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Communications Plannin Civil Society and Commu
Based Organisation
Prepared for the Voices of Reconciliat
by Lisa Mighton for IMPACS (The Institute for Media, Policy in collaboration with The Centre for Policy Altern
December 2006
Access to a Voice

Access to a Voice
unications Planning for ociety and Community- ased Organisations
r the Voices of Reconciliation Project
by Lisa Mighton Institute for Media, Policy and Civil Society) e Centre for Policy Alternatives (CPA), Sri Lanka
December 2006

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Table of Contents
Module 1: Why a Communications Plan?.................................
Module 2: Organisational Planning............................................
Module 3: Strategic Communications Plan...............................
Module 4: Define your Audience Groups ................................
Module 5: Define your Message.................................................
Module 6: Branding your Organisation’s Identity ...................
Module 7: Communication Strategies .......................................
Module 8: Media Relations..........................................................
Module 9: Evaluation...................................................................
IMPACS gratefully acknowledges the the Canadian International Development A
and Australia Aid (AusAid) for the contributions to the Voices of Recon
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

s Plan?.........................................................................................3
g....................................................................................................5
ons Plan.......................................................................................8
Groups......................................................................................10
....................................................................................................11
ation’s Identity .........................................................................15
ies .............................................................................................17
....................................................................................................21
....................................................................................................28
atefully acknowledges the support of ternational Development Agency (CIDA) nd Australia Aid (AusAid)
ns to the Voices of Reconciliation Project.
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Module 1: Why a Communications Plan
Why plan?
“Our organisation is voluntary or under-staffed or under-res time to run projects. We just don’t have time to initiate com
Many organisations work intently and passionately on the pr achieve the group’s objectives.
As a result, communications initiatives often happen in a sca way. This is inefficient and can waste resources. Good plann organisation’s resources on the actions that will benefit your planning process develops clear goals, concise messages and audiences.
The Power of Communication Planning
Communications planning can help to:
• Give your organisation a public profile
• Deliver a focused, consistent message
• Ensure everyone in your organisation delivers the sa impact you want to make
• Equip you with power to act quickly when necessary
• Fundraise
• Make your points accessible, digestible, and timely f
• Raise awareness of your services with potential bene
• Mobilize and organize people
• Raise debate
• Educate about an issue
• Deepen your roots in your community or sector – lo international
• Encourage partnerships
• Clarify your stance in the political arena
• Get the most of your budget
• Increase visibility – the possibility for even small, rem known internationally
• Create a strong argument for funders to support you
There are strong examples of movements that had effective strategies as essential parts of their overall strategy. For inst tobacco, representative democracy, child rights and women’ other global, regional, national and local social movements h strategies as a main--and often the central--part of their chan

ommunications Plan?
under-staffed or under-resourced, and it takes up all our t have time to initiate communication plans.”
and passionately on the projects in front of them to
tives often happen in a scattered, spur-of-the-moment ste resources. Good planning allows you to focus your tions that will benefit your work the most. A good
als, concise messages and identifies the right target
ication Planning
lp to:
ublic profile ent message
rganisation delivers the same message and understands the
act quickly when necessary
le, digestible, and timely for policy discussions rvices with potential beneficiaries ple
r community or sector – local, regional, national or
olitical arena get ssibility for even small, remote organisations to become
for funders to support your initiatives
ements that had effective communications and media r overall strategy. For instance, the anti-apartheid, anti- y, child rights and women’s movements as well as many
local social movements have all included communication central--part of their change effort.

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The goals of a communication plan must emerge from, and be driven by, the goals of the organization overall. Therefore it is best to begin with an organisational plan.
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Module 2: Organisational Planning
Vision
Why does your organisation exist?
Perhaps you want to increase the role of women in the peac awareness of peace proposals. Maybe you want to run progr culture of tolerance and diversity in areas less supportive of ending the conflict.
How would you explain your organisation, in everyday langu How would things be different once your organisation has a How will people act differently once your organisation has a
The answers to these questions form the foundation of a vis organisation. A vision statement summarizes the ideal future
Example of vision statement:
To achieve sustainable peace in Sri Lanka through soc the active participation of war-affected women.
Project Goals
Every project that your organisation undertakes must have s those goals must link back to the vision statement. Every pr your organisation closer to achieving its vision.
To develop project goals, consider the following questions:
• Why was the project created?
• How does it serve the goals of the organisation?
• Who is the target audience?
• What specific actions does your project hope your ta will it change their behaviour? Describe how this community (your target audience) will be years, or five years, after your project has accomplished its g concrete you can be, the more it will help you down the roa
Example of a project goal:
Within five years, 90% of the adults in our town will hav and will have easy access to appropriate reading mate amongst previously illiterate adults will have increased
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

ational Planning
role of women in the peace process, or to increase ybe you want to run programs for children, or build a in areas less supportive of compromise as a step toward
nisation, in everyday language, to an interested passer-by? ce your organisation has achieved success in its work? ce your organisation has achieved success in its work?
rm the foundation of a vision statement for your ummarizes the ideal future for your organisation.
Sri Lanka through socio-economic development with fected women.
on undertakes must have some clear and specific goals, and vision statement. Every project must, in some way, move ing its vision.
r the following questions: ed? ls of the organisation? ?
your project hope your target audience will take? How ur? ur target audience) will be different in one year, three ject has accomplished its goals. (The more specific and
ill help you down the road.)
ults in our town will have literacy and numeracy skills, propriate reading materials. Employment levels
lts will have increased.
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Project Objectives
Objectives emerge from goals. They are the targets you need goal. Objectives are often short-term while goals are long-te
The best objectives are SMART:
• Strategic (should link to your project goal)
• Measurable (should specify a number of individuals activities)
• Achievable (Something that can be done with the re
• Realistic (the objective is concrete)
• Time-bound (there is a time frame for change)
Try to develop between one and four objectives for each of
Example: this goal is clear but not concrete or measurable:
Educate the general public about the risks of diabetes a way to prevent the disease.
To make this goal concrete, measurable and achievable, be m
Reduce the diabetes prevalence among 35-45 year-old within three years.
Situational Analysis
A situational analysis allows you to take a broad view of oth that are happening both outside and inside your organisation achieve the project goals and objectives.
Situational analysis assesses what is happening and evaluates your project.
For example: if your organisation is campaigning on behalf privatization of water, you might ask the following question
• Where does your organization fit compared to other
• What is the current policy environment?
• What is public awareness of the issue?
• What core values are most relevant to this issue?
• What are public attitudes on the issue?
• Are there particular groups of people that care abou
• Has there been any media coverage of this issue? H
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

ey are the targets you need to achieve in order to reach the rm while goals are long-term.
ur project goal) y a number of individuals who will be affected by the
at can be done with the resources available) oncrete)
e frame for change)
our objectives for each of the project goals.
concrete or measurable:
t the risks of diabetes and about lifestyle changes as
rable and achievable, be more specific:
among 35-45 year-old men in Colombo by 10%,
take a broad view of other projects, initiatives and events nd inside your organisation that might affect your ability to ctives.
s happening and evaluates whether or not it will influence
is campaigning on behalf of paddy farmers against sk the following questions in your situational analysis: tion fit compared to other ones working on this issue? environment? of the issue? t relevant to this issue?
n the issue? s of people that care about this issue? coverage of this issue? How much, and what quality?
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• What magazines, newspaper columnists, or local rad may have an agenda or motivator that supports your reporters could offer the strongest opportunities?)
• Who are your opponents? Whose voices speak again issue?
• What resources does your organisation have for this
• What are your internal strengths and weaknesses?
• How is your organisation perceived by the public, by
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

er columnists, or local radio hosts do you know of who tivator that supports your issue? What outlets and trongest opportunities?) Whose voices speak against your organisation’s on this
organisation have for this project? ngths and weaknesses? perceived by the public, by media and by policymakers?
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Module 3: Strategic Communications P
A communications plan is a framework for communicating as between your organisation and your external audiences. I promotional or media plan.
Developing a communications plan can take as little or as m module is a guide to the planning process.
The core of communication planning is about
• Message: what to communicate
• Audience: who to communicate with
• Method: how to communicate
• Timing: when to communicate
• Responsibility: who will communicate
Although it is possible for one person to create a communic more effective if many people in your organisation do this w will be more prepared, engaged and informed about how be
Here is a sample format for the communication plan.
Who do we need to communicat e with? (audience)
Why do we want to reach them? (link to project or organisatio n goals)
What about? (message )
How? (method )
When ?
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

c Communications Plan
work for communicating within your organisation as well your external audiences. It is much more than a
n can take as little or as much time as you wish. This process.
ing is about icate nicate with icate icate
mmunicate
rson to create a communication plan, it is likely to be much
our organisation do this work together. As a result they d informed about how best to communicate.
mmunication plan.
at ut? ssage
How? (method )
When ?
Cos t
Who is responsible ?
How will we measur e success ?
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An important question is “Can our organisation cope if we a communication plan should include how your organisation your organisation, and your organisation should try to antici
Write your plan in plain language
To be most effective, the communication plan should be cle Plain language is more effective than academic or creative w
• Use action-oriented verbs and sentences that begin w
• Write about your plan’s elements in terms of benefit balance in favour of giving readers reasons to suppo informing them about the details.
• Avoid complex sentences; split long sentences in tw one idea.
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

r organisation cope if we achieve the success we seek?” A
e how your organisation will handle any extra demands on isation should try to anticipate these.
n language
ication plan should be clear and direct – free of jargon. an academic or creative writing styles.
and sentences that begin with subjects ements in terms of benefits and outcomes. Strike a
readers reasons to support your ideas rather than just details. split long sentences in two so each sentence contains only
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Module 4: Define your Audience Group
Your audience groups (sometimes called a target audience) a inform, challenge or influence.
The best way to effectively use a small budget is to target yo are most likely to respond. Broad-based communication ma materials tailored for a specific group.
Ask these questions to learn more about your audience grou
• What is their age?
• What gender are they?
• Where do they live?
• What is their income?
• Are they married? Do they have children?
• What is their primary language at home?
• What is their religious practice?
• What are their values?
• What motivates them to act?
• What do they know about your issue?
• What is this audience’s main source of information? they respect?
• Why is this audience important to you?
• What do they offer to you?
• What, precisely, do you want them to do?
• Why will you be important to them?
• What benefit will they gain?
• What do you offer them?
An example of targeting different audiences: ‘Raja Ra Center in Kekirawa, Polonnaruwa District, uses street delivering messages about conflict resolution. They ha another version for children
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

our Audience Groups
called a target audience) are the people you want to
mall budget is to target your message to the people who based communication materials are not as effective as
up.
about your audience groups:
have children? uage at home? ctice?
ct?
your issue? in source of information?Who do they listen to? Who do
rtant to you? ? ant them to do? t to them?
?
t audiences: ‘Raja Rata’ Community Development a District, uses street drama as a strategy for lict resolution. They have one version for adults, and
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Module 5: Define your Message
You’ve defined your audience groups. Next ask: what do we want to communicate to them? What is our message?
Think about your message as the impression you want to leave with your audience, not as a tag line or a slogan.
In general, there are four different types of messages. Each type corresponds to a Stage of Engagement:
• Awareness
• Attention
• Judgment
• Action
Awareness Messages
• Awareness messages are designed to bring your issue audience, or to get your issue onto the public agenda
• Base your message on values that the audience and y common
• Use imagery
• Tell a story: give the audience something interesting
Attention Messages
• Attention messages create an informed audience.
• Tell people something new
• Use facts; give people a reason to repeat your messa
• Provide sources: Give people a reason to believe
• Repeat your message: Help people remember
Judgment Messages:
• Judgment messages persuade your audience to supp
• Link the impacts directly to them
• Talk about the benefits for them
• Link your position to their values
• Mention the names of others (who are familiar to yo positionAction Messages
• Action messages move people to action.
• Make action convenient: take advantage of existing b
• Give specific direction: say how to be part of the so
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

our Message
ups.
r
your gan.
types ds to a
esigned to bring your issue to the attention of your sue onto the public agenda.
es that the audience and your organisation have in
nce something interesting to tell others
an informed audience.
ason to repeat your message ple a reason to believe p people remember
de your audience to support a position. o them r them
values ers (who are familiar to your audience) who share your sages
ople to action. ake advantage of existing behaviours y how to be part of the solution
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• Inspire: show them what success looks like
Here are some additional things to think about when you ar
• Hearts over minds: Most people form opinions and using their feelings first and their intellect second. U how your agency makes a difference.
• Your mission statement should not be part of your m generic to make for powerful messages, and they do
• Emotion drives donors to give. If what they read or will find the rational reasons necessary to justify thei
• People pay attention to messages that correspond to messages seek “responsive chords” in the audience. with values and is supported by facts.
•
• Don’t preach or lecture. Work with your audience’s to recreate their beliefs.
Here is an example of a good message
A youth group in Sri Lanka decided that since peacebu they wanted to link their message to the strongest mot Buddhist values. Their message linked a peacebuildin ‘Lord Buddha said that peace is most important.’ Their reached with a message that focused on their culture a Your message should also be bite-sized and deliver benefits
Bite-sized: How many things do you want the audience to What comes first? Start with what you want to achieve, then guessing; no leaping. Give your audience bite-sized tasks the
Deliver benefits: Your organisation’s issue contains a built- example peace, environmental protection, safe steady water stand up against domestic violence, etc. Your message is mo benefit is communicated clearly and repeatedly.
At the same time, be aware that the audience is also conside achieving that benefit. These costs might be time, effort, the disapproval, inconvenience, the need to form new habits or
If the costs outweigh the benefits for an individual, the perc be low and it will likely go unheeded. However, if the benef their costs, the chances are greater that the individual will re
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

uccess looks like
think about when you are developing messages:
eople form opinions and attitudes and choose behaviours d their intellect second. Use emotion to tell the story of difference.
ould not be part of your message. Most are too broad and ful messages, and they don’t usually elicit emotion.
give. If what they read or hear inspires emotion, then they ns necessary to justify their desire to give.
essages that correspond to the values they hold. Good
chords” in the audience. Consider a message that leads ed by facts.
ork with your audience’s current belief system. Do not try
sage
ed that since peacebuilding was their key message, e to the strongest motivator for their audience – to linked a peacebuilding campaign to a reminder: most important.’ Their Tamil community too could be used on their culture and devotion. sized and deliver benefits to your audience:
you want the audience to do? Which is most important? you want to achieve, then define the steps to get there. No dience bite-sized tasks they can do easily.
on’s issue contains a built-in benefit for the audience, for tection, safe steady water supply, support for women who e, etc. Your message is more likely to succeed if that
d repeatedly.
e audience is also considering the costs associated with s might be time, effort, the risk of embarrassment or eed to form new habits or behaviours, and so on.
for an individual, the perceived value of your message will ed. However, if the benefits are perceived as greater than that the individual will receive and act on your message.
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It’s important to learn what people in your audience value an cost and a benefit so that you can tailor your message accord
Why now?
Effective campaigns are built on decision points.
Many social issues compete for people’s attention, and peop issue-fatigued, and want to tune out.
The conflict in Sri Lanka, for example, has been going on fo day that people should listen to a message about engaging in special?
Organisations often assume a level of interest in their issue t audience. They assume that the audience cares about the iss fact the audience may be worn out from hearing messages a sources.
You need to give the audience a reason to pay attention now events or anniversaries that could push your issue into the s
Take note of external or internal events you might want to c ones you may want to avoid.
Tone and Language
Take care in choosing the words in your message. Make lists or embrace and language you want to avoid.For example:
A community-based organisation in Sri Lanka wants pe environmental concerns. They decide to capture langu protecting the environment for the audience’s children. language to do with pride in the beauty of Sri Lanka’s n other hand, they decide to avoid any tone of shaming o guilty for environmental apathy. They also decide that avoid any feeling of apocalyptic doom.
Stay Simple
What change will your project bring about? Whose lives will good for society as a whole? And once it's completed, where
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

e in your audience value and what they consider to be a tailor your message accordingly.
ecision points.
ople’s attention, and people can easily feel overwhelmed, ut.
ple, has been going on for a long time. Why is today the message about engaging in the peace process? What is
l of interest in their issue that simply isn’t there in the dience cares about the issue as deeply as they do, when in t from hearing messages about the issue from other
eason to pay attention now. Brainstorm possible issues, push your issue into the spotlight. Look for the ‘hook’.
vents you might want to connect with, but also look for
n your message. Make lists of language you want to capture t to avoid.For example:
n in Sri Lanka wants people to get more engaged with
ecide to capture language to do with family, and e audience’s children. They also want to capture beauty of Sri Lanka’s natural environment. On the
any tone of shaming or making their audience feel They also decide that they want their message to doom.
g about? Whose lives will be affected? How will it be once it's completed, where does it go from there?
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Within your organisation you may have very detailed and co questions. However your message to the audience must be s complex and hard to follow.
Message Chart
Use this chart to help your organisation develop high-quality
Criteria How to Capture in
Messaging? Audience values
Benefits of our project
Language/words to use
Tone/feel
Other
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

have very detailed and complex answers to these to the audience must be simple and clear rather than
sation develop high-quality messages:
w to Capture in ssaging?
What to Avoid in Messaging
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Module 6: Branding your Organisation’
How do people in your community, or other organisations i organisation?
How different is this from how you see yourselves?
If these perceptions are quite different, your organisation m
A brand is the sum of your audiences’ feelings & beliefs (co your:
• Products/services (what you do)
• Promise (what you deliver, and how)
• Uniqueness (how you are different from other organ
A strong brand is:
• Clear: expresses your organisation's vision, promise
• Relevant: Resonates with your audience(s)
• Consistent: permeates all communications, internally
• A strong brand helps you weather any negative med convincing to a donor who is considering where to p
Tangible and Intangible Elements of a Bran
Your organisation’s brand is expressed in both tangible and Tangible Intangible Name Logo Tagline or slogan Messages and stories
Vision and m Values Reputation Positioning
The tangible elements include the way your organisation’s n logo projects as a symbol of your organisation, your slogan, meaning given to them, the style of your communications m kind of paper you choose to print on.
The intangible elements build your civil society organisation you’re an NGO or community-based organisation, what sec peace, agriculture, gender equality etc) your reputation, how your reliability.
Brand-building is as important for nonprofits as it is for cor same: having an organisation that is understood and attractiv likely to support it with their resources.
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

g your Organisation’s Identity
ty, or other organisations in your sector, perceive your
u see yourselves?
rent, your organisation may want to look at your branding.
ces’ feelings & beliefs (conscious & unconscious) about
ou do) , and how) different from other organisations)
nisation's vision, promise and values your audience(s)
ommunications, internally and externally weather any negative media coverage, and is more o is considering where to put their funds.
e Elements of a Brand
ssed in both tangible and intangible ways:
Intangible Vision and mission Values Reputation Positioning
way your organisation’s name is printed, what image your organisation, your slogan, the colours you use and the
f your communications materials or processes, even the on.
r civil society organisation’s identity, and include whether sed organisation, what sector you work in (poverty relief, etc) your reputation, how you work with communities and
nonprofits as it is for corporations. The benefits are the is understood and attractive to a group of people most
rces.
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Brand consistency is important. Your words, action, and im philosophy of what your organisation wants to stand for. Tr messages your organisation may be sending.
Look at a newsletter or flyer you produce. Consider for a m and maybe a headline. Would someone who doesn’t read th your organisation? Are there any conflicting messages?
A style guide is a useful way to ensure brand consistency. It organisation’s name, logo, slogan, colours, and so on to ensu unity and purpose.
Slogan A slogan should capture your values, vision and mission in s slogans to encourage consumers to associate values with the connected to friendship, a brand of clothing is connected to have one main slogan, and to keep it to as few words as pos
Example: Free Media Movement “For media freedom, responsible journalism and profes
A good slogan should be:
• Short
• Memorable
• Descriptive
• Emotional
Have a look back at your organisation’s vision and objective to develop your identity, a main message, a slogan, maybe ev
First Steps
First steps toward brand-building:
1. Know who you are 2. Know how you are perceived 3. Know what your organisation’s goals and objectives 4. What is your reputation with your beneficiaries and 5. What services are you clearly identified as offering? 6. Does your organisation have a unity among the sym created and distributed on behalf of your organisatio
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

our words, action, and images should all support the tion wants to stand for. Try to identify any unintended e sending.
roduce. Consider for a moment only the photos, typefaces eone who doesn’t read the text get the right idea about onflicting messages?
sure brand consistency. It specifies usage of your
colours, and so on to ensure that you project an image of
es, vision and mission in some way. Corporations use o associate values with their products: a fizzy drink is
f clothing is connected to achieving dreams. It’s best to
it to as few words as possible.
t
journalism and professional solidarity”
tion’s vision and objectives. What can you use to help you essage, a slogan, maybe even a logo?
ved tion’s goals and objectives are ith your beneficiaries and other stakeholders? rly identified as offering? ve a unity among the symbols, look and style the material behalf of your organisation?
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Module 7: Communication Strategies
Behaviour Change Communication Development communication, or social change communica delivering messages by providing information and materials people quickly with pamphlets and posters, it was hoped tha
But development communication research has shown that a necessarily lead to action. It is only one ingredient in the larg social change.
Behaviour change communication has proven to be more ef advocacy and social mobilisation strategies.
Advocacy Advocacy is directed at people who have the power to influ resources. Even at a local level, organisations can advocate f decision-maker. The key is gathering, organizing and transfo persuasive arguments for specific policy changes. The goal i decision makers at different levels.
Social Mobilisation This strategy involves getting people involved with your cau may not. It involves identifying other organisations, groups, and communities who can contribute with time or money. S community action.
Depending on your goals and objectives, and the nature of y allocate your resources to these three strategies unevenly.
For example, if your goal is to provide safe drinking water fo to put more emphasis on advocacy and social mobilisation a awareness. (People in the community are likely well aware o help and direction in solving it.)
Another example: if your goal is to educate people about the diabetes, you would likely put more emphasis on knowledge advocacy or social mobilization, since diabetes isn’t a public
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

nication Strategies
mmunication
social change communication, used to mean mainly information and materials to a population. By informing d posters, it was hoped that their behaviour would change.
research has shown that awareness or knowledge does not y one ingredient in the larger process of behaviour and
has proven to be more effective when combined with trategies.
o have the power to influence policies and allocate ganisations can advocate for an issue and influence a ing, organizing and transforming information into policy changes. The goal is to influence leaders and .
ple involved with your cause. It may involve media, but her organisations, groups, companies, networks, groups, ute with time or money. Social mobilisation builds from
ectives, and the nature of your project, you may wish to ree strategies unevenly.
vide safe drinking water for a community, you might want y and social mobilisation and less on knowledge and nity are likely well aware of the water problem; they need
o educate people about the impact of individual lifestyle on re emphasis on knowledge and awareness and less on ince diabetes isn’t a public policy issue.
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Communication Tactics and Channels
There are many, many things you can do and communicatio your message to the intended audience.
Here are a few examples:
• Media relations: news release, letter to the editor, jou
• Events: special event about your issue, display at an speeches
• Printed materials: brochures, pamphlets, posters, ban
• Advertising: radio, television, billboards, newspaper,
• Online: website, e-newsletter, blog, online forum
You can choose as many or as few communication vehicles financial) can afford. Begin by asking yourself, “What do we seeks information? What do we know about how they share
Advertising This includes paid advertising on TV, radio, billboards or o magazine ads, and website ‘banner’ ads.
Newspaper ads can be expensive, but if an issue, policy or e can consider contacting other organisations with similar con share the costs and sign an agreed-on statement to make for
In a local paper where ads are not so expensive, a civil socie find a donor or a business sponsor willing to pay for a speci them. The above ad ran in a large Colombo paper:
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

s and Channels
can do and communication vehicles you can use to get ience.
ase, letter to the editor, journalist education
t your issue, display at an event by a partner organisation,
es, pamphlets, posters, banners, signage on, billboards, newspaper, magazine ter, blog, online forum
communication vehicles as your resources (human and ing yourself, “What do we know about how our audience
ow about how they share information?”
TV, radio, billboards or other outdoor ads, newspaper or r’ ads.
but if an issue, policy or event is of great importance, you anisations with similar concerns, who may be willing to -on statement to make for a stronger voice.
so expensive, a civil society organisation may be able to r willing to pay for a specific ad on an issue of concern to Colombo paper:
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Publicity This is the use of unpaid media communication to help buil attitudes positively (newspaper, radio or sometimes even TV articles, magazine profiles, talk radio, TV talk shows (e.g. Go interview shows (e.g. Nothing Personal), radio call-in shows more about this in Module 8: Media Relations & Media Too
Entertainment You might consider providing entertainment combined with of this include producing a radio program in your communi Module 8), folk dramas, songs or games.
Promotion Promotion offers added incentives to encourage an audienc desired behaviour or to take an intermediate action designed behaviour. Examples include contests, free samples, sweeps
An example of promotion might be a children’s charity submit art on the theme of conflict and peace in Sri La public art exhibit. Perhaps a newspaper can be persua exchange for having their logo on all contest materials, sponsor, and securing commitment to be the first print winning pieces. A local company may be able to donat winners.
Promotion may use mass media, but could use other comm
Beyond the media Beyond using mass and small media, interpersonal and parti are indispensable channels to lead communication efforts ai behaviours and in sustaining such behaviours.
These break down into two categories: things you do and things you produce. These are listed on the next page.
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

mmunication to help build audience awareness and affect dio or sometimes even TV news, events listings, feature io, TV talk shows (e.g. Good Morning Sri Lanka), TV sonal), radio call-in shows, community radio. You can read ia Relations & Media Tools.
ertainment combined with education messages. Examples
rogram in your community (through InterNews; see games.
s to encourage an audience to think favourably about a termediate action designed to lead them toward a desired ests, free samples, sweepstakes, merchandising.
be a children’s charity running a contest for kids to ict and peace in Sri Lanka, that will conclude with a
spaper can be persuaded to run ads for free, in n all contest materials, being the only newspaper ent to be the first print publication to publish the may be able to donate a prize or funds for the
ut could use other communication channels.
ia, interpersonal and participatory community-based media communication efforts aimed at improving or changing behaviours.
ries: things you are listed on
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Things you do Things you Community radio Door-to-door canvassing Events to call attention to a desired behaviour (news conference, celebrity appearance, award presentation, research presentation, parade) Face-to-face presentations Group channels (social, religious functions, schools, community meetings, public gatherings) Local folk media (music, puppetry, drawing, dance, storytelling, traditional art forms) News conference On-line faxing Participatory drama Peer education Phoning/telemarketing Popular theatre Presentations to policy makers Rallies, demonstrations Talk radio/TV call-in shows
Action alert Action plan Audio casse Briefing kits CDs Coffee-table Columns in Direct mail Display tabl Educational Feature artic IEC (Inform Communica Leaflets Letters to th New media cards, online Newsletter a Newsletters Op-ed piece Petitions Postcards Public servic TV) Quick messa billboards, g Signs Slide-shows Small forma flyers, poste Spokespeop
Use innovative strategic and tactical approaches. There are a communication channels!
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

Things you produce
d rity esearch
unctions, blic
, drawing, orms)
Action alerts Action plan of desired policy change Audio cassettes Briefing kits CDs Coffee-table books Columns in the newspaper Direct mail Display tables Educational or briefing videos Feature articles IEC (Information, Education and Communication) Materials Leaflets Letters to the editor New media (websites, blogs, e-newsletters, e- cards, online chat rooms) Newsletter articles Newsletters Op-ed pieces for newspapers Petitions Postcards Public service announcements - PSAs (radio, TV) Quick message media (stickers, banners, billboards, graffiti, T-shirts, email) Signs Slide-shows Small format community media (booklets, flyers, posters, banners, brochures Spokespeople
al approaches. There are always new possibilities for
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Module 8: Media Relations
How Editors Choose the News
What's your news angle?
News does not occur in a vacuum. It affects our personal liv How does your project affect your community? Whose lives How does your project reflect upon what’s happening in soc anyone need to know about your project? Why should they
Develop a sense of urgency about your project. This is not a community-based organisation with limited resources. But it between coverage and no coverage, or between free media c
Is it new?
The most important criterion for news is that it is new. New developments, events that are different from the norm, info didn't know.
Ask yourself:
• What has changed in recent days/weeks/months rel agency works?
• What have I heard about changes that are coming in
• What trends are affecting the people/issues we work
• What have I heard from my staff that made me say, that."?
• What's going on in the community?
• What is my agency doing now that's different from t
• What research have we conducted recently?
News stories can continue over time. In the minds of editor different amounts of coverage, both in terms of the space/t edition/program, and in terms of the frequency that the sto
An ongoing issue that is sufficiently interesting and complic several times while it continues to develop is said to have “le that the media give them daily coverage. Ask editors how m and try to make your meda releases and phone calls fit withi
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

elations
e News
. It affects our personal lives, work, and way of thinking. r community? Whose lives will be affected by what you do?
n what’s happening in society? Quite simply, why does project? Why should they care?
your project. This is not always easy for a small th limited resources. But it can mean the difference e, or between free media coverage, and paid advertising.
news is that it is new. News is about change, trends, new erent from the norm, information that people previously
t days/weeks/months related to the issues on which my
hanges that are coming in the future? the people/issues we work with?
y staff that made me say, "That's interesting, I didn't know
munity? ow that's different from the past? nducted recently?
e. In the minds of editors, different stories deserve th in terms of the space/time allotted to them in an the frequency that the story will be covered.
ly interesting and complicated that it will be covered develop is said to have “legs”.. Some stories are so hot erage. Ask editors how much coverage your issue merits s and phone calls fit within this time frame.
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Be selective with your news releases and send them out only Editors can respond negatively toward organisations they fe frequent news releases and requests for coverage. Here are a few ways to give your story “legs” and the potent
• Offer fresh angles. For instance, if it's an environme that look beyond strict environmental issues: how ar What about tourism? Educational opportunities?
• Offer little "nuggets" of news that can generate a litt interesting document in a freedom of information re ground slightly on your issue?
• Suggest different approaches to the story: Make a ca profile story. Publicize the results of a poll you cond to visit. Organize a public debate, and invite the med interview with a researcher.
Is it relevant to your audience?
Issues and events that are relevant to people's lives qualify a Ask yourself:
• How does your agency's work affect people's lives?
• How are people in your community affected by the
• What tangible impact does this issue have on people
Editors frequently look for stories about events/issues that ordinary people. They want real people as “characters” in st spokespersons. Identify people among your clients or suppo story to the media.
Talk to the media about your work in terms of the benefit it the media how and why your issue matters to real people.
Editors also look for stories that are close to home. If you a your advantage with the local media.
Is It Interesting?
Editors look for stories that they believe their readers or vie these are stories that have dramatic, inspiring or challenging stories about real people, not facts and figures. They are sto action and reaction, a day in the life, or triumph over advers
Think about and brainstorm how to turn your issue into a c Here are a couple of ideas you might explore or questions y storytelling element from your organisation:
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

es and send them out only when a major event happens. ward organisations they feel are pestering them with too- ts for coverage. tory “legs” and the potential for ongoing coverage: tance, if it's an environmental campaign, suggest stories vironmental issues: how are local communities affected? cational opportunities? ews that can generate a little coverage. Did you find an freedom of information request? Has a politician shifted ue? es to the story: Make a campaign leader available for a results of a poll you conducted. Get a high-profile person debate, and invite the media. Offer an exclusive in-depth r.
dience?
to people's lives qualify as news.
ork affect people's lives? mmunity affected by the issue? s this issue have on people?
about events/issues that have an impact on the lives of eople as “characters” in stories, not just officials and
ong your clients or supporters who are willing to tell their
k in terms of the benefit it has on the community. Show
matters to real people.
re close to home. If you are a local agency, this will be to ia.
elieve their readers or viewers will find interesting. Usually c, inspiring or challenging components to them. They are
and figures. They are stories about cause and effect, fe, or triumph over adversity.
to turn your issue into a compelling human interest story. ght explore or questions you might ask to draw out a
anisation:
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• Profile of a woman whose son has returned home, i with integrating him into family life. Who could we
• Several women (with connections to one CSO), all w the conflict. How is a typical day in their lives differe (You likely would need several women willing to dis
Who in your community/CSO would you most describe as animated in their speaking?
Who in your community/CSO has a personal story to tell th shows why your CSO needs to exist? Are they willing to tel kind of ‘talker’ would this person be, as an interviewee?
Think about pictures and sounds
Some stories are primarily visual, and must be told with com example, a story about poor water quality in a community w viewers can see the water, the pumps, and the people who li
Among the most boring television has to be ‘the talking hea potential, no interesting background, no supporting images just an interviewee talking on and on.
Some TV newsroom managers have been known to tell jour be so picture-driven, that viewers should be able to tell what TV’s sound turned off.
Other stories are well-suited to radio if there are interesting Radio allows us to make the images in our minds based on t
Excellent quality photos make a story more attractive to a n
Once you have decided on the stories you want to tell, brain shots, photos and sounds that will make the story appealing
Example:
Community Trust Fund in Kekirawa runs a campaign o organisation has a large door-sized transportable displ replica of a land mine clearing site. There is a toy amb whole area into squares, and rubble covers the surface becomes a lot more interesting with an exhibit like this photo in a newspaper usually then becomes a lot more to have a replica land mind field laid out on the ground
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

son has returned home, injured; the struggles they face amily life. Who could we profile? ections to one CSO), all who lost husbands or children in cal day in their lives different than it was before their loss? veral women willing to discuss this on camera)
uld you most describe as both knowledgeable, and
s a personal story to tell that you think most movingly ist? Are they willing to tell their story to the media? What be, as an interviewee?
nd sounds
nd must be told with compelling photos or video. For quality in a community will have a greater impact if ps, and the people who live with this problem.
has to be ‘the talking head’: an interview with little visual nd, no supporting images that can be added to the story, on.
ve been known to tell journalists that their stories should should be able to tell what the story is about with their
io if there are interesting sounds to go along with them. es in our minds based on the words and sounds we hear.
tory more attractive to a newspaper or magazine editor.
ries you want to tell, brainstorm some interesting video l make the story appealing to all types of media.
wa runs a campaign on land mines education. The zed transportable display laid out flat as an exact ite. There is a toy ambulance, ribbons section off the bble covers the surface. A photo in a newspaper
ith an exhibit like this demonstrating a concept. A en becomes a lot more likely. This organisation used
laid out on the ground outside their office.
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Finding Media Opportunities: Consuming M
As you embark on media relations for your organisation, sta watching more TV and listening to more radio. As you read mind tuned for opportunities.
Talk amongst your friends, family and colleagues about vario who pays attention to what media. Find out which newspap most influential on public opinion.
In addition, pay attention to flyers, brochures, posters, billbo promotional material.
Here’s an example of how you might read one publication w The November 2006 issue of the English-language magazin hosts of a very popular morning radio show.
Here is an excerpt from the article: “...there are certain issues that can be addressed that people government not doing something or the rising cost of living We don’t want to, though.” Shaq is quick to interject there, boundaries as to what they want to take up and what they d the rising cost of living. We’ll talk about the rising petrol pri not going to talk about things that people are actually fightin
This is useful information. Though this radio show isn’t like NGOs, they might be interested in receiving information ab launching an attention-getting event around water issues or
The same issue of Adoh! has a profile story on human smug event notice for an art exhibit that includes paintings about This magazine may be receptive to covering your organisatio
When you come across an article or story that indicates the area or NGOs in general, make some notes and do some re magazines, get the names of the author and editor, and find with a story idea. Brainstorm how you would write a news r attention.
Here’s another example: Sri Lanka’s alternative newspaper, R correspondents. Which reporters tend to cover stories close your organisation? What angle or approach should your new in order to obtain coverage?
This same scrutiny and brainstorming can be applied when l possibilities in your local area.
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

nities: Consuming Media Differently
for your organisation, start reading more newspapers, o more radio. As you read and watch and listen, have your
and colleagues about various media outlets and find out . Find out which newspaper columnists, for example, are .
, brochures, posters, billboards and other types of public
ght read one publication with an eye on opportunities. English-language magazine Adoh! had a cover story on the adio show.
: n be addressed that people can relate to. Like the
or the rising cost of living. We try to touch a little politics. is quick to interject there, saying they have very clear o take up and what they do not. We’ll talk about the fact of about the rising petrol prices, we’ll talk about it. But we’re
people are actually fighting over.”
h this radio show isn’t likely to do a story about pro-peace n receiving information about a dynamic youth group nt around water issues or housing.
file story on human smuggling from Sri Lanka, and an t includes paintings about damaging our environment.
covering your organisation’s story.
or story that indicates the media’s interest in your issue me notes and do some research. For newspapers and uthor and editor, and find out how you could contact them
you would write a news release that would capture their
’s alternative newspaper, Ravaya, has provincial tend to cover stories closest to the issues focused on by approach should your news release to this publication use
ing can be applied when looking for free publicity
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The Sunday Leader ran a two-page spread Fighting for Surv with some village-level, personal stories on how the conflict communities. If yours is a community-based organisations lo under-reported atrocities, take note of the journalist’s name, Start watching for his or her byline, to see what else he or sh
Some Sri Lankan newspapers have weekend provincial editio more story ideas from each region for these issues. The Sun publishes eight full newspaper pages for each province. Tha opportunity each week.
Newspaper event listings are also valuable. Colombo’s ‘Dail 3 ‘Daily News Events’ column that publishes 25 to 50 word for events such as a child abuse awareness workshop, or a w women.
How have newspapers covered international social issue cam opportunities might this suggest for your organisation and a campaigns?
Leading up to and during the 16 Days of Activism A Violence, Sri Lankan media – particularly newspape extensively. Life Magazine, an insert in The Leader, including a half-page ‘Programs around the country editor’s name and contact info, and research future campaigns you may be able to connect to.
Some additional examples:
• SAT Mag, an insert in The Island newspaper, which violence against women” article, including a paragrap incidence of violence against women during war and
• The Sunday Times has an entertainment/style maga which recently ran a full-page story on the launch of Friendly’ campaign. Stay alert to these unlikely but p
• If your organisation focuses on issues such as child r lobbying, consider publications aimed at children an an insert magazine called Junior Observer. Who is th take, and how might you write a press release to targ story?
• Satyn is a glossy, full-colour publication that calls its magazine’. One of the lead stories in a recent issue f issues, linking to World Children’s Day. Timing you an anniversary or large event, and making the direct release, can dramatically improve your chances of co
• In the same issue of Satyn, the CEO/Editor-in-chie peacebuilding. The issue also included a four-page a
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

e spread Fighting for Survival: The Plight of the People, tories on how the conflict is affecting individuals and nity-based organisations looking to promote awareness of e of the journalist’s name, and where he or she is based. e, to see what else he or she writes about.
e weekend provincial editions. This means that they need for these issues. The Sunday Lanka Deepa, for example, es for each province. That’s a lot of potential media
valuable. Colombo’s ‘Daily News’, for example, has a page t publishes 25 to 50 word public service announcements areness workshop, or a walk protesting violence against
ternational social issue campaigns in the past? What or your organisation and any upcoming international
16 Days of Activism Against Gender-Based
particularly newspapers – covered the issue n insert in The Leader, did a full-page feature ms around the country’ article. Make a note of the o, and research future international social to connect to.
Island newspaper, which also has a full-page “Stop rticle, including a paragraph with references to increased st women during war and armed conflict. entertainment/style magazine insert called The Mirror, age story on the launch of a ‘Make Sri Lanka Disabled lert to these unlikely but potentially effective vehicles. es on issues such as child rights, child abuse, or day care tions aimed at children and parents. Sunday Observer has unior Observer. Who is the editor? What tone do stories
rite a press release to target this publication with your
r publication that calls itself ‘Sri Lanka’s leading women’s
stories in a recent issue focused on children’s social hildren’s Day. Timing your news release to correspond to nt, and making the direct connection to that event in the
prove your chances of coverage. , the CEO/Editor-in-chief wrote an editorial promoting lso included a four-page article headlined “Press Freedom,
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Journalists and Everything In Between.” This public ideas that other media may not.
• InterNews trains for and produces community radio looking for current affairs stories. Find out who thes to your media list. Could your organisation produce using InterNews resources, about the issues you foc or programming consist of?
• Is there a telecentre or community multimedia centr access email and the Internet, and take free classes o
Media Opportunities and Gender
Women should have equal opportunities to get their stories priorities of their communities. A number of women who h Reconciliation workshops say they have increased self-confi confidence in contacting media, and in initiating communica
As you are identifying opportunities to have your organisatio through the media, ensure that you involve women and men both women and men to be spokespeople for your organisa women and men to be heard equally.
Safety and Media Coverage
In Sri Lanka, safety is a factor, and the risks to safety will be For example:
• Organisations engaged in pro-peace work may feel a that they want to divide the country.
• Organisations that have strong relationships with lar organisations may be concerned about their persona media climate, where NGOs are frequently criticized
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

In Between.” This publication may be receptive to story y not.
roduces community radio. Local producers are always stories. Find out who these local people are, and add them our organisation produce a community radio program, s, about the issues you focus on? What could your content f?
munity multimedia centre in your region where you can net, and take free classes on how to use these resources?
nd Gender
unities to get their stories told, and to set the goals and number of women who have taken Voices of
have increased self-confidence, in particular increased nd in initiating communication strategies.
es to have your organisation’s stories communicated u involve women and men equally in the process. Train speople for your organisation. Encourage the voices of lly.
rage
the risks to safety will be different for each organization.
pro-peace work may feel apprehensive about accusations e country. rong relationships with large international non-government erned about their personal safety because of the current Os are frequently criticized.
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• Some organisations find that whenever they do get m accusations that they are trying to convert people to culture, or that they support the LTTE.
Your organisation may not want visibility in the media. That an important reason to have a communications plan. If a me public comment, your organisation must be prepared with a response to decline an invitation.
Even if you decide media coverage isn't necessary, you still m your stakeholders (clients, financial supporters, partners, loc your project.
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

at whenever they do get media coverage, there are false rying to convert people to Christianity, to undermine local
rt the LTTE.
isibility in the media. That is a valid choice and it, too, is munications plan. If a media call comes in requesting a n must be prepared with a cohesive plan and a ready
e isn't necessary, you still may wish to communicate with
l supporters, partners, local community leaders) about
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Module 9: Evaluation
How will you know how your communication plan is worki your organisation must answer these ones:
• What were our objectives? (If you have set specific, objectives, your evaluation process will likely be mor
• Did we meet our objectives?
• What was our strategy? Did it work?
• What can we do to build on our successful strategies
• What can we learn from unsuccessful strategies?
• What should we do differently next time?
One Sri Lankan organisation produces a questionnaire they Practice). People are asked to fill it out prior to participating sessions/communication initiatives, right afterwards, then w of this questionnaire allow the organisation to easily measur educational and communication activities.
Measuring Success: Informal Research Met
Qualitative:
• Conduct in-depth interviews with key members of y audience.
• A volunteer can conduct focus groups for you. Invit participate, serve them dinner, have the volunteer fa (or tape the conversation if you have any means to d confidential.
• Use other groups’ research and experience
• List questions on a flip chart, or read them out, at a to take five minutes to answer them.
• Take your messages directly out to your audience. G gather, or shop, and show them creative materials. (T you are testing your messages or creative approache success of your communication plan.)
Quantitative:
• Conduct brief (no more than 10 minutes) telephone donors, or audience
• If you produce a newsletter or annual report, include out and mailed back to you
Access to a Voice: Communications Planning for CSOs IMPACS and The Centre for Policy Alternatives

on
munication plan is working? To answer that question, se ones: (If you have set specific, measurable and time-bound process will likely be more straightforward.) s? id it work?
n our successful strategies? nsuccessful strategies?
ntly next time?
uces a questionnaire they call KAP (Knowledge Attitude t out prior to participating in education s, right afterwards, then weekly, then monthly. The results anisation to easily measure and track the success of its ctivities.
formal Research Methods
ws with key members of your organisation or your
ocus groups for you. Invite a dozen or so people to ner, have the volunteer facilitate the discussion, take notes if you have any means to do so), and keep all information
and experience art, or read them out, at a group meeting, and ask people wer them. ly out to your audience. Go to a location where people them creative materials. (This method works best when ges or creative approaches; not as a way of evaluating the ation plan.)
an 10 minutes) telephone surveys of your members,
r or annual report, include a brief survey that can be filled u
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