This is the simplest way to guarantee success with any Content you do: Prep the ending first.

Here’s why:

Suppose you have several errands to run. You need to drop some clothes off at the dry cleaners, you’ve got to mail something, and you need to go to the grocery store. So to save gas and go in more of a straight line, you plan everything so you go to the grocery store last. If you don’t, you’re going to end up with a lot of refrigerated items melting in the back seat while you’re doing the other errands.

It’s the same way with everything on the air – know where you’re GOING. Where the “destination” is. THEN, plan the beginning – how you’ll get into whatever the subject is. You’ll find that the middle pretty much takes care of itself.

Saturday Night Live is a good example. Through the years, they’ve always had talented people in the cast, but when the show was strongest, every ‘bit’ had a sense of purpose – an ending or conclusion that was solid and provided some sort of resolution at the end. When the show was at its weakest, there were still some good ideas, but they just kind of fizzled out at the end.

As you’ve heard or seen me state before, Momentum and Pace are different things. Pace is how fast you go, but Momentum is how straight a line there is between Point A and Point B.

You don’t necessarily gain Momentum by just going faster. It takes being concise, and good construction, like a great writer’s book that you can’t put down.

Recently, this came up in a dramatic way as a Talk show I work with really got it, and moved effortlessly forward by keeping a close eye on the lengths of calls.

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The great movie Director Alfred Hitchcock was once asked by a reporter, “Is it true that you said all actors are cattle?”
Hitchcock replied, “No, I did not say that all actors are cattle. I said that all actors should be treated as cattle.”

Whenever you have a guest – or a guest host – keep that in mind. If the guest or guest host is from TV, chances are that they know NOTHING about radio. They know about hair product and how to read a teleprompter, but if they knew anything about keeping a viewer around, they wouldn’t keep saying things like “after this break” or “when we return.” (I’ll dive further into this in a future tip.)  A guest, like someone who’s on “The Biggest Loser” or whatever, knows even less. They’re pretty much like ducklings, just trying to smile and not sound like amateurs.

YOU have to organize things for them.

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The National Football League is a “copycat” league. If a team succeeds by throwing 50 passes a game, the next year, every team looks for its Peyton Manning or Tom Brady.

If a mobile quarterback wins a bunch of games, everyone starts drafting a quarterback who can run in addition to pass. (I’m not talking about Tim Tebow. Note the “and PASS” part. The only target Tebow can hit consistently is the ground.)

Radio’s like that, too. Continue reading →

Thanks to my friend Randy Brown for this thought:

Often, when you select a YouTube clip, it starts with a commercial. In many instances, a message pops up in the lower right portion of the screen that says “You can skip to video in…” and then it counts down 5 – 4 – 3 – 2 – 1, then you click it to get to what you actually wanted to see in the first place.

That’s the way people think when they listen to you. You start talking, and in the listener’s head, the 5 – 4 – 3 – 2 – 1 countdown begins.

Get on into it, or the listener “clicks” mentally – or sometimes even physically – and isn’t hearing you anymore. It’s just “blah-blah-blah” noise in the background. So you want to connect the Subject to the Listener as concisely as you can.

We have to EARN EVERY SINGLE SECOND OF LISTENING that we get. You do not deserve being listened to just because your transmitter is on.

After you’ve become a successful talent, one of the most significant challenges with your show’s Content is knowing when to stop doing something.

People listen for 10 minutes – 20 if you’re lucky. Huge fans of the show will listen longer, unless they feel that it’s just rehash. Then, even they will go find something else.

So try this on for size:

[A] Whatever you do, treat it as a “one-off” break, meaning that it could stand alone. Plan to move on to something else the next break.

[B] But IF you get a decent reaction—a phone caller, for instance, or if you have a teammate on the show that might have a different “take” on it, okay, air that.

[C] Everything else on that subject now has to EARN being on. This means it has to cover NEW ground, not just repeat a point that’s already been made or give a second example of something we already heard.

Think of it like movies with sequels. Almost every time, the sequels get worse. The 4th Indiana Jones movie, the 4th Lethal Weapon movie, the additional 3 Star Wars movies, or any Jennifer Aniston movie.

It seems so easy to hear the mistakes your competitors make – the things they do that are dumb, not thought out well, phony-sounding, pukey, lame, irritating or obvious.

But for most air talents, it’s hard to hear ourselves the same way.
It’s because we know it’s us. Someone we like. Someone we root for and want to succeed.

So here’s the lesson:

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Gary Larson, the creator of The Far Side comic strip, had this great two-panel cartoon.

The first panel was titled, “What we say to dogs.” A guy scolding his dog was saying “Okay, Ginger! I’ve had it! You stay out of the garbage! Understand, Ginger? Stay out of the garbage, or else!”

The second panel was titled, “What they hear.” Same drawing – the guy pointing his finger at the dog, but the dog is hearing him say, “Blah blah GINGER blah blah blah blah blah blah blah blah GINGER blah blah blah blah blah.”

This not only applies to the Listener – you have to be talking about things that he or she CARES about – it also applies to your Air Talent. Say you’ve had a coaching session, and decided that for the next two weeks, you want the Talent to work on being concise.

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Barney Fife, the classic Don Knotts character on the old Andy Griffith Show, probably never thought he’d become a role model – at least not for radio. But that’s exactly what happened.

Sure, many radio jocks share Barney’s ego, bravado, nervousness under pressure, taking rules too seriously (or ignoring them), trying to pretend you know more than you actually do, bad singing voice, and rather vague knowledge of the human anatomy (“the obondalla isn’t in the leg, Ange…it’s in the brain”), but the passing on of the “idiot torch” is not what made him a role model. It’s that in his shirt pocket, this fearless deputy, this symbol of law and order, this staunch upholder of the people’s rights carried… his one bullet.

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