1. Chapter 8 The Radio Commercial: Mechanics

2. “Radio is theater of the mind …” What does this mean? How do audiences differ for radio stations? Know your audience … Strengths of Radio What are radio’s strengths? Target specific audiences … radio is mobile … radio is flexible (easy to get spots on the air quickly).

3. Weaknesses of Radio What are radio’s weaknesses? Audio only … messages are shot-lived (cannot retrieve the message, hard to get phone numbers, addresses names) … listeners prone to distraction (so repetition is important). Radio Basics How can you gain attention? Words, sound effect or music. Attention-getting voice Radio creates mental images with words, voices, music and sound effects (Stan Freberg … Lake Michigan filled with hot chocolate)

4. Terminology Bed … fade-in … fade-out … crossfade (segue).. establish … up and under … hold under … SFX. Radio Writing Format Double-space or single space? When do we use all-caps? When do we use upper-and-lower case? When do we underline? Single-voice copy, two-voice copy, dialog copy … Should you often use more than two voices? No, can be confusing to listener.

5. How does dialog copy differ from two-voice copy? Problems of dialog? Requires dramatic acting talents. (Keep dialog conversational, pattern it after the way people really talk.) Can you be too clever? How? Listener must remember sponsor. What do sound effects allow you to do? Establish a setting (how?) … set a mood (how?) … establish time (how?) … represent action (how?)

6. Where do sound effects come from? You can make your own or use a sound-effects library. Can you use any song you want in making a commercial? Why not? What can you use without concern? What’s a “donut” spot? When might a commercial be ad libbed? Would it cost more or less to the advertiser?