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UNCORKING PR PAUL WAGNER ist has published recently, so that you can get a good idea of what he or she thinks is a good story. That's what you have to deliver with every answer. It's a critical step. Don't assume that your story is interesting to everyone. Some writers actively campaign against expensive wines, over-oaked wines and those that are either too sweet or too dry. Some love human interest stories, and others think they are a distraction from the business of wine. If you don't know this in advance, then every question becomes a land mine, and your responses only serve to take the writer down the wrong path. "Never argue with people who buy ink by the barrel." The writer will always have the last word in print. You will not. Learn to deflect a sensitive question and defuse a controversy without making a permanent enemy of the person who might write about you every week. + It's OK to correct something that you said, and the sooner you do that, the better. Don't wait until the next day to call the writer and try to change your story. Take the initiative to say during the interview, "I'm sorry, I didn't state that correctly. Here's what I truly believe." + Silence TRAIN FOR THE MATCH The fact that you own a winery does not make you a professional spokesperson, yet writers are professional interviewers. They do this for a living, and you are at an obvious disadvantage. The solution is to hire a professional coach who can get you up to speed on how the game is played at the top level. It takes time and skill to become a good interviewee, and it's your job to get good at it. A media trainer can help you understand the process, give you the kind of practice that you need to feel comfortable, and help you prepare for each writer's questions and style. You will also need to train hard for the main event, practicing your skills on a regular basis so that you are ready and able to take advantage of any interview opportunity, no matter when or how it appears. PLAY FOR KEEPS By the time you sit down with a writer, it's too late to ask for help. You need to be ready to play. The first few questions will often determine the whole direction of the interview, and it is within your power to respond to those questions in a way that will move things in the right direction. Here are a few tips you can use to improve your "return of service" for every match. w w w. v w m m e d i a.com Don't let the journalist catch you off guard; prepare for interviews by reading his or her previous articles. + Use one of the first questions to let writers know that you have read their recent articles or columns and found them interesting. This shows that you are not only familiar with a writer's work, but also that you respect the writer's expertise. + Get your key message out early in the interview, and repeat it often. + Remember that the journalist can use anything you say as a quote. Make sure that everything you say is OK to be in print – and I do mean every single thing. + You don't have to answer every question, but when you do answer, you have to make sure you really mean what you say. + To paraphrase former Dodgers manager Tommy Lasorda: is the most dangerous question of all. Good journalists have learned that if they wait in silence, their interview subject will often continue talking, and say far more than might be necessary. That's when they get their best quotes. Don't fall for it. Answer the question the way you want to answer it, and then wait, expectantly, for the next serve. The ball is in the writer's court. PRACTICE MAKES PERFECT You can't learn to play tennis in a day, and you can't learn to give good interviews in a day. The only way you can get better is to practice, and practice regularly. Find the time to do that, either in the tasting room or at wine festivals, and make sure that you bring in a professional to work with you, just to keep you at the top of your game. The techniques above are not only helpful for meetings with journalists, they can also improve your communication skills for the rest of your life. Paul Wagner formed Balzac Communications & Marketing and is an instructor for Napa Valley College's Viticulture and Enology Department. He has been a columnist for V&WM since 2003. Comments? Please e-mail us at feedback@vwmmedia.com. J a n - Feb 2014 | V INE YA RD & W INE RY M AN A G EM EN T 17