| FIVE WAYS TO GET ON THE RADIOHere are five | | | | |
| basic methods of fitting your group into the | | | | interviewer's questions, and pace yourself |
| programming at | | | | in your answers.And when it is over, make |
| | | | sure get a recording of your appearances, |
| radio stations:1) Spot messages2) Feature | | | | just as |
| stories3) News4) Interviews5) And becoming a | | | | |
| reporter.Here are details on each method.Spot | | | | with any print stories that appear about |
| MessagesSpot messages are short | | | | your organization, you should collect |
| public-service announcements that most | | | | |
| stations are | | | | your radio "clips"-i.e., record your |
| | | | appearances-and assemble a little cassette |
| required to carry as part of their license | | | | |
| agreement. Getting a spot is not | | | | of your best sound bites. These can be used |
| | | | for an "audio press kit" to help |
| difficult; you must simply fulfill the | | | | |
| program manager's criteria for the types of | | | | line up future radio appearances.Becoming a |
| | | | ReporterA last way you can gain access to |
| charitable organizations the station is | | | | radio is to become something of a reporter |
| willing to sponsor.If you are approved, some | | | | |
| radio stations will write the public | | | | or commentator for a station in your area. |
| information spot | | | | If you play your cards right, you can |
| | | | |
| for you. You need supply only the grist, the | | | | turn into a station's local expert, who is |
| basics about your cause and your | | | | called on whenever news relating to a |
| | | | |
| organization, and perhaps some flesh | | | | specific issue arises.Gary Millspaugh, |
| -and-blood examples of how you've | | | | executive director of the Allentown Rescue |
| | | | Mission in |
| helped.But don't count on getting such | | | | |
| assistance. In the majority of cases, the | | | | Allentown, Pennsylvania, knows the value of |
| staff is | | | | becoming a resource to a radio |
| | | | |
| too busy to do this work for you. And even | | | | station. "I attended the Presidents' Summit |
| at stations where they're prepared | | | | on volunteerism in Philadelphia," he |
| | | | |
| to help, supplying them with copy that | | | | says. "I thought hard in advance about how |
| requires minimal alteration makes it | | | | to turn that trip into publicity for |
| | | | |
| more likely your spot will eventually get | | | | our rescue mission, which serves up to eight |
| made and aired.If you need to write your own | | | | hundred homeless men per year, |
| spots, here are basic tips for making your | | | | |
| spot | | | | and has a 70-percent success rate in getting |
| | | | people out of the debilitating |
| appealing.1. First, remember that spots are | | | | |
| typically only a minute long, so the message | | | | problems that led them to the streets. Our |
| | | | graduates get into jobs and a |
| must be conveyed in a tightly wrapped form, | | | | |
| with the accent on getting the | | | | responsible, self-sufficient life."To turn |
| | | | his trip to the Summit into more than just a |
| listener's attention from the very outset.2. | | | | jaunt to Philadelphia, he |
| Spot messages can be informational, telling | | | | |
| listeners about the problem | | | | called his contacts at major radio stations |
| | | | (he is meticulous, he says, in always |
| your organization seeks to alleviate and how | | | | |
| you go about doing it. In this | | | | nurturing relationships with key people in |
| | | | the local media) and he let them |
| case, you need to accent the human dimension | | | | |
| of things: a story about | | | | know that he would be attending the Summit |
| | | | and could offer first-person |
| someone you've helped, or an individual | | | | |
| volunteer's experiences, for | | | | perspective. His efforts won him two rounds |
| instance.Alternatively, a spot message can be | | | | of publicity.First, he got coverage prior to |
| motivational, urging listeners to get | | | | the Summit for being a local service-provider |
| | | | |
| involved and help give the problem a cure. | | | | |
| These kinds of spots demand a tone | | | | who would be going to the event. Second, he |
| | | | got publicity while he was in |
| of enthusiasm and challenge. They're pitched | | | | |
| directly at the listeners, | | | | Philadelphia. After President Clinton's |
| | | | speech, for instance, Gary called one of |
| summoning them to respond personally.The | | | | |
| appeal should be frank, candid, direct, yet | | | | the largest Allentown-area stations, and was |
| upbeat, not an exercise in guilt- | | | | put on the air during drive-time |
| | | | |
| tripping. "You have what it takes to help a | | | | (the afternoon "rush hour," when |
| child in need," is a good example of | | | | listenership is highest). "I basically became |
| | | | |
| a positive way to appeal to someone's best | | | | |
| instincts.In contrast, a downbeat tone, | | | | their on-the-scene commentator on the |
| intended to shame people into helping your | | | | president's speech and the Summit," |
| | | | |
| cause, doesn't conform well with the radio | | | | he recalls.This kind of vigorous courting of |
| medium: People are listening for | | | | the media is "essential" for any charity that |
| | | | |
| enjoyment and entertainment, and a public | | | | |
| information spot that hits a | | | | wants "to survive in the incredibly |
| | | | competitive world of nonprofits today,"Gary |
| discordant tone is likely to cause | | | | argues. "The inescapable fact is that if |
| irritation- a switch of the radio dial.3. No | | | | you're a nonprofit or a charity, |
| matter what station the promotional spot will | | | | |
| run on, keep the language | | | | you're engaged in a competitive activity. |
| | | | You have to view it as competitive. As |
| conversational. Don't write in long, run-on | | | | |
| sentences. Use short, active | | | | rough as it might sound, you're in a win |
| | | | lose proposition. If you don't put your |
| phrasing. ("We want to hit a home run | | | | |
| against hunger," for instance. Not: "The | | | | resources to a winning use, you'll lose-and |
| | | | be out of the business of helping |
| societal disorders evidenced by homelessness | | | | |
| should give us all pause for | | | | others."If you're as successful as he was in |
| | | | winning an opportunity to become sort of a |
| concern."4. Write with directness to take | | | | |
| advantage of the immediacy of radio. Speak to | | | | freelance reporter on a social issue, keep |
| | | | in mind some basics of radio |
| | | | |
| listeners as if they were your friends. Be | | | | journalism. Facts should be conveyed clearly |
| personal and friendly, projecting a | | | | and accurately. Keep your |
| | | | |
| relationship between your organization and | | | | sentences short. Use words that carry color |
| your listeners with liberal use of | | | | and meaning. Make the |
| | | | |
| words like "you" and "yours."5. Avoid | | | | chronological presentation orderly and |
| jargon, slang, acronyms, or unfamiliar words | | | | understandable.THE GREAT WORLD OF TALK |
| that might cause people | | | | RADIOIn addition to the above methods of |
| | | | getting your message on the radio, there |
| to scratch their heads instead of focusing | | | | |
| on the important things you have to | | | | is also an entire world of talk radio that |
| | | | offers you instant access to the |
| say.6. If the radio station runs your spot, | | | | |
| be sure to write a note of thanks. "Station | | | | airwaves.In fact, talk radio offers |
| | | | excellent possibilities for organizations |
| personnel are like everyone else," says Pete | | | | with a socially |
| Weitzner of Century Cable. "They | | | | |
| | | | significant message, especially if you have |
| like to feel appreciated, and organizations | | | | someone in your organization who |
| that show appreciation are more | | | | |
| | | | can be seen as an expert in a |
| likely to be helped by people at the station | | | | field.(Ironically, the more you appear on |
| again in the future."Feature PiecesFeature | | | | talk radio, the more you become an expert, |
| pieces are another form of programming that | | | | |
| can provide you an | | | | as one's expertise usually gains a |
| | | | heightened status from being on the |
| opening to a station. Your feature piece | | | | radio.)One advantage of some talk-radio shows |
| could be an interview or a report on an | | | | is that their audiences may be more |
| | | | |
| event you are sponsoring in your community. | | | | affluent, with more money to invest. This |
| Feature pieces are usually more | | | | observation should perk up ears |
| | | | |
| analytical and in-depth than spots or news | | | | among charities and nonprofits looking for |
| stories.If you identify a local radio station | | | | donors.But while talk-radio provides fertile |
| that does occasional features, call to find | | | | ground for publicity, you should still |
| | | | |
| the names of the producers who oversee them. | | | | remember that radio stations operate not to |
| Write to these people about | | | | perform charity but to generate |
| | | | |
| your project, and the social problem you are | | | | ratings so they can make money.So they're |
| covering. Give solid examples of | | | | not going to invite a spokesman for a |
| | | | charitable group on who has |
| people being assisted by your efforts. Say | | | | |
| that you would be happy to help the | | | | nothing interesting to talk about.They're |
| | | | not going to devote their time to |
| station with your experience and expertise | | | | conversations about next weekend's |
| should they be interested in doing a | | | | |
| | | | fundraising car wash.This means that your |
| feature dealing with your issue.As with | | | | creativity is highly tested if you seek to |
| newspapers, I also recommend following up | | | | get on talk radio, |
| your letter with a phone | | | | |
| | | | just as with all other aspects of |
| call, telling the producer you "just wanted | | | | promotional campaigns. When you contact a |
| to make sure" the letter arrived, and | | | | |
| | | | radio station producer to suggest focusing |
| you'd be happy to answer any questions he or | | | | on something that has to do with |
| she might have.Again, as with follow-ups for | | | | |
| standard press releases, it's useful to have | | | | your nonprofit cause, the producer is going |
| | | | to ask what's unique and |
| additional noteworthy facts to offer when | | | | |
| you make phone contact, to spark | | | | interesting about your subject: What is it |
| | | | that will grab listeners and keep them |
| more interest.Feature stories are most | | | | |
| interesting when they include real people. If | | | | from pushing another button on the |
| there's | | | | dial?That's the question you have to ask |
| | | | yourself about every idea you consider |
| someone whose life has been turned around by | | | | |
| your charitable organization, | | | | pitching to any media outlet. You have to be |
| | | | able to answer it again and again |
| that's the kind of story people like to | | | | |
| hear-and radio can convey it effectively. | | | | during your marketing efforts. If you can't |
| | | | answer it, you have no business |
| So make sure the producer knows if there is | | | | |
| such a potential story about your | | | | doing promotion in the first place.One |
| | | | wonderful advantage of radio today is that |
| nonprofit.News StoriesA charity can be | | | | you don't have be in the studio |
| proactive in its approach to radio news, | | | | |
| attempting to | | | | to perform your part. You can be on the |
| | | | phone, calling from your office, car, or |
| generate news stories about itself with | | | | |
| press releases. Those releases should | | | | from across the country. You are simply |
| | | | "patched in" to the show, with the |
| be geared to the style of radio news | | | | |
| writing, which gets the basic point of the | | | | audience knowing nothing about where you are |
| | | | located.Interviews on talk-radio programs can |
| story across in the first sentence or two, | | | | vary from fifteen min to an hour in |
| adds some descriptive imagery, and | | | | |
| | | | length. On many shows, guests are also asked |
| ends fairly quickly.There is also the | | | | to take calls from listeners.If you have an |
| possibility that your organization's work | | | | opportunity to be on a talk, how, it is |
| could be mentioned | | | | useful to give your host a |
| | | | |
| in the context of a "hard news" story. In | | | | list of ten to fifteen questions that you |
| fact, when you write to the radio- | | | | would like to be asked.Although there is no |
| | | | guarantee your questions will be used, many |
| station producer for any reason, you might | | | | hosts |
| gain a special advantage by linking | | | | |
| | | | appreciate having your questions supplied |
| your organization's story with a topical | | | | because they interview such a wide |
| story in the news that week or month. | | | | |
| | | | variety of guests that they can't be |
| "If your message can be wrapped into a news | | | | well-versed on all the subjects under |
| story ... that catches a | | | | |
| | | | discussion. Your questions therefore act as |
| programmer's eye, he or she is likely to add | | | | pointers and cues that make them |
| it to the end of an announcer's | | | | |
| | | | look intelligent and knowledgeable.On the |
| newscast," writes Marty Schwartz, vice | | | | other hand, be careful about getting too |
| president of sales at New USA, a public- | | | | scripted. When an |
| | | | |
| relations firm in Virginia. "Of course, not | | | | organization seeks to get on talk shows, it |
| every message can be ... successful. | | | | is best to choose the person among |
| | | | |
| There has to be some news value or | | | | its staff or officials who is most |
| public-service value inherent in the | | | | knowledgeable and articulate about the group |
| | | | |
| message. If it just a 'product' pitch, | | | | and its work and can ad-lib.Many shows like |
| programmers will make their own pitch- | | | | to be flexible, taking a diversion from the |
| | | | announced subject. |
| into the circular file-and be sore that you | | | | |
| wasted their time. So this is where | | | | After all, nothing runs as smoothly when |
| | | | it's scripted. The worst shows are the |
| some creative thinking about how it can be | | | | |
| presented is really valuable."Even if an | | | | ones where they just read off a list of |
| expanded feature program doesn't fit into the | | | | questions. So be sure your spokesperson |
| station's schedule, a | | | | |
| | | | is comfortable talking on his or her |
| producer or news director who finds your | | | | feet.Here are a few additional pointers for |
| story interesting might see the | | | | targeting talk radio.- To increase |
| | | | your chances of being on radio stations |
| opportunity to broadcast an interview with | | | | around the country, |
| you, or to let someone in your | | | | |
| | | | submit your name and organization's project |
| organization interview someone else involved | | | | to Newsmaker Interviews, a |
| with the charity.InterviewsRadio interviews | | | | |
| can be divided into three broad categories.1. | | | | publication to which dozens of radio |
| The first is akin to feature reporting-a | | | | stations across the country subscribe. It |
| longish interview, conducted by | | | | |
| | | | lists potential guests and their topics in |
| someone with the station, in which the | | | | detail.- Another publication to |
| subject matter and general questions | | | | consider is The Yearbook of Experts, |
| | | | Authorities |
| are known in advance. Such exchanges can | | | | |
| even be scripted. But authenticity is | | | | and Spokespersons, which provides an |
| | | | "encyclopedia of sources" to |
| enhanced when there is some spontaneity, so | | | | |
| it is better to request a format in | | | | subscribing hosts and producers from media |
| | | | outlets nationwide. It has a Web |
| which you don't stick to a text, but only to | | | | |
| an overall framework of questions | | | | site: producers are heavily worked, almost |
| | | | always busy lining up guests |
| that have been agreed to in advance.2. There | | | | |
| is the interview conducted by the charity | | | | and arranging the logistics of each program. |
| itself. While these can be | | | | You might not reach a producer |
| | | | |
| effective, especially if done with leeway | | | | the first time you try calling. Persistence |
| for ad-libbed conversation to boost | | | | is usually required.- When you call a |
| | | | talk-radio producer, show that you know |
| credibility, there is something more | | | | something |
| authoritative for many listeners when a | | | | |
| | | | about the program by mentioning a recent |
| station employee conducts the interview.3. | | | | topic or guest.- Try to link your idea |
| There is the news interview conducted by a | | | | with some issue or event that's in the news. |
| reporter. These can be the most | | | | Most |
| | | | |
| intimidating exchanges for the interviewee, | | | | producers look to the headlines first in |
| because the questions aren't | | | | trying to line up show topics.- If you |
| | | | can inject controversy into your topic, you |
| reviewed in advance, so you have to be quick | | | | have an advantage in |
| on your feet in answering.If you have an | | | | |
| opportunity to choose among these various | | | | trying to get a guest spot. Talk radio |
| formats, the one | | | | generally thrives on dramatic issues and |
| | | | |
| that usually offers the most potential to | | | | exchanges. It isn't supposed to be |
| show you and your organization to | | | | sleep-inducing.Look for the third part of |
| | | | this article, next week.Michael Levine is the |
| best advantage is the first, because it is | | | | founder of the prominent public relations |
| more relaxed and you're usually given | | | | firm Levine |
| | | | |
| a chance to know what you'll be asked about | | | | Communications Office, based in Los Angeles. |
| and to frame your responses in | | | | He is the author of Guerrilla PR, |
| | | | |
| advance.If you are interviewed, it is | | | | 7 Life Lessons from Noah's Ark: How to |
| recommended that you try to get to know the | | | | Survive a Flood in Your Own Life. He is |
| | | | available as a keynote speaker. He can be |
| interviewer before the tape actually starts | | | | contacted by email: GuerrillaPR.net is a |
| rolling. This will help you relax | | | | resource for people that want to get famous |
| | | | in the media, |
| during the interview itself. When the | | | | |
| interview is under way, don't step on the | | | | without going broke. |