Step Six: Use your creative team

The following is the sixth of seven upcoming blogs on my suggestions as to how to fix radio so it thrives

Step Six involves using your creative team to cut down on the time between gathering information and delivering a spot or idea.

 I was just marveling with a friend of mine how, even five years ago, the technology didn't exist as it does today, to deliver information as fast as we can. It's a go-go world we live in.

So---if you're still having your salespeople meet a client, gather information, bring it back to the station, fill out a CNA, do a spec, take it back to the client,  make changes, bring the spot back again, miss and appointment or two because the client has to cancel, finally pin them down and get final changes, cut the spot, miss more appointments because the client is too busy to see you, get approval or make more changes, and finally get them to air----- you're doing business in 1974. 

Today, you can close business in one day. One day. Here's how:

Start with sending your staff out with a laptop ( the 10.1" versions work fine for this) or a tablet. Make sure a 'fill-in the blank' version of your CNA is available, along with a PowerPoint version of your station presentation. The entire presentation  and CNA  should be done there, in person, in 45 minutes or less. 

Got the needs analysis filled out? Bring your creative team online. Their interview with the client should take 15 minutes, max. If it's BENMAR, we can then create an ad right there, on the spot, in 20 minutes or less, complete with client input. If it's not, then the creative team should take their info and, in 30 minutes, return copy for the client to approve or change. Again, that's in BENMAR's wheelhouse, if you're so inclined.

The client makes changes/gives approval. You dot the I's, cross the T's and IN LESS THAN TWO HOURS, you've closed business. At the very worst, it should take one day. 

Yes, it's 2012. You can do that. You SHOULD  be doing that. Competition is fierce and timing is everything. This allows you to eliminate the competition----yes, even other radio stations.

Radio has always been an immediacy business. It's always been an innovation business. It's kinda gotten away from that over the past few years. Here's the blueprint to begin the road back. Let's show new media that this old media dog has some new media tricks of our own that blow everyone else out of the water.


Final blog: WHY ON AIR TALENT COUNTS and why you should invest in grooming your own. 

Step five: Keep the message simple and focused

The following is the fifth of seven upcoming blogs on my suggestions as to how to fix radio so it thrives

Step Five involves keeping the message simple and focused.

Much as we love to think we are so important in radio that everyone hangs on our every word, well------- we're not. And----- they don't. Fact is, the listener misses much of what we do or say. Which is why, when we say something, we need to make it count. I've been told, ad naseum, that we were given two ears and one mouth so we'd be inclined to listen twice as much as we speak,. In radio, it's the opposite.

That's why we have to be extremely careful about what we say. In a radio ad, we get precious little time to get the listeners attention, deliver the message and create a link between the name of the client, and a need the listener may have. It's why clients want to pack an ad full of info. It's why WE know, you have be simple, direct and concise.

The perfect radio ad will have the name reinforced several times through mentions and website or facebook pages. It will have ONE FOCUS, and drive that focus home---- narrowcasting the message if you will to the audience ready to act on it.  And if we do our job really well, it will be done creatively, as the client responds positively.

Once you start getting into cliches, once you start turning your spot into a laundry list of  'and there's more', once you start assaulting the listener, your 15 seconds in the spotlight is over. Period.

Keep your message simple and focused. Just like this blog entry.


Next blog:  Use your creative team to cut down on the time between gathering information and delivering a spot or idea.

Step Four: Do More Live Reads

The following is the fourth of seven upcoming blogs on my suggestions as to how to fix radio so it thrives

Step Four involves creating more live reads for on air talent.

 
Live reads. For some O/M's and P/Ds, the idea of putting live reads on their station  is akin to giving birth to a porcupine. On fire.
 
They hate them, because there's no control. Well, that's part of what makes a live read so important, and powerful.
 
Live reads connect. When a personality takes a piece of copy and begins to personalize it by reading it live on air, the listener begins to focus. Why? Well, first and foremost,  if the personality is any good, they can interject their own touches to the copy and make it seem more personal.
 
But more important, it forges a connection. For that one bright shining 30 or 60 seconds, it's just the two of you again, the way it was years ago before radio went corporate and bean counters began to call the shots instead of radio pros.  Personalities are human, but don't come off that way when boxed into reading liner  cards, T and T, and eliminating as much talk as possible (because research says to). By making a commercial a live read, you reconnect with listeners, and forge a stronger bond between the product, and the potential client.
 
But the ''X factor in all this is----the screw up factor, one which makes management grind it's teeth but makes audience howl with glee. Management hates screw-up's-- because screw-up's become make-goods. But really-- a real radio personality can take a screw-up and turn it into gold. Half the reason an audience listens more intently to a live read over a canned spot is--- they're WAITING for the personality to make a mistake. It makes them human and the audience loves that. When i was growing up listening to 77 WABC, some of the jocks used to screw up ON PURPOSE, UNDER ORDERS FROM THE CLIENT. Why? Because prior experiences had shown, it drew rapt attention. And attention drove sales.
 
A personality worth being on the air can 'screw-up' and ad lib, so the spot becomes stronger than ever ( re: Dan Ingram) . That means, in some cases, live reads actually become more powerful as the mistakes flow more freely.
 
Radio is entertainment. The bean counters never take that into account. So they program all the personality and entertainment out of it. Now, radio is in a pain. Bean counters are ready to listen to ideas that will give them more beans to count. Try driving this idea and see where it leads. Add a mix of about 20% live reads to your spot load and give your personalities some breathing room (not all. Just the ones with REAL talent who've earned your confidence). You may discover, live, means life for your bottom line.

Next blog: Keep the message simple and focused

Step Three: Social Media for Immediacy and Interactive Selling

The following is the third of seven upcoming blogs on my suggestions as to how to fix radio so it thrives

Step Three involves using social media for IMMEDIACY and INTERACTIVE SELLING and teaching your clients to do the same.


So this is where radio stations look at me and go, 'Wow. Thanks Captain Obvious. We're already doing that.' Sure you are Sparky. You're asking people to go 'like' your client on Facebook. Wooooooooooo. Hey--- we write spots for a living. I KNOW how you're using social media.

If you're smart, you're already sending listeners to the client's website to transmit all the  contact details that used to uselessly eat up almost 20% of the client's spot. But I'm talking INTERACTION. I'm talking about taking radio and using it for the immediacy media it really is.

Your client hopefully by now has a website, at the very least. Start there. Create a  commercial directing people to log onto that website and leave a cell phone number on a  form that's pre-designed. That cell phone will used as a landing spot for a text from the client. Within 10 minutes, the client should be answering the prompt with a special DAILY discount, just for people who text in. The client should EVEN offer to pick up the cost of the text. SO--- a clothing store advertises gently used baby clothes and furniture. A listener responds by providing a phone number on their website. Within 10 minutes, they receive a text good for 15% any item in the store. It's a time sensitive action coupon ( act today, tomorrow). When the next spot runs, the offer changes. Immediacy.

Second benefit? Client begins to build a text list--- active listeners who also want to shop for what the client offers. Even after the run is over, texting the client with special offers can be a way to spur biz.

On to Facebook. Create a commercial to direct listeners to log on to a client's Facebook page. Challenge them to write 25 words or less about why they 'like' a certain product the client sells (food, furniture, cars, etc). Client will choose five names, and reply to the walls of the chosen with a coupon good for discounts the next day, week, etc.  Stimulating interest by generating immediacy. Again, the names act as a residual list to perpetuate sales later on.

More facebook? How about a Facebook scavenger hunt. Client hides an envelope containing a cool prize and releases clues on their Facebook page-- 1/hour for x hours. For instance, car dealer hides a proximity key in an envelope somewhere in town. Gives out clues on where to find it. Winner gets a year's use of the car/ wins the car/ etc.  Imagine how much interest THAT could build.

INTERACTION. Getting the listener to not just RESPOND, but be INVOLVED. This is how you should be pitching your client when it comes to coordinating social media with a radio buy. Hey, guess what-- Pandora can't do that. Neither will Sirius X/M. They're not local and INTERACTIVE---- you are. Use  social media to drive your radio, NOT the other way around.

People are more wired and interactive today than any other time in human history. Use it--- because  the fact is, radio IS the ultimate social media.

Next blog: Do more live reads. 

Step Two: Create an Intern Program

The following is the second of seven upcoming blogs on my suggestions as to how to fix radio so it thrives

Step Two  to saving radio involves increasing the talent levels at your station so your commercial air sound is noticeably improved.

There isn't one station I can think of, in just about any market, that doesn't complain about not having the right talent to do killer in house radio production. Of course, most of this has to do with the indiscriminate firing a lot of talented producers and writers over the years in the name of 'cost cutting'. But I digress.

Yes, limitations are there in stations that need the advantage of producing solid local ads but don't have voices that fit the need. Most times, there's a lack of quality female voice actors. Many times impersonations are an issue. Voice characterizations? Almost nonexistent.  And many times, the only talent available are on air personalities who are either NOT ALLOWED by the station to assume third party characters, or are simple liner readers who aren't good voice actors.

OK, MAJOR PROBLEM, especially for an industry that purports to be an entertainment medium. So what to do?

Humbly, I present  THE INTERN PROGRAM. Relax, it's far from an original idea.

Local area high schools with drama or communications departments (even Internet radio stations) or local area colleges and community colleges have loads of what you need-- raw material, better known as talent. And many would be willing to put in a lot of time in return for school credit.

So--- take time to create a program with one, two or even three local area schools so that their kids learn about radio, along with donating part of that time to 'lab work'---i.e., producing and voicing spots. All you have to do is screen applicants for what you need-- then assemble a group of  5  to 15 kids to participate in the program. Remember, more is better, due to scheduling conflicts. Then, all you have to do is turn on the creative juices. Best of all--- this potential talent is free of charge (a word all radio stations love and worship).

Now all you need is someone who can write for radio. So, either seek out someone local in your market or look to a service like ours. Point is, by creating an intern program that takes a little time and nothing else, you open a huge new world of possibilities, along with a nice little revenue stream. Top notch production will not only help you out duel local radio and Internet competitors, it gives people more reason to stay tuned, which ups quarter hour cume, which ups listenership, which ups ratings, which ups rates--which makes everyone happy.

Come on---- radio is STILL the most powerful creative medium there is. Let's MOVE people. Create an intern program and expand your capabilities now.

Next blog: Use social media for IMMEDIACY and INTERACTIVE SELLING and teach your clients to do the same

Step One: Stop Writing Your Own Spots

The following is the first of seven upcoming blogs on my suggestions as to how to fix radio so it thrives: 


Only in the smallest markets do newspaper salespeople design their own ads.

Only in the smallest markets do cable or TV salespeople produce their own spots.

Only the smallest of the small coupon mailers let the salespeople design their coupons.

Yet everywhere, from small market right through top ten, radio is perfectly content to let salespeople, interns and clients write and even voice their own spots.


Seriously, this has to stop now. The difference between trusting professionals to do the job and anyone else doing it is staggering. I'm not talking quality-- quality is subjective. I'm talking a total lack of design, a total lack of creativity (no matter how creative anyone thinks they are), I'm talking a total lack of understanding of how to integrate social and web based media into the message to make it stronger.

I just know what I see, having worked in creative for 25 years. And what I see is radio, in deep trouble. Revenues are flat or dropping, and it's all because clients no longer accept the idea of 'passive response'. They want their dollar paying off today-- and new media is delivering on that idea. We're not, especially with spots that don't get the job done, yet keep getting airplay

Want examples? I could fill the page. How about those who add the phone number / address to a spot that already features the web site mention, all because the client wants it? How about those of you who create those 'new' ideas about two women talking about where they got their great clothes for the kids?

It can't go on. We're in a new era, with new ideas, new techniques and most importantly--- new listeners. Our biggest change at BENMARadio has been to influence our salespeople to think more about bookend spots--- the 10 or 15's that open and close a stop set. They're quick, to the point, get the name out and the idea across--and listeners respond to them. Has YOUR creative staff kept up?  

This isn't about quality, ability, or about servicing a client-- it's simply and completely, as always, about talent and results. Clients stick with what makes them money. If they can measure their radio results, you've got a client. If they can't, you've got a problem.

Plus, you're talking about up to 18 units an hour being sold locally. That means your radio station is delivering up to 30% of it's air sound--THE ONLY THING IT HAS TO SELL--- to people who are not trained or paid to write and produce creative. Your livelihood depends on renewals---those numbers make renewals a challenge.

So---if you're an LSM or GSM, regardless of market size, you HAVE to quit writing your spots, unless you have a professional staff that's handling it. But if you believe in cutting the bottom line to the bone by eliminating your creative teams, if you believe it's part of your salesperson's job, if you believe an intern or part timer can help do it, you're on the fast track to the buggy whip museum. And I'm not  saying that because I have a vested stake in the industry--- I see it happening.

Radio can win this battle for market share and dominate again like it never has before. But you've got to step up, hire the talent and give them room to do what they do best,  to make you look good. This, is step number one to saving radio.

Next blog: Create an intern program featuring high school juniors and seniors or local college students.

Six ways your creative message can save radio

I have been reading with great interest, many differing opinions regarding why radio is having difficulty competing and why it’s losing market share. The opinions usually go on to offer an idea as to how to improve this situation. All are interesting, but with all due respect to those who have authored them, many miss the point.

That's because many are written from the point of view of repackaging sales techniques so they fit the social media model. Or some offer ideas on, well, selling new ideas. Humbly, I beg to differ.

In these next seven blogs,on no particular timetable,  I hope to clarify what, in my opinion, can be done at the local level to improve your competitive advantage, and indeed, press it to once again dominate your market. All six can be summed up in one word------talent.

Here are the six ways your creative message can save radio:

1/  Stop writing your own spots.

2/ Create an intern program with the local high school or college and use the kids in the program for commercial air talent to expand your capabilities.

3/  Use social media for IMMEDIACY and INTERACTIVE SELLING and teach your clients to do the same.

4/  Do more live reads.

5 / Keep the message simple and focused.

6/  Use your creative team to cut down on the time between gathering information and delivering a spot or idea.

And the seventh topic:
WHY ON AIR TALENT COUNTS and why you should invest in grooming your own.

Next blog: Stop writing your own spots

Larry

I'm not here to pick on all Larry's. I just happened to meet a 'Larry' just like the one I'm going to feature and can't resist using the name. My apologies to any Larry's this profile doesn't fit. My sympathies to those that it does.

Every seminar I've ever done, whether it be at RAB, a broadcast group or for a cluster that was kind enough to invite me in to speak, there's always a Larry. He invariably he finds me right after I've spoken about the relationship between copy, creative and sales.

Now he begins a conversation, usually about something that has nothing to do with radio. Next, when he thinks he's disarmed me, he puts his arm around me, so now we're 'guy bonding', and begins to tell me about his life in radio. He tells me about his success stories, about how he loves the industry because he gets to work so closely with clients and how it allows him to use his creativity to help them succeed. He knows I'll understand--- we creative guys think alike.

He says he likes what I said in the seminar--- but he has his own way with clients, and it works so, he probably won't be needing our services much, if at all. He pats me on the shoulder for a final 'bonding' moment, smiles, shoots an imaginary finger gun at me, and he's gone. He has retained nothing of what I spoke about-- probably was busy figuring commissions during my talk. He has his way of doing things, and nothing, save the apocalypse, is going to change that..

Understand something-- at BENMAR, we're not here to change the way you think, work or create success. What we do is take the creative out of your way so you can concentrate on other money-making matters. Perhaps, using 25 years of experience, we can help your client's message get a fresh new feel, look and success of it's own. That's what we do. And trust me, the elements we build into a radio ad--even if you don't notice or recognize them-- are there for the sole purpose of creating success.

We're not here to challenge you or change your world. We're not here to tell you you're wrong or right. We offer a tool--and like any good builder, you should keep us in your tool box and use us to help you complete your task as smoothly as possible.

Experience counts. So do results. So don't  'Larry' yourself into a position where you create boundaries and limits because you think you know it all. We don't. You don't either. So let's work together, to bring out the best in each other, and the best in your cluster's air sound.

Mention this ad

If I had a dollar for every time we received a request that said, "the client wants something in the ad that says, 'mention you heard this ad on K triple X' or something to that effect."

Wow. OK, Pandora, step back-- the box is open.

I usually spend about 30 minutes in any seminar discussing this one aspect of radio which is really misunderstood. But not here. Let's get down and dirty. The simple answer is, 'mention this ad' does not work. It's always a losing proposition for you--because no matter how successful, you'll never meet the client's expectations for it. But there IS way to make a variation of this idea work for you.

It's called the Offer of Perceived Value.

What an offer of perceived value does is give the listener a reason to respond. The only key component of it, is it has to be indigenous to your radio cluster--- meaning, no other media source that your client may be involved with can be using it. It has to be specific to you and your listeners. So--- let's look at two examples.

Poor offer----'Come into my dealership this Saturday, take a test drive and I'll give you a free key chain." Nothing compelling about THAT, is there. So this offer has no value to the listener.

Solid offer--- 'Come into my dealership this Saturday and if you're one of the first five people to buy a car, I'll give you an additional $500 off your deal PLUS extend your original factory warranty six months." The line will start early Saturday morning for that one.

Now, all we have to do is couch the words in a way that makes the audience feel special. Well, at BENMAR, we do that in a simple manner-- by making it a gift or special surprise. In other words, instead of  'come in and mention you heard this on KXXX', we say,'Stop by and ask for your special gift. There's one waiting for you, and it's yours, but you have to ask for it.' This accomplishes two things----- first, makes the listener feel special and second, forces the listener to 'act' or respond. Your staff isn't coaxing them by asking., 'hey-- did you hear our ad?", thus corrupting the  actual test and reason for the  whole idea to begin with. Instead, the information is volunteered, making it a purer form of response, and better when your client analyzes results.

See, the ugly truth is, very few listeners will take the time to walk in and say, "hey, I heard your ad on KWWW."  The reasons are one, they don't like to embarrass themselves, and two because, well, frankly, they just don't remember where they heard the ad. And we have documented proof of that.

So don't worry about 'mentioning' the ad. Worry about how to use the idea to gain results and help the client better target customers. And these are just a couple of ideas about how to do just that.

Speed Dating and Radio

'And can we say that we have bungee cords in a dozen different colors?'

Sure you can say it. Hell, it's your client's dime--- they can say anything they want in a radio ad. But will it make the ad more powerful, more successful, more listenable? No. And that's where the problem lies.

Clients get lost in the vacuum of time. In other words, we sell time-- so they view their spot as time to be filled. That's not the objective here---you can fill 15, 30 or 60 seconds with just about any words you want. But the client has to view their time as time well spent with a potential client.

Think of it as speed dating. Although you don't get seven minutes, you get 15, 30 or 60 seconds to make an impression. If that person is going to want to see you again, you only have a short time to entice them. Are you going to spend that time spewing out information so fast they can hardly understand you? Are you going to spend that time trying to sell yourself? Or----are you going to look for an original way to get their attention and whet their appetite so they want to know more. If you haven't dated in a while, or ever gone through speed dating, the last scenario is the most productive. Your client doesn't have unlimited time-- they get a moment in a broadcast day, repeated as often as their frequency allows. It's that repetition of a thought combined with an intrioguing message that's going to drive new customers to seek them out.

And remember another thing the client needs to understand-- social media is where the  bulk of their information should get delivered. Radio has been freed from the tyranny of having to reinforce addresses and phone numbers a dozen times in an ad. Now, send listeners to a website (hopefully one that reinforces the name) or facebook page and they can spend all the time they want looking for phone number, addresses and special deals. The radio ad itself can now live to do exactly what it was created to do--- brand an image and idea that makes people want to learn more, or respond directly.

Your client doesn't get seven minutes-- they get 60 seconds or less. Don't let them end up going home without a date. Intrigue those people who want to know more about them. Tickle their fancy-- and they'll tickle your bottom---------------------------------------LINE, that is.

It Separates Me from my Competitors----So Leave It Out of This Spot

Huh...? Are you kidding..?

Want another reason radio loses ground to new media? It's our failure to deliver consistent results. Want a MAJOR reason for that? How about clients who leave out their signature selling point.

Just happened. Recently we did a spot for a client who loves their creative idea and approach. In fact, they get so wrapped up in writing the spot, they miss the point. A lot. It's not uncommon, BTW---it happens to those not used to writing in 30 or 60 second increments.

OK, so this client has a selling point that REALLY stands out in their field. It's a point that absolutely creates revenue and traffic for them. Yet, they decided to edit everything we wrote-- EVEN TO THE POINT OF ELIMINATING THEIR SINGULAR SELLING POINT. Serious---there's no mention of it ANYWHERE in the copy.

Imagine for a moment, Walmart never mentioning low prices, or Verizon forgetting to remind you about their 4G network. Imagine a commercial for Ford trucks that didn't highlight the fact they're the number one selling truck 25 years in a row. THIS is what this client did in their ad. And guess what? They're not alone.

It's pitiful and it shows up as audience confusion. But a client doesn't see it that way. They blame it on the station, on the music that was played, on the time slot, on a hundred different reasons. Then, they start to get wanderlust-- after all, new media reps have been begging them to try their services. 'Radio is old,' they say. "It can't deliver results like we can'.

This gets laid right at the feet of those in charge. They're so busy cutting budgets and eliminating pros who make the spots work and understand how to bring results, they don't even see the issue. To them, it's a 'salesperson' issue. 'A better salesperson wouldn't have lost them,' they say. Or they tell the salesperson to spiff the client with concert or sports tickets, meals, trade, etc. What a waste when all they have to do is make some simple changes in copy.

So the lesson today is----it's on you. If you're not working with a team like BENMARadio, you must never, ever lose sight of what to deliver to the audience. Every client needs an identifier (think 'jingle' or 'sound'). It speeds audience recognition and separates them from competitors. So STOP. Don't get carried away with ideas or creative. Remember the essentials. Otherwise, new media will be ready to remind you of your mistakes.

Selling versus Telling

Think about it--- the entire success of your client's campaign relies on the spot you and your team create (assuming we're not in the mix). So---is your 30 or 60 second spot assaulting your listener with unimaginable amounts of information-- or does it have a purpose?

At BENMAR, we always ask the question-- are you selling, or telling? What's the difference? Let's start with telling.

We recently completed a spot for a salesperson who had a realtor come on the air. This realtor insisted that, in a sixty second spot, they wanted to talk to those who were buying a home, selling a home, renting a home and in need of a property manager and also, talking to those who wanted to build custom homes, because of a relationship they had with a builder. Four distinctly different markets, four completely different individuals, all in 60 seconds, all in the middle of, most likely, a five minute stop set. Is it any wonder this commercial did absolutely nothing for the client or our salesperson? That's because it was just telling, assaulting a listener with information because the client perceives that they need to fill their time with info. Telling does not offer you even a remote chance for success.

Selling? Well, that's a spot that's focused, and has a theme or idea behind it. Selling doesn't rely on just an assault of words-- it becomes an idea in the head of the listener that they need the product or service that the client is offering. Selling, in the above mentioned example, would've involved choosing an idea, then creating a donut which could be used to target the various components of this client's business. The idea would be selling-- the donut would focus on a general idea and then help reinforce the fact that the client would be the logical choice to contact for help. We 'sell' the name and the contact point-- the client does the rest.

So---when you're involved with creative, take a moment to ask yourself the question--is your radio spot selling or telling? Selling keeps the message simple, direct and easy to understand. Telling is wave after wave of unimportant information, eventually wearing the listener out. Your choice as to which way you go is the key element that determines success or failure for you, and your client.

Walking into the Door

It's the old vaudeville routine come to life.

There's two guys on stage----the first guy, in front, pushes open a door which, of course, snaps back into its closed position after he's through. That leaves the second guy, the stooge right behind, to walk into it face first, and come away rubbing his nose. In essence, that's what happens dozens of times each week on your radio station, when a bad commercial plays in a stop set.

Let's be more literal. Say you own a shoe store and bought time. OK, a stop set opens with a national ad. That ad gets chased by a locally produced ad for Fred's Auto. In this spot, a 60, Fred and his wife sing off key for 25 seconds, then list everything they do for 25 seconds, then sing out for the remaining 10.

It's cringe worthy radio but yet--it airs. Why? Because no one at the station said it couldn't. The equation was----they bought the time, the check didn't bounce, ergo---they're a valued customer. THEY'RE the FIRST guy through the door.

Now, sitting behind them is---YOU. Your product. Your service. YOU did a good job of keeping your spot simple and it's also locally produced. And it's good. But guess what? Doesn't matter. Once Fred and his wife get done, the only people left listening will be a dozen or so shut-in's, the engineer, the board op and the program director (who HAS to listen). YOU'RE the stooge who comes away rubbing your nose.

Is that fair? Should a horrible commercial destroy other client's chances of being successful? This is a conundrum that has taxed radio minds for years.

Valid checks usually trump all. But salespeople CAN step in. This is not to say you're empowered to make decisions for your station. But you DO have experience, along with a responsibility to protect other clients from having to follow bad spots that could drive the audience away.

If you find yourself with a client who's creating a bad spot, alert your program director immediately. It's also a good idea to arrange a meeting featuring your production director. When you bring in an expert, someone who adds experience and creativity, you may steer the client from making an egregious mistake. We at BENMAR do this all the time, and there is a delicate art to telling someone their baby is ugly. But keep in mind, your other clients DESERVE someone standing up for THEM-- because they pay cash money too. They're NOT making egotistical mistakes--- they deserve to have you protect their interests. In truth, it's part of what they're paying for.

Your station's air sound should never be sacrificed for one check. The ripple effect could cost a lot more over time, long after Fred and his wife have disappeared. So if bad radio begins to gain a life with one of your clients, be the professional you are. Use the tools you have and the people who support you, to move your client to a better, and safer place---for everyone.

What do YOU think of me?

There's a great line in a not so great movie ('Beaches') which I am reminded of today.

The movie deals with a very narcissistic (self-centered) woman who's all about her own life. And one of the great lines comes right after a scene in which the self-centered character gets done telling her friend about everything going on in her world. She takes a breath, and in a moment of what you think is self realization says, 'OK, enough about me. Let's talk about you.' Short pause, then, 'what do YOU think of me?". Very funny--and totally applicable when dealing with a client.

Clients want their 30 or 60 second to be about me, me, me, me and more me. Rightfully so, right? After all, they're PAYING for that 30 or 60 seconds--who ELSE should it be about? Well.......

What they don't realize is, they're not talking into the mirror. There's an audience. And the audience may NOT be as thrilled with every little detail about them, as they are. The message about their product or service is important, of course----- but when it's an assault of information of even the most minute details, when it becomes nothing but detail after detail after detail, the message can actually go negative. Bad for them, bad for your station. The audience tunes away-- and the client is left shaking their heads, wondering why their radio spot didn't work.

We're not talking about too much humility here-- we're just talking about how to deliver the MOST IMPORTANT DETAIL, and leave the rest for when the client is actually on the phone or at the place of business--- in other words, at a point of contact where the client has more than 30 or 60 seconds to talk about advantages. There is only so much a radio ad can do---and if you keep the information to a minimum, and keep it targeted, you not only improve the chances of it succeeding, you let the audience revel in the wonder of what the client is offering, instead of shutting their ears because it's reminds them of how their mom would nag them to get all their chores done BEFORE getting on the phone with their friends.

Let the client tell the audience a simple story, THEN ask, 'what do YOU think of me ?'. Chances are, by delivering a simple message, results will be much more ego boosting---and successful.

Green and Gold

Pardon my green and gold pride but my CSU Rams are in the field of 64 for the NCAA Tourney for the first time since '03. Go Rams..!

Exciting new s is coming your way in t he next four weeks. BENMARadio is growing again, innovating again, and offering more ways to make money than every before. Watch for the debut of Radio--the Mother of all Media, Trash Talk Tees and the reintroduction of BENMAR On D'mand, a way to get CUSTOM copy, written hand in hand with your client, instantly. Yes, I said, instantly.

WE ARE innovation. Have a great week.

MM

Radio IS, the Mother of All Media

RADIO was talking before film had a voice.

RADIO was singing before birdies could tweet.

RADIO was your music before there were downloads.

RADIO was interactive before books had faces.

RADIO was wireless before there WAS wireless.

Throughout 2012, BENMARadio will be offering a promotion for radio stations across the fruited plain called, "RADIO-- The Mother of All Media." It's meant to do two things---make your listeners understand commercial radio has a rich and innovative 80 plus year history, and second, while social media may be new and sexy, radio is the one who's given birth to all those so-called 'new' ideas, and is still the one that delivers messages and entertainment best.

That doesn't mean radio isn't without issues. As a member of a few Linked In groups, I see discussions every day that rage about the future of radio---- some even ask if it has a future at all.

The answer is simple----entertain them, and they will come.

Radio has the advantage of immediacy and theater of the mind. At any one time, we can be anywhere, or be any-THING to any-BODY. But what corporate radio has lost, and what they haven't taught you, is--- radio needs to entertain, to keep people coming back. Radio, when it was at it's best, has always been about giving the audience a reason to listen. That means your stop sets as well as your air talent.

It doesn't mean every commercial has to be a Busby Berkeley production (if that reference is too old, wiki 'Busby Berkeley')-- it means, you need to be aware of the fact that the listener is there to be entertained. A commercial that drones on for 30 or 60 seconds without having at least SOMETHING to attract the listener, will be of no use to you, or your client.

In the coming weeks, I'll be offering suggestions about how to make your ads more colorful,and entertaining (yes, even the ones that now drone). I will also be discussing our Radio Mother promotion to help your cluster make money and raise it's visibility and image.

Stay tuned. As Al Jolson once said, 'you ain't seen nothing yet.." (yeah, right, I know. Just wiki 'Al Jolson').

Writing to the Talent

No--this doesn't mean leaving notes on the desk of the air staff. It means, writing spots that bring out the best in your talent, and air sound.

Since deregulation back in the 80's, radio has put an overwhelming emphasis on sales, sales training and just about anything associated with--- you guessed it--sales. Which means, budgets for creative got slashed. After all, who needs to worry about developing talent when your format calls for liner notes, T and T or just warm and fuzzy breaks.

Well, that leaves us today, in 2012, with a lot of quality professional voices, who are NOT radio actors. And that means, the way you write a spot, is as important as what is contained in that copy.

Ideally, you want to 'groove the pitch' for your talent, to borrow a hackneyed baseball expression. That means writing copy that works to accentuate their strengths. It's a cardinal rule for anyone who wants their clients to enjoy success on the air that you must write to the level of your talent. The key element is always keep in mind, who's doing the read.

The other side of the coin? Well, here's an example that's probably happened to you once or twice or fifty times. A client offers an opinion that goes something like this:

"Hey, I've heard this great spot on the air lately (usually no retention of the product or service name) where there's a guy and a girl and they're really cute together and then these two friends of theirs come over and it's all really funny. I want to do something like that."

Your first response? Pure, unmitigated panic. You know what's going to happen if you ask for something like that. BUT---sales is king. The client has a check that will not bounce. And so, the request is submitted. And what happens next is, unavoidable. The announcer is a staff jock who's fabulous on the air, but can't act. The Prod Director usually will take one of the male or female voices, which leaves secretaries, sales assistants, hangers on and salespeople to fill the other roles. The result? High school radio, a spot guaranteed to cause tune-out but especially damaging if it piggybacks to a national ad. This benefits NO ONE.

It's unfair and in some cases, insulting to ask quality radio talent to be good at something they're not. You embarrass them---you even run the risk of them losing credibility with their audience.

Think of it this way-- imagine someone said the following to you:

"Hey, I know you're good at sales so I need you to negotiate the release of two hostages being held at gunpoint in a downtown building."

There are techniques for helping talent get the most from their abilities. You can bring out the best in ANYONE, if you simply cater to their strengths (maybe using power words, short thoughts or playing to a talent's ability to rhyme) and avoid their weaknesses (accents, fast talking or impressions).

Of course, even easier than all that is, call BENMARadio. It's what we do best, it takes the burden off you and in turn, works with EVERY client you have, not just the difficult ones. We write to bring out your best--and that turns into happier clients, better stop sets and increased revenues.

Try This Writing Exercise

(Quick note regarding last week's 'Colonoscopy.." blog. If you think I was exaggerating, a few days after I posted the blog we did a Valentine's Day spot for a client whose notes to the AE read, in part, "forget all the usual Valentine's Day gifts this year guys. Get her a gift that lasts-- a remote starter or heated seats.." Life is always funnier than fiction....MM)

Try this writing exercise----take a moment with a good friend, a spouse or even a co-worker. Spend 60 seconds talking to them about something you're both passionate about. Watch them carefully---watch how their attention wavers, how they reach a point where they tune the info out. Do this, observe, learn and you're starting to understand your listener a lot better.

Many times, salespeople question copy we send them. They're not sure whey we choose to eliminate information the client gives them, or why we choose the idea we do. The answer always lies with the listener. Targeting information and keeping the spot clean and simple is one aspect of making a client's spot more effective and impactful. However, that's for another discussion.

Here, let's focus on the reality of a 30 or 60 second spot. We realize that being third or fourth in a stop set is a nightmare for clients--- so we use this as a working model for developing creative. How do you bring an audience into your world when you're third of fourth, or even deeper in a stop set? Well, you start by understanding the first 5 to 7 seconds are crucial.

If you use the exercise I mentioned, in the beginning, you see your subject very involved in what you're saying. After the first 10 to 15 seconds, they begin to lose interest. Unless you do something to bring them back, you're going to lose them, along with your chance to make an impact. That's why, with BENMAR scripts, you'll find them structured to grab attention, and then reinforce attention throughout, using different creative methods.

Of course, you're using people who would naturally be interested in what you're going to talk about. On the air, that's not always so. Listeners are a diverse group, so grabbing them and holding them becomes even more difficult. Someone who knows you will open their mind and listen--- a listener hearing a radio ad isn't so forgiving. So that's why this model is so important for you to experience, and to see how your subject responds.

It's not rocket science and there's no formula to follow. But the more you understand how the listener listens, where they're going to pay attention and where they're not, the better you can acquire information, the more knowledgeable you can be discussing ideas with your client, and in the end, the more positive effect you can make for them, for their money.

Yes, there is a method to the madness. Try this and see what we mean.

Create A Sound for Each Client

It's not as hard as it sounds-- and it will help make your ads stronger and more memorable, thus becoming more successful. It's one of the main building blocks we use at BENMAR, and have for the better part of 25 years.

Creating a sound is the same principle agencies use when they create jingles, or campaigns. Find music, find a voice (or voices) or find a style for each client. That way, if you have five furniture stores on the air at the same time, one doesn't sound like the other. Otherwise, the tendency is to listen to the client, do what they're comfortable with, and blend in to the rest of the spots competing for the listener's ear.

Don't underestimate that last idea BTW---getting through to a client can be hard. I work with a station that has two furniture stores in the same market (small/med), owned by the same people. And though they appeal to the same demographics, they want the same style of commercial for each, right down to the same sales points and information. They just can't get it though their heads that instead of making an impact, all they're doing is confusing the listener. And then,of course, they blame radio for not delivering the results they expected.

A sound can just be a consistent voice. It can be a music bed you use for a client all the time. But you need to be thinking in that vein for every client, because THAT'S a big part of what's going to determine the client's success further down the road. The recognition factor for spots is very important-- again, it's why agencies spend a fortune on jingles they plan to use for 10 years. When a listener can recognize a client within the first three to five seconds of hearing an ad, and all simply by the sound of the ad, you've won the battle for top of mind awareness. And in many cases, that's all the client is trying to achieve.

Clients don't like to leave their comfort zones, so be gentle. But make sure each client you pitch has an idea and a hook. The easy way to get that done? Why, of course-- call on us. We understand this aspect of the client/sales relationship better than anyone in the creative business. We can help you help your client achieve greater success, and, in turn, increase their bottom line---and all without a huge, expensive ad agency and budget.

Colonoscopy--the Gift That Keeps on Giving

"Want to give a truly special gift this year for Valentine's Day? Give the gift of a Colonoscopy."

I've just finished creating a Valentine's Day spot for a carpet cleaning service because, I don't know about you, but nothing says romance to me like a clean carpet. Which brings me to my latest rant----

It's time to stop the silliness in copy, trying to force a link for clients who have no direct connection to an event or theme.

That means all the clients who sponsor sporting events who want to use sports tie-in's (i.e., 'it's time to kick off savings', or '....helps you hit a home run.."). It means those who want to tie together a Valentine's Day connection where the really isn't one (ex: heating and air conditioning) like they do to Easter or President's Day. What all that leaves you with, is an ad like this for Mother's Day:

"Hey-- Fred's House of Guns wants to reminds all you pistol packin' mama's that Fred's is taking 30% off all handguns for Mom's special day..."

It's getting silly, it's getting out of hand, and for the listener, it's getting to be a joke. If your client seriously wants to link to a special occasion that doesn't really fit them, do it in subtle, yet effective way. Resist the temptation to use words or alliteration that would be best saved for other types of businesses.

So, if the Colonoscopy Center of the West wants to run a special deal for someone you love on Valentine's Day, emphasize the health aspect of having a test done, as opposed to doing anything involving flowers, Cupid, candies or arrows. If you want your client to be taken seriously, explain to them that they have to act with a little more dignity. Otherwise, just go for the full slapstick effect and hope for the best. And, as always with humor, that can be a crap shoot (please pardon the cheap pun).

So please---- work with your client when it comes to trying to tie their product or service to an event or occasion---especially if you can see that it's a huge stretch to do so. Trying to tie together elements that don't fit will only leave you feeling like those who go through a colonoscopy---if you get my drift.

What if Everything in Life Was Like Radio

So many times a salesperson will send us something the client has created and it's accompanied with the words, "here's an idea I started. See what you can do with it,' or "I wrote this but it needs to be punched up. See what you can do.' The idea is, here's what been created. The client thinks it's great, but it needs help. Now you go ahead and see if you can make it better.

OK, so let's take that line of thought out of radio for a moment and transfer it to real life. Imagine it happening while building a bridge:

V1 Here you go Johnston. I got the bridge started----you take it from here and see if you can improve it."

Imagine it during an operation:

V1 OK McKenzie, I started this gall bladder surgery. Here's my idea for what I think we should do. Why don't you go ahead and see if you can't improve it or finish it up.."

This one intrigues me:

V1 OK sis, listen I got the date started. I'm turning him over to you-- see what you can do with it."

In a lot of ways, it reminds me of the recent Holiday Inn Express TV commercials, where someone is in a situation and acts like an expert, but when confronted as to whether they're an expert, simply replies, 'No, I just stayed at a Holiday Inn Express last night.' That was enough to make them as smart as the experts.

Seriously-- outside of what your client wants to accomplish, what do they know about radio? About entertaining? About transmitting their message so it reaches out and penetrates the audience? The most difficult idea of all is, 'here's what the client wrote---- see if you can improve it,' is simply belittling your own industry.

We at BENMARadio have a better idea which works to both educate and satisfy your client, and make them understand how much work actually goes into their message. Hook them up with your creative team (if you have one). Have them discuss their ideas and wishes directly with the people who'll be responsible for making something happen on the air. Chances are they'll appreciate the chance to talk to your pros and thus,they'll get a better feel of what's expected and why it's not a simple task to just write something that can be improved upon. It will open many eyes to just how important the message is, and how, ideas can be like navels--- everyone has one, but not every idea is right for accomplishing the goal.It takes more than just a good idea to make a radio ad work.

OK, so now I've gotten you started with this blog idea regarding client's idea and radio copy. Now, you take it from here. :)

What About the Listener?

When you're working with a client, getting them excited about their spot, you're both thinking about how to transmit their message in the most effective way possible. YOU know what they want to say; YOUR CLIENT knows what they want the audience to hear. And many times, when you fly without a copywriter or a production director, you become very client-centered---meaning you worry only about how the client likes the spot.

But what about the listener? Have you ever thought about how your listener, listens?Here's an idea to consider.

Most times, listeners come to a radio station as an escape. News, talk, music--whatever. The listener doesn't want to work---they want to be entertained. Well, here you come with as client centered spot, that includes all the details your client wants and even uses the creative style that was agreed upon. And what happens? You put the listener to work---and they immediately tune you out.

Too much information, too much shouting, too many ideas and numbers and addresses you're trying to get them to remember----it all works to say to the listener,' hey, pay attention to all this.' They don't want to----remember, they want entertainment and expect the same out of their commercial breaks(stop set). Plus, if you're not positioned first in the stop set, they may have already endured 2,3,4 spots before your client's message arrives.

So again, if your spot makes them work, they tune it out. And that means opportunities get lost again and again. If your spot informs simply, or entertains using a simple concept and idea, you've got them. Then, it's frequency that will carry the day.

Keep this in mind when working with your client and acquiring information. You have to target one idea and one problem per spot. Transmit that information to your creative team, or to us. Use the KISS method (Keep It Simple Sister)of creating radio spots, and you'll keep your listeners through the stop sets longer and be more effective when the stop sets come on. Remind your client, sure it's about their product or service, but in the end, it's about engaging the listener.