A pet peeve of mine is when someone starts with “I – me – my” verbiage instead of starting with the Subject or the Listener, THEN talk about you.

One of the advantages of a team show is that it gives you the opportunity to get into Content without starting by talking about yourself.  Your partner can talk about you.

“Well, Rick was only ten minutes late this morning” leads to a story.  Instead of you talking to me about you, you’re talking to me about him.

This ‘indirect’ way of beginning a Content break is not only really effective, but it creates an “insider” vibe – always a good thing.

But remember, this is only an advantage if you use it.

Great artists will see one thing in the corner of the picture that stands out.  It’s like their eyes are magnifying glasses.

So when you’re going through your process, you don’t want to just pick out an approach, or just start to tell a story and hope it works.  You should be alert to what “caught your eye” about it. Continue reading →

Recently, I listened to a morning show host do the News.  I’m not a big fan of this, but in this case it’s necessary; a budget issue.

The stories were okay, but because News is so “left brain” informational, it came out in almost a dead monotone.  Here’s what I said in our next session:

I know things get busy, and it’s easy to get focused on story count, pronunciations, and time.  But you should avoid letting anything keep you from sounding as conversational as possible.  If you sound interested in what you’re saying, chances are the listener will be, too. Continue reading →

Years ago, my first two tips about Content were “The 5 Subjects,” which was about simplifying your show prep, and “The 3 Questions,” a sifting exercise that helps you refine your on-air performance.

“The 5 Subjects” tip was updated last week, and here, in 2023, is an updated edition of the companion piece.  (The 3rd question is different from the original.  Times change.)

The 3 Questions to ask yourself about your Content choices:

1. Why is it on?
   This is about what matters most to the Listener today.  Don’t settle for less.  If it’s the 20th most important thing on the list of what he or she cares about, toss it.  Generic “any day” or “rainy day” Content is lame.  Today’ show should be about today.
2. Where are you going with it?
   This is about planning an ending.  You want to have one, even if taking the “First Exit” means you don’t use it.  (That technique is Tip #4 on my website.)
3. What’s the Emotion at its core?  (Great storytelling is always about some sort of emotional “reveal.”  This is the secret to having a real connection with the Listener.)

One of the first tips I wrote years ago was a show prep piece called “The 5 Subjects.”  Here in 2023, is an updated edition.

The 5 Subjects (a Content guide)

1. Job stuff.
Besides stories that grow out of the workplace, this also includes finances, “the family wallet,” too.  The economy affects our choices.  But I start this list with the job scenario because all Content is primarily about what you have in common with the Listener. Continue reading →

I’ve been talking about “camera angles” for decades, born out of an acting and performing background, and a brilliant teacher I had in college while taking film classes.

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By far, the thing I get asked about the most in coaching sessions is Show Prep.

First of all, if you use a “prep sheet” service, throw it away.  Generic subject matter, getting generic (if any) response is fool’s gold.  And unfortunately, it’s rampant.  People sitting at the computer trying to choose a subject and somehow “make it matter” is lame and boring. Continue reading →

This is something to learn, albeit from a bad source.  The next time you’re watching TV, turn the sound off.  Now just watch the person onscreen.

You’ll be amazed at how much “over the top” acting is evident.  Exaggerated facial expressions; flamboyant, overstated physical movements; “surprised” reactions that almost look like you’re watching some ancient silent movie.

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After one of my recent tips came out, my associate and friend John Frost sent me an email saying: “When I was at KHTR in St. Louis, I hit a little slump in my on-air performance.  My Program Director suggested that I create a “best of” tape and listen to it every day on my way to work.  That way, I would have an objective reference point to what I did well, and it would help build my confidence since I was listening to my own work.”  The thought was “Yes, I can do this because I’ve done it.”

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Konstantin Stanislavski was the father of “method” acting.  Practically every actor since Marlon Brando in the 1950s has read and/or studied his writings and techniques.

One of his main tenets is “Talk to the eyes, not the ears.”

It’s all about making things visual.  If I can visualize it, I can crawl inside it, emotionally.  But if it’s just “ad copy” or doesn’t bother to engage me visually, it just goes by unnoticed.  Or it’s noticed, but not in a good way.  It’s just noise.

“You can have a family member flown in for Christmas” is sort of generally visual, but “Imagine eating Grandma’s recipe with Grandma…” is very visual.  Then, “We’ll fly her in!” adds another visual component.

Think “what does this situation (or this behavior) look like?” and you’ll be on the right track to stand out in the sea of disc jockeys reading crap off a computer screen.