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