8 reasons you should be sending follow-up outreach emails
To follow up or not to follow up? That is the question. But it’s an easy one to answer – yes, absolutely. And here’s why.
I am a firm believer in the efficiency of follow-up emails and will use this blog post to convince you to become a fellow believer – a foleiver if you will. I’ll give you eight reasons why I think sending chaser emails is worth your time. These are entirely empirical and based on my (and some of my teammates’) personal experience.
Why someone might try to convince you not to follow up (and why you should ignore them)
First, let’s tackle arguments against follow-ups that you might stumble across, which could lead you to believe they are a waste of time.
The simplest argument to accept is that follow-ups are annoying and pushy. To a certain extent, they are.
As PRs, we’re constantly reminded of how inundated a journalist’s inbox is with press releases and pitches from nagging PRs and as a former journalist, I can definitely relate. But sending pitches and press releases is literally the job of a PR, and follow-ups are not annoying for the grateful journalist who ends up using the story.
However, there are a select few who don’t like follow-ups, and these journalists will normally not be shy about letting you know. If you do come across someone expressing they don’t want to receive follow-ups, take note of it and do as they ask. Simples. It’s not worth risking your relationship with them.
Other anti-follow-uppers might suggest that follow-ups are pointless, arguing that if your email didn’t pique the journalist’s interest the first time around, it won’t the second time either. That’s not necessarily true, and you can refer to reasons one to eight (yes, that’s all of them) below for clarification.
Another reason could be that if the journalist is interested, they will write it up or get back to you regardless. In some cases, you could be lucky enough to hit a home run straight away if your headline and pitch is strong or you targeted a journalist who would be more likely to cover the topic, but by not following up to all those other journalists, you are massively missing out on untapped potential.
So, as promised, here are all the reasons why you should bother following up on your original pitch.
Why follow-up emails are worth it
Follow-ups lead to more responses
Fact. In my experience, journalists are much more likely to respond to me in my follow-up email than in my initial one. In a sample of 600 emails I sent recently, I received a response for 20 of them when following up. Now, this might not sound like a lot, but it’s 20 responses I wouldn’t have had if I didn’t chase.
Admittedly, a few of them were to tell me they are not interested in the story or asked me to please take them off my email list (always a joy) but at least they responded. This gave me an opportunity to evolve the conversation, ask why they weren’t interested, if a different angle might work better, or if someone else in the team would give me better luck.
But crucially, some of these responses, and ultimately some of these follow-ups, lead to coverage – which brings me onto my next point.
Follow-ups lead to more coverage
You might strike gold with your first email and land linked coverage straight away, but that’s no excuse not to send follow-ups and maximise the potential for more linked articles.
Below are six examples of coverage I secured in the past 12 months that came about as a result of me chasing the journalist.
In the above example, the client’s name and research was mentioned in the weekly New York Times DealBook newsletter and associated article. The journalist claimed to have not seen my first email and thanked me for following up.
This was another classic example of the journalist missing my initial email, but a gentle reminder led to the first open, resulting in an excellent piece of coverage that is highly relevant for the client.
Here we have the example of one of the journalists I chased not being interested in the story, but then forwarding it onto someone else in his team who he thought might find it worth covering. That journalist then got back in touch asking for more information, resulting in this juicy piece of coverage.
Getting links for a travel client in the peak of the pandemic in the UK was a struggle to say the least, so this coverage actually took two follow-ups to get through. Proof that being ‘pushy and annoying’ (or simply being persistent) can pay off.
The final example is to demonstrate how contacting a journalist on the wrong day can have a huge impact on the potential for coverage. I initially reached out to the writer on a Friday – yes, I know this isn’t the ideal day to pitch – and my email slipped through the cracks. But when I followed up the following Tuesday, he was thankful that I had reminded him about it and he ended up covering it.
Largely what the above examples demonstrate is that without following up, a journalist can easily forget about you and your story from the first round of pitching…
Follow-ups remind journalists that you (and the story) exist
Because journalists receive such an overwhelming amount of email pitches on a daily basis, standing out with your subject line just one time isn’t enough. The journalist might not bother reading it, miss it as they skim read hundreds of headlines, forget about it, or – worst of all – delete it.
A gentle nudge will not only put the email to the top of their inbox, but maximise the subject line’s exposure, potentially igniting something in the journalist’s subconscious that can result in coverage.
Follow-ups offer an opportunity to be more casual and friendly
A follow-up email can prove to the journalist that you’re an actual human being with resources. To emphasise this point, follow-ups are a great opportunity to be more friendly and casual than you were in your initial, formal pitch.
There’s no need to overdo it as you can still be approachable and precise at the same time. A simple ‘in case you missed this before the weekend, I’m reminding you of…’ will do the job. Or, if you’re following up with someone who has been out of the office, a simple nod to that such as ‘in case you missed this while catching up with emails after your time off’ will demonstrate that you’re paying attention.
Follow-ups offer an opportunity to learn about what the journalist covers, to receive feedback, or a lead for someone else to contact
In line with my first point of follow-ups leading to more responses, not all responses will be “thanks, I will be covering this”. A lot of the time, it will be “thank you, but I don’t cover this topic”, which at first might seem like a rejection, but is actually a prime opportunity to learn more about what the journalist actually covers. This will be invaluable information to have on hand for future outreach to this journalist.
While rejecting your pitch, the journalist might offer up a better person within their team to contact instead. This is an example of the journalist doing the prospecting for you, handing you an alternative contact on a silver plate – and it would be silly not to take it.
Some journalists also offer feedback on the topic or on your pitching style, both positive and negative. This can be insightful and help you hone your pitching skills and ability to reach your target audience.
Follow-ups offer an opportunity to give the journalist more information
Crucially, a follow-up email offers the opportunity to provide the journalist with additional information, which might sway whether they decide to cover it or not.
All those extra bits of information you chose to leave out in your initial pitch in order to keep it neat and succinct? Now’s the time to pull those out of the bag. This will make your follow-up email different to the original pitch, offering something new to the journalist.
Follow-ups can bypass spam folders
We’re now moving onto more of the ‘tips and tricks’ section of this post. In the Outreach team at Verve, we use an email scheduling programme called BuzzStream, which we find highly efficient and effective. Among many other functions, it allows us to send out a high volume of emails separated into the different publications we’re trying to contact. Crucially, it allows us to track the number of opens the emails we send out gets.
Recently, we’ve recognised a pattern when it comes to opens of automated emails with bigger publications; they’re all opened at the same time. This has led us to believe that the mail operators of the bigger newspapers have spam filters, meaning our emails never end up in the journalist’s inbox, or at the very least ends up in a dedicated spam or junk folder.
Doing manual follow-ups directly from your own mail operator can bypass this. I have examples of journalists from the likes of The Guardian, The New York Times and The Wall Street Journal, who claim to never have seen my initial email, and I believe them. Tracking the amount of opens the emails have in BuzzStream shows how there is a significant increase in opens after my first follow-up.
Note that it is the manual follow-up that takes the credit here – automated and bulk follow-ups might have the same results in terms of your email being considered spam.
Follow-ups can make journalists believe you’re already having a conversation
Another benefit of doing manual follow-ups directly from your email service is that it ‘tricks’ the journalist into thinking you’re having an ongoing conversation. When journalists see that there is an email trail, they might absentmindedly think you’re replying to an email they sent.
It’s borderline sneaky, and if they’re not interested in covering the topic, it might not lead to anything more. It will, however, likely lead to more exposure for your headline and pitch, which might lead to more coverage.
Hopefully my reasons for following up your pitches have convinced you that it’s worth your while. If you’ve taken the leap, below is a quick guide on how to send a good follow-up email.
Tips on how to follow up
Here are four tips on how to sharpen up your follow-ups.
Follow up manually and don’t bulk send
I’ve already touched on this in point seven and eight above, but I’m reiterating it here as I firmly believe doing follow-ups manually is hugely beneficial. Admittedly, it will take you longer, but I personally feel it is worth it.
Although I use BuzzStream to schedule emails for my initial pitches, I usually never do bulk sends. This is a personal preference as manually sending emails allows me to tweak the headline and intro to fit the journalist and publication better and to ensure I absolutely have the journalist’s name right.
The same principle applies to my approach to manually sending follow-ups; it allows me to be more personal, ensures I’m not following up while someone is out of the office (see more on this in tip four), and ultimately makes me feel more in control of what I’m sending out.
Avoid the word ‘just’
The word ‘just’ is frequently used in conversation, so it’s quick to think that adding it to your follow-up will instantly make it feel more casual. But using ‘just’ actually has the opposite effect as it lessens the importance of your request and undermines your importance as a spokesperson.
It’s as simple as leaving it out at the start of your message. So write “I’m following up to see if this was of interest or if you had any more questions” instead of “I’m just following up to see…”. Although it’s easier said than done as it requires some discipline and getting used to.
But to sum up, just don’t use it. See what I did there?
Stick to a maximum of two follow-ups
As I mentioned right at the beginning, follow-ups can be seen as pushy and annoying and that is just a fact that we as PRs need to come to terms with. But there are ways of minimising this annoyance and one is to limit the amount of follow-ups you send.
As a rule of thumb I usually stick to only one follow-up, but in cases where I strongly believe in the strength of a story, I might feel inclined to do a second one. This was the case when I was outreaching a coronavirus myth-busting asset for our client Babylon Health.
I knew stories about coronavirus were oversaturated during the first wave of the pandemic back in April 2020, so standing out was harder than normal. But I also knew our story of a doctor debunking a range of far-fetched statements about covid would appeal to journalists, so I powered through. My second round of follow-ups led to a linked article in The Mirror.
I also tend to do a second follow-up to journalists who have expressed an interest in the story either by responding to my initial email or who I can see have opened my email a substantial number of times.
To avoid being viewed as exceedingly pushy and annoying, specify in your final follow-up how this is your final one, so they know they won’t be ‘harassed’ any longer.
Keep abreast of OOOs
If you think follow-ups are annoying, imagine how annoying it must be to get a follow-up while you’re still out of the office. Keep track of when journalists you contact are out of the office so you can wait until a couple of days after they get back to follow up with them. Their inbox will be fuller than normal upon their return (making it even harder for your headline to stand out), so allow them to get to grips with all their messages before you bump yours to the top of their inbox.
As mentioned before, referencing how you’ve noticed they’ve been out of the office can be that personal element that convinces them that you’re paying attention. Just be careful not to assume that they’ve been off for strictly positive reasons such as a relaxing holiday, so keep it neutral with something along the lines of “In case this got lost in all your emails when you returned to the office, I’m resending this…”
To sum up, incorporating routine follow-ups into your outreach strategy has plenty of potentially positive outcomes. They lead to more responses, which can also ignite friendly and informative conversations about your topic, and they act as a reminder for the journalist. All of this can ultimately lead to more coverage, begging the question of why you wouldn’t do it. So tell me: are you a foleiver now?
Interested in our content marketing and digital PR services? Get in touch.
Why your content needs expert collaborators (and where to find them)
Producing newsworthy content for our clients means communicating a level of authority between industries that we (quite often) have no first-hand experience of working in and journalists who have years of experience covering sectors that our clients sit within.
Often, we can rely on client spokespeople to provide comments for the press and which analyse the work we produce. But content that is built to earn links can also cover topics and conversations that stretch beyond a client’s product while still remaining relevant for them to talk about, which means we often look further afield to find people who can offer valuable perspectives on our stories, or help us construct our content from the very beginning.
In my time at Verve Search, I’ve been lucky enough to work with world-renowned scientists and academics, artists, authors, photographers, gamers, and experts on more subjects than you can shake a stick at. All of these individuals and organisations have taken our stories from being a collection of interesting statistics or attractive pieces of content to something more newsworthy, which is brought to life by the authority behind their words.
How we work with collaborators depends largely on which gaps of authority exist within the production and PR strategy of each piece of content. Here are just some examples of how we’ve worked with expert collaborators in the past:
We’ve tapped into the unique resources of subject specialists to create in-depth campaigns with data that is normally unavailable to the public. We worked with Ian Shirley (editor of Record Collector magazine’s ‘Rare Record Price Guide‘) to put together reams of imagery and information not found elsewhere about hugely valuable vinyl records
We’ve received valuable commentary from industry experts on our survey results and independent research. For Influencer Investors, our Paxful campaign about stock market guidance on TikTok, we asked financial planner and psychologist Dr. Brad Klontz for his expert analysis of our findings and created a valuable Q&A asset
The Outreach case for finding collaborators
One key indicator to any campaign’s success is how many high-quality and authoritative links it generates, and it should almost go without saying that journalists will appreciate a story being sent their way that is supported by reliable and authoritative experts within a relevant field. I spoke to Tonje, one of Verve Search’s super-talented Outreach Specialists, to ask about why the team finds it useful to lean on the expertise of external sources…
Q&A with Tonje Odegard, Outreach Specialist
Why is outreaching more successful when there’s an externally-sourced expert attached to the story?
First of all, in addition to a credible data source, journalists always need quotes in order to complete a classic news story or feature. If we can provide these from a relevant and credible expert or collaborator, it will save the journalist having to source these from elsewhere, increasing our chances of them using our content (and ultimately linking). Alongside having graphs and illustrations from the campaign, we’re essentially providing a one-stop shop for the journalist.
Secondly, having expert commentary or quotes adds substance, credibility and gravity to the pitch, which again increases the chances of it being covered. For instance, when working with Babylon Health, we used expert commentary from the doctors there on several occasions in our campaigns and outreach. Overall, we secured links in high-punching publications such as The Telegraph, City AM, Time Out, Metro, New York Post, Houston Chronicle, Forbes, and Cosmopolitan as a result.
What kind of things do you think journalists are interested in when it comes to experts and collaborators?
The clue is in the name; the purpose of experts and collaborators for journalists is exactly that – to provide their expertise on the subject the journalist is covering. They are an essential part of any news story or feature as it helps break up the article into a more digestible format for the reader as well as offer credibility. In essence, experts help explain the topic covered in a story.
Are expert Q&As useful to have on hand?
Q&As are a formidable way to convey information in a conversational tone that is easy for the journalist to turn into quotes – if they’re feeling really lazy, they can even copy and paste it entirely. But having the expert ready at hand to answer any additional follow-up questions is also key as many journalists want something unique or more specific to use in their article.
Do you think journalists find campaigns more reliable when they are backed up with an externalexpert’s data and imagery rather than completely in-houseassets?
Yes, I definitely believe so. Having an expert involved who is willing to endorse the campaign’s message demonstrates to the journalist that this is a legitimate and reliable source of information. If the expert comes from the client we are representing, there is a danger that the pitch can appear too commercial, but this will usually not be the case if the expert is relevant and credible – so always make sure they are. Using an external expert can often add more credibility.
How important is it to journalists that a field expert provides commentary and context on independent research findings?
As mentioned above, it helps cement the credibility of the data and message of the campaign. Any good journalist would seek to back up claims made in their article and as such, they would try to hunt down a relevant person to comment on the findings. If we can present this person at the same time as pitching them the research, both us and the journalist have killed two birds in one stone.
So, where should you begin?
Identify your needs
There are different ways you can incorporate an outside expert in your campaign. At what point they enter the production process depends on how best you think they’ll be able to contribute to the project. In my time at Verve, our collaborator partnerships have usually fallen into one of the following categories:
They comment on our in-house study. This means we’ve sourced our own data and broken it down into key findings. We may have run a study and come to some interesting conclusions, or collected a huge variety of new information via freedom of information requests. Either way, we’re looking for an authority on whatever the subject may be to give us some all-important context to what we’ve found out. We want them to answer some burning questions that have arisen because of surprising or even predictable discoveries we’ve made – answers that journalists love to feature and readers instantly trust. Ask yourself whether you need someone to answer your burning questions.
They advise us on a methodology and provide commentary where necessary. Sometimes we need collaborators to help shape the building blocks of our campaign. It means we have the story in our mind, but we need specialist guidance on how to execute something that needs an expert eye. We ran a campaign called Understanding Dementia and knew that the subject needed an official figure on dementia to ensure our campaign handled the subject with the sensitivity and authority it deserved. We worked with a leading dementia expert to give us her vision for how our planned games and puzzles could successfully emulate the confusion and frustration associated with the condition. We’ve also worked in this capacity with world-renowned academics and specialists who’ve advised on our campaigns at early junctions, like planning survey questions, helping shape extra angles to our research. Ask yourself whether you need expert guidance to build your project.
They lend us resources that are otherwise not openly accessible. Some campaigns rely on the knowledge and resources of industry professionals. We’ve worked with all sorts of individuals and companies over the years that have given us their time and expertise to help create a more valuable piece of content for the news landscape. For example, Wheeler Dealer for GoCompare saw us partner up with an expert on vintage toy cars who gave us lots of specialist data and imagery…
…and we tasked the talented 3D-modelling artists at 3DLines with creating fantastic photorealistic mock-ups of familiar TV and movie rooms remade for the modern-day. Ask yourself whether your campaign needs the unique resources of an interesting individual or company.
But where can you find the right expert?
Where to find an expert
Use free find-an-expert search engines
Some of the best universities in the world have find-an-expert indices that list the academics and experts open to helping out the media. Here are some key ones:
You can usually search by field of study to help you track down the best person for your needs. If you’re going down the academic route, you should also try googling scientific studies and research institutions relevant to your subject to discover their authors. Why not try reaching out to them? We went to Professor Daniel Russell, a leading loneliness expert who developed the globally recognised UCLA Loneliness Scale, for guidance on our loneliness project with former client Echo.
Use social media
One of the best resources for widening your network is Twitter. Search out highly followed and influential people on the subject you’re working on. We contacted Matt Huxley, an esports lecturer at Staffordshire University, through Twitter, and he agreed to help us out with our project Esports Elites for Casumo. Matt had a large social media following and was used to being featured in the media, so we knew he was a fantastic authority to comment on our findings.
Find a book
Don’t worry, you won’t need a library card for this one! We’ve found expert collaborators by searching for books around our subject of interest. If you can track down and contact the authors or researchers (perhaps through their personal websites, social media, or publishers), you might just find that they’ll be really enthusiastic about your project.
In the past, Amazon has proved to be a useful resource for finding the right books. We used this method to find an expert to help us answer some questions for our project Crep Check for Farfetch. Crep Check is a database of the most valuable trainers in the world, and we included rankings for the shoes that have appreciated the most in value from their original retail price. We knew that finding a top sneaker expert and having them answer some questions would give journalists an extra angle to feature, so we searched online for experts and found one in the form of Mathieu le Maux, author of ‘1000 Sneakers: A Guide to the World’s Greatest Kicks, from Sport to Street’.
We sent Mathieu a message over Twitter and it didn’t take long for him to get back to us. The result? GQ magazine and the Daily Mail featured some of his comments prominently:
We used this method again to search for a reputable source of data, high-quality imagery, and expert commentary for Record Value, our project with Australian life insurance company NobleOak. Our answer came in the form of Ian Shirley, editor of ‘The Rare Record Price Guide’. Ian was the perfect fit for our campaign and gave us plenty of resources to work with as well as giving us valuable information about each of the 75 records in the final campaign.
Find a charity
We’ve partnered with lots of charities over the years and the benefits of attaching the campaign to the name of a reputable and established charity are numerous.
With Understanding Dementia, our Babylon Health campaign that attempted to reflect the effects of dementia with a series of frustrating games and puzzles, we partnered with Professor June Andrews, a renowned dementia expert to help us out.
June provided guidance on what effects we could attempt to reflect with our games, plus commentary on our games to help the user understand what aspects of dementia they were experiencing.
We partnered with two mental health charities for another project with Babylon Health called Student Stress. Both charities appealed in person and on their Twitter and social media accounts for students to tell us what stress felt like in their own words. We received lots of evocative descriptions of mental health from students all around the world, and our talented designers went to work illustrating them.
Keep up with the news
We’ve secured collaborators in the past by reaching out to them as a result of seeing their work in the news. It’s a surefire way to find names that are trusted by journalists as an authority on a subject.
When should you budget for expert collaborators?
It’s always worth keeping a budget in mind if you expect to ask a collaborator to do a large amount of work for you.
Before you reach out to someone, ask yourself:
How much of their time are we asking them to take up?
Are they just doing their day job, but for us? If so, they’ll expect to be paid.
Is this specific expert absolutely vital to the story earning coverage? If they require a fee, it’s worth thinking about putting aside some of your budget to cover it.
Sometimes, budgets will be tight. In many cases, you’ll be able to get a collaborator on board for free just by outlining the (credited) coverage they themselves will receive by taking part in your project. For a lot of people, this is sometimes compensation enough for being involved, especially if we know we’re presenting them with fascinating new insights around their specialist topic.
Keep your communication respectful of your collaborator’s energy and time and you’ll be able to build a creative partnership that will always be useful to have on hand.
How to enhance your Digital PR outreach with expert quotes 
20 examples of great quotes for your press release 
Interested in our content marketing and digital PR services? Get in touch.
6 UI design principles you need to know
For a designer, it’s essential to have a clear understanding of UI principles. UI principles are high-level concepts that serve as guidance when designing a user interface, which is the point at which human-computer interaction occurs. The hierarchy in the UI design is fundamental in determining what the user will take away from their experience when using the interface.
The goal of a UI designer is to anticipate what a user might need to do by producing an interface that naturally encourages exploration and avoids confusion.
For this post, I’ve designed a simple landing page for a fictional learning platform. This landing page design – that in its current state follows all of the UI principles correctly – will be used as a point of reference to demonstrate six key design principles.
I’ve accompanied each section in this blog with a version of the above page that demonstrates how a bad design decision could affect the overall image and the usability of your design.
So, let’s get started…
Typography is one of the most important principles in user interface design. It’s the technique of arranging text to make it readable and visually appealing. The arrangement of the text includes selecting typefaces, font sizes, line lengths, line-spacing, and letter-spacing, and adjusting the space between pairs of letters.
Good design doesn’t need to feature lots of different typefaces. Unless the typography is a core design element, you simply don’t need to use lots of typefaces to convey a message.
More often than not, simplicity is key, and a strong design might only feature one or two typefaces. The typography principle is there to lead the reader’s eye to the right place at the right moment. It sets the tone of your page and helps to establish a visual hierarchy in your design.
For example, a larger font size and bolder font-weight have a higher chance of being seen by the user, but if we were to compare…
this lightweight text in a bigger font
this bolder text in a smaller font
…the chances are the first example would stand out more.
One way to improve a website’s readability is to increase leading (or line-height, in other words). This spacing between the two lines of text has a key impact on legibility; correct line-height helps the reader’s eyes travel from one line to another.
Although the standard leading is 120% the point size of the font, the leading can be set to automatic adjustment and can be modified according to the typeface needs. The body text in the example below illustrates poor use of leading.
The text is clustered which makes it difficult to read. Overall, this page does not give its viewers a sense of flow when reading the material from start to finish. The various alignments and improper use of fonts does not convey a story, nor does it urge users to take an action.
Select typeface for the headers only after you are confident with a typeface for the body text.
Scale in design refers to the sizing and the proportion of the elements on a page. Every element, whether a piece of text, a shape, or a line, has a weight.
The weight is created from the size, colour, or texture of an object. A symmetrical, well-balanced design is formed by aligning equally weighted elements on either side of the centre line. With the scale principle in mind, the designer needs to make sure that the page doesn’t look either overcrowded or empty.
One way to achieve this is with the use of padding and white space, or by simply adjusting the scale of an element. Scale can be used to direct viewers’ attention from the most to least important elements.
Objects of a bigger scale tend to attract viewers’ attention more, so the scale principle can be used as a way to rank design elements and influence the order in which users view them.
Below is an example of badly scaled design. The scale principle should help in guiding the users through their experience, but on the page below, the viewer can’t focus on any of the elements. The header is too big, the action buttons are too small, and the social media links (already highlighted enough with colour) are unnecessarily large.
It’s good practice to apply the golden ratio in your design. The golden ratio can be applied to spacing, composition, and layout; try using a golden ratio template. Plugins such as Font Scale can help establish a typography foundation.
Alignment is the arrangement of elements in a straight line or correct relative order and is recognised as one of the core UI principles. Any two connected points are referred to as a line.
When executed correctly, alignment creates a hierarchy within a design and helps direct the user’s attention towards specific information. Arranged content is easier for the user to scan through which increases readability and the viewer’s engagement.
Alignment can be achieved with a clearly defined boundary or a division. A defined boundary can be perceived in a group of elements that share a common area. When the elements are close or proximate to each other they tend to be visually grouped.
In the example below, an excess of misaligned elements strips the viewer of a clear visual path. It’s now unclear where the viewer should start and finish navigating the page.
As the human eye naturally seeks perfection, an intentional misalignment of an object could sometimes be used as a way to attract a user’s attention. One way to do so could be by increasing the y-axis of a navigation bar link of a selected page as a way to highlight the user’s current location on a site.
Enable a predefined grid or customise one to make sure elements are aligned and visually organised.
For a design to work, it needs to have an adequate amount of space between its objects. In our example below, the area around each object is white space, which also happens to be the negative space and another key UI principle.
Unlike positive space, which is the area of interest on a page, negative space is the background area around the subject of interest. The right amount of white space can simplify and break a design into chunks of information that are easier to comprehend.
A larger white space around the text helps improve readability. A design that has a very minimal use of white space could overwhelm the reader’s eye.
In the example above, it’s obvious that the design lacks white space, making it heavy on the eyes.
Here are a few reasons why this is happening. First, although the CTA buttons are emphasised with boxes, the text inside of them lacks padding and subsequently looks too big. The visuals on the right side of the page are too large and too close to the top navigation bar and the text on the left side of the page.
Elements on the left-hand side don’t have enough space to breathe and are overwhelmed by the size of the visual element. Header one and header two seem to be too far apart – despite them being part of the same group, they seem isolated from one another. The same issue can be seen with the CTA buttons, which once again are too far apart.
Button borders usually work well when the padding ratio is 1:3 for the top and bottom, and 3:3 for the right and left.
Users often perceive an aesthetically pleasing design as a more usable design, and they’re technically not wrong. More and more brutalist-inspired websites are receiving recognition among younger users. Their ruggedness and complete lack of usability is what makes them unique and memorable.
Sometimes the simplest, most intuitive, and most accessible user interface is not as popular as a modern design that has scarce consideration for usability. By and large though, if a website lacks aesthetics, it will most likely drive away visitors too.
Colour is another hugely important UI principle. Colour can establish the right tone, whether it acts as the main standalone component or is used as an oomph in other design elements. Colour can set boundaries, define shapes, and give emphasis to an area of a page.
In the example above, the colour selected for the design doesn’t reflect the brand nor enhances usability. The colour combination looks tacky and lacks contrast, creating difficulty when reading the page and identifying the navigation elements.
Apply the 60-30-10 rule. That’s 60% to the dominant colour, 30% to the secondary colour, and 10% to the accent colour. Consider using colour palette plugins, as these are predefined colour sets that can speed up the process of choosing the right colours for a design project.
Contrast is the state of something being different from something else. For elements to contrast, there should be an evident difference between the two. Colour, scale, or a combination of both can be used to contrast two or more elements and create space.
RGB, hexadecimal, and HSL all have an impact on whether a colour will have enough contrast. The Web Content Accessibility Guidelines (WCAG) 2 – the international standard for designing for accessibility – is a good way you can learn more about the specifics. WCAG 2 expresses the brightness differences between colours in a form of a ratio, which ranges from 1:1 (e.g. white on white) to 21:1 (e.g. black on white). If we were to check the contrast of RGB values on white background, the ratios would look like this:
Red = 4:1
Green = 1.4:1
Blue = 8.6:1
(*the ration value will remain the same even if the text colour is reversed with background colour)
According to WCAG 2, the minimal requirement of the AA level of contrast ratio is 4.5:1, though this ratio requirement drops to 3:1 if a large-scale text is used. This requirement can be avoided altogether when referring to the contrast in decorative text and text in logos, as these do not affect the accessibility of an interface.
It is important to note that there are many colour hues and shades out there and the ratios cannot be rounded. If the colour contrast is 4.2:1, it automatically does not meet the minimal contrast requirement.
Below is an instance of how contrast should not be used:
The above design is an example of ineffective contrast use because the elements are difficult to read and identify. Lack of contrast strains the viewer’s eyes and can result in users experiencing frustration.
Using images as backgrounds can reduce text visibility. To make sure the text is adequately readable and meets WCAG 2 contrast requirements, use a coloured overlay on the image before placing the text on top.
The different elements of a design should all work together as a team to tell a story and guide viewers through their user journey.
To all budding designers, I would strongly recommend familiarising yourself with UI principles before taking on a design project. The proper use of these principles will contribute to the flow and the outcome of your design, and significantly enhance the accessibility of the page.
Take a look at some of our previous campaigns to see how the design team at Verve Search have used design principles in their award-winning work.
Interested in our content marketing and digital PR services? Get in touch.
SEO in journalism: how can we use it in outreach?
After five years working as a journalist and more than a year working in digital PR and outreach, I have seen SEO in operation from both sides – here’s how they can be used in combination to secure coverage.
When I first started doing my degree in Journalism at Kingston University in 2012, SEO was a mere afterthought in my Multimedia News Writing course. Yes, we were told to hyperlink or to include keywords in our copy, but we were never fully educated on its purpose or importance, nor did it ever dictate what we were writing about.
Eight years later, I was working for a publication where the content we produced was almost entirely driven by SEO strategies. It was prioritised on the same level as editorial integrity and quality, which I found surprising and intriguing. As much as I love writing, I felt myself being drawn to this ‘behind the scenes’ world of SEO more and more, to the point where I decided to pursue a career in it.
I started working at Verve Search nearly 18 months ago, where I was introduced to a whole new and more technical side of SEO. This, in combination with my journalistic experience and my knowledge of how SEO is applied in journalism, has really strengthened my ability in outreach. I want to share this knowledge so you can too.
So, how can we learn from the way journalists and publications use and are motivated by SEO as part of their day-to-day runnings and editorial planning and apply it to outreach and ideation?
What motivates journalists in terms of SEO?
Traditionally, the way journalists and newspapers measured their success was purely down to how many newspapers they sold or how many quantifiable readers they had. For some publications, these metrics still come into play, but it’s not farfetched to say that today, SEO metrics have replaced the way we measure a publication’s success.
But what are SEO metrics? Metrics such as ranking, search traffic and engagement are what motivate publications the most in terms of SEO. What these metrics have in common is that they focus heavily on keywords.
Ultimately, publications want to rank as high as possible on search engines for the topics (AKA keywords) they cover, whether niche or broad. If you type “news uk” in your Google search bar, the BBC ranks in first and second place in the SERPS (Search Engine Results Pages). This is where every publication would love to be. Additionally, publications want to rank for specific keywords relevant to the topics they cover. For instance, the BBC would also want to rank high for keywords such as “TV”, “weather” and “sport”.
How do journalists use SEO?
So now you know what motivates publications in terms of SEO, it’s time to see how journalists and writers apply this in their day-to-day roles, and crucially, how this can benefit us in outreach.
“It’s about understanding what people are searching for online, the answers they are seeking, the words they’re using, and the type of content they wish to consume. Knowing the answers to these questions will allow you to connect to the people who are searching online for the solutions you offer.”
For a publication and for a journalist, it’s all about understanding what content your readers want, how they would like to consume that content, and what kind of readers you want to attract. And this is exactly what journalists do to plan their content and the style of that content. This brings me back to keywords.
What are keywords and why are they important?
Keywords are the words and phrases in a website’s content that make it possible for people to find the site via search engines. So, as you can imagine, keywords are a huge part of a digital journalist’s day to day.
The days of cramming keywords into copy (also known as keyword density) might be over, but if a journalist wants their article to rank well in search engines, keywords need to be incorporated into their article’s structure (headlines, meta descriptions and URLs). Out of these, it is particularly important to include keywords in the headline.
Revisiting the earlier quote, it says that it’s about understanding what people are searching for online, the answers they are seeking and the words they’re using. In other words, journalists are keen to discover the target keywords that are driving their readers to their site – or indeed, the target keywords that are taking their desired readers to competing publications instead.
How do journalists choose the keywords to focus on?
Publications are focused on ranking for keywords that are relevant to the topics that their publication covers. For niche publications, such as Boat International, the keywords will be narrower and more specific, whereas for bigger news outlets such as The Guardian, it will be much wider and far-reaching.
For instance, TimeOut London aims to rank for keywords such as ‘best restaurants in London’, ‘things to do in London’ and ‘best West End shows’.
These are all evergreen keywords or evergreen content. As the name suggests, evergreen content is content that readers will be interested in and might be searching for all year round – they were interested in searching for it last year and they will be next year too. This is the bread and butter for any news website as it is the biggest source of consistent traffic.
But TimeOut also wants to rank for ‘most romantic restaurants’ around Valentine’s Day or ‘best rooftop bars in London’ before a hot summer bank holiday. These are seasonal keywords and refer to keywords that generate most of their search traffic during a specific time of the year.
Then there are trending keywords, which, as you can imagine, is all about ranking for keywords that are trending at a particular time. At the time of writing, everyone is covering the story about how a bunch of Reddit users made the GameStop share price skyrocket, leaving established Wall Street traders with pie on their faces. Newspapers would want to get in on these trends and rank for it.
So journalists use all these keyword categories to determine what to write about. But how do they decide on which keywords to focus on?
They use these tools to determine the popularity and search volume of keywords in order to figure out which new topic areas to explore, which articles to update and optimise to improve their ranking, as well as to guide them on which keywords to include in their headlines.
How to apply journalistic SEO in outreach and ideation
Now that you know what motivates journalists and how they use it in their day to day, it’s time to investigate how we can apply the same methods and strategies in the various stages of outreach.
The most obvious place to start is to look at the target publications of the client you’re working for.
What publications does the client wish to secure coverage in and what do these publications cover? Use the SEO tools mentioned above to explore the evergreen, seasonal and trending keywords these publications will be aiming to rank for to anticipate what its journalists will cover.
Incorporate evergreen keywords into your ideation
‘Evergreen’ for a journalist means a story that is not time-sensitive and which has relevance throughout the year. ‘Evergreen’ in content marketing can differ in its definition, so I will adopt the journalist’s version here for our ideation and outreach strategy.
We always prefer to create and outreach a story that doesn’t rely on a smaller window of time to achieve coverage, while potentially including additional seasonal news angles where possible.
One way in which you can ensure the topic and subjects of your story will produce keywords that stand out to journalists at any time of year and which appeal to the correct journalists, is to carefully consider what sample of subjects you consider in your method.
When creating a data-driven story, as we often do, you may find that your sample of subjects varies in size or popularity. This presents two potential problems – one is that you may not be comparing like-for-like subjects, and the second being that you might lose the most popular subjects from your story because a smaller, lesser-known subject has taken its place.
Assuming that the data you are working with is trivial and unlikely to mislead people or cause harm by not including larger samples, you should aim to work with a sample of data that will appeal to your target journalists, and, if necessary, set an appropriate threshold.
In our campaign called Cuisine Hotspots, where we analysed which cities ranked highest for specialising in certain cuisine styles, we were keen to make our story appeal internationally where our client Hayes and Jarvis would wish to see their name mentioned.
To help achieve this, we chose to analyse a large sample of cities that were specifically known for being ‘the most traveled to destinations in the world’. This resulted in cities such as Dublin being widely reported at home and abroad for ranking as one of the world’s vegan food capitals.
Analysing larger and smaller-sized sample subjects as part of the same method can provide surprising (and newsworthy) insights. For example, it might be much more interesting for a smaller UK city to beat London on a particular economic measure. Other times it’s best to analyse like-for-like subjects as part of your method for your story to have wider appeal – London and New York have much wider outreach potential than a small local authority or town in the US.
When we designed a methodology for Lucrative Leaders – discovering which tech CEOs oversaw the greatest increase in their company’s market value – we chose to only consider tech leaders at companies worth $100 billion or more. This ensured that our story considered the Jeff Bezos’s and Steve Jobs of the tech world who are much more headline-worthy than the lesser-known Joe Blogs.
Incorporate evergreen keywords into your outreach
Verve’s very successful Profanity on Film campaign revealed which actors have sworn the most across their filmographies. It demonstrates, in an evergreen sense, the value of including a big name in a story that appeals to journalists regardless of other events that take place in the real world.
We first started outreaching this campaign in March 2020 with no timely news hook and only aiming to demonstrate how Jonah Hill had overtaken Samuel L. Jackson as Hollywood’s most profane actor.
In the end, the campaign achieved more than 800 pieces of coverage in the likes of The Guardian, The Independent, NME and The Wrap – entertainment publications that will report on A-list celebrity actions and events wherever possible. However, a decent proportion of that coverage came from the outreach team reacting to events that involved Jonah Hill, other famous actors who are known for swearing, and the announcement of a Netflix documentary.
Due to an Instagram post by Jonah Hill himself, the campaign gave us a chance to react and achieve more coverage in May. Later, in September, when Samuel L. Jackson decided to launch swearing lessons as an incentive to get people to vote in the 2020 US election, we saw another opportunity to jump on the trend and achieved an additional 20 pieces of linked coverage. By January 2021, Netflix had released a documentary called the History of Swearing, its original announcement led to our third wave of coverage, including a second link for the campaign in The Guardian.
The keywords for Profanity On Film were the actors’ names. There was no threshold set or carefully chosen sample of data here. We analysed more than 5,000 publicly available scripts from movies that had a cinematic release, and the data provided us with an excellent selection of names who are popular for entertainment and showbiz journalists to write about at any time of year.
Evergreen keywords work well for campaigns that you intend to outreach for several months, and they help to eliminate the risk of irrelevance for your target journalists. With that said, implementing more seasonal or trending keywords definitely has its place as part of a wider outreach strategy.
Using seasonal keywords in your outreach strategy
If you have a specific time frame for the outreach of your campaign, seasonal keywords provide an excellent asset both as a starting point for a campaign idea and for your angles.
A great example of this is when we knew we had a campaign lined up for a client around the time of Halloween. The Scariest Horror campaign discovered what the scariest film of all time was by asking volunteers to wear heart monitors while they watched 10 films known for having the biggest jump scares.
While horror movies have wide enough appeal at any time of year for entertainment journalists to discuss, the campaign naturally appealed even more to publications such as the LadBible as the 31st October approached.
It may hamper your outreach efforts if a campaign relied purely on a seasonal event to achieve coverage, but it is worth exploring seasonal keywords related to your client and your client’s target publications to incorporate these keywords into your pitch to journalists.
Again, I would recommend incorporating seasonal angles as part of a wider ideation and outreach strategy that is more evergreen to journalists. For every Halloween-related story you conjure up, make sure there are plenty more stories available that appeal throughout the year.
How to incorporate trending keywords into your outreach strategy
I also find trending keywords too fleeting to base campaign ideas on, but they are perfect to use as a news hook for your pitch or as a tool to breathe fresh air into an old campaign.
An example of this is when we capitalised on the PS5 release hype before Christmas with our campaign Global Cost of Gaming, where we looked at and compared the different costs of the new PS5 in different countries. Including the keyword ‘PS5’ in the headline was instrumental to the high volume of coverage this campaign received.
Again, make sure you maximise the keyword by including it in your headline.
How to incorporate long-tail keywords in your outreach strategy
Long-tail keywords are longer and more specific keyword phrases, which don’t necessarily have a very high search volume.
It’s worth noting that there is bigger competition between publications to rank for high search volume keywords. Therefore, going more granular and finding keywords that are more specific and which have a smaller search volume, might make it easier to rank and appeal more to journalists.
Additionally, if you have a client that is interested in coverage in certain regions or countries, exploring the various keywords in these markets will be time well spent. This is all about understanding the target audience and the language they use when searching for content.
For instance, if you’re planning on outreaching to both the UK and the US for your client, even though the language used will be the same, taking the differences between British and American English (Brits go on ‘holiday’ whereas Americans go on ‘vacation’) into consideration in your keyword search can be a game changer. Localising keywords is a worthwhile strategy.
How do we use this for outreach? Going for headlines that aid a high-volume keyword such as ‘the best brunch in London’ might actually be counterproductive if journalists want to cover something more targeted. High-volume keywords may also see more articles being published around that specific keyword already, so the subject line in your email may not stand out so much in a journalist’s inbox.
However, if you opted for a keyword that considered something even more long-tail and granular, such as ‘the best vegan brunch places in Peckham’, the competition may be lower and the originality of the story may be greater.
So to sum up, spending time familiarising yourself with the client and its target publications, and the various keywords they would want to rank for will be beneficial for you from ideation right through to outreach. This involves all keywords, from evergreen and trending, to long-tail and localised. By using the same SEO tools and strategies as journalists do to find your keywords and incorporating them into your approach, you will find your outreach efforts piquing the interest of journalists much more frequently.
Interested in our content marketing and digital PR services? Get in touch.
Campaign Spotlight – A Contact Lens Company Visual Content
My latest campaign spotlight focuses on three similar campaigns we produced for a contact lens company, all of which have been consistently covered by national and international lifestyle journalists.
The Stroop Effect was the first to launch in May this year. It is a colour perception game based on the Stroop test, a psychological phenomenon where the brain struggles to read the word of a colour when formatted with a different colour, for example Red written in green.
Based on this, we devised a test which measures how quickly you can identify five matching colours (e.g. Red, Pink, Green) against ten mismatching colours (e.g. Red, Pink, Green). We then tested the game on a survey with 2000 UK adults to give us various headlines about how well the nation performed.
To date, The Stroop Effect has been picked up 28 times with a total of 2,068 Link Score (Verve’s own tool using a combination of metrics to measure the value of links). The test also has over 100,000 views, thanks to features in the Mirror, Daily Mail, Mental Floss and Business Insider.
In July, we launched Photographic Memory, a game which tests the audience’s ability to spot details in ten images. They are given seven seconds to look at an image, then respond to a question about a detail in the photo.
We wanted to create a campaign which tests whether the user has a visual memory, as well as producing something with strong visuals that journalists could embed in an article. To add further credibility for journalists, we tested the game on 2000 UK adults to see how they performed. Just 1.2% of the respondents were able to get a perfect 10/10 score.
So far, Photographic Memory has 21 links from high authority news sites. It performed especially well with the UK tabloids, with the Sun, Daily Mail, Mirror, and Metro all covering the campaign within a few days of each other.
Our most recent campaign for a contact lens company launched on the 23rd August and has been the most successful of the three mentioned in this blog. Moving Perspectives takes optical illusions to a new level by showcasing seven mind-bending optical illusions made into moving GIF images.
We previously had success with In Perspective, a similar optical illusions piece with 11 illustrations of illusions which show the user how it tricks the brain into seeing something different. With Moving Perspectives, we explored this concept further by using dynamic illusions, which move to reveal how it works.
So far, Moving Perspectives has 41 links with a total of 2,103 Link Score. Again, this campaign proved popular with the UK tabloids including the Sun, Mirror and Daily Star all covering it. The campaign also received international coverage in Russia and Japan.
All three campaigns benefitted from quality designs which maximised the visual appeal of the campaigns and made them fun to interact with. The journalists we contacted appreciated the strong aesthetics in the three campaigns.
They also benefited from being embeddable on an article so readers can view them without having to leave the page. Moving Perspectives worked well in particular as the white background matched seamlessly with the page of an article.
As a result, the execution of these three campaigns has made it possible for us to build consistent links by appealing to lifestyle and pop-science journalists with similar content themes but a fresh idea which continues to attract coverage each time.
Campaign Spotlight – Crep Check
Starting this month, we will be sharing with you an example of a campaign which has delivered amazing results for a client over the course of the previous month.
This month, we produced Crep Check for Farfetch, a luxury fashion retailer. The campaign looks at the most valuable trainers currently on the market, as well as those that have seen their value skyrocket since their initial release.
We teamed up with Stadium Goods to provide a definitive breakdown of the most valuable and appreciative trainers in modern times, and an explanation as to why so many of these shoes have become worth such vast sums of money.
Costing £22,763, The high-top ‘Jasper’ sneaker from the Kanye West x Louis Vuitton line are the most valuable on the market. Released in 2009, the shoes designed by West himself have increased by more than 2500%. They were initially available in three colourways but the pink and grey version is the most coveted.
We found that Nike’s What the Dunk trainers had the biggest value increase. Released in 2007 at £91, they were designed as a patchwork of previous patterns, colours and materials used in old Nike SB models. Today, they are worth £3,793, an increase of over 4000%.
We took inspiration for the campaign from high-profile trainer auctions and one-off celebrity releases, which have been sold for tens of thousands of pounds. The international news interest these stories generate inspired us to create a definitive list using data provided by one of Farfetch’s key brands.
We also liked the idea of showcasing trainers as alternative investments, a concept we previously explored with coins and toy cars. Lifestyle, fashion, and money journalists love to follow the most recent collectable trends and valuations in fashion.
Our designs took inspiration from ‘sneaker walls’, similar to those found in Stadium Goods’ stores in New York and Los Angeles. We also used price tags to show the rank number, making the campaign feel more like a high-end fashion index. We then researched each shoe using Stadium Goods’ index to provide some context to their value increase.
‘Crep Check’ launched on the 26th June, and to date, our outreach team have delivered 98 links totalling 3367 LinkScore (Verve’s own tool using a combination of metrics to measure the value of links). We were also able to build links in seven different countries.
Our outreach coincided with an auction of the world’s rarest trainers in New York set up by Sotheby’s and Stadium Goods. This included one of the first-ever shoes made by Nike in 1972, which sold for £350,000. The interest in this auction meant journalists were receptive to a report about the subject to inform their story.
It also coincided with a PR storm involving Nike removing a limited-edition shoe from retail following complaints about the use of the ‘Betsy Ross’ flag, which has since been associated with white supremacy after its use as the original US flag.
One dreary morning in January we decided that it would be a good idea to host a conference in the summer, you know, just to challenge ourselves a little. The next day the venue was booked.
A week later we’d got the branding sorted and had put up a page on the website. Now there are just a few days to go until outREACH, our first ever conference!
We are so humbled by the positive response we’ve had from brands, other agencies and freelancers, and we would like to thank everyone who has bought a ticket to support us. We cannot wait to meet you all on Friday!
As seasoned speakers, Lisa and Hannah knew exactly what was missing from the conference scene – a single track event 100% dedicated to outreaching content. Our event follows the whole process, with sessions on coming up with creative campaigns, how to get your ideas signed off, mindset, how to (and how not to) approach journalists, processes, tools, tips, and so much more. There is no other event like it in the SEO conference calendar.
We’ve hand-picked our speakers and the entire event has been planned around their specialist knowledge. You can see a full list of speakers on our agenda page here.
Jim will show you how to tame your tigers
Closing the conference is our keynote speaker, Mr Jim Lawless, with his tales on how he used the right mindset to ‘tame his tigers’ and become a jockey…oh, and also get in the record books.
outREACH takes place this Friday, 9th June, at the Congress Centre, 28 Great Russell Street, London WC1B 3EN.
If you would like to purchase a ticket (we have less than 15 remaining), click here and enter the promo code LASTCHANCE and you will be able to secure your ticket with a 30% discount off the ticket price.