Sales Production Handbook

YOUR
STATION’S
SALES
PRODUCTION
HANDBOOK
by Dan O’Day
© 2007 by Dan O’Day
www.danoday.com
To Order More Copies:
www.danoday.com/ProductionHandbook
© 2007 by Dan O’Day
All Rights Reserved
www.danoday.com/ProductionHandbook
HOW YOU CAN LEGALLY
USE THIS BOOK.
Please do not skip over the following details.
They are important!
YOUR STATION’S SALES PRODUCTION HANDBOOK is a
copyrighted work.
You have purchased a license to adapt this handbook for use by a single
radio station or group “name,” in one physical location.
Legal Examples:
WXXX
Classic FM
The Tri-City Radio Group
Illegal Examples:
Adapting this handbook for more than one radio station name —
creating one that says “Country 105” and another for “Rock 102.”
Adapting this handbook for a group name, to be used in more than one
physical location — e.g., “The Smart Radio Group Sales Production
Handbook,” for use in the The Smart Radio Group’s 27 different markets.
(For 27 different markets, you’d need 27 licenses.)
© 2007 by Dan O’Day
All Rights Reserved
www.danoday.com/ProductionHandbook
YOUR STATION SALES PRODUCTION HANDBOOK
Dan O’Day
YOU MAY NOT DO THESE:
Digital Reproduction: You may not duplicate or distribute any type of
digital copy of this work to any third party.
For example, it is illegal to e-mail a copy of this e-book to a third party. It
also is illegal to post any portion of this on a website, an Internet newsgroup,
or an Internet-based newsletter. Faxing pages to a third party also would be
illegal.
I have deliberately priced this handbook low enough for any radio station to
afford.
Every copy of this e-book is encoded with an identifying “watermark.” In
the event that your digital copy is made available to any third party (as
described herein), the value of my copyright will be damaged. Therefore, I
have enacted a mandatory distribution fee of $500 per incident.
Physical Reproduction: You may not distribute or make available printed
copies of any portion of this document to any third party. You also may not
reprint any portion of this document in any type of mass circulated form
(for example, a newsletter, magazine, or journal).
If a third party asks for a copy of this book, the only legal and ethical
response would be for you to direct that person to my website
(www.danoday.com/ProductionHandbook), where he or she can order a
“legal” copy at a very low price.
If you would like to order individual copies for more than five station names
or physical locations, my office can arrange for a single prepaid purchase
arrangement whereby we will send a copy directly to each individual you
specify. (For more information, please e-mail [email protected].)
3
YOUR STATION SALES PRODUCTION HANDBOOK
Dan O’Day
BUT YOU MAY DO THESE...
• Immediately make a “back-up” copy — a digital file — of this e-book. I
recommend that you keep one copy on your computer at work and another
on your home computer. You’ll want to have that “back-up” copy in case
something happens to your original, because I won’t be able to replace
“lost” copies for you.
• Print a “hard copy” of this entire book.
• Adapt and rewrite the Handbook so that it’s totally customized to your
station operation. (That’s the whole idea – the reason you bought this in
the first place!)
4
YOUR STATION SALES PRODUCTION HANDBOOK
Dan O’Day
INTRODUCTION
Three radio creative/production guys got tired of having to “explain” their
operation to each new salesperson.
So they created their own “Production Handbook,” which is required reading
for every account executive.
When I told other radio people about the handbook, they all said, “What a
great idea! How can I get a copy??”
I heard that so many times that finally I went to those three guys and got
their permission to share their basic template with you.
You’ll see their real names, their real industry credits....even their real
photos. (All you have to do is replace their bio’s and photos with your own
creative/production team’s.)
What you won’t see is the name of their employer, which I have changed to
“Radio X.” This handbook in no way represents, officially or unofficially,
their employer.
In addition to this PDF file, this package also includes a Microsoft Word
version of the handbook — to make it exceptionally easy for you to create
your own station handbook by making whatever changes you want to the
original.
(If you don’t have Microsoft Word, you still can consult this PDF version
for your raw text.)
5
YOUR STATION SALES PRODUCTION HANDBOOK
Dan O’Day
Is there something in this handbook that doesn’t apply to your station?
Simply delete it.
Something that applies to your station that isn’t in this handbook? No
problem: Simply add the appropriate text.
YOUR STATION’S SALES PRODUCTION HANDBOOK is designed to
help your sales team understand what your producers do, how they do it,
why they do it, and how Sales and Production can and should work together
to make everyone’s life easier.
Please don’t delay. Use this as a starting point for creating your own station
handbook right now.
6
The
RADIO X Creative Team presents…
The
RADIO X
Advertising
and
Production
Handbook
(2007) edition
The amazing guide that will help you make more money...faster!!
“Memorize this book…or you’re fired!!”
- (Station Manager’s Name Goes Here)
What’s Actually in Here…
1. Who We Are
page 3
2. What We Do
page 4
3. How We Do It
page 5
4. Why We Do It This Way
page 9
5. Handy Sales Tips
page 10
6. Reference Materials
page 13
7. Creative Team Contacts page 14
Who We Are
The RADIO X Creative Team consists of 5 all-star members
1. Rich Boerner
-
Creative Director/Assistant Program Director
(1996 to present)
Rich began his broadcast career in NY City at WAPP New York’s Rocker as a weekend Jock
and Production assistant. After doing the same at NYC’s Hot 97, he was a Program Director PM
Drive Jock in Tennessee, Creative Director/APD at Real Radio 104.1 Orlando, FL (the station
RADIO X was modeled after), Creative Director/APD at KLLC “Alice@ 97.3” San Francisco, and
finally Creative Director-APD here at RADIO X Los Angeles. His work has won various awards,
including New York City’s Air Award, the Canadian Broadcaster’s Award, and (shared with Rob
Frazier) from Radio and Production Magazine.
2. Ronn Lipkin
-
Production Director
(1991 to present)
Ronn Lipkin has been turning electricity and words into cash for RADIO X since 1991. He has
also worked as Production Director at WYSP, Philadelphia and as a DJ/sports reporter in
suburban Philly. Ronn has taught radio production at a recording school and has edited the
sound on several student films at Art Center in Pasadena. He has won several SCBA awards
and has played an integral role in the development of some of the most successful client
campaigns that have aired on RADIO X.
3. Rob Frazier
-
Commercial Production Manager
(2001 to present)
Rob has been producing creative radio advertising since 1985. He is one of the few who has
worked both sides of the building…programming and sales. He has been a Creative Director
and Morning Drive Jock in Fresno, Production Director at Real Radio 104.1, Orlando FL (see
above), and an On-Air Producer at Comedy World in Los Angeles. His writing, voicing and
production style have earned him many awards, including a Mercury Award nomination in 2002,
and a Radio and Production Magazine award (shared with Rich Boerner) in 2003.
4. John Salwin
-
Production Assistant
(2001 to present)
John joined the team in 2001 to do our night shift, which means he works harder and makes
less money than any of the other members. But the good news is, John’s so distracted by the
possibility of a bright, shiny radio career, that he doesn’t even realize that. Prior to his current
gig, John worked in production on and off air for RADIO X, KRLA and Comedy World. He
produces and occasionally voices commercials for us. But most of all, John gives us a 20something KROQ sensibility when we need it.
5. Julie Renick
-
Voice Over Talent
(1999 to present)
Julie is a free lance voice over artist, who has been working in Los Angeles for 10 years. She
has appeared in local and national commercials…and scored numerous voice roles in
syndicated animation. Plus she works really cheap. A match made in heaven.
What We Do
The RADIO X Creative Team magically turns words and ideas into
MONEY for RADIO X and its clients by producing focused, resultsproducing radio campaigns.
Our team creates, writes, voices and produces commercials (right
here at RADIO X) that rival or surpass the quality of the agency
commercials that are sent to the radio station.
The RADIO X Creative Team also meets with current and potential
clients to discuss how to best reach their target audience.
Clients we’ve helped push over the top…
- Leather Factory
- Earthlink Network
- Video & Audio Center - Tax Resolution Services
- Best Funding
- Sword Medical
- And MANY more
- Boston Medical Group
- Park Air Express
- The Queen Mary
The RADIO X Creative Team: (left to right) Ronn Lipkin, Rich Boerner, John Salwin, Rob
Frazier.
How We Do It
General Procedure
In other words, this is how you get your spot on the air…
1.
Account Executive sells the Air Time.
2.
Account Executive submits sales contract and all spot information
to the Traffic Department.
3.
Traffic Department brings the Production Order to one of the two
production studios.
4.
The Production Department produces a top notch commercial and loads it
into the Audio Vault.
5.
If the client needs an MP3 or CD copy of the spot, the Account Executive
marks the appropriate box or line on the Promo Request form.
6.
Client is thrilled by the results and pours more money into RADIO X.
Copy Guidelines
1.
We always write conversationally…no radio speak. (e.g., “Hurry in!”)
2.
We NEVER do 1st person copy (“me, my, our”).
3.
The maximum number of lines in a :60 commercial is 12.
4.
Phone numbers count as words in the copy.
5.
Vanity Numbers should remain consistent. If it’s 800-BUY-THIS,
it should always be 800-BUY-THIS. Number translation hurts rather
than helps.
6.
Addresses should be expressed in common terms, using
cross streets and landmarks. (Never “located at.”)
7.
Final Copy is due at least 24 hours prior to air.
8.
Air Talent Voiced Copy is due the Tuesday prior to the first week of air
and will be ready for mp3 aircheck Friday of the same week.
9.
We NEVER use copyrighted music or movie/TV sound in any of our
commercials. If the client wants to pay the licensing fee, they are
welcome to do so. But they must show us proof of license before
any such materials can hit the air.
Creative Meetings
1.
The CREATIVE MEETING (Wednesdays 11am) is designed to be a quick
meeting between your client and our creative team (15-minute maximum).
NO AGENCY in town offers free service like this.
2.
There are THREE types of Creative Meetings:
3.
a)
Current Client whose campaign needs some fresh ideas.
(Entire Creative team present.)
b)
Client that has signed a contract and is ready to start soon.
(Entire Creative team present.)
c)
Client with big money, who is unsure about his/her investment.
(This meeting is with Sales Mgr, PD and Creative Director.)
Complete your CREATIVE MEETING FORM early. The sooner we have this
information, the sooner we can start developing ideas.
Commercial FEES
We produce commercials to air on RADIO X ONLY. Any commercial that a client wants
to air outside this radio station will require a talent fee, which varies according to the
type of project.*
ONE-VOICE SPOT, STRAIGHT READ:
$ X ({Our Market} Only NO Music)
$ X ({Our Market} Only WITH Music)
$ X (2 or more markets NO Music)
$ X (2 or more markets WITH Music)
MULTI-VOICE SPOT, FULL PRODUCE:
2 Voices ({Our Market} Only) -
2 Voices (2 or more markets) 3 or more Voices
TAG Rate (:10 or less) -
$ X per voice
$ X per voice
Varies per project
$ X per tag
SPOTS PRODUCED, BUT NOT VOICED, IN-HOUSE:
This includes demo and sponsored programming work.
-
Negotiable based on size of the project.
*ALL VOICE FEES ARE TO BE PAID BY CLIENT DIRECT TO APPROPRIATE TALENT.
Copy Deadlines
Here are the DEADLINES and TURNAROUND TIMES for submitting and receiving your
commercial.
ONE VOICE SPOTS OR DUBS
-
24 HOURS
(due 2pm 1 day prior)
MULTI-VOICE SPOTS
-
48 HOURS
(due 2pm 2 days prior)
ALL SPEC SPOTS
-
72 HOURS
(due 2pm 3 days prior)
Studio Time
If your client wants to record their own spot (or bring in an outside talent to voice their
own spot), you must schedule time with a member of the Production Department. This
scheduling MUST occur at least 24 hours in advance of the appointment.
All clients must arrive with FINISHED COPY!! Those who do not will be rescheduled at
a later time.
Promo Production
Here is the procedure for getting your client’s PROMO on the air at RADIO X. (For
example, a remote broadcast.)
1.
Account Executive brings promotional idea (via written request) to the
Promotions Department prior to the Tuesday morning Promotion Meeting so that
it may be approved or rejected.
2.
After APPROVAL, the Promotions Director will bring the Promo Production
Request Order to the Creative Director so that it will get produced.
3.
The Creative Director then produces the promo and loads it into the
Audio Vault.
4.
If the client needs an MP3 or CD copy of the spot, the Account Executive must
mark the appropriate box or line on the Promo Request Form.
5.
All Promotion Orders must be turned into the Production Department 48 Hours in
Advance. No orders will be accepted after 12 noon on Friday.
Paid Programming
(a.k.a. weekend shows)
Each paid weekend show is entitled to the following:
1.
One (1) hour of production time per week. This includes all show preparation
and/or promos and commercials to be recorded. This time should be scheduled
directly with the Creative Director.
2.
A produced Show Package, consisting of a Show Open, Show Bumpers and a
Phone Call Solicit.
3.
The same production rules as stated above apply.
4.
Any additional hours of production time will be charged at our normal rate of $X
per hour.
5.
If the client requires a show demo to use as their own sales tool, there will be a
fee that is to be negotiated directly with the Production person.
Why We Do it This Way
CREATIVITY AT YOUR SERVICE
As many in the radio industry seek to undo some of the self-inflicted damage wrought
by consolidation, more and more studies are bearing out what the visionary leadership
at RADIO X has known and practiced for years: CREATIVE MATTERS!
From R&R:
Appearing at the Radio Advertising Bureau's "Client Day" program, SVP/Group Media
Director Wendy Parker from marketing company Mullen urged the industry to take advantage of
its creative freedom and flexibility… Parker also encouraged radio to embrace its legacy as
"theater of the mind" and come up with advertising that paints a picture in listeners' minds.
From the Radio Ad Effectiveness Lab:
Radio ads need to speak to individuals, not to the general population. And they need to be
compatible with their surroundings; effective radio ads must be just as targeted as the programs
which contain them.
Creative and Targeted. While some in the industry are just now re-discovering these
basic tenets of Radio Broadcasting, RADIO X has been leading by example for years!
Our creative production is targeted specifically to the RADIO X listener. We get it. And
more importantly, They Get It! While everyone else in the market plays catch-up, use
this unduplicated tool to your advantage!
When the RADIO X Creative Team goes to work for your clients, they receive the
benefit of nearly XXX years of combined experience in the creation of effective,
compelling and award-winning radio advertising. Not another station or cluster even
comes close!
Operating much like an “in-house agency,” the Creative Team here at RADIO X
personally meets with your clients to determine what their needs are and how best to
achieve their advertising goals. Keeping abreast of advertising trends and advances in
technology, the Creative Team constantly strives to provide your clients with a product
that cuts through the clutter and gets results! Our commercial production is a regular
fixture on many of our competitor’s radio stations because WE DELIVER what they
cannot!
Put the power of the RADIO X Creative Team to work for your clients, and while the
competition’s dozing…YOU’LL be CLOSING!
No other radio station in (MARKET) can boast the level of time, attention and
creative talent that RADIO X has to offer. It is a VERY important sales tool for you.
Handy Sales Tips
Copying Production and Sales
If the copy to be produced is time sensitive (i.e., airs in less than 3 days), it is a very
good idea for an Account Executive to make a copy of the copy and get it to the
Creative team as well as the Traffic office.
Spec Spots
A SPEC SPOT is an Excellent CLOSING tool. The only time an AE should be
requesting a SPEC SPOT is when the client is already on the hook and almost
ready to sign.
SPEC SPOTS will NOT work on cold call clients or on potential buyers who have yet to
be convinced on the value of RADIO X. In these cases, ordering a SPEC SPOT is a
waste of everyone’s time and energy.
Integrating Disclaimers
The following appeared on L.A. Radio People dot com:
“I wonder if I'm the only one that is annoyed with those commercials that end with a speeded
voice that I would describe as the audio equivalent of small print at the end of a contract.
Perhaps by law they have to have a disclaimer, but if it is said so fast, that you can't understand
it, makes it useless. I always automatically change station when I hear this even though I
know the commercial is almost over. If I remember who the sponsor is, I won't buy their
product. It seems as if I hear more of them as time goes by and I change stations more. I tend
to listen less to Infinity stations as they seem to have a lot more of them than other stations.”
– Ron Karam, Fullerton
If you have a client running a disclaimer similar to the one mentioned above, they need
to be aware of this! We doubt that many of them would want to continue the practice if
they knew the effect that it has on the average listener.
As radio professionals, it is our job to educate the advertiser as to the best way to utilize
radio. Sometimes in our haste to make the client happy we say yes to things that are
not in the client’s best interest. Clients want these disclaimers at the end of their spots
because that’s what they’ve heard done before, so that’s how they think it’s
supposed to be done. But, if you subscribe to the basic copywriting axiom of “last
thing heard, first thing remembered,” then placing the disclaimer at the end of the
commercial is doing the client a disservice.
So, how do we get around this disclaimer issue? Here are a few suggestions:
1.
Don’t advertise something you need to disclaim. Easier said than done, we
know. But the more information you can provide in the copy, the less “disclaiming”
you have to do at the end. Also ask, “If it needs to be disclaimed, does really it
need to be in there?”
2.
Refer to a website or phone number. “Certain restrictions apply, call _____ or
visit _______ dot com for details” sounds a lot better than 5-10 seconds of sped-up
gobbledy-gook at the end of a spot. Obviously there are going to be instances
where you just have to have a disclaimer in the spot. In these instances try to…
3.
Bury the disclaimer in the body of the copy. Usually these disclaimers satisfy
some sort of legal requirement but provide no benefit to the listener (or, for that
matter, to the client), so why showcase them at the end of the commercial?
Remember, “Last thing heard, first thing remembered!” Do you want the
listener to remember your client’s phone number or location…or a bunch of
unintelligible, sped-up legal mumbo-jumbo? The choice should be obvious.
We all want the client to be happy, and if their advertising works without alienating the
listener, then they should be (happy, that is).
Radio Coupons
You’ve all heard them, and chances are, at one time or another, you’ve been guilty of
putting one on the air for one of your clients:
“Mention this ad and get 10 percent off your next purchase…”
“Tell ’em you heard it on 99.3, take a test drive, and get a free bar-b-q meal…”
“Tell them I sent you and get a free key chain…”
It’s called the “Radio Coupon,” and it doesn’t work! When you relent and put a “radio
coupon” on the air, you are setting yourself up for failure!
All you have to do is think back to the last time you walked into a place and said, “My
favorite morning radio personality sent me, I’d like my free cranial exam!” Doesn’t
happen.
The radio coupon is usually the result of one or both of two things:
1.
A sales person who doesn’t believe in what they’re selling.
2.
A client who wants to “test” their advertising.
Since there’s not a lot that we in Production can do about the first issue, let’s address
the second — a client wanting to test their advertising.
Sounds reasonable, right? After all, they’re paying for it.
And you know what? They SHOULD have a way to gauge the effectiveness of their
advertising.
Fortunately there are other more effective ways. Here are two; your sales managers
may have some others.
1.
Advertise a product, service or special that is not advertised anywhere else.
Example: “Buy 3 tires and get the 4th one FREE.” When people start calling and/or
coming in for the tire special, your advertiser will know where they heard about it
because he’s not advertising it anywhere else.
2.
Special vanity or toll free numbers (especially if YOU control the number!). No
brainer. Phone rings, you get all the credit! You’re an advertising genius!! Take your
big, fat commission check to the bank!
So don’t get suckered in by the “Radio Coupon.” Redirect your client to more effective
ways of gauging the performance of their advertising, and remember:
You work for one of the most successful radio stations in (State)!
BELIEVE IT!
Reference Materials
KNOWLEDGE IS POWER
Want to learn more about radio, radio advertising and how it all works? (The correct
answer is yes) Here are some valuable resources that will help you on your “Journey of
Discovery…”
http://www.danoday.com/free
Dan O’Day is a radio veteran who now spends all of his time traveling the world
showing people how to do better radio. Sign up for his “Radio Advertising Letter” for
more keen insights into the world of radio advertising. Free.
http://RadioAdLab.org
The “Radio Ad Effectiveness Lab” is in the midst of a comprehensive, 3-part study on,
what else, the effectiveness of radio advertising. You can download their reports free
from their site. There is a wealth of information here that can only benefit you, especially
if you’re trying to convert advertisers from other media such as print or television. Read
this stuff and you’ll be a friggin’ genius!
http://www.rab.com
The Radio Advertising Bureau. Their entire mission is to make YOU more successful.
Tons of resources for you. Use them.
http://www.danoday.com/5step
Another resource from Dan O’Day. It’s his 5-STEP SYSTEM FOR CREATING RADIO
COMMERCIALS THAT GET RESULTS. It’s easy to learn. It’s fun. And it works.
http://www.danoday.com/bcg
One more goodie from Dan O’Day. It’s his “Bad Commercial Generator.” It’s fun, it’s
free…and in a humorous way it shows you exactly how not to write a radio commercial!
Creative Team contact numbers:
RICH BOERNER
Creative Director
(x7323; [email protected])
RONN LIPKIN
Production Director
(x7305; [email protected])
ROB FRAZIER
Commercial Production Mgr
(x7304; [email protected])
JOHN SALWIN
Production Assistant
([email protected])