A Loyal Reader Writes:
“Just how many radio spec spots do you need to write and produce for a client that a rep is prospecting?
“I frequently get a note at the bottom of my creative request sheets: ‘Would love to have 2 or 3 really great spots for them!’ “Jeepers…”
Yes, he really did say “jeepers.” He probably just got out of a creative meeting with Wally and The Beav.
“Jeepers, I write 30 to 40 radio commercial scripts a week. Am I wrong in thinking that we should focus all our efforts on researching the client/business/product, designing an ad that best sells their product/business, and then putting our best effort into producing one really good spec ad? Or is quantity better?”
If your account executives offer prospects two or three different commercials, hoping the prospects like one of them, they are lowering your entire company from “Experts in Radio Advertising” to “They’re Not Really Sure What To Prescribe For Our Business Goals” status.
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Several years ago, I worked at a station where I wrote tons of spec ads that never got read or heard because one of the salespeople wanted to make “cold calls” armed with ideas. Her success rate was ZERO. (I kept track.) Once I figured out what she was doing, I confronted the sales manager and he said, “I don’t understand the problem.” (At the time, I was writing 80-150 spots per week — usually just over 100.) Good times.
An AE is obliged to qualify a prospect in their first meeting. Why produce a spec when you don’t even know if the prospect has money available for radio? Qualify first, then present a spec along with your presentation next meeting.
Yay! Sorry, I just wanted to see if I still knew how to do algebra.
For a great read and a great laugh (in the “funny because it’s true” category) Blaine Parker has an excellent article on spec spots on Dan’s website.
If you’re writing spec ads BEFORE the AE has spent any time with the client assessing their needs and goals then all you’re doing is exercising your typing and production skills.
Never disagreed more. When you write 3 or 4 spots or 8 or 9 (we don’t produce demos but present the scripts) you are giving the client choice (these will all work… which would you like to start with?) you are helping the sales person to sell more, sell longer…. and if you’re smart writing the ads they will be campaignable and have a hook or theme that pulls them all together. It seems to me like the first ad is the hardest to write, and the rest come easier. And I agree with Jean… a proper, qualified brief first!
Once wrote a great ad for a customer -and a second ad that was for his ears only – an in joke.
He loved the second ad so much he asked us to air that one instead – it ran for two days before we got an official complaint…and yes, it was a little raunchy.
So switched back to the ad intended for airplay. Interesting thing was that people spoke about the ‘naughty’ ad for months after. In two days it had so much impact that it listeners would refer to that ad rather than the real ad…
It irritates me when fast food people do it, too.. and their jargon is just abbreviated “normal” words. 2 Hamburg. Large fry.
As 35 year radio pro holding all positions, my most satisfying was Production Director. Spec spots had there place as a tool and Jean stated, know your client. I enjoyed the freedom of a spec. Yes, some hit some didn’t but those scripts and a spec reel could always be applied to another spec client
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