1. Chapter 9: Radio Can you see what I’m saying?

2. Radio: Characteristics It’s everywhere, reaches everyone Format for every listener & advertiser Do big things with a small budget Stand-alone medium, support for others “Theater of the mind”

3. Guidelines for effective radio Write for the ear, not the eye (not mere playing of soundtrack, reading out print ad, suitable voice, grab listener’s attention) Keep it simple (Can forget facts) Use sound effects to paint scenery in your listeners’ minds (should further message) Identify your sound effects (not simply duplicate reality, unexpected sounds more compelling),

4. Guidelines for effective radio Avoid annoying sound effects (like a loud siren: it will grab attention, but distract from message, may lower radio volume) Use music as a sound effect (enhance mood, take you to exotic destinations, not all music is available for advertising, use public domain) Consider using no sound effects (distinct voice, powerful message delivered straightforward) Describe the voice(s) that can best command the attention of your audience (describe the type of person who should say your words: skeptical, gushy, angry …)

5. Guidelines for effective radio (cont.) Tailor your commercial to time, place and audience (commuter taxi service for rush hour) Repeat the name of your client about 3 times Avoid numbers (If crucial, spell out as a word) Write about 2 words per second (good timing) Be aware of time considerations (too much copy works against you; focuses performers to rush through lines without time for pause, inflections) must match personality of brand (fast: car dealer) Specify pronunciation, avoid tongue twisters

6. Approaches to Radio Commercials One voice (interesting, relevant, can use music) Dialog between 2 people (careful if product like t.p.) Multivoice (all speak to listener) Dramatization (Uses structure of a play) Sound device (Sometimes used as the big idea) Vignette (Series of short situations linked by repeated device: announcer, music or sound effect) Interviews (announcer speaks to people/ objects) Jingles (can make lasting impression, use professional)

7. Live versus Produced Use a fact sheet when radio station has a popular on-air personality: Number facts in descending order of importance, and you may get more than your paid minute’s worth if the personality is having fun chatting about your product or place. Example donut shop did that Only read a script live if you’re using straight copy with no sound effects, music, or multiple speaking parts. Problem is many radio personalities are flippant by nature, can have too much fun being cynical with live copy. Use when making last-minute changes to advertising

8. Live versus Produced Use a live-recorded commercial when you want to be able to update copy regularly. Advertiser records a musical introduction. At some point, the music “fades under” or is reduced in volume so that a local announce can read copy over the music. At the end, the music swells to its conclusion, usually with a recorded closing line. Because the middle of the spot contains this “hole,” this format is called a “live donut.” while the music provides continuity for the entire campaign, the scripted inserts keep the ad up-to date. Inserts must be timed so they fit the hole in the music.

9. Live versus Produced Use a produced commercial when your script calls for multiple speaking parts, sound effects, music, or any combination of these and when you want assurance that the quality of the spot will never waver. Allows little room for human error.

10. Format. See figure 9.1 Identify company, name of commercial and length of commercial at top Double space Use proper abbreviations SFX for sound effects. All effects on separate line. Or use ellipses to denote breaks. ANNCR for announcer VO for voiceover

11. One voice format

12. Multivoice format (In this version, each voice is indicated by a different color)

13. Multivoice format (In this version, each voice has its own line)

14. Checklist for Radio Copy Is there one major premise? Is the structure appropriate for the message? Are voices, music, and sounds described clearly? If copyrighted music, is it essential, affordable, available? Is there sufficient time for comfortable, believable delivery of the lines? Is there time for all sound effects & musical bridges? Does the commercial time correctly? Is brand recognition achieved through mention of the brand, music, or sounds that trigger awareness?