis 35 Mk.
— — Holzschnitzereien. Eine Auswahl aus der Sammlung des k. k.
Österr. Museums auf 55 Lichtdrucktafeln. 1893. (A. Schroll.)
Preis 35 Mk.

— — Mittelalterliches Holzmobiliar. 46 Lichtdrucktafeln. 1894. (A. Schroll.)

Preis 40 Mk.

Photographien alter Möbel von der Ausstellung im Österr. Museum 1874.

(Hofphotograph V. Angerer.) Preis der ganzen Kollektion: aufgezogen
84 K, unaufgezogen 56 K, einzelne Blätter:
aufgezogen 1 K 20 h, unaufgezogen 80 h.

Kunstgewerbliche Flugblätter. 55 Bl. in Kart. (R. v. Waldheim.) Preis 6 K.

Einzelne Blätter à 10 h zu beziehen durch das Österr. Museum.
Reproduktionen von Original-Zeichnungen und kunstgewerblichen
Gegenständen. 1883. Bisher 2 Hefte à 12 Bl. (V. Angerer.)
Studien und Entwürfe von Ferdinand Laufberger. Aus seinem Nachlasse
herausgegeben. 1884. 1 Heft mit 12 Bl. (V. Angerer.)
Arbeiten der österreichischen Kunstindustrie aus den Jahren 1868-1893.
Zum 25jährigen Jubiläum der Kunstgewerbeschule des k. k. Österr.
Museums für Kunst und Industrie. Herausgegeben von der Direktion.
Wien, (Gesellschaft f. vervielfält. Kunst.)
Der Wiener Kongreß. Kulturgeschichte, Die bildenden Künste und das
Kunstgewerbe, Theater, Musik in der Zeit von 1800 bis 1825. Mit
Beiträgen von Bruno Bucher, Josef Folnesics, Eugen Guglia, Ludwig
Hevesi, Eduard Leisching, Karl v. Lützow, Hans Macht, Karl Masner,
Alois Riegl, Franz Ritter, Wilhelm Freiherrn v. Weckbecker, Hugo
Wittman unter der Redaktion von Eduard Leisching. 1898. (Artaria &
Co.)
Altorientalische Teppiche. Im Anschluß an das in den Jahren 1892 bis
1896 vom k. k. Handelsmuseum in Wien veröffentlichte Werk
„Orientalische Teppiche“. 4 Lieferungen mit zusammen 25 Tafeln in
farbigem Kombinationsdruck. Mit einem Vorwort von A. v. Scala,
Einleitung von Wilhelm Bode, Text von Friedrich Sarre. 1906-1908.
(Leipzig, Karl V. Hiersemann.)
Preis à Lief. 85 Mk.

Folnesics, Josef und E. W. Braun, Geschichte der k. k. Wiener Porzellan-

Manufaktur. 42 Tafeln und 147 Illustrationen im Text. 1907. (K. k. Hof-
 u. Staatsdruckerei.)
Preis 120 K.

Leisching, Eduard, Zur Geschichte der Wiener Gold- und

Silberschmiedekunst. (Separatabdruck aus „Kunst und
Kunsthandwerk“, VII. Jahrgang.) 1904. (Artaria & Co.)
— — Die Ausstellung von alten Gold- und Silberschmiedearbeiten im k. k.
Österr. Museum. (Separatabdruck aus „Kunst und Kunsthandwerk“,
X. Jahrgang.) 1907. (Artaria & Co.)
Dreger, Moritz, Der Gösser Ornat im k. k. Österr. Museum.
(Separatabdruck aus „Kunst und Kunsthandwerk“, XI. Jahrgang.)
1908. (Artaria & Co.)
Walcher von Molthein, Alfred, Die deutsche Keramik in der Sammlung
Figdor. (Separatabdruck aus „Kunst und Kunsthandwerk“, Jahrg. XII.)
1909. (Artaria & Co.)
Guglia, Eugen, Die Besuchs- und Gelegenheitskarten der Sammlung
Figdor. (Separatabdruck aus „Kunst und Kunsthandwerk“, XIV.
Jahrgang.) 1911. (Artaria & Co.)
Rosenberg, Marc, Studien über Goldschmiedekunst in der Sammlung
Figdor. (Separatabdruck aus „Kunst und Kunsthandwerk,“ XIV.
Jahrgang.) 1911. (Artaria & Co.)
Leisching, Eduard, „Theresianischer und Josefinischer Stil“.
(Separatabdruck aus „Kunst und Kunsthandwerk“, XV. Jahrgang.)
1912.
 *** END OF THE PROJECT GUTENBERG EBOOK FÜHRER
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