≡ Menu

A Loyal Reader Writes:

“Three times a year, our station conducts a ‘Live Radio Auction’ where our clients give us products or services in exchange for advertising, and we sell the stuff on the air to listeners at a reduced rate.

“The problem is some of our clients only advertise this way and some complain about the type of people who take advantage of the bargains.

“This radio station began conducting these just once a year. Then we switched to two per year, and now three. A radio station in our area does one almost every month!

“I think they cheapen the value of our medium and tune out some listeners. What do you think of radio auctions?”

It would be smarter to trade the advertising for a specified total credit at each of the participating merchants and convert that credit into discounted certificates that you sell — at fixed prices, not at auction — on your station’s website.

In addition to the advertising you air (in otherwise unsold slots) for the individual merchants, you run spots promoting the website feature (but not mentioning any sponsors):

“Would you like to save 50% on practically everything? Check out the RadioX.com’s Discount Store. You can’t miss it: Just go to RadioX.com and click on ‘Discount Store!’ ”

So if you’ve traded $1,000 of advertising for $1,000 of merchandise at a particular store, you might sell ten $100 certificates (online) for $50 each.

The purchaser pays $50 and in return gets an unrestricted $100 credit at the store, thereby saving $50. The station keeps the $50.

And when the merchant that doesn’t usually use radio starts seeing immediate traffic (people redeeming the certificates), the merchant often wakes up to the power of local radio advertising.

None of this pollutes your airwaves or reduces the value of your paid advertising, and it’s much less likely to generate complaints from your regular advertisers (who also are welcome to participate in the program).

{ 0 comments }

imaging for radio newsToo many radio imaging directors and producers think “it’s all about the tools.”

They think the job of a great radio producer is to impress the audience (and other radio people) with all sorts of technical tricks.

Here’s one of my all-time favorite radio station promos, from WINS/New York.

If it didn’t make you smile, that’s okay. That just means it didn’t fit your taste or sensibility.

But if it did make you smile — or, as I did, respond with awe at its brave creativity — a reminder:

The people who did this 5 decades ago didn’t have 99% of the production tools available to you today.

All they had was an idea.

And a “what if…?”

And the desire to find out.

{ 5 comments }

RADIO COPYWRITING LESSON: Hit Hard

Here’s an important ad copywriting lesson of which I first became consciously aware years ago during a conversation with Dick Orkin.

He was telling me about a radio advertising campaign the Famous Radio Ranch had done in South Florida.

The big U.S.P. was the superiority of the client’s service over that of the established market leader: the dominant regional newspaper.

They made that the focus of the entire campaign: how lame the newspaper’s service was compared to their client’s (which was just being introduced to that market).

One of the local radio stations balked at airing the spot, because they didn’t “want to upset the newspaper.”

“How much money does the newspaper spend advertising on your station?” asked Dick.

“Uh…Nothing. They’ve never advertised with us.”

“So what’s the problem?”

The campaign aired as written, and it was hugely successful: Soon the client had a larger market share of that particular service than the newspaper.

As Dick told me the story, I had an aha! experience. When writing copy, I’ve always looked for strong themes and strong lines.

But until that moment I never consciously sought to pounce on them; I viewed them as vehicles to help deliver the sales message.

Ever since then, however, when I find myself writing an “edgy” line that powerfully drives home that message, I’m quite willing to throw away the original script and start all over, with that provocative line as the radio commercial’s focal point.

To use a boxing metaphor: If you discover your fighter has a powerful left jab, don’t just hope that he occasionally throws it; build your fight plan around that left jab.

{ 0 comments }

THIS PERSON SHOULDN’T BE A RADIO PROGRAM DIRECTOR

A guy I know began working for a radio station in a Top 10 market, doing an evening shift.

After his first week at his new station, he hadn’t received any feedback from his program director. So he called the station during the day and was told the PD was in a meeting and would call him back.

The PD didn’t call back, so the jock called him the next day and left another message.

And the next day, with another message.

Finally, just before beginning his show he happened to see the Assistant PD in the hallway.

“Hey, I’ve been calling (PD) all week, and he hasn’t returned any of my calls. Is there something wrong?”

“Oh,” the APD replied, “that’s just (PD); he never returns calls.”

He never returns calls.

Not even from his own jocks.

Mr. Power Trip.

I won’t give you any clues to the PD’s identity, but I’ll tell you one thing about his station:

It’s got terrible ratings. Abysmal. Embarrassingly bad, and it’s been that way for at least as long as this guy has been program director.

Not due to lack of resources; it’s owned by a major station group.

Meanwhile, here’s what Scott Shannon — who’s had far more success than Mr. Power Trip could ever dream of — says in LIVING YOUR DREAMS/PROGRAMMING TO WIN:

“Be nice to people, for God’s sake!

“Don’t give up your character. If you happen to have any values, hang on to them.

“If someone calls me at WPLJ in New York and I’m not in a meeting, I’ll usually take the call. If not, I’ll call them back within 48 hours.

“What I can’t understand is when occasionally I try to call a PD in Phoenix or Duluth, and you know what? He’s not taking calls today.

“So I don’t leave my real name. I leave another name with my number, and the guy never calls me back.

“What’s wrong? Can’t he call somebody back? He’s too busy?

“I really don’t understand that.

“Return your calls!”

Maybe you don’t have the time to return every phone call you receive from a stranger. (Although if you’re programming a radio station, you should schedule the time to return those calls.)

But not to return calls from your own air talent?

Can you say “Little Guy Trying To Act Like A Big Shot”?

{ 6 comments }

(video) 7 Key Lessons for Voice Over Professionals

voice over work

Voice over legend Harlan Hogan with an insider’s view of what it really takes to build a genuine voiceover business.

Click Here for Registration and Information

If you like this video, please share it with your friends and leave your feedback below…

{ 15 comments }