Radio Advertising Strategy: Chapter 12 (Alstiel and Grow)

Why Radio? aaa

Why not radio? aaa

Creative challenges aaa

Terminology & Classifications aaa

Types of commercials by production Fact sheet Live script/ live production spot Production spot

Styles of commercials aaa

Creative technique for radio commercials Dialogue/ interview: Dramatization: Testimonial/ case history

Production considerations Production and media costs: It takes talent to cast talent: Timing is everything:

Comedy in commercials Be outrageous: Do something unexpected: Use detail: Combine extreme situation with realistic dialogue

Types of comedic devices Normal person in comic environment Comic character Special powers (magic/ supernatural) Ensemble cast – dialogue driven (tough for radio) Slapstick Satire (attack substance) Parody (attack style)

Comedy checklist Don’t lose your humanity. Relate to other people. While you may be inflicting pain on another person, get the listener to say, “That could be me” Does it sell the product or at least reinforce the brand name? Will people be able to remember the company that’s risking its brand on your sense of humor?

Comedy checklist Are you making fun of the people who use the product or the product itself? You can have fun with a product or brand, but you can’t make fun of it Did you create a one-joke concept? Can your theme be extended throughout the campaign? Do you have the talent to pull this off? Does anybody else get it besides you? If you have to explain why, its not funny

Problem: Consumers become salespeople Solution: Use the announcer for the sales pitch Solution: Use an “authority” figure

Problem: Stilted language Solution: Write the way people talk and allow ad-libs Solution: Read it out loud

Problem: Gaps in conversation Solution: Compress

Tips and Techniques Get to the point early and stick with it: Identify SFX creatively, don’t label them: Example, if you use a thunder storm effect, don’t have a character say, “Looks like we’re having a thunder storm.” Use something like, “Looks like we’re stuck inside all day.” Use music to evoke a place or mood: For example, mariachi music in the background says you’re in Mexico so the announcer doesn’t have to.”

Tips and Techniques Consider using no music or SFX: Depending on the voice talent, power of the spoken word can be compelling Repeat the client’s name: Should do so at least 3 times, more if it’s retail. No magic formula, but if you do repeat the brand or store name several times, make sure it flows naturally, not forced Capture attention early: First five seconds are critical, whether it’s drama, comedy, or music

Tips and Techniques Use voices to create visuals: Example, an old lady with a soft, kind voice is a loving grandma. The same voice that’s harsh is a witch. Remember importance of casting specs Try building your commercial around a sound. Example: one commercial was about putting a cat in a clothes dryer, and in the background for the whole commercial you heard a mewing cat and a a thumping dryer.

Tips and Techniques Create extreme pictures with words: Don’t be afraid to have an outrageous premise Give yourself time: Try to do a 60- second spot rather than 30. You have more time to do creative things because your announcer has more time to make the sales pitch. Make sure your copy is tailored to the market: a hip hop music bed is not going to work on a classic hits station

Tips and Techniques Use action verbs: Go back to Chapter 8 and review the section on power writing. Same principle apply to radio. Avoid using numbers: especially long phone numbers and street addresses. Instead, feature the Web site where all that information and more is available Help your announcer: Keep the copy a little shorter and watch for hard-to- pronounce words, awkward phrasing.

Tips and Techniques Write the whole spot and read it out loud: before you decide its not going to work. Go easy on the hype. Watch out for ad jargon (advertising-ese)

Tips and Techniques Don’t overdo: the SFX. Just because you have a 10-disc library, you don’t have to use it all Trust your audio engineer: When he or she says its not working, find out why. The engineer has produced a lot more spots than you have Don’t use any other brand name unless the ad is a cross-promotion: Its hard enough for people to remember your brand name.

Tips for novice writers

Best Radio Commercials Extreme situations Mock testimonials Off-color humor (to some people) Realistic dialogue Catchy music