What a Media Kit Includes (and Why Journalists Want One)

Key takeaways

• A media kit is the small set of facts, files, and contacts a journalist needs to cover a business accurately, gathered in one place that is easy to open and easy to use.
• A good kit includes a one-page backgrounder, a founder bio and photograph, a logo pack, three proof points, product or service facts, recent news, and a contact who replies quickly.
• Keep the kit short, current, and fast to open: a single page or folder with direct links, plain file names, and no giant downloads.
• Leave out long documents, zipped folders, stale material, and anything a journalist would have to search through to find a basic fact.
• Review the kit whenever a fact changes, and check every link and file before any announcement, so the kit a journalist opens is always the true one.

A media kit is a small, organised collection of information and files that helps a journalist write about a business accurately and without delay. It answers the basic questions a journalist asks first: what the business does, who runs it, what proof supports its claims, what it offers, what has happened recently, and who to contact for more. When those answers are gathered in one place, in a format that opens quickly and is easy to copy from, a journalist can work with confidence. When they are scattered across a website, buried in long documents, or out of date, the journalist must guess, search, or move on, and the coverage, if it appears at all, is more likely to contain an error.

The direct answer to what a media kit includes is this: a one-page backgrounder, a short founder bio with a usable photograph, a logo pack with the logo in the formats journalists need, three clear proof points, concise product or service facts, a short record of recent news, and the name and direct contact details of a person who will reply promptly. That is the whole kit. It should be presented as a single page or a single folder, with fast, direct links and small, sensibly sized files, and it should contain nothing that forces a journalist to download a large file, open a zipped folder, or read through dozens of pages to find a basic fact. This guide explains each part in turn, shows how to present the kit so it is actually opened, explains what to leave out, and sets out how to keep it current, so that the kit you offer is the kit journalists want to use.

What is a media kit, and what job does it do?

A media kit, sometimes called a press kit, is a ready-made source pack for journalists. Its job is to remove friction from coverage. A journalist working to a deadline does not have time to reconstruct a business from scattered web pages, social media profiles, and old announcements. They need the essential facts in one place, stated plainly, with the files they need to illustrate a story and a contact who will answer. A media kit provides exactly that, and it does so before the journalist has to ask. In that sense, a media kit is a courtesy as much as it is a marketing tool: it respects the journalist's time, and in return it increases the chance that the story is accurate, complete, and published.

A media kit is not an advertisement, a brochure, or a company history. It should not try to persuade the reader that the business is excellent, list every achievement since it was founded, or present the business in the most flattering possible light. Its tone should be factual, neutral, and helpful, because a journalist will trust a kit that reads like a reliable source and distrust a kit that reads like a sales document. The distinction matters in practice. A factual backgrounder, a verifiable proof point, and a photograph that can be used as supplied will all be used. A page of superlatives, a list of unnamed achievements, and a photograph that needs editing before it can be published will all be ignored. Write the kit as if you were the journalist's researcher, gathering the material you would need to write the story fairly, and the kit will do its job.

A media kit also serves the business itself, in a quieter way. It creates one approved version of the basic facts, so that every journalist, partner, and team member is working from the same description of the business, the same founder biography, and the same proof points. Without a kit, those facts drift: one announcement describes the business one way, a website page describes it another, and a social media profile describes it a third. With a kit, there is a single source to update when a fact changes, and every future announcement can draw from it. That consistency builds familiarity over time, and familiarity builds trust. A business that describes itself the same way, accurately, in every place, is easier to believe than a business whose story changes with each telling.

What should the one-page backgrounder say?

The backgrounder is a single page that summarises the business for a stranger. It should be short enough to read in under a minute, and complete enough that a journalist can write an accurate opening paragraph from it without further research. Start with what the business does, in one or two plain sentences. A small bakery, for example, might be described as a neighbourhood bakery that bakes bread and cakes fresh each morning for local customers and nearby cafes. A tutoring service might be described as offering one-to-one lessons in two subjects, in person and online, to school pupils in a named area. The test for this opening is whether a stranger could repeat it back accurately after one reading. If the description needs a glossary, a long explanation, or a list of technical terms, it is not yet plain enough, and it should be rewritten in the words a customer would use.

After the opening, the backgrounder should state who the business serves, where it is based and where it operates, and when it started. These are simple facts, but they are the facts journalists most often get wrong when they have to guess them, so state them explicitly and keep them current. Who the business serves should be concrete: the type of customer, in plain terms, not an abstract description of a market. Where it operates should be honest: a single town, a region, a country, or internationally, stated as it truly is, without inflating a local operation into a national one. When it started should be a single year, with at most one sentence about how the business reached its present form, and only if that sentence adds something a journalist would genuinely need. A backgrounder is not a history, and a paragraph of early history will be skipped. One page, six facts, plainly stated, is the standard, and it is a standard worth protecting against every temptation to add more.

The backgrounder should end with what makes the business different, stated as a fact, and with the website address. Difference stated as a fact means a concrete feature of the offering: a particular way of working, a particular range of products, a particular service that others in the field do not offer in the same form. Difference stated as a claim means a superlative: the best, the leading, the most innovative, and those words should be left out, because they cannot be checked and a journalist will not repeat them. End with the website address, given once and clearly, so that a reader who wants more can find it without searching. Keep the whole page to one page, in a format that can be read on screen without downloading a large file. If the backgrounder grows to two pages, edit it back to one, by removing the least essential sentence, not by shrinking the type. Brevity is the point.

The one-page backgrounder: six facts

The backgrounder is the heart of the kit. If a journalist reads nothing else, this page should give them enough to write an accurate introduction.

• What the business does, in one or two plain sentences that a stranger can understand and repeat.
• Who it serves, stated concretely, not in abstract language about markets or audiences.
• Where it is based, and where it operates, stated honestly and without exaggeration.
• When it started, and one sentence about how it reached its current form, if that history is relevant and brief.
• What makes it different, stated as a fact about the offering, not as a claim about being the best.
• Where to learn more, with the website address given once, clearly, at the end.

What should a founder bio and photograph do?

A founder bio is a short, factual biography of the person who founded the business, written for a journalist who may quote it, paraphrase it, or use it to introduce an interview. It should be short, usually three to five sentences, and it should cover the facts a journalist needs: the founder's name, their role, what they did before founding the business if that background is relevant, what they are responsible for now, and one fact that explains why they are a credible voice on the subject. It should be written in the third person, in plain language, and it should contain no claims that cannot be supported. A bio that states the founder's previous role, the year the business was founded, and the area they lead is useful. A bio that describes the founder in glowing adjectives, lists every role they have ever held, or makes claims about their influence is not useful, and it will be rewritten or ignored.

The photograph that accompanies the bio must be usable as supplied. That means a clear, recent, head-and-shoulders photograph, in good light, with a plain background, supplied at a sensible size and in a common format, with a file name that states whose photograph it is. A journalist working to a deadline needs a photograph they can place in a story without editing, cropping, or asking for a better version. A photograph that is too small, too dark, heavily filtered, several years old, or crowded with other people will not be used, and asking for a replacement costs the very time the kit was meant to save. Provide one strong photograph, not a gallery of options, and make sure the person in it is the person named in the bio, that the photograph is current, and that you have the right to supply it for publication. If the business has more than one founder, provide a short bio and a photograph for each, in the same format, and keep the set consistent.

Keep the bio current, and treat a change of role, a new responsibility, or a move as a reason to update it immediately. A bio that names a previous role, an old location, or a former responsibility will mislead a journalist who relies on it, and the error will appear in print under the business's name. Review the bio whenever the backgrounder is reviewed, and check that the name, title, and facts match the rest of the kit and the website. If the founder prefers not to be photographed, or not to be named, say so plainly in the kit, and name the alternative contact for interviews instead. A clear statement of who is available, and who is not, is far more helpful than a missing photograph that leaves a journalist guessing. The bio and photograph are small parts of the kit, but they are the parts that make the business human, and they deserve the same care as the facts.

What belongs in a logo pack?

A logo pack gives a journalist the business's logo in the forms they actually need, without requiring them to ask, search a website, or extract a logo from a document. Supply the main logo in a common image format, at a size large enough for both online and print use, on a transparent or plain background, so that it can be placed on different backgrounds without an ugly box around it. Supply a single-colour or simplified version for situations where the full logo would not reproduce clearly, such as a very small size, a single-colour layout, or a background where the full version would be hard to read. That is usually enough. A pack with a dozen variations, each subtly different, creates choice without benefit, and a journalist will either pick the wrong one or give up and use none. Keep the pack small, keep the files clearly named, and keep only the current logo in it.

Add a few short lines of guidance, not a full brand manual. State the minimum size at which the logo remains readable, the clear space that should be left around it, and the backgrounds it may and may not sit on. That guidance can fit in a short paragraph, and it prevents the most common misuse, which is a logo stretched, recoloured, or placed on a background where it cannot be read. Do not include rules about typography, colour values for every application, or the history of the logo's design. A journalist does not need that detail, and including it makes the pack feel like a demand rather than a help. If the business has a full brand guide, keep it separate, and mention in the kit that it is available on request, rather than including it in the pack and making the kit heavier than it needs to be.

Check the logo files before every announcement, and remove any outdated version immediately when the logo changes. An old logo in a kit is a persistent error, because journalists will continue to download and use it long after the business has moved on, and each use will present the business with an identity it no longer uses. When the logo changes, replace every file in the pack, update the guidance if it has changed, and check that no old file remains in the folder under a similar name. File names should state what each file is, in plain words, so that a journalist can choose correctly without opening every file. A clear file name, a current logo, and a few lines of guidance are all a logo pack needs, and they are all it should contain.

The logo pack: five items

A logo pack is a small set of files, not a design manual. Give a journalist the files they need, with just enough guidance to use them correctly.

• The main logo, supplied in a common image format at a size large enough for online and print use, on a transparent or plain background.
• A single-colour or simplified version, for use where the full logo would not reproduce clearly, such as a small size or a single-colour layout.
• Clear guidance on the minimum size, the clear space around the logo, and the backgrounds it may and may not sit on, stated in a few short lines.
• File names that state what each file is, so a journalist can choose the right file without opening them all.
• No outdated logos, no draft versions, and no logos belonging to any other business or organisation.

What are three proof points, and how do you choose them?

Proof points are the three strongest, checkable facts that show the business is real, established, and worth covering. They are not slogans, awards lists, or collections of superlatives. They are specific facts, stated exactly, that a journalist can verify and a reader can believe. Good proof points include how long the business has operated, how many customers it serves, a concrete milestone it has reached, a recognisable relationship it holds, or a measurable result it has achieved, stated in plain numbers with the basis for the number made clear. The number itself matters less than its honesty and its checkability. A modest, verifiable fact earns more trust than a grand, vague one, and a journalist will repeat a fact they can check, while they will quietly drop a claim they cannot.

Choose three proof points, and no more. Three is enough to establish credibility without turning the kit into a list of achievements, and three can be remembered, quoted, and checked. Choosing them is a matter of judgement: pick the facts that are most relevant to the stories the business wants to be covered for, that will remain true for a reasonable period, and that can be stated briefly. A proof point tied to a single week, a one-off event, or a figure that changes daily will go stale quickly, and a stale proof point in a kit is worse than no proof point, because it suggests the kit is not maintained. Prefer durable facts: the founding year, the place and scale of the operation, a long-standing customer relationship, or a milestone that will remain true. If a proof point changes, update it in the kit immediately, and check that the same fact is stated consistently in the backgrounder and on the website.

State each proof point in a single sentence, with the figure and its basis included, and do not add a fourth sentence of explanation unless it is genuinely needed to make the fact understandable. For example, a statement of how many customers are served should say over what period and in what sense, so that the figure is not misleading. A statement of a milestone should name the milestone plainly, without adjectives. A statement of a relationship should name the other party only if you have permission to do so, and only if the relationship is real and current. Never invent a proof point, never round a small figure into a grand one, and never present an estimate as a measured fact. A media kit is a public document, issued under the business's name, and a false proof point, once published, will be found and remembered. Honest proof, stated plainly, is the foundation of the kit's credibility, and it should be treated as such, checked carefully, and updated whenever the facts change.

What product or service facts, and what recent news, should you include?

Product or service facts are the concise, factual details a journalist needs to describe what the business offers without having to research it from scratch. They should be a short list, not a catalogue. For each main offering, give its name, what it is in one sentence, who it is for, and the price or price range if the price is public and stable. That is enough for a journalist to describe the offering accurately and to decide whether it is relevant to their readers. Do not include every variant, every optional extra, or every detail of how the offering works. Those details belong on the website, linked from the kit, where a reader who wants them can find them. The kit's job is to give the journalist the essentials, accurately, so that the story can be written without error. A list that tries to be comprehensive will be skimmed or skipped, while a short, accurate list will be used.

Recent news means a short record of what the business has announced or achieved recently, in date order, with one line per item. Include launches, new services, new locations, partnerships, and other developments that a journalist would want to know about when writing a current story, and give the date and a one-line description for each. Limit the list to the most recent few items, and remove older items as new ones are added, so that the list always reads as current. Do not include routine updates, internal changes, or minor events that would not interest a reader outside the business. A recent news list that is short and genuinely newsworthy signals an active business. A list that is long and padded with trivial items signals a business trying too hard, and it will be ignored. Link each item to the full announcement or page where a journalist can read more, and make sure every link works.

Keep the product facts and the recent news in the same plain, factual tone as the rest of the kit, and update them together whenever either changes. A new product, a changed price, a closed location, or a new announcement should trigger an immediate update to the kit, not a note to update it later. The kit is a living document in the sense that its facts must track reality, and a kit that describes a product no longer offered, or omits a launch that has already happened, will mislead the very people it was made to help. Review this section whenever the backgrounder is reviewed, and check that the facts, the dates, and the links all agree with the website. Consistency across the kit, the website, and the most recent announcement is the test. If the three disagree, the kit is wrong, and it must be corrected before it is offered to anyone else.

Who is the contact, and why does reply speed matter?

The media contact is the person a journalist writes to or calls when they want more information, an interview, a photograph, or a comment. The kit must name one person, with their role, and give a direct email address and a phone number that will be answered or returned promptly. That person must be someone who can actually help: who knows the business, who can answer questions or find the answers quickly, and who has the authority to agree an interview or supply a comment. A generic inbox that nobody owns, a contact form that leads nowhere, or the details of a person who cannot help will all waste the journalist's time, and the journalist will remember the waste. Name the person, give the direct details, and make sure the person named knows they are named and is prepared for the role.

Reply speed matters because journalism works to deadlines, and a slow reply is often the same as no reply. State in the kit the hours when the contact is available and the reply time a journalist can honestly expect, and then meet that expectation. If the contact replies within one working day, say so. If they reply within a few hours during working hours, say that, and keep to it. Do not promise an immediate reply if it cannot be given, and do not state hours that are not kept. A realistic promise, kept reliably, builds far more trust than an ambitious promise that is broken. If the main contact will be away, name a backup contact in advance, or state plainly in the kit what will happen during the absence, so that a journalist is never left waiting without knowing why. That preparation is a small part of the kit, but it is the part that determines whether the rest of the kit ever gets used.

The contact section should also state, briefly, what the contact can offer: an interview with the founder, a comment on a relevant topic, additional facts, or a photograph, as appropriate. That helps a journalist frame a request that can be answered quickly, rather than sending a vague enquiry that needs several exchanges to clarify. Keep the section short, keep the details current, and test the email address and phone number before every announcement, by sending a test message and making a test call if necessary. Contact details go stale silently, when a person changes role, an inbox is closed, or a number changes, and a kit with dead contact details is worse than a kit with no contact details, because it sends a journalist down a dead end. Check the details, name the person, and reply promptly. Those three habits are the whole of the contact section's job.

The media contact: five requirements

A kit without a reachable contact is an unfinished kit. Name one person, give direct details, and state when they reply.

• One named person, with their role, who is responsible for media enquiries and will actually reply.
• A direct email address that is monitored every working day, and a phone number that will be answered or returned promptly.
• The hours when the contact is available, and the expected reply time, stated honestly.
• A backup contact, or a clear statement of what happens when the main contact is away.
• No generic inbox that nobody owns, and no contact details that lead to a person who cannot help.

How should a media kit be formatted and shared?

Format the kit as a single page or a single folder, with direct links, plain file names, and small, sensibly sized files. A single page, hosted on the business's own website, is often the simplest format: the backgrounder, the bio, the proof points, the product facts, the recent news, and the contact details all on one page, with the logo pack and the photograph linked from it as separate downloads. A single folder, hosted in the same way, works equally well, provided the folder contains only the kit files, each clearly named, and an index that states what each file is. Either format succeeds for the same reason: a journalist can open one link, see everything, and take what they need without searching, downloading, or asking. Choose the format that fits your website and your team, and keep it consistent.

Every link in the kit should be direct, fast, and working. A link should take the reader straight to the file or page it describes, not to a landing page, a form, or a folder that must be searched. Files should be small enough to open quickly on an ordinary connection: a photograph at a sensible resolution, a logo at a usable size, and documents in a format that opens in a browser without special software. Use common, open formats that any journalist can open, and avoid formats that require a particular program, a login, or a download of additional software. File names should state what the file is, in plain words, including whose photograph it is and which logo version it contains. A journalist who must open five files to find the right photograph will stop after two. A journalist who can see from the file name which file they need will use the kit as intended.

Do not require a journalist to request the kit, fill in a form, or provide details in exchange for it. A media kit is not a lead capture tool, and gating it behind a form will prevent most journalists from ever opening it. Publish the kit openly, link to it from the website's contact or news page, and include the link in the covering message of any press release where it is relevant. If the kit must be sent by email, send the single link, not a set of attachments, and state in the message what the kit contains in one sentence. An open, linked, fast kit will be used. A gated, attached, or heavy kit will be set aside, however good its contents. The format is not a detail to be decided last. It is the decision that determines whether the contents are ever read.

What should you leave out of a media kit?

The most damaging thing to leave in a media kit is length. A long document, however well written, will not be read by a journalist working to a deadline, and including one signals that the business does not understand how journalists work. A forty-page report, a full company history, or a detailed strategy document should never be part of the kit itself. If such a document is genuinely relevant, summarise its key point in one line in the recent news or backgrounder section, and link to it for a reader who wants the full version. The kit itself stays short. The same rule applies to zipped folders. A zipped folder forces a journalist to download, unpack, and search, on the chance that the file they need is inside. Offer direct links to individual files instead, each clearly named, so that the journalist takes exactly what they need and nothing else. A kit that respects the reader's time in this way will be opened. A kit that demands effort before it yields anything will be set aside.

Stale material is the second thing to remove, and it is the hardest to notice, because it goes stale gradually. An old photograph, an old logo, a fact that has changed, and an announcement from two years ago all look plausible at a glance, and they will only be recognised as stale when they cause an error. Review the kit on a fixed cycle, and remove anything that no longer describes the business as it is today. Do not keep old material in the kit as an archive. An archive belongs elsewhere, clearly labelled, and not mixed with current material. Sales language should also be removed wherever it appears: superlatives, slogans, mission statements, and uncheckable claims all weaken the kit's credibility, because they signal that the kit is trying to persuade rather than inform. Replace each piece of sales language with the fact it was standing in for, or delete it. A kit that reads like a reliable source will be treated as one. A kit that reads like an advertisement will be treated as one, and set aside.

Finally, leave out anything that creates a barrier before the kit can be used. A login, a form, a request for details, or a file that requires special software all turn a simple act, opening the kit, into a task, and tasks are deferred. A journalist who must register to see a logo will find another story. A journalist who must unpack a folder to see a photograph will use a different photograph. Keep the kit open, direct, and immediate, and keep it free of internal documents, drafts, and files made for other audiences. Every file in the kit should be there because a journalist writing a story about the business would need it. If a file does not pass that test, remove it. A smaller kit, containing only what is needed, current, and easy to open, is a better kit than a larger one containing everything the business has ever produced.

Six things to leave out

Everything on this list makes the kit harder to open, harder to trust, or harder to use. Removing it makes the kit better.

• Long documents: a forty-page report, a full company history, or a detailed strategy document has no place in a kit. Summarise it in a line, and link to it if a reader wants more.
• Zipped folders: a journalist should never have to download and unpack a folder to find a photograph or a logo. Offer direct links to individual files.
• Stale material: old photographs, old logos, old facts, and old announcements that no longer describe the business. Remove them, do not archive them in the kit.
• Sales language: superlatives, slogans, mission statements, and claims that cannot be checked. The kit is a source pack, not an advertisement.
• Irrelevant files: draft versions, internal documents, files for other audiences, and anything a journalist would not need to write a story.
• Anything that requires a login, a form, or a request before it can be opened. A kit that cannot be opened immediately will usually not be opened at all.

How do you keep a media kit current?

Keep a media kit current by reviewing it on a fixed cycle and updating it immediately whenever a fact changes. The fixed cycle should be short and realistic: a brief review once a month is enough for most small businesses, provided it actually happens, and a full review once a quarter is a sensible complement. In each review, read the backgrounder, the bio, the proof points, the product facts, the recent news, and the contact details, and check every fact, every link, and every file against reality and against the website. Open the logo files and the photograph, click every link, and send a test message to the contact address. That check takes less time than it sounds, and it catches the silent drift that makes kits stale: a changed price, a new location, a moved team member, a broken link, or a photograph that no longer resembles its subject. Record the date of each review on the kit itself, or in the document where the kit is managed, so that the next reviewer knows when it was last checked.

Update the kit immediately when a material fact changes, rather than waiting for the next scheduled review. A launch, a new product, a changed price, a new proof point, a changed role, a new logo, or a new contact should all trigger an update on the day they happen, or as soon as they are public. When you update, change the fact in every place it appears in the kit, including the backgrounder, the proof points, and the recent news, and check that the website says the same thing. Then check the files: replace any logo or photograph that has changed, remove any file that is no longer current, and confirm that the file names still describe the files correctly. A partial update, where one section is corrected and another is left with the old fact, is worse than no update, because it creates a kit that contradicts itself, and a journalist who notices the contradiction will trust neither version. Update completely, check completely, and record the update.

Assign one owner for the kit, even if several people contribute to it. The owner is responsible for the review cycle, for the immediate updates, and for the final check before any announcement. That ownership prevents the common situation where everyone assumes someone else is maintaining the kit, and nobody is. The owner does not need to write every word, but they must know that the kit is current, and they must be able to confirm it when asked. Keep a single master copy of the kit, in a single place, from which every published version is drawn, and never edit a published copy without updating the master. That discipline, one owner, one master copy, fixed reviews, immediate updates, is what keeps a small document accurate over years of use, and it is the difference between a kit that journalists trust and a kit that quietly becomes a source of errors.

How do journalists actually use a media kit, and what mistakes should you avoid?

Journalists use a media kit in a practical, hurried way that is worth understanding, because it explains every recommendation in this guide. A journalist who receives a press release and is interested in the story will open the kit link, scan the backgrounder for the basic facts, check the proof points for something quotable, download the photograph and the logo if the story needs illustration, and note the contact for a follow-up question or interview. The whole process may take a few minutes. If the kit opens quickly, answers the basic questions, and supplies usable files, the journalist can proceed with confidence. If the kit is slow, long, gated, or out of date, the journalist will either work without it, risking an error, or move to another story. The kit's success is measured in those few minutes, and every design choice should be judged by whether it helps or hinders that quick, practical use.

The most common mistake is to treat the kit as a showcase rather than a source pack. A showcase tries to impress, with long documents, many files, dramatic language, and every achievement the business can list. A source pack tries to help, with short facts, few files, plain language, and only the material a story needs. The showcase feels more impressive to the business that made it, but it is less useful to the journalist who must use it, and usefulness is the only measure that matters. The second common mistake is to let the kit go stale, through the silent drift described above, so that a journalist who trusts it is misled. The third is to hide the kit, behind a form, in an obscure corner of a website, or in an email attachment that is never sent. A kit that cannot be found cannot be used, however good it is. Link to it openly, from the contact or news page, and include the link where journalists will see it.

Avoid also the mistake of including material that a journalist cannot use. A photograph that is too small, a logo that cannot be placed on a background, a fact that cannot be checked, and a contact who does not reply are all, in practice, absent from the kit, because they cannot be used. Check each item from the journalist's point of view, before the kit is published: can this photograph be placed in a story as supplied, can this logo be read at the size it will appear, can this fact be verified, will this contact reply. If the answer to any of those questions is no, fix the item or remove it. That test, applied honestly to every part of the kit, is the simplest quality check available, and it is more valuable than any amount of additional content. A kit that passes it, short, current, open, and usable, is a kit that will be opened, used, and trusted, which is everything a media kit is for.

Build a kit journalists will actually open

A media kit does not need to be elaborate to be effective. It needs to be short, factual, current, and easy to open. Gather the one-page backgrounder, the founder bio and photograph, the logo pack, the three proof points, the product or service facts, the recent news, and the contact who replies, present them as a single page or folder with direct links, and leave out everything that makes the kit longer, heavier, or harder to use. Review it monthly, update it the day a fact changes, and keep one owner responsible for its accuracy. That is the whole method, and it is within the reach of any small business.

When the kit is ready, the next step is putting it in front of the journalists who need it. PressFudge media list services help small businesses find and reach journalists, publishers, and podcast contacts, with real, publicly listed records to browse and build lists from. Learn more about the media list services on the PressFudge media list services page at pressfudge.com/media-list-services, and make sure that when a journalist is interested in your story, the kit they open is short, current, and ready to use. A good kit, offered openly and maintained carefully, is one of the simplest ways a small business can make accurate coverage more likely.