Issue link: http://read.dmtmag.com/i/402796
1 8 V I N E YA R D & W I N E RY M A N A G E M E N T | N o v - D e c 2 014 w w w. v w m m e d i a . c o m e have a standard phrase in our agency's proposals for new business: Writers won't write about wines they haven't tasted. In every proposal, we include a plan for how to get wines into the hands of writ- ers so that they can write about them. It seems simple, but it's actually a fairly com- plicated process and one often misunder- stood or ignored by wineries. There are a few ground rules, so before you load up your UPS driver with boxes of wines for journalists across the country, make sure you send the right wines to the right people at the right time. 1 . D o n ' t s e n d w i n e s that journalists and their readers can't buy. Never ask a writer to review wines that are not avail- able in the market, and that includes their own market. Nothing gener- a t e s m o r e n a s t y m a i l for a wine writer that an article about wonderful wines that the readers will never be able to find. 2. Don't send samples of wines that won't be w r i t t e n a b o u t . M a n y wine writers focus on wines within a certain price range, or on bottlings from specific regions. At most major wine magazines, writers are responsible for covering partic- ular regions of the world. One who solely covers the eastern United States doesn't need to receive California wines; a wine journalist in Bordeaux will likely never write about the wines of Washington state. Save the cost of the wines and shipping for someone will can provide you coverage. (We regularly get a request from a well- known writer for samples from our top-end import clients, yet this writer hasn't writ- ten about such wines in 10 years. We don't send the wines.) 3. How do you know who should get what? The larger publications provide this informa- tion, online and in print. For other writers or publications, it's a question of reading their stories over time to grasp their interests. This is not a glamorous way to spend a few hours, but it's an important part of being a professional in public relations. 4. Know that certain writers like wines of a richer, riper style, while others prefer elegance and restraint. It makes no sense to send huge, potent wines to writers who are critical of this style – just as hip hop music samples would not be sent to a clas- sical music critic. Our team regularly orga- nizes tastings with our clients to review their portfolio and identify the wines we think will appeal – or not – to specific writ- ers. There is no sense in risking a possible negative review on a wine we know the critic likely won't embrace. 5. Send samples only to media in states in which it is legal to do so. GET STRATEGIC With these rules in place, it's time to develop a strategic plan for your media samples program. To do this, you'll need a clear vision of what you hope to achieve by putting wines in the hands of writers. If you have a rock-star brand that is on allocation, there is little point in send- ing a large number of samples. For high- end brands, carefully select writers who appreciate the style and the track record SHORT COURSE + Sending sample bottles to the media is a vital component of a successful PR strategy. + Wine media sampling can spur sto- ries about and reviews of your wines. + Create a strategy so that you send the right wines to the right people at the right times. + Identify local, regional, state and national media targets for wine sampling. Free Wine! Writers won't review your wines unless you send them samples UNCORKING PR PAUL WAGNER