SPLASH
Telling the right story.
SPLASH is Media, Marketing and Campaign Intelligence: the research and strategy half of what an agency charges a monthly retainer for.
This is work most organisations send outside. It costs a fortune, it takes weeks of lead time, and it leaves you at one remove from your own story, waiting on somebody else to understand it. SPLASH puts it back in your hands, and gives you your own marketing, press and PR assistant, working from your calibration and your Narrative Library, which is everything you have told it about who you are and how you speak.
It finds the people who cover your subject and the outlets they write for, maps the moments worth aiming at, studies what comparable campaigns did and what worked, prepares you for the difficult questions, and drafts the approach for each person you choose. Every pitch is drawn from your own approved material, and you own the voice and send.
What Is Inside SPLASH
Campaigns.
A campaign is whatever you are telling the world about. A new coral restoration site. A programme to protect whales and dolphins. A report, a film, a funding round, a result worth announcing. Your research, your obstacles and your pitches each belong to a campaign, so they sit with the work they serve. Your contacts, your voice and your week belong to the organisation and run across all of them.
Press Intelligence.
The people who can carry your story, and the places they appear: the writers and reporters who already cover work like yours, and the publications and shows that carry them. Scan an outlet and it gives you the people who write there. Search by subject and it gives you people and outlets side by side.
Channel Intelligence.
The places your story can land: the newsletters, podcasts and platforms your audience already reads and listens to, each found with the evidence for why it fits and kept as a channel in its own right. Press Intelligence finds the people who carry a story, and their outlets. Channel Intelligence finds the places an audience is already gathered.
Contacts.
A record for every person and every outlet you are pursuing, the way prospects work in BREACH: what they cover, the angle you choose for them, and the pitches written for them. Each pitch is written for one person or one outlet, from your campaign, your narrative and the angle you chose, so every approach you make is the strongest it can be. You copy it out and send it yourself, and nothing goes out in your name without you.
The Moment Map.
The moments your story can be aimed at, laid out on a timeline: the launches, the conferences, the anniversaries, the days the world is already paying attention. Each one can carry the date you need to act by, so you know what needs doing first.
The Obstacle Map.
What to be ready for. The challenges your campaign may meet, the awkward question, the comparison someone may draw, each with a suggested response, so you are prepared to handle them.
The Narrative Library.
The story you are telling, written down in one place: what the work is, why it matters, and the words you have agreed to use for it, starting from the voice set in your calibration. Every campaign draws on it, so what you say stays consistent across everything you put out.
Campaign Intelligence.
The research behind your campaign: the audiences you are aiming at, where coverage of your subject happens, and what comparable campaigns did and what worked, so yours learns from what has already run rather than starting from a blank page.
Dashboard.
Your week, at a glance. Ask for the Monday Briefing and it writes you a short brief from the state of your campaigns, with the week ahead and the work waiting on you, so deadlines arrive before they pass and nothing is missed.
Coming To SPLASH
A press release generator.
The release for the campaign, and a version of it shaped for a particular outlet or organisation, written from your narrative and from what the research knows about them.
Your evidence, in your campaign.
When UNDERCURRENT arrives, what your programmes have proven can be drawn straight into the campaign material, so the claim and the evidence behind it come from the same place.
How It Stays Honest
Your pitches say only what you approve.
Every pitch is drawn from your own approved material: your narrative, your campaign and the angle you chose. The research is different. It reports what the public record says, with its sources, for you to read and decide on.
It writes in your voice.
Pitches follow the voice in your Narrative Library, set from your calibration, and the language rules you have given it.
The engine proposes, you dispose.
SPLASH does the research, the finding and the drafting. What it finds arrives as records you can change or remove. You own the voice, you decide what is true, and you send.