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A few years after my stint in Japan, I ended up back in the United | |
States, hired by an AI software outfit to be their director of corporate | |
communications. Cool, I thought. That sounded important. I had no idea | |
what it meant. Only later did I discover I'd become their PR guy. | |
Bummer. | |
I was pretty naive back then, but I quickly figured out that public | |
relations was perceived by the press — the people I was supposed to be | |
talking to — as little more than thinly disguised hucksterism. I tried | |
playing the high-tech huckster role precisely once and came away from | |
the experience feeling dirty, phony. I couldn't bring myself to do it | |
again, which was a big problem. It was my job. And I needed the money. | |
Stop me if any of this sounds familiar. | |
The "key messages" of any AI software company back then involved | |
head-bangingly abstruse concepts like "heuristics," "backward chaining," | |
and "nonmonotonic logic." Very deep. And very boring. I barely | |
understood this jargon myself. How was I supposed to get on the phone | |
with some total stranger and enthuse about The Product? The truth was, I | |
didn't give a damn about the product. What I cared about was knowledge, | |
how people acquired and used it, how organizations suddenly seemed to | |
need a lot more of it, and why. What I cared about was how technology | |
applied — or didn't — to the world of business and the actual people who | |
worked there. | |
So instead of pitching the product, I started talking to journalists | |
about stuff like that. I figured I'd just pretend to be working until I | |
got fired for goofing off. But something amazing happened. As soon as I | |
stopped strategizing how to "get ink" for the company that was paying my | |
salary, as soon as I stopped seeing journalists as a source of free | |
advertising for my employer, I started having genuine conversations with | |
genuinely interesting people. | |
I'd call up editors and reporters without a thought in my head — no | |
agenda, no objective — and we'd talk. We talked about manufacturing and | |
how it evolved, about shop rats and managers, command and control. We | |
talked about language and literature, about literacy. We talked about | |
software too of course — what it could and couldn't do. We talked about | |
the foibles of the industry itself, laughed about empty buzzwords and | |
pompous posturing, swapped war stories about trade shows and writing on | |
deadline. We talked about our own work. But these conversations weren't | |
work. They were interesting and engaging. They were exciting. They were | |
fun. I couldn't wait to get back to work on Monday morning. | |
Then something even more amazing happened. The company started "getting | |
ink." Lots of it. And not in the lowly trade rags it had been used to, | |
but in places like The New York Times and The Wall Street Journal and | |
Business Week. One day the CEO called the VP of Marketing into my | |
office. | |
"What has Chris been doing for you lately?" the CEO asked him. | |
"I'm glad you brought that up," said the marketing veep. "In the whole | |
time he's been here, he hasn't done a single thing I've asked him to." | |
"Well..." said the CEO looking down at his shoes — here it comes, I | |
thought, this is what it feels like to get sacked — "whatever it is he's | |
doing, leave him alone. From now on, he reports to me." | |
That's how I discovered PR doesn't work and that markets are | |
conversations. | |
-- Christopher Locke, The Cluetrain Manifesto (2001) |
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