RULE 1: GET ALL THE FACTS OUT
The first and mandatory question is: What are the facts? And the best way for a crisis manager to get access to all the facts directly and reliably is to be a practicing attorney protected by the attorney-client privilege. (It’s not enough to do public relations and have a law degree—the courts require actual law practice and legal advice to obtain the protection of the “privilege.”)
This does not mean that public relations and political advisors aren’t needed. To the contrary. But ideally there are attorneys who can be a bridge between the two worlds—an agent for the PR team to convince the attorneys they need to get the facts out; and an agent for the attorneys with the PR team to be sure that what is said to the media is factual and complete and won’t carry legal risk.
Good examples of fact-gathering that could not have been done without the attorney-client privilege were the Martha Stewart and HealthSouth controversies. My first set of interviews with both Ms. Stewart and the CEO of HealthSouth, Richard Scrushy, had to be done myself, under the protection of the privilege. I knew there was a potential that a full accounting of the facts might lead to legal exposure in the case of each—so before I knew all the facts, I had to have the protection of the attorney-client privilege and then be able to decide what could, or could not, be disclosed to the media to handle the crisis—or whether to have any media strategy at all.
RULE 2: PUT THE FACTS INTO SIMPLE MESSAGES
Second, once the legal crisis manager has all the facts—meaning documents, emails, and other verification that the facts are true—the next step must be to craft a simple message.
The best way to approach this task is to write the message or messages as brief headlines for the story you would like to see written. Ultimately reporters are no different from members of Congress or even regulators: You have to simplify your facts into a concise, easy to-understand message.
For example, how do you summarize the message when a cruise ship loses a passenger in the middle of the night and the young man’s family hires a lawyer and accuses the ship of botching the investigation? The facts are complex and the cruise ship does not want to seem
insensitive to the grieving family, including the grieving widow, who lost her husband and their honeymoon cruise. So when the Royal Caribbean crisis tale is told, we will see that the message wasn’t easy to summarize in a simple headline. Then we found it—and once we did, we knew we had it. “We’re a cruise ship—not CSI.”
Once the core messages are developed, the attorneys must confirm verifiable facts to support those messages, with documents and sources that a reporter will find believable.
The end result for effective crisis management at this point is what we came to call “The Book”—core messages on the first page, then bullet points supporting each core message on the next pages, and tabs of documents supporting each bullet-point fact. Ideally, attorneys should approve the facts and media strategy. On one occasion I have violated that policy of working closely with attorneys—and in that case, as will be told in my tale about Martha Stewart, I regretted doing so.
RULE 3: GET AHEAD OF THE STORY
There are many techniques for getting the facts out, using “The Book” as your “fact box”—meaning, getting the messages and facts contained in “The Book” published, and limited to those contained there, since they have been approved by the attorneys and client and it is dangerous to go outside them.
When you have the luxury of proactively “placing” a story with a reporter, you are ready to place your predicate story. The advantage is not only preemption—giving all other reporters one place to go to read all the facts and understand the most favorable narrative thread—but the ability to take your time and work with a reporter to make the story complete and effective, since the reporter can take his or her time preparing the story without an immediate deadline. It also allows you to get your viewpoint—your “spin,” so to speak—into the story in a way that is credible, since that viewpoint should be a plausible argument drawn from the facts of the story.









