Selling Goodness-Introduction To The Book
Unfortunately, I have seen too many of even the most noble and vitally needed
charitable nonprofits fade into obscurity, never having accomplished the
laudable goals they set out to achieve. In most cases, the reason for their
demise is that they did not promote themselves with vigor and assertiveness.
They either failed to learn to use public relations (PR) to their advantage or they
did not avail themselves of the services of professionals who could have
launched their causes into the limelight and helped them get the momentum,
manpower, and funds they needed to stay alive.
These early deaths are disappointing, unsatisfying-and tragic. They could have
been prevented if the right steps had been taken. As a public-relations
professional, I strongly believe that the world cannot afford to lose the efforts
of so many charities and nonprofit organizations which help solve the never-
ending problems that plague our fragile planet.
This book is therefore dedicated, with passion, to helping these charities and
nonprofits learn to use pubic relations of all kinds to accomplish their
important goals. Drawing on my background as the founder of one of
Hollywood's most prominent public-relations firms, and having represented
hundreds of the entertainment industry's biggest celebrities, I wrote Selling
Goodness to show you how to take advantage of professional public-relations
techniques on a fledgling charity's often- impoverished budget. The book
describes how the media operates, and how you can make it work for your
charity or organization.
In the following chapters, you will find advice on such matters as pitching a
story, writing a press release, and giving an interview. I guide you through the
critical steps of a PR campaign, from initial contacts with the media through
follow-up, special events, and dealing with a PR crisis should one happen to
Throughout the chapters, you will also find two types of "boxed features." One
contains special hints about PR techniques or additional elaboration on a topic.
The other presents case his, stories of inspiring PR stories from my personal
files. Indeed, one of my joys in writing this book is that I get to recount some
of the great stories I've collected over the years of promotional techniques
used by many different businesses and nonprofits.
THE MORAL CASE FOR PROMOTION
But Selling Goodness is much more than a practical handbook on skills and
procedures. It is also a moral manifesto. If you are a humble do-gooder with
qualms about seeking either attention or special promotion, this book presents
a powerful case for promoting yourself and your charitable cause. I believe the
moral argument is especially compelling now that government is trimming
outlays on social services. Nonprofits are being called to fill in the gaps. They
will need more resources-and they therefore must do whatever it takes to get
them, especially vigorous promotion of their vital cause.
If after reading this book you are able to take your cause more seriously, and
promote it with greater vigor and intensity, you will not only be contributing to
your individual charity, but to the broader purpose of promoting goodness. It
may sound quaint but the truth is that the promotion of your charitable work
can assist ill living beings. This is a grand vision, to be sure. But imagine the
potential of a planet that is better nourished, both in substance and in spirit. I
believe this is our potential.
My plan in this book is direct, and the process doable. It can make you an ally
in the grand project of selling goodness, and, through that alliance, a portion
of paradise can be regained.
Michael Levine is the founder of the prominent public relations firm Levine
Communications Office, based in Los Angeles. He is the author of Guerrilla PR,
7 Life Lessons from Noah's Ark: How to Survive a Flood in Your Own Life.
GuerrillaPR.net is a resource for people that want to get famous in the media,
without going broke. GuerrillaPR.net">http://GuerrillaPR.net
Clive King, who has died aged 94, was the author of several children's books and is best known for Stig of the Dump, the original and imaginative fantasy story of the friendship between Barney, a boy of the modern era, with Stig, a boy from long, long ago who lives in a nearby chalk pit in a home created from things he can creatively and skilfully repurpose from waste, including a chimney from tin cans and windows from glass bottles....
Films based on books might have the intolerable disadvantage of people smugly claiming "the book is so much better", but they also result in a huge boost at the box office.
According to new research from the Publishers Association, films based on books take 44% more at the box office in the UK and 53% more worldwide than original screenplays.
..."In short, published material is the basis of 52% of top UK films in the last 10 years, and accounts for an even higher share of revenue from these leading performers, at 61% of UK box office gross and 65% of worldwide gross," the report reads.
The New York Times has a rare interview with Anne Tyler to coincide with the publication of her latest novel, Clock Dance. Tyler rarely does interviews because she dislikes the way they make her feel the next morning. "I'll go upstairs to my writing room to do my regular stint of work and I'll probably hear myself blathering on about writing and I won't do a very good job that day. I always say that the way you write a novel is for the first 83 drafts you pretend that nobody is ever, ever going to read it."
The good news for fans is that Tyler has no plans to retire: "What happens is six months go by after I finish a book," she said "and I start to go out of my mind. I have no hobbies, I don't garden, I hate travel. The impetus is not inspiration, just a feeling that I better do this. There's something addictive about leading another life at the same time you're living your own." She paused and added: "If you think about it, it's a very strange way to make a living."
The New York Times reports on the changing face of the romance novel genre:
...The landscape is slowly starting to change, as more diverse writers break into the genre, and publishers take chances on love stories that reflect a broader range of experiences and don't always fit the stereotypical girl-meets-boy mold. Forever Yours, an imprint at Grand Central, publishes Karelia Stetz-Waters, who writes romances about lesbian couples. Uzma Jalaluddin's debut novel, Ayesha at Last, takes place in a close-knit immigrant Muslim community in Canada, and features an outspoken Muslim heroine who falls for a more conservative Muslim man, a Darcy to her Lizzie Bennett...
...."Readers want books that reflect the world they live in, and they won't settle for a book about a small town where every single person is white," said Leah Koch, co-owner of the romance bookstore the Ripped Bodice in Culver City, Calif. Last year, six of her store's top 10 best-selling novels were written by authors of color, Ms. Koch said.
Michael Ondaatje's The English Patient (Bloomsbury), the story of an injured, anonymous English WWII pilot and his Italian nurse, has been named the winner of the Golden Man Booker Prize, awarded to the best work of fiction previously awarded the Man Booker Prize over the last 50 years.
In a brief statement released late Tuesday afternoon, Barnes & Noble said CEO Demos Parneros (who had been named CEO in April 2017) had been terminated for "violations of the Company's policies." While not saying what policies Parneros violated, B&N said his termination "is not due to any disagreement with the Company regarding its financial reporting, policies, or practices or any potential fraud relating thereto." In addition to being fired immediately, Parneros will not receive any severance, B&N said. B&N said Parneros's removal was undertaken by its board of directors, who were advised by the law firm Paul, Weiss, Rifkind, Wharton & Garrison LLP.
In his first interview since being accused of inappropriate behavior with women, celebrated novelist Junot Díaz adamantly denied the allegations, including a claim he once "forcibly kissed" writer Zinzi Clemmons.
Díaz, who was awarded the 2008 Pulitzer Prize for his novel The Brief Wondrous Life of Oscar Wao, said he was "distressed," "confused," and "panicked" by the accusations, but insisted he had not bullied the women or been sexually inappropriate.
Harlan Ellison, a major figure in the New Wave of science fiction writers in the 1960s who became a legend in science fiction and fantasy circles for his award-winning stories and notoriously outspoken and combative persona, died this week 84. During his life, he wrote more than 1,700 stories, film and TV scripts. The Guardian recommends five of his best...
Donald Hall, a prolific and award-winning poet and man of letters who was widely admired for his sharp humor and painful candor about nature, mortality, baseball and the distant past, has died. He was 89.
Atlas Obscura explains the history behind the, arguably nonsensical, grammar rule about not ending a sentence with a preposition which, "all goes back to 17th-century England and a fusspot named John Dryden":
There are thousands of individual rules for proper grammatical use of any given language; mostly, these are created, and then taught, in order to maximize understanding and minimize confusion. But the English language prohibition against "preposition stranding"--ending a sentence with a preposition like with, at, or of--is not like this. It is a fantastically stupid rule that when followed often has the effect of mangling a sentence. And yet for hundreds of years, schoolchildren have been taught to create disastrously awkward sentences like "With whom did you go?"
...Born in 1631, John Dryden was the most important figure throughout the entire Restoration period of the late 17th century... Dryden twice stated an opposition to preposition stranding. In an afterword for one of his own plays, he criticized Ben Jonson for doing this, saying: "The preposition in the end of the sentence; a common fault with him, and which I have but lately observed in my own writing." Later, in a letter to a young writer who had asked for advice, he wrote: "In the correctness of the English I remember I hinted somewhat of concludding [sic] your sentences with prepositions or conjunctions sometimes, which is not elegant, as in your first sentence."
Dryden does not state why he finds this to be "not elegant." And yet somehow this completely unexplained, tiny criticism, buried in his mountain of works, lodged itself in the grammarian mind, and continued to be taught for hundreds of years later. This casual little comment would arguably be Dryden's most enduring creation.