Katie Clift, CEO and co-founder, maybe agency
Public relations professionals spend an extraordinary amount of time perfecting press releases, polishing quotes and chasing the elusive ‘angle’. Yet the reality inside most newsrooms is far simpler, and far faster.
Editors are not reading your pitch the way you are. They are scanning it through a set of instinctive filters, deciding in seconds whether a story belongs in their publication or the delete pile.
These filters are what journalists have long called news values. You might think of them as lenses: the frames through which editors quickly assess whether something is worth their time and their audience’s attention.
Why does this matter?
The first question editors ask is brutally simple: Why does this matter today?
News thrives on immediacy. That might mean tying your pitch to a moment already in the news cycle: a policy announcement, a breaking event, or a cultural conversation. But timeliness can also be created.
Launching research under embargo, releasing new data tied to a calendar event (think World Mental Health Day or budget week), or responding quickly to industry developments can all create a compelling ‘now’.
Why here?
News is inherently local. Even global stories need a geographic hook.
A study about workplace burnout might feel abstract until it highlights that employees in Manchester or Melbourne are experiencing the highest rates in the country. Suddenly, the story becomes relevant to a regional newsroom. Editors want their audiences to feel that a story is happening near them, to people like them.
What’s the tension?
Where there is disagreement, debate or tension, there is usually a story. That doesn’t mean creating controversy for the sake of it. But if your organisation has a clear perspective on an industry dispute, regulatory issue, or emerging debate, that viewpoint can serve as a powerful media hook.
Who’s involved?
People pay attention when the subject of a story carries influence or recognition. A comment from a CEO, prominent researcher or industry leader will almost always travel further than the same quote from an anonymous source. The same is true when celebrities, creators or public figures become involved in a campaign. They don’t necessarily have to be famous: sometimes it simply means the right authority speaking at the right moment.
Why should we care?
Stories that evoke empathy tend to resonate far more strongly than institutional announcements. For example, a new health initiative becomes far more compelling when accompanied by the experience of someone who has benefited from it. A climate report gains traction when it includes the voice of a community experiencing the consequences firsthand. Audiences relate to feelings, and editors know it.
What changes?
Editors are drawn to stories that signal impact. Who will be affected by this development? What will change if it happens? And what happens if nothing changes at all? A policy shift affecting millions of commuters, a technological breakthrough altering an industry, or a report revealing a major economic implication all offer a clear sense of consequence. When pitching, communicators should highlight the scale of the issue: not just what happened, but why it matters.
Who’s at the centre?
Closely related to emotion, human interest focuses on the individual story behind the broader issue. Journalists often ask a simple question: who is the person at the centre of this story? A founder overcoming adversity, a volunteer transforming a community, or a family navigating a social challenge can anchor an otherwise abstract topic. Case studies are often the element that transforms a pitch into something publishable.
What didn’t we expect?
The unexpected is irresistible to editors. Perhaps it’s a surprising statistic, an unconventional partnership or an unusual campaign concept. Perhaps it’s a result that challenges common assumptions. The element of surprise creates curiosity, which drives clicks, reads and shares. If there’s something unexpected or counterintuitive about the story you’re telling, lead with it.
What’s the argument?
In an era of crowded information streams, organisations that articulate a clear perspective often cut through faster than those that remain neutral. A well-argued opinion piece backed by evidence and expertise can shape industry conversations and generate significant media interest. Many communicators tend to hesitate on this lens, held back by an understandable fear of backlash. But invisibility might be the true risk.
What breaks the pattern?
Finally, there is the lens journalists secretly love: the unusual. Stories that are quirky, strange or delightfully unexpected often travel further than anyone anticipates. Think of record-breaking feats, unusual research findings or imaginative campaign stunts. These stories break the rhythm of the news cycle and provide relief from the predictable.
In the end, media coverage is rarely about how much work went into the press release. It’s about whether the story aligns with the instincts journalists rely on every day. Understand those instincts, and your pitch will stop competing with the news cycle and instead become part of it.