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First, the Los Angeles market radio commercial.

Ironically, the only part of the sales message the audience might hear is contained in the announcer tag.

But no one will listen long enough to hear it.

Someone who’s more of a techie than I can explain what kind of processing should have been used to make it so the music didn’t compete with the voice. But any good radio producer (even without technical wizardly) would have known (and cared enough) to say to the engineer, “Hey, her audio is muddy.”

Advertising Solves Problems. Do you see any consumer problems being solved below?

“Incredibly low prices.” Well, if the advertiser says the prices are incredibly low, they must be.

“Their selection is massive.” Oh? Compared to…?

“There’s more choice than you can imagine.” That’s what I look for in an appliance/plumbing/home theater store: more choice than I can imagine. You too?

“Customer service is Priority One.” It wasn’t until the fifth or sixth time I listened that I realized (I think) she’s saying, “Customer Service,” not “Custom Service.”

What does that actually mean? If they’re trying to say, “Our #1 focus is providing great customer service,” why did they first talk about their low prices, massive selection, and your inability to imagine how much choice they offer? How about showing us how their customer service is so extraordinary?

Their knowledgeable staff.” Yes, someone — presumably calling himself or herself a “copywriter” — actually took the time and effort to write that.

“Get a great deal.”

Remember their “incredibly low prices”? Guess what: They’re still “incredibly low.”

Because their prices are still incredibly low, “you can shop with confidence.” Really? Incredibly low prices = confidence?

Probably the copywriter meant, “So you don’t have to worry that you could get the same merchandise cheaper somewhere else,” but we’ll never know for sure.

“The staff will help you with the details” of making a purchase. Wow! Not only is the staff knowledgeable, but they’ll write up the order, too.

“Incredible service.” Okay, let’s be fair. If only there were some adjective other than “incredible.” But until the dictionary people invent more adjectives, we’re stuck with “incredible” — three times in 30 seconds.

“Massive selection” — in case you didn’t understand earlier when they said, “Their selection is massive.”

Bonus Commercial Copywriting Tip

Copywriters have been taught not to say “dollars,” and in some cases that’s good advice.

For example, when in the tag the announce says, “Only fifteen-twenty-eight,” that does sound less formidable than “one thousand five hundred twenty-eight dollars.”

On the other hand, talking about a “stainless steel kitchen package for under two thousand” unnecessarily distracts the audience because it forces them, for an instant, to translate “under two thousand” to “under two thousand dollars.”

They will translate the language the advertiser used into the language that they, the targeted listeners, use.

Don’t believe me? Ask three different people (separately, without explaining the context), “How much does a good refrigerator cost?

I don’t know what the quoted price will be, but I guarantee at least two of those three people will answer something very much like, “Oh, about 7 or 8 hundred dollars.”

Hint: Speak the language your targeted listener speaks.

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Hey, the couple of hundred public radio program directors in the room didn’t get mad at me.

So I trust you’ll be cool with this, too.

Click here to download this entire public radio fundraising audio seminar.

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WHEN THE “OLD PRO” RADIO DJ RIDICULES YOU

I’m fairly well-known as a big proponent of radio show prep. But in my seminars I warn jocks:

If you do what we’re talking about; if you constantly stay aware of what’s happening in your community; if you always walk into the studio prepared…

You can expect to be ridiculed.

“Oh, isn’t that cute? You’ve got your little notebook of ‘show prep.’ You know, a real professional doesn’t need to prepare. A real pro knows how to ad lib. ‘Spontaneity,’ ever hear of it?”

If you’re always prepared before your show, sooner or later you will hear that from someone else at your radio station.

Invariably, it’s some older jock (always a male, for some reason) whose claim to fame is that he once worked in a “big market.”

For a few weeks.

Then he left that big market and has spent the past 20 years in smaller markets.

Why did he leave the Big Market?

“Politics. The program director played favorites, and I refused to kiss his ass. So instead of staying there and playing that game, I left.”

Strangely, this guy never says, “To tell you the truth, I wasn’t good enough. Plus, I had a lousy attitude, so they fired me.”

This guy couldn’t make it in the big leagues. He’s bitter, he despises his job, and he’s jealous of anyone who has achieved any level of success.

Also, he hates your enthusiasm for radio, because in the distant reaches of his memory he recalls when he felt that passion.

That emptiness hurts. He hasn’t found anything to replace it, other than a couple of very unhealthy addictions, several marriages, a bankruptcy or two, and an aggressively negative attitude.

When that guy ridicules you, don’t take it personally. Stepping on your dreams is just so much easier than owning up to his own failures.

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This is the second of two articles that fly in the face of the common, woeful practice of emailing radio commercial copy to your client for approval.

Although you don’t want to fax or e-mail the copy to the client for “approval” — for the reasons given in Part One — you don’t want the client to be unpleasantly surprised, either.

So unless it’s a long-standing “create ’em, run ’em, and send me the bill” relationship, it’s a good idea to get the client to sign off on any overall concept that deviates from what they expect.

Here’s how they form their expectations: 

  • Existing clients base their expectations on the kinds of commercials you’ve been doing for them. 
  • New clients base their expectations on what they think a radio advertisement “should” sound like. Their fallback position is the “newspaper ad read into a microphone” style.

 If they expect a straight announcer read and you’ve written a wonderful two-character comedic piece, don’t set yourself up for conflict and disappointment.

 Instead, give the client a quick, confident call: 

“We’ve created a wonderful married couple — very contemporary but likable — to represent your target audience. Each commercial has its own little story, and each story delivers your sales message very clearly and effectively.  

“But this couple will be featured in each commercial. So instead of getting a series of ‘spots,’ you’ll end up with a solid advertising campaign that continually builds momentum for your message.”

“Okay,” the client says. (That probably is what the client will say. But if the client abhors humorous commercials, this is her one opportunity to object.) 

“I’ve doublechecked your Conditions of Satisfaction” — note how it is the client’s Conditions of Satisfaction; the client now has ownership of it — “and although the characters are wonderful and it has an easy, humorous quality, when I play you the finished product you’ll hear all of the key points that you defined for me.”

 Did you notice the two sly elements in that last paragraph?

#1:  “…the finished product.” You won’t be playing it tentatively, for her approval. You will be debuting the finished product.

#2:  “…that you defined….” 

And Now, The  Disclaimer

I realize that many salespeople will read the above and think, “Yeah, right. In your dreams, pal.”

Those are the sales reps who see their jobs as order takers. The customer gives them the cash, and they in turn jump through whatever and however many hoops the customer cares to throw their way.

Then there are the radio account executives who genuinely see their roles not as salespeople but as trusted advisors. They are committed to doing everything they can to make sure their client’s advertising is a profit center, not an expense.

And they have taken the time to study radio advertising at least enough so that they know more about it than their clients do. 

If you’re an account executive, you get to choose which type you want to be.

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Sure, you know George Clooney as Rosemary Clooney’s nephew.

But George (as he is known to his friends) has a deep and abiding concern for people that is both deep and abiding.

I don’t want to turn this into a debate about whether his concern for people is more deep than it is abiding or more abiding than deep. That thorny question has caused more barroom fights and broken friendships than you or I can shake a stick at.

Instead, I hope that you and I can put aside your petty differences and come together for this worthy cause.

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