Project managers are sometimes diligent about creating an initial workplan (schedule), but then they don’t manage it during the project. Although the initial workplan will help you launch your project, issues will come up that require the workplan to be modified and updated. On most projects, you can follow this simple 10-step process to manage the workplan. If you do this weekly, you’ll probably find it takes less than one hour per week-maybe only 30 minutes or so.
1: Update and review the workplan with progress to-date
This is probably a weekly process. For larger projects, the frequency might be every two weeks. A simple routine is to have the team members send you status updates on Friday with progress on the activities assigned to them during the week. The project manager then updates the workplan on Monday morning to reflect the current status.
2: Capture and update actual hours (optional)
If you’re capturing actual effort hours and costs, update the workplan with this information.
3: Reschedule the project
Run your scheduling tool to see if the project will be completed within the original effort, cost, and duration estimates.
4: Review your schedule situation
See if you’re trending past your due date. If you are, you will need to determine how you can get back on schedule.
5: Review your budget situation
Review how your project is performing against your budget. Because of the way financial reporting is done, you may need to manage the budget on a monthly basis.
6: Look for other signs that the project may be in trouble
These trouble signs could include team morale problems, quality problems, a pattern of late work, etc. Look for ways to remedy these problems once you discover them.
7: Adjust the workplan and add more details to future work
When the workplan was created, many of the activities that are further into the future may have been vague and placed into the workplan at a high level. On a monthly basis, this work needs to be defined in greater detail. You should always maintain a rolling three months of detailed activities on your workplan.
8: Evaluate the critical path of the project and then keep your eye on it
It’s possible for the critical path to change during the project.
9: Update your project forecast
After you’ve updated your workplan to reflect the work remaining to complete the project, you should also estimate the cost of the remaining work. This is usually referred to as “forecasting.”
10: Communicate any schedule and budget risk
If you’re at risk of missing your budget or deadline, communicate this risk to the sponsor and management stakeholders. You don’t have to state that you will miss your estimates for sure. However, you should start to communicate the risk while you implement actions to try to get the project back on track.
Friday, November 25, 2011
Using Publicity As A Marketing Tool
Media placement is an art. Practicing it often requires as much attention to approach and style as it does to the focus of your story. While it’s important to know how to use creative formatting techniques that can enhance editorial reception to a story publicists can benefit from mastering some useful tips prior to approaching, by e-mail, snail mail or phone, the keepers of the media gate.
Some Basic Assumptions
Always tell the truth. Make sure your product or service does what it says it does and your information is accurate. If a question is put to you that you do not have an answer for, indicate to the reporter you'll get back with the information. If you don't, the info will come from someone else--and not necessarily from a source that will help your organization. Never "imagine" or "fudge" an answer. Remember, candor equals credibility. If your organization has taken an action that has reaped negative consequences, counsel your client to admit the mistake (unless the client is constrained from doing so by legal counsel). Negativity can also be mitigated if you can anticipate a reporter's tough question, and frame an answer that puts the action into historical perspective; or by developing a positioning statement that lessens the harshness implied in the question. (For example, when a poisonous substance infiltrated Tylenol bottles, the company issued the statement that "we are victims too").
Know your outlet before you call. Have you read the magazine or newspaper in advance? Have you watched the tv program? Have you listened to the radio show? With print media, do you know the specific beat of the editor or reporter you intend to make contact with? Have you read his/her stories? It's fine to cold call but don't cold call blindly (unless there really is vagueness about that person's turf).
Attitude. There are some p.r. people whose emotional lives seem to count on an editor's acceptance; and who feel like failures when the editor says "no." "Unattachment" is the best attitude. "Unattachment" doesn't mean "detachment" or "apathy." It means coming from a centered place, with self-confidence in yourself and your ability to communicate a story effectively - but without being attached to the outcome. You'll find this a liberating approach, one that disallows you from becoming intimidated by an editor or producer, and one that enables you to return to the same person in the future with no regrets. When an editor perceives that you are not overly emotionally invested in a story, you may actually get a better hearing. Be warm & polite, professional...and clear. See that individual as a peer and colleague. If they're brusque in the moment, they may be having a bad day. Simply ask if there's a better time to get back to them.
That said, believe in your story and believe in yourself. The best p.r. people see themselves as resources of news and information who work with journalists to fill valuable time & print space.
Be more empathetic than sympathetic. Being empathetic enables you to build on what was said and respond with alternate approaches. Being sympathetic means you've probably foreclosed the possibility of an alternate approach.
Get out of the reporter's way. When you're providing a reporter, editor or producer information where the story is time-sensitive, relay the information and get out of the way. There's a time for pitching an idea, and there's a time for simply relaying information. In the case of the latter, act like an editorial assistant. Do your job and get out. You'll earn the journalist's respect when you do so.
Don't waste their time. When you call, communicate in sharp and crystallized fashion, the essence of the story. Keep it brief, respect deadlines and ask in advance if the moment is ok for that editor/ producer. NEVER call when you know an editor is under deadline pressure. Keep your message on-point and as brief as possible, but craft it in a compelling and creative way that will earn attention.
Personalize. I've seen too many impersonal, photocopied pitch letters, whether via e-mail or snail mail. If you send something in advance to a call, or as a follow-up to a call, personalize. Don't be overly chummy (unless you've been on good terms with that journalist for a long time). But keep sensitive to the fact that you're a human being, and you're communicating with a human being. For e-mails, craft a provocative phrase in the "subject" area. Too many e-mail messages get unread without a compelling lead.
Listen to the editor. It's as important to listen as it is to talk. Be sensitive to any verbal feedback, cues or clues that can assist you in fine-tuning your pitch. Keep your antennae fully extended.
Respect the 'no' and be prepared for it. Ask quick, important questions: What is it about this story that doesn't seem right for you? Is there anyone else for whom this story might work better? Suggest how the story can be adapted to the outlet's needs. Best of all, suggest three to five different angles in advance. This reduces chances for rejection.
But when you get your final no, let it go and release it. YOU haven't been rejected, just your story. And if you've handled the approach professionally and cordially, you'll always be able to come back with another story at another time. Regard your list of cultivated contacts as resources and investments for the long-haul, not for quick fix purposes.
Occasionally, pass along an item of interest that lies outside your own sphere of self-interest. Be someone who's not always out to get something. Also, supply your most important contacts with your home phone number.
Get out from behind your desk. The better you get to know the journalist on a one-to-one basis, the better your chance of a receptive ear.
Getting beyond voice mail. Leave a succinct, provocative, targeted message. If you don't hear from them in two days, try calling early, or leave a message with an editorial assistant or colleague. Call back that other person to learn if your message was received and if there's a return message. Sometimes, you can ask the switchboard for the department that person works in, rather than a specific voice mail.
That said, believe in your story and believe in yourself. The best p.r. people see themselves as resources of news and information who work with journalists to fill valuable time & print space.
Some Basic Assumptions
Always tell the truth. Make sure your product or service does what it says it does and your information is accurate. If a question is put to you that you do not have an answer for, indicate to the reporter you'll get back with the information. If you don't, the info will come from someone else--and not necessarily from a source that will help your organization. Never "imagine" or "fudge" an answer. Remember, candor equals credibility. If your organization has taken an action that has reaped negative consequences, counsel your client to admit the mistake (unless the client is constrained from doing so by legal counsel). Negativity can also be mitigated if you can anticipate a reporter's tough question, and frame an answer that puts the action into historical perspective; or by developing a positioning statement that lessens the harshness implied in the question. (For example, when a poisonous substance infiltrated Tylenol bottles, the company issued the statement that "we are victims too").
Know your outlet before you call. Have you read the magazine or newspaper in advance? Have you watched the tv program? Have you listened to the radio show? With print media, do you know the specific beat of the editor or reporter you intend to make contact with? Have you read his/her stories? It's fine to cold call but don't cold call blindly (unless there really is vagueness about that person's turf).
Attitude. There are some p.r. people whose emotional lives seem to count on an editor's acceptance; and who feel like failures when the editor says "no." "Unattachment" is the best attitude. "Unattachment" doesn't mean "detachment" or "apathy." It means coming from a centered place, with self-confidence in yourself and your ability to communicate a story effectively - but without being attached to the outcome. You'll find this a liberating approach, one that disallows you from becoming intimidated by an editor or producer, and one that enables you to return to the same person in the future with no regrets. When an editor perceives that you are not overly emotionally invested in a story, you may actually get a better hearing. Be warm & polite, professional...and clear. See that individual as a peer and colleague. If they're brusque in the moment, they may be having a bad day. Simply ask if there's a better time to get back to them.
That said, believe in your story and believe in yourself. The best p.r. people see themselves as resources of news and information who work with journalists to fill valuable time & print space.
Be more empathetic than sympathetic. Being empathetic enables you to build on what was said and respond with alternate approaches. Being sympathetic means you've probably foreclosed the possibility of an alternate approach.
Get out of the reporter's way. When you're providing a reporter, editor or producer information where the story is time-sensitive, relay the information and get out of the way. There's a time for pitching an idea, and there's a time for simply relaying information. In the case of the latter, act like an editorial assistant. Do your job and get out. You'll earn the journalist's respect when you do so.
Don't waste their time. When you call, communicate in sharp and crystallized fashion, the essence of the story. Keep it brief, respect deadlines and ask in advance if the moment is ok for that editor/ producer. NEVER call when you know an editor is under deadline pressure. Keep your message on-point and as brief as possible, but craft it in a compelling and creative way that will earn attention.
Personalize. I've seen too many impersonal, photocopied pitch letters, whether via e-mail or snail mail. If you send something in advance to a call, or as a follow-up to a call, personalize. Don't be overly chummy (unless you've been on good terms with that journalist for a long time). But keep sensitive to the fact that you're a human being, and you're communicating with a human being. For e-mails, craft a provocative phrase in the "subject" area. Too many e-mail messages get unread without a compelling lead.
Listen to the editor. It's as important to listen as it is to talk. Be sensitive to any verbal feedback, cues or clues that can assist you in fine-tuning your pitch. Keep your antennae fully extended.
Respect the 'no' and be prepared for it. Ask quick, important questions: What is it about this story that doesn't seem right for you? Is there anyone else for whom this story might work better? Suggest how the story can be adapted to the outlet's needs. Best of all, suggest three to five different angles in advance. This reduces chances for rejection.
But when you get your final no, let it go and release it. YOU haven't been rejected, just your story. And if you've handled the approach professionally and cordially, you'll always be able to come back with another story at another time. Regard your list of cultivated contacts as resources and investments for the long-haul, not for quick fix purposes.
Occasionally, pass along an item of interest that lies outside your own sphere of self-interest. Be someone who's not always out to get something. Also, supply your most important contacts with your home phone number.
Get out from behind your desk. The better you get to know the journalist on a one-to-one basis, the better your chance of a receptive ear.
Getting beyond voice mail. Leave a succinct, provocative, targeted message. If you don't hear from them in two days, try calling early, or leave a message with an editorial assistant or colleague. Call back that other person to learn if your message was received and if there's a return message. Sometimes, you can ask the switchboard for the department that person works in, rather than a specific voice mail.
That said, believe in your story and believe in yourself. The best p.r. people see themselves as resources of news and information who work with journalists to fill valuable time & print space.
MEASURING MARKETING PROPERLY
Measuring marketing performance is one of the most important business needs today. However, managers often misunderstand marketing measurement and misapply the analytical techniques. This is compounded by naïve expectations, reflected in a question I am regularly asked from executives, "what is the best measure to determine if my company's marketing is effective?" The answer is that there is no single measure that accomplishes this. Furthermore, measures alone are insufficient in determining marketing effectiveness. Skilled managers know that the key to meaningfully measuring performance is linking goals, rewards and measures. Goals establish tangible and intangible targets. Rewards are important for the simple reason that they inspire the right behaviors to achieve the goals. Measures then analyze and review the results.
Marketing success depends on business leaders who know how to integrate four key themes: destiny, strategy, culture, and experiences. 'Destiny' defines the company's long-term ultimate contribution to the world. To paraphrase Jim Collins and Jerry Porras from their seminal book, Built To Last (HarperCollins 1994), the concept of Destiny describes how successful firms pursue meaning, beyond merely making money (Collins and Porras referred to Destiny as 'purpose'). 'Strategy' is directly influenced by the company's Destiny, driving the differentiated direction of the business for the next 1-3 years. The combination of Destiny and Strategy serves as a positive filter for the type of people the firm seeks to attract, which has a direct and lasting impact on the development of the company's 'Culture'. 'Experiences' euphemistically describes how the company delivers its offerings to the market in ways that deepen the relationship between the customer and the company. Value-added experiences that connect customers to the company at multiple points in the market (products, locations, advertising, web, events, entertainment, design, services.) serve to differentiate market leaders from less successful competitors, enabling the company to deliver on the promises made.
For marketers, the implications are clear: their role is no longer just functional or tactical, but strategic. From customer targeting to product development to integrated marketing communications, each is dependent on a consistent implementation of strategy. For non-marketers, understanding the importance of organizational alignment throughout means that execution must be accomplished with full knowledge of the company's (and marketing's) promises to the market.
When the business-customer relationship is viewed from this perspective, the inadequacy of a single measure of marketing performance becomes clear. The question grows more complex when lifecycle stages are introduced. Each stage of the classic lifecycle curve (known as the 'S' curve for its shape) has different implications for marketing programs and, consequently, marketing measures. When launching a new product or service (or company, for that matter) at the introduction stage, marketing activities will focus on programs that build early awareness. Assuming success occurs, then the organization enters the growth stage, characterized by rapid growth of the product and the concurrent demands on expanded production, distribution, and customer support. Growth-stage marketing activities would be focus on communications that reinforce the product's unique value compared to the inevitable competition that emerges. As the market matures (the 'Maturity Stage'), customers need loyalty programs to reward their ongoing support.
Each stage clearly has different customer needs requiring specific and unique marketing programs. More importantly, no single marketing measure will succinctly or accurately capture and measure these activities. There must be multiple measures, reflecting different marketing approaches, changing lifecycle stages and a maturing customer audience. Managers must understand this if there is to be useful measurement of marketing activities. The good news is that marketing tools exist to help managers do just this!
Marketing success depends on business leaders who know how to integrate four key themes: destiny, strategy, culture, and experiences. 'Destiny' defines the company's long-term ultimate contribution to the world. To paraphrase Jim Collins and Jerry Porras from their seminal book, Built To Last (HarperCollins 1994), the concept of Destiny describes how successful firms pursue meaning, beyond merely making money (Collins and Porras referred to Destiny as 'purpose'). 'Strategy' is directly influenced by the company's Destiny, driving the differentiated direction of the business for the next 1-3 years. The combination of Destiny and Strategy serves as a positive filter for the type of people the firm seeks to attract, which has a direct and lasting impact on the development of the company's 'Culture'. 'Experiences' euphemistically describes how the company delivers its offerings to the market in ways that deepen the relationship between the customer and the company. Value-added experiences that connect customers to the company at multiple points in the market (products, locations, advertising, web, events, entertainment, design, services.) serve to differentiate market leaders from less successful competitors, enabling the company to deliver on the promises made.
For marketers, the implications are clear: their role is no longer just functional or tactical, but strategic. From customer targeting to product development to integrated marketing communications, each is dependent on a consistent implementation of strategy. For non-marketers, understanding the importance of organizational alignment throughout means that execution must be accomplished with full knowledge of the company's (and marketing's) promises to the market.
When the business-customer relationship is viewed from this perspective, the inadequacy of a single measure of marketing performance becomes clear. The question grows more complex when lifecycle stages are introduced. Each stage of the classic lifecycle curve (known as the 'S' curve for its shape) has different implications for marketing programs and, consequently, marketing measures. When launching a new product or service (or company, for that matter) at the introduction stage, marketing activities will focus on programs that build early awareness. Assuming success occurs, then the organization enters the growth stage, characterized by rapid growth of the product and the concurrent demands on expanded production, distribution, and customer support. Growth-stage marketing activities would be focus on communications that reinforce the product's unique value compared to the inevitable competition that emerges. As the market matures (the 'Maturity Stage'), customers need loyalty programs to reward their ongoing support.
Each stage clearly has different customer needs requiring specific and unique marketing programs. More importantly, no single marketing measure will succinctly or accurately capture and measure these activities. There must be multiple measures, reflecting different marketing approaches, changing lifecycle stages and a maturing customer audience. Managers must understand this if there is to be useful measurement of marketing activities. The good news is that marketing tools exist to help managers do just this!
Sunday, November 20, 2011
Thought
Sometimes you don't need to know every single detail before getting involved in something new. And in some cases (like this latest development), it could be much better if you don't. Too many details could confuse you, overwhelm you or, more likely, give you reasons to back out of something you should pursue right now. Grab all of your spontaneous impulses and take that leap of faith ... all signs indicate that you will land squarely on your feet.
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