The author explains his motivation for “Selling the Circus”: -
1 Provide explanation and examples of modern publicity rationale and methods not tackled (and rarely acknowledged) in existing texts.
The first is perhaps the most contentious for it is my aim to address aspects of the business, which, for fairly obvious reason, industry endorsed educational institutions choose not to promote.
There is no doubt that familiarity with modern media is beneficial for all occupations, or that Media Schools provide solid foundations for numerous professions in addition to those involving journalism.
As consumers, we want those who produce our news to hold high ideals and do their jobs without fear or favour, and we understand why teaching institutions, their staff and alumni aspire to achieve and maintain the highest
levels of industry accreditation, but sometimes in their pursuit of prestige, these schools aim a little too high. We are not outraged when faculties of Chemical Engineering discuss efficient means of poisoning the entire population,
or when Accountants discuss fraud, yet media educators appear reluctant to teach methods commonly employed by their industry’s most successful practitioners. The result is that employers select from the best available graduates, only to discover that many are less adept than those who were employed as trainees.
In Selling the Circus, I set out to explore aspects of PR and advertising not taught elsewhere. Nothing illegal or even seriously unethical, just fresh perspectives, practical hints and anecdotes that will encourage lateral thinking that can be applied across clients/industries.
Consider the paradox that a large segment of modern PR involves manipulating or misleading the media - yet the majority of established PR texts were written by ex-journalists.
Like commissioning mortally wounded foxes to explain the subtleties of hunting?
Some readers will be familiar with the following marketing definitions:
"If the circus is coming to town and you paint a sign saying 'Circus Coming to the Fairground Saturday', that's advertising. If you put the sign on the back of an elephant and walk it into town, that's promotion. If the elephant walks through the mayor's flower bed, that's publicity. And if you get the mayor to laugh about it, that's public relations." If the town's citizens go the circus, you show them the many entertainment booths, explain how much fun they'll have spending money at the booths, answer their questions and ultimately, they spend a lot at the circus, that's sales...”
I contend that communications and public perceptions are now so dynamic and critical to all enterprises that we can no longer afford to segregate strategic management of the component disciplines. In the way medicine is a collective covering everything from fertility to senility, and the “Doctor” title is non-specific, I suggest "Publicity” as a convenient collective for Public Relations, Advertising, Media-Promotions and Marketing communications, and the non-specific title “Publicist” should therefore apply to anyone involved in their practise, regardless of specialisation. After all, they are all employed to propagate and/or encourage others to propagate information intended to influence perceptions, opinions, buying/voting habits, loyalties and so forth. And like Psychologists and Neurosurgeons, their methods may differ, but best results are usually obtained by respectful cooperation.
2 Maximise reader’s enjoyment and interest by writing in the linear (progressive) style employed by novelists rather than isolate topics in traditional reference-book format.
If we exclude Publicity’s First Division high flyers - the ones capable of creating and dismissing governments and are regularly seen dining in the best restaurants with corporate leaders, Selling the Circus has something for everyone in, involved with, or dependent upon the media. The first few chapters are deliberately short introductions for those with little formal training, but because most people do have some preconceived ideas, I have wrapped these important early principles in entertaining parables.
Complexity increases with subsequent chapters, but bearing in mind that we may be promoting unproven artists, products or ideals to particularly cynical audiences, perhaps clandestinely supported by opposed publicists, complications, contingencies and tangents are inevitable. All of these variables combine to maintain pace and interest, and thus provide an effortless platform for new considerations. I would like to think that readers enjoy and learn from the hundreds of little hints and observations scattered throughout the book and that contemplation continues long after reading has concluded. As a long time friend, successful network broadcaster, and ex Principal of a major broadcast school, confided, “I’ve been in radio all my life and yet there was hardly a page that didn’t teach or remind me of something important.”
3 Illustrate everyday tasks, tricks and hazards confronted by publicists in the course of their work and encourage greater
understanding by those who employ/commission them – much of the book sits in the grey area straddling ethical boundaries so perhaps this is my subconscious attempt to reclaim the high ground!
Most topics have been adapted from conference and seminar presentations, and whereas I like to increase recall by introducing each with metaphorical examples, audiences invariably identify second and sometimes third levels. For example, while I am introducing an item about propaganda by recounting a short story about a particular film-star or musician, readers transpose what I am saying to their own lives and identify all sorts of local applications. So when I come to explain the why and how, they are already visualising and creating their own examples. The chapter about selection and recruitment is the only one which does not follow the pattern. It is so desperately important, particularly to employers, HR Directors, Recruiting agents and the young people
likely to be involved, that it had to be included in a relatively forthright form. Publicity (PR, advertising,
Promotions) is not generally recognised as a hazardous profession yet it has remarkably high attrition due to unnecessary mishaps and misunderstandings by managers and young recruits of both genders.
4 Focus attention on new opportunities brought about by contracting resources within conventional media – from government
departments to international terrorists, everyone attempts to manipulate the truth. Its protection is falling upon opposing Publicists.
Media weaknesses have always provided opportunities for unscrupulous publicists intent on promoting dodgy opinions and suspect products, but never has it been so easy. Unverified claims may be broadcast and defended, mythical enemies condemned, reputations shattered, new stars created, and often the only force capable of restoring balance is that of competing publicists. Journalists brought up to present truth with integrity console themselves with awards and collegial praise while their mastheads and broadcasters seek increased sponsorship. Terrorists, pop stars and police forces employ identical media strategies, and multi-million dollar advertising campaigns may be rendered useless by shrewd web counteraction. Negativity is the default and praise is viewed with suspicion, so much so that web sites clandestinely purchased in order to protect reputations can be lured into
becoming most critical. It may be the “Boys-Own”, “cops and robbers”side of the publicity business but it is the
fastest growing and for many, the most rewarding.
5 Make it interesting and either teach something new or stimulate new views in every section. (The actual intention was for every
page, but it’s safer to say “section”)
My library is full of well written books promising to teach all sorts of tricks about all sorts of subjects, but around half of them remain unread because they are either regurgitating old concepts or trying to sell me something I
don't want. I do not profess that “Selling the Circus” is anything more than an honest attempt to share morsels of wisdom about a side of the business that everyone thinks they understand, but few actually do. I promise that even the most experienced musicians, politicians, broadcasters, movie stars, journalists, marketers and executives will learn something new, and I'm confident they will enjoy the process.
1 Provide explanation and examples of modern publicity rationale and methods not tackled (and rarely acknowledged) in existing texts.
The first is perhaps the most contentious for it is my aim to address aspects of the business, which, for fairly obvious reason, industry endorsed educational institutions choose not to promote.
There is no doubt that familiarity with modern media is beneficial for all occupations, or that Media Schools provide solid foundations for numerous professions in addition to those involving journalism.
As consumers, we want those who produce our news to hold high ideals and do their jobs without fear or favour, and we understand why teaching institutions, their staff and alumni aspire to achieve and maintain the highest
levels of industry accreditation, but sometimes in their pursuit of prestige, these schools aim a little too high. We are not outraged when faculties of Chemical Engineering discuss efficient means of poisoning the entire population,
or when Accountants discuss fraud, yet media educators appear reluctant to teach methods commonly employed by their industry’s most successful practitioners. The result is that employers select from the best available graduates, only to discover that many are less adept than those who were employed as trainees.
In Selling the Circus, I set out to explore aspects of PR and advertising not taught elsewhere. Nothing illegal or even seriously unethical, just fresh perspectives, practical hints and anecdotes that will encourage lateral thinking that can be applied across clients/industries.
Consider the paradox that a large segment of modern PR involves manipulating or misleading the media - yet the majority of established PR texts were written by ex-journalists.
Like commissioning mortally wounded foxes to explain the subtleties of hunting?
Some readers will be familiar with the following marketing definitions:
"If the circus is coming to town and you paint a sign saying 'Circus Coming to the Fairground Saturday', that's advertising. If you put the sign on the back of an elephant and walk it into town, that's promotion. If the elephant walks through the mayor's flower bed, that's publicity. And if you get the mayor to laugh about it, that's public relations." If the town's citizens go the circus, you show them the many entertainment booths, explain how much fun they'll have spending money at the booths, answer their questions and ultimately, they spend a lot at the circus, that's sales...”
I contend that communications and public perceptions are now so dynamic and critical to all enterprises that we can no longer afford to segregate strategic management of the component disciplines. In the way medicine is a collective covering everything from fertility to senility, and the “Doctor” title is non-specific, I suggest "Publicity” as a convenient collective for Public Relations, Advertising, Media-Promotions and Marketing communications, and the non-specific title “Publicist” should therefore apply to anyone involved in their practise, regardless of specialisation. After all, they are all employed to propagate and/or encourage others to propagate information intended to influence perceptions, opinions, buying/voting habits, loyalties and so forth. And like Psychologists and Neurosurgeons, their methods may differ, but best results are usually obtained by respectful cooperation.
2 Maximise reader’s enjoyment and interest by writing in the linear (progressive) style employed by novelists rather than isolate topics in traditional reference-book format.
If we exclude Publicity’s First Division high flyers - the ones capable of creating and dismissing governments and are regularly seen dining in the best restaurants with corporate leaders, Selling the Circus has something for everyone in, involved with, or dependent upon the media. The first few chapters are deliberately short introductions for those with little formal training, but because most people do have some preconceived ideas, I have wrapped these important early principles in entertaining parables.
Complexity increases with subsequent chapters, but bearing in mind that we may be promoting unproven artists, products or ideals to particularly cynical audiences, perhaps clandestinely supported by opposed publicists, complications, contingencies and tangents are inevitable. All of these variables combine to maintain pace and interest, and thus provide an effortless platform for new considerations. I would like to think that readers enjoy and learn from the hundreds of little hints and observations scattered throughout the book and that contemplation continues long after reading has concluded. As a long time friend, successful network broadcaster, and ex Principal of a major broadcast school, confided, “I’ve been in radio all my life and yet there was hardly a page that didn’t teach or remind me of something important.”
3 Illustrate everyday tasks, tricks and hazards confronted by publicists in the course of their work and encourage greater
understanding by those who employ/commission them – much of the book sits in the grey area straddling ethical boundaries so perhaps this is my subconscious attempt to reclaim the high ground!
Most topics have been adapted from conference and seminar presentations, and whereas I like to increase recall by introducing each with metaphorical examples, audiences invariably identify second and sometimes third levels. For example, while I am introducing an item about propaganda by recounting a short story about a particular film-star or musician, readers transpose what I am saying to their own lives and identify all sorts of local applications. So when I come to explain the why and how, they are already visualising and creating their own examples. The chapter about selection and recruitment is the only one which does not follow the pattern. It is so desperately important, particularly to employers, HR Directors, Recruiting agents and the young people
likely to be involved, that it had to be included in a relatively forthright form. Publicity (PR, advertising,
Promotions) is not generally recognised as a hazardous profession yet it has remarkably high attrition due to unnecessary mishaps and misunderstandings by managers and young recruits of both genders.
4 Focus attention on new opportunities brought about by contracting resources within conventional media – from government
departments to international terrorists, everyone attempts to manipulate the truth. Its protection is falling upon opposing Publicists.
Media weaknesses have always provided opportunities for unscrupulous publicists intent on promoting dodgy opinions and suspect products, but never has it been so easy. Unverified claims may be broadcast and defended, mythical enemies condemned, reputations shattered, new stars created, and often the only force capable of restoring balance is that of competing publicists. Journalists brought up to present truth with integrity console themselves with awards and collegial praise while their mastheads and broadcasters seek increased sponsorship. Terrorists, pop stars and police forces employ identical media strategies, and multi-million dollar advertising campaigns may be rendered useless by shrewd web counteraction. Negativity is the default and praise is viewed with suspicion, so much so that web sites clandestinely purchased in order to protect reputations can be lured into
becoming most critical. It may be the “Boys-Own”, “cops and robbers”side of the publicity business but it is the
fastest growing and for many, the most rewarding.
5 Make it interesting and either teach something new or stimulate new views in every section. (The actual intention was for every
page, but it’s safer to say “section”)
My library is full of well written books promising to teach all sorts of tricks about all sorts of subjects, but around half of them remain unread because they are either regurgitating old concepts or trying to sell me something I
don't want. I do not profess that “Selling the Circus” is anything more than an honest attempt to share morsels of wisdom about a side of the business that everyone thinks they understand, but few actually do. I promise that even the most experienced musicians, politicians, broadcasters, movie stars, journalists, marketers and executives will learn something new, and I'm confident they will enjoy the process.
