Several months ago, I took over the reins of HealthExec, serving as Editor and primary writer for the brand, which provides news and analysis to healthcare business professionals. I also continue to contribute occasionally to other Innovate Healthcare publications, including Health Imaging, Radiology Business, and Cardiovascular Business.
Check out the link below to see my work.
I've been writing for Innovate Healthcare since August 2023, serving as Editor of Health Imaging and as a contributing writer for other brands (HealthExec and Radiology Business).
Check out the link below to see my work.
Winning an award is a big deal, especially in the health tech and life sciences space. The exposure not only earns a company, thought leader, or product media attention, but the prestige of an award also carries bragging rights that open doors for new partnerships and customers across the healthcare ecosystem. As with anything coveted in this world, winning an award is hard work and not everyone gets to leave with a trophy. However, a great application will maximize the chances of winning.
Nearly every healthcare award requires a written application – a chance to inform the judges on who you are, what you do, and why you deserve to win. If you want an award application to stand out from all of the others in the stack, it’s best to identify these all-too-common errors and remedy them before you hit submit.
A media briefing or interview is an important chance to reach a wider audience. Furthermore, it’s a chance to exercise your communication skills, enhance your message, and go beyond the press release. Every interview is a chance to have a conversation with another knowledgeable person and develop your resume as a notable thought leader.
Over my time as a newspaper correspondent, magazine editor, and media relations professional, I have conducted and sat in on hundreds of media briefings and interviews. And, honestly, most of them go fine. The ones that don’t go well (where it isn’t the media member’s fault – which it sometimes is!) usually are a result of a spokesperson tripping into three common pitfalls:
In public relations, there’s a lot of talk about a company’s brand and its messaging – the ideas and public imagine the institution and its representatives. The value cannot be overstated.
Messaging and branding give a company its identity, making it appear
“human” in the eyes of people. It gives anyone interacting with a
company or organization an identity they can latch onto and work with.
A
loyalty to your messaging and branding as a company is important.
However, things are changing. If you’re an individual, even a CEO, the
rules are not quite the same.
The phrase “thought leader” is one that is thrown around a lot in public relations. And it’s understandable: For any public facing organization or business, it’s important to have experts on hand who can speak to the public.
However, as someone involved in day-to-day media relations operations at an award-winning PR and marketing agency, I have a major gripe with thought leaders, and I wrote this blog specifically for them and their coaches.
In short, my gripe is this: You need to be able to talk about something else other than your products and services. You must be able to speak about something other than your business and your brand.
If you can’t do it, you’re not a thought leader, you’re a spokesman. And there is a difference.
2004’s Doom 3 was a shooter that focused on survival, pitting the player against hordes of monsters in a progressive environment where opening fire isn’t always the best path to success. It’s a great game, but it’s not a Doom game. Classic Doom is about run-and-gun action, where one brutally clears a map of foes and triumphantly moves to the next area to repeat the process – armed now with cooler weapons and faced with demonic enemies that are harder to put down than the ones that came before. It’s simple fun, providing a constant adrenaline rush and non-stop carnage.
It’s this type of gameplay that has given the shooters from developer iD Software their identity, but recent releases seemed to signal the end of the formula. That is, until now.
'Mad Max' used me up like a bloodbag and, much like the false promises of the warlords, Valhalla wasn't waiting when everything finally faded to black.
If you’re like me, an open-world game set in the universe of George Miller’s Mad Max has always been on your wishlist. It’s a setting ripe with possibilities for great gameplay: The Big Nothing, a barrier of sand, encapsulates an isolated enclave where the last remnants of humanity struggle to survive against the harsh elements of the post-apocalyptic landscape – including the maniacal warlords hellbent on conquest. We haven’t seen Max on a console since the NES, but finally his true sandbox title has arrived. And now that it’s here, I’m sad to report the experience feels devoid of life, but ironically not because it takes place in a desolate wasteland. There is fun to be had, and the game faithfully creates the look and feel of the movies; however, Mad Max falls short in capturing the depth and immersion that make its source materials beloved classics.
I worked on several custom publications as an editor, writer, and occasional photographer. Below are two of those magazines.
