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A Peek Inside The Sooner Sports Network

Tyler McComas

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“The Spring Game to be decided right here! Snap, rolling right, (Austin) Kendall looking end zone, looking, stops, looks back left, looks right, throws in the end zone and it’s incomplete! Adrian Peterson’s Team White has won it by the score of 10-9!”

That was just one of the many moments heard inside the Oklahoma football radio booth on Saturday afternoon, as play-by-play voice Toby Rowland gave the action during the OU Spring Game in Norman. But that moment didn’t come without a large amount of time and preparation. In fact, you have to rewind two days prior to Thursday afternoon, to see when the preparations for the broadcast actually began.

Inside an empty Gaylord Family Oklahoma Stadium, on-site engineer Michael Dean is inside the radio booth to start his game day set up. A process that usually takes close to two hours, Dean also needs to coordinate his wireless microphones with the Trace Adkins concert that’s to take place before the game on Saturday. Any interference, would cause his sideline analysts problems and leave them unable to participate in the pregame show.

Though Dean is used to spending several hours setting up a broadcast, he’s not the only member of the team that spends multiple days getting ready for the football game on Saturday. Spotter boards, audio drops and a detailed study of the roster, are just a few of the things that fill the week for the majority of the 8-man crew involved with the Sooner Sports Network.

Inside the booth on the bottom of the two level room, Greg Blackwood (spotter) occupies the seat on the far left. To his right, sits Rowland (play-by-play voice) followed by Dennis Kelly (statistician) and Merv Johnson (color analyst) in the seat furthest right. Up top, sits Dean (engineer) alongside all his equipment to keep the Sooner Radio Network on the air. Down on the sidelines, the remaining three members of the team stand as Teddy Lehman (sideline analyst) and Chris Plank (sideline analyst) are joined alongside Tom Shores (parabolic microphone).

Oklahoma football has never been a stranger to success. However, the same can also be said for the Sooner Radio Network. Legendary figures such as Walter Cronkite, Bob Barry and John Brooks, are just a few of the voices that have told the tale of OU football through the years. Though the names have changed, the success has not. During the 2017 season, the Sooner Radio Network was ranked as the No. 1 most listened to college sports broadcast via TuneIn on three separate weeks. In Learfield’s end of the season list of Most Listened to Teams via TuneIn, the Sooner Radio Network ranked No. 3, making it one of the most popular broadcasts during college football weekends.

But how does it all work? I went inside the booth and asked those questions to several members of the broadcast team.

On-Site engineer Michael Dean

TM: How early do you show up on a game day?

MD: On a normal game day, I try to get to the stadium about 6 hours before kickoff. For home games, I’ll come down Friday and do my set up. So when I get here Saturday morning, everything is already in place and it’s just a matter of turning stuff on.

blankTM:  How long does it take you to complete your entire set up?

MD: If I’m in a hurry, I can do it in a couple of hours. When we’re on the road, and we get to the stadium at 8:30 or 9:00 in the morning for a 2:00 kickoff, that gives me a couple of hours to put everything together, to where I’m not pushing it and ready to go. There’s two, great big cases that hold all the paraphernalia for the setup. It’s amazing how much the technology has changed with equipment. When I started in 1991, the technology seemed to change every 3 or 4 years. What we’re doing today, you couldn’t imagine doing that back then. It’s incredible.

Statistician Dennis Kelly

TM: Are you keeping a full stat sheet during each game?

DK: What we found is everyone has access to the game stats these days. So I tend to focus on trends. How many passes in a row have been thrown, how long the drive has been, how many yards or how close to a record someone is, that’s what I’ll focus on. We always have a stats monitor in front of us. When I have something, I write it down and pass it to Toby.

Spotter Greg Blackwood

TM: Since you’re pointing out every single tackle, run and catch, does that mean you have to be familiar with every single player that participates in a game?

GB: Normally, Toby will send me a picture of his spotter boards for that given week, around Thursday or Friday. I pretty much know everyone that plays for OU, but it’s getting to know the opposing team. What I like to do, like, for receivers, I put them on a Post It note, just their number and last name. So when the ball is in the air, I’m immediately able to find who it is and point it out on the spotter board.

blankTM: So, as the game moves on, do you get familiar with where each player is and able to act instinctively to where they’re listed on the spotter board?

GB: Exactly.

TM: I also see an OU Band-Aid and a Band-Aid for the other team. What’s that for?

GB: It’s just something I came up with. Whenever there’s an injury, I point to the player as well as his team’s Band-Aid. That lets Toby know who’s hurt and what team he plays for.

TM: Do you and Toby have any special hand signals for communication?

GB: Oh yeah. I’ll just say, hey, for a substitution I’m going to do this (wiggles his thumb and pinky finger). A lot of the time, I’ll say a player’s name in the headset. That way he hears me, but it doesn’t go over the air.

Sideline analyst Teddy Lehman

TM: You’re one of two sideline analysts (Chris Plank being the other) and you’re usually standing away from each other on the field. Most broadcasts don’t have that. How are you guys able to coincide without stepping on each other?

TL: Toby has a certain rhythm with the way he calls the game. He sets up the play, describes it as it happens and then gives you the result and the upcoming down and distance. You wait for that pause and then jump in with a quick comment. A lot of times it can be difficult, because if you have something to say that’s relevant to that play, sometimes, the offense is going up-tempo and they’re right back up to the ball. You have to get the info out and let Toby get back to calling the next play. It’s just a feel. I kind of know when Plank is going to come in. It’s usually after an injury or in between a series. Usually, during an actual series, that’s when I feel more comfortable coming in with something without stepping over Plank. But it does happen. When you have all the live mics we have, we probably have more than any other broadcast, it’s going to happen.

Play-by-play voice Toby Rowland

TM: How long does it take you to make a spotter board every week?

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TR: It’s kind of hard to say, because I work on it every day throughout the week. So, like on Monday, I’ll enter all the information and then as the week goes on, you kind of add info to it. The whole process is probably a few hours. I just work on it all week, keeping adding stuff to it and by the time Saturday gets here you hope it has everything that you need.

TM: Why two sideline analysts? You’re one of the few ones to do it, so why two?

TR: Plank is great at getting all the information like a sideline analyst should be. Injuries, interviews, and all the things you’d expect. So with Teddy, we basically have an extra analyst, except he’s on the field instead of the booth. A lot of times, he gets stuff that we wouldn’t get if he was in the booth, because he’s down there. We tried it a few years ago, just threw it against the wall to see if it would work, and after the first game, everybody looked at each other and said ‘holy cow that was pretty awesome.’ What you’re starting to see now is some other places around the country try it, which is flattering. What Teddy gives us down there is gold. We have an analyst that can see from the booth and another that can see from the sideline. Between those two, we pretty much have it covered. The only tricky part is figuring out when to talk and not step on each other. I think we’ve done it long enough now that everybody had figured out the cadence. During the commercial break, we’ll often work it out to where we’ll tee each other up. It’s a nice chemistry.

TM: Something came up today that sparked this question. There was a number switch to a particular guy that wore a different number last season. Is that tough when you go a whole season identifying a guy as a certain number and then he switches the next year?

TR: They should really call us and ask our approval before they do things like that (laughs). It would really be hard if the player that wore that number last year was still on the team. Thankfully, you have a Spring Game to work it out. A lot of that stuff is why you go to a practice or two before the season starts. Like, next year, we’ll catch a practice or two before the season starts and the only intention is to see body shapes and numbers. You can act like you’re calling a play and mumble to yourself on the sideline, so you get used to that player with his new number. From the radio booth, you can’t always see the number right away. Like if it’s a wide receiver and he’s turned weird. But I can tell if it’s a single digit jersey number. If that’s the case, you’re identifying the player based on body size and movement.

blankTM: This did happen in the Rose Bowl, but what if the opposing team makes an unbelievable play to win the game? How do you call it when it’s a crushing defeat for your team?

TR: Naturally, you get more excited if your team is making the big play. Everybody does it different. Some people are super depressed on the air. I think the natural thing for me, is wow that was a giant play to win the game. They need a call that fits winning the Rose Bowl. Even though it wasn’t us that was the decisive play of this event. So it should have a pretty big call to it. But look, if we had made that play to win the Rose Bowl, I would have pulled a hamstring. It didn’t match the level of call to what I would have sounded like if OU had won. That’s just a preference. Every guy does it differently.

TM: What kind of hand signals do you and your spotter use during a game?

TR: There’s a lot of non-verbal communication between us. He can talk in my ear, without it going over the broadcast. But we try to limit that as much as possible, just to make the distractions less. If I don’t immediately recognize a receiver, he may say in my ear “Brown.” Just one word. But most of the time we prefer to communicate non-verbally. He has a hand signal for who the lead blocker was, who applied the pressure, there’s a number of different signals that we have to be on the same page with. That’s just been developed over time over 7 years.

TM: The process to setting up a process can be long. Even for you, is it stressful on a game day until you know everything is up and working correctly?

TR: I don’t think I stress at all about any equipment or the setup process. My plate is full enough that I don’t have the time. I’m stressed enough that my spotter boards are ready and I’m about to call a game. I 100 percent trust Michael Dean and need to. I assume every time we show up at the stadium that everything is going to be ready to go. There’s a bunch to do. We have a bunch of people on the air, so there’s a lot that goes into it, but I’m not stressed about it at all.

BSM Writers

Mike Silver Has An NFL Backstage Pass

“When you go through a career transition like that, let alone during a pandemic, you find out a referendum on all your relationships.”

Derek Futterman

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It was the 2010 NFL Draft and standout wide receiver Dez Bryant was eligible to be selected by a professional football team. As a journalist, Mike Silver has always looked to enterprise stories and wanted to be with Bryant when the moment he had been waiting for finally arrived.

Through a preexisting relationship with Pro Football Hall of Famer Deion Sanders, he got in touch with Bryant and received permission to attend his draft celebration. Before being selected in the first round by the Dallas Cowboys, Bryant revealed to him that then-Miami Dolphins General Manager Jeff Ireland had asked him during the pre-draft process if his mother was a prostitute.

Once that information was published in Silver’s column, Ireland had to publicly apologize and was subsequently put under investigation by the team’s majority owner Stephen Ross.

“People were like, ‘How did you get that?,’ but I was very proud because really the way I got it was because Deion Sanders respected me enough based on things that had happened decades earlier and the way that I conducted myself that I was able to ultimately get to Dez,” Silver expressed. “That to me is a validation. I’ve nurtured relationships for years and years that have led to zero reporting and thought, ‘It’s okay; it’s just part of the process. It is what it is.’”

From the start, Silver was a believer in journalism and the power the profession had in divulging stories in pursuit of the truth. Born in San Francisco, Calif. and raised in Los Angeles, he would read The Los Angeles Times sports section for a half hour per day, observing the proclivities and vernacular of other writers. As a high school student, he co-authored a sports column in the Palisades Charter High School Tideline with current Warriors head coach Steve Kerr, gaining practical experience in journalism and cultivating professional relationships.

“I was the only Warriors fan in our school because I was born in San Francisco so he used to clown me for being a Warriors and 49ers fan like everyone else in our school – so I ended up having the last laugh,” Silver said. “By old standards, you’d say, ‘You can’t cover Steve Kerr. That’s your friend.’ I think in 2022 if I have to cover Steve Kerr, I’ll just be like, ‘You know what? Everyone knows we’re friends. I’m just going to be up front about it.’”

Silver attended the University of California, Berkeley where he earned his bachelor’s degree in mass communication and media studies. The school was not known for profound levels of success within its football and basketball programs, according to Silver; however, the student newspaper was a place to gain repetitions in covering sports and having finished work published, printed and distributed.

Towards the end of his time in college, Silver wrote stories that were published in The Los Angeles Times, the newspaper he grew up reading and from which he drew inspiration to become a journalist.

“We would tell the players we covered, ‘Hey, we’re trying to go to the pros too, and we’re not going to get jobs in this industry if we don’t write the truth,’” Silver said. “We were trying to break in as legitimate journalists and we definitely ruffled some feathers along the way.”

Once he graduated from school, Silver began his professional career writing for The Sacramento Union where he covered the San Francisco 49ers. Silver grew up as a football fan and was familiar with the team but always tried to find original, untold angles to differentiate his stories from others. Shortly thereafter, he transitioned to join The Santa Clara Press Democrat as a beat writer and used the time to further develop his writing and reporting skills. Five years later, he was in talks to land his dream job as a writer in Sports Illustrated, a prolific sports magazine focused on producing original content.

Sports Illustrated was released on Wednesdays and operated under the belief of trying to omit any stories that may have been reported in the days prior. The goal was to tell stories that were under the radar and would be impactful and memorable for its readers.

During a typical week, Silver would visit both the home and road teams in their own cities with the hopes of connecting with players and team personnel. After a game, he would go to the locker room, yet he would try to avoid doing one-on-one interviews since the content would likely be published elsewhere before the magazine was released.

Then, his writing process commenced and often went through the night, as Sports Illustrated had a 9 a.m. EST deadline the following morning. By taking the approach of enterprising stories, Silver quickly became one of the most venerated and trusted sportswriters in the country, composing over 70 cover stories for the publication.

With the advent of the internet though, journalism and communication was forever changed allowing for the free flow of information and ideas in a timely manner.

“Now I can arrogantly write to whatever length I want and every precious word of mine could be broadcast to the masses, but [back then] you better have it the exact length because it’s going on a page,” Silver said. “You’re maybe reading over a story 15 times or more to get it just right before the seven layers of editing kick in. You’re also leaving theoretically half of your great stuff on the cutting room table never to surface again or seldom.”

Nurturing a relationship built on trust and professionalism is hardly facile in nature, and it required enduring persistence and resolute determination to achieve for Silver. Through these relationships, he has been able to create both distinctive and original types of content. As innovations in technology engendered shifts in consumption patterns though, he decided to do what he originally perceived as being unthinkable and left Sports Illustrated after nearly 13 years.

“When I went there, I felt like we had 30 of the 35 best sportswriters in America and it was murderer’s row,” Silver said of Sports Illustrated. “I had a great, great experience there the whole time so I never thought I’d leave.”

After meeting with Yahoo Sports Executive Editor Dave Morgan and being given an offer with flexibility in the job and a promise of a lucrative salary, Silver knew it was simply too good to pass up. He opted to still write a column on Sundays to counterprogram Peter King at Sports Illustrated, who authored his own weekly “Monday Morning Quarterback” column.

Additionally, Silver agreed to write two additional branded columns per week in a quest to adapt to the digital age of media.

“I was trying to stay current and connect to an internet generation and keep up with the way that people were consuming their content at that time,” Silver said. “….We just had a spirit at Yahoo that we weren’t owned by anyone, we didn’t have a deal with the league and we were going to report the news in a very unfiltered way.”

An advent of the digital age in media has been the practice of writers appearing on television to present their information en masse, requiring changes in their delivery. Unlike in a written piece, reporting on television requires efficiently making key points and speaking in shorter phrases to allow the viewer to easily follow the discussion. Moreover, writers are sometimes presented with questions that may provoke deeper thought or analysis, and occasionally challenge their lines of reporting.

Silver never thought he would work in television, but as a part of his contract with NFL Media, he was writing columns and serving as an analyst on select NFL Network programming. In working on television on a league-owned entity, it forced him to step out of his comfort zone and pursue mastery of a new skill set.

“I never wanted to do TV voice and be cheesy and look like someone who was trained for the medium so my strategy was more to try to be myself on camera and see how that translated,” Silver articulated. “It seemed to work to some degree – and then obviously I picked up a lot of tricks of the trade and techniques and got better reps. Essentially, I think reporting is reporting [and] information is information.”

Moving into television, a medium with sports coverage that is, at its core, nonlinear due to the potential for breaking news and unexpected occurrences, changed the manner in which the information was presented and/or prioritized on the air. In a column, Silver’s goal was to find original angles and obtain anecdotes and quotes to implement into the storytelling. Now on television, sources were still used largely on the condition of deep background, meaning no individual or group could be attributed to the information in any way.

“With TV, there was an element of, ‘Hey man, I’m just trying to sound smart when I talk about you guys,’ which is code for, ‘I don’t have to use your name when I say this stuff, but when I’m weighing on why you just traded for Trent Richardson, help me understand what’s really going on with the Indianapolis Colts at this moment,’” Silver explained. “That’s just a random example. I liked [television] more than I thought I would.”

Silver’s contract was not renewed at NFL Network in 2021, providing a stark change in his lifestyle and leaving him looking for a job in the midst of trying economic times. Through a relationship he had with sports radio host Colin Cowherd, he was given the opportunity to join his upstart podcast platform The Volume as a host. Cowherd eagerly recruited Silver to the platform following a lunch in which the topic came up naturally in conversation about future endeavors.

“When you go through a career transition like that, let alone during a pandemic, you find out a referendum on all your relationships and I have a lot of them from players, coaches, owners and GMs to media people and friends in other industries, etc.,” he explained. “Colin Cowherd is someone I’ll never, ever, ever forget or stop being grateful to…. We were kind of talking some stuff out and he was like, ‘Why don’t we do a show on my network?,’ and we started talking about what that would be. We left lunch… and about 10 minutes later he called me and said, ‘Okay, here’s what I think,’ and kind of continued it.”

Today, Silver is hosting an interview-based program called Open Mike featuring guests from the world of professional football. Recent guests on the program have included Detroit Lions quarterback Jared Goff, New York Jets head coach Robert Saleh and Jacksonville Jaguars wide receiver Marvin Jones. Prior to joining The Volume, Silver had hosted a podcast with his daughter called Pass It Down, which ultimately ran for over 50 episodes and gave him experience working within the medium.

“I’m sitting there spending an hour with [Las Vegas] Raiders GM Dave Ziegler or [Buffalo Bills] linebacker Von Miller or whoever we have on,” Silver said. “You’re not only getting to know that person; you’re watching the way I connect with that person and usually have a body of work with that person, and there’s a comfort level there too.”

John Marvel was Silver’s direct boss at NFL Media and a friend he kept in touch with for many years. Through various correspondences and the dynamic media landscape, they decided to start their own media venture called Backstage Media. The company has a first-look deal with Meadowlark Media – a company co-founded by John Skipper, who also serves as its chief executive officer. Skipper was formerly the president of ESPN and someone Silver wished he had worked for earlier in his career.

“I did not know John Skipper before I left NFL Network,” he said. “I didn’t particularly have a dream to [ever] work at ESPN. We’ve had conversations over the years – ESPN and I – and it never seemed like the perfect fit for me. Now that I know John Skipper, it’s like ‘I would have worked for that guy any time.’ He’s fantastic, [and] I’m just so pumped to be in business with him.”

The company, which focuses on producing documentaries and other unscripted programming through the intersection of sports, music and entertainment, has various projects in development. The idea was derived out of both of their penchants for storytelling and an attempt to utilize new platforms built for engagement within the modern-day media marketplace.

“We’re hoping that documentaries, docuseries [and] episodic podcasts – mostly unscripted – …will be kind of our wheelhouse,” Silver said. “….There’s about four big things that are [hopefully] close to being announced. One’s football; one’s boxing; one is basketball; and one is kind of a blend of some things. I feel like we have a pretty diverse set of interests.”

Joining The San Francisco Chronicle as a football reporter has been indicative of a full-circle moment for Silver, as he is once again around the San Francisco 49ers and writing columns about the team and other sports around the Bay Area at large. Today, he is working with Scott Ostler and Ann Kllion, and directly with Eric Branch on the outlet’s 49ers coverage. Through it all, he seeks to continue gaining access to places that the ordinary person would only be able to dream about in order to tell compelling and informative stories, no matter how they may be delivered or on what platform(s) to which it may be distributed.

“I’m old school in a lot of my mentality in terms of journalism and storytelling and all of that,” Silver said. “I think those things don’t go away. I think it’s journalism first; relationship first; access first; storytelling first; and you figure out the rest.”

As for the future of the profession which has ostensibly become less defined because of the evolution of social media and communication, relationships and storytelling have truly become the differentiators. Silver aims to continue practicing what has allowed him to gain exclusive scoops in the industry and tell stories that would otherwise, perhaps, fly under the radar, but do so in a way that does not jeopardize his sources.

“I’m going to try to develop relationships and cultivate relationships where people trust me and give me a sense of what’s going on,” he said. “I’m going to try to get into places that you, as the consumer, couldn’t otherwise go and take you there, and I’m going to err on the side of the relationship as opposed to finding out one thing that could cause a splash that day on Twitter.”

Some athletes are hosting podcasts or writing columns to directly communicate with their fans, including Cincinnati Bengals quarterback Joe Burrow and Golden State Warriors forward Draymond Green on The Volume, intensifying the quest for engagement and attraction. Yet Silver advises journalists looking to break into the industry not to get distracted in meeting certain metrics, instead adhering to best practices and reporting truthful information without ambiguity.

“Just don’t get undone by the noise,” Silver said. “Put your head down; hyperfocus; grind; tell good stories; do journalism and hopefully over the course of time, that will stand out. I’d still like to believe that.”

Covering professional sports, specifically football, generates a large amount of potential storylines on which journalists can report – and today, digital platforms give them the ability to cover them in different ways. While some scoops may requit a large article, others may be able to be told in 280 characters or less, such as a trade rumor or injury. The amount of information Silver and his colleagues uncovered working for a print publication and then had to omit because of space limitations underscores a key journalistic principle of efficient and truthful storytelling. In today’s media landscape, he hopes to be able to do that regardless of its means of dissemination.

“If you went back and just looked at our normal… feature or story off a game [and] the level we reported on a Wednesday and translated that to a Twitter generation, people would lose their minds about how much we found out and how much we reported with on-the-record quotes usually, and they’d be like, ‘He said what!?,” Silver said. “That’s all we knew and that’s [how] we did it…. I don’t think people understand how much the threshold has changed. It’s all good. The most important things hopefully haven’t changed.”

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BSM Writers

Video Simulcasts Are Now A Must Have For Sports Radio

All of these shows have done an amazing job of constantly communicating with their audiences to make sure they’re aware of changes coming their way. 

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Video simulcasts of sports talk radio and podcasts have gone up extraordinarily in quality as of late. The craft started as a novelty that very few participated in. ESPN and YES Network dominated the genre with their simulcasts of Mike and Mike in the Morning and Mike and the Mad Dog respectively. Slowly but surely other sports networks and RSN’s picked up the genre over time and it has now become a major component within sports coverage in the streaming world.

The most popular and prominent shows in the medium right now include The Dan Patrick Show, The Dan LeBatard Show with Stugotz, The Pat McAfee Show, and The Rich Eisen Show. These four shows in particular have done an excellent job of independently producing and building out their video content to look visually appealing while also engage with the audience through graphics, pictures, stats on screen. In McAfee’s case, his company even entered into a rights agreement with the NFL for highlights.

Finding their shows can be difficult at times. Eisen’s show has moved from television to Peacock and to Roku Channel all within the span of a couple years. When LeBatard’s shipping container first began their live video voyage they didn’t have a consistent schedule. Patrick’s show has also leapt between RSNs, national networks, YouTube and its current home on Peacock. But all of these shows have done an amazing job of constantly communicating with their audiences to make sure they’re aware of changes coming their way. 

The video simulcasts have become so lucrative for these shows that they’ve found sponsors to advertise against what they’re offering and they ensure that they pay attention to the look of the show. Commercials that feel like television play during Patrick and Eisen’s shows. Logos are displayed during LeBatard’s broadcast and NFL Films vignettes that you would find on NFL Network air in the middle of McAfee’s broadcast.

McAfee’s show recently moved into a new studio in Indianapolis specifically built for them by FanDuel and just yesterday LeBatard announced they would be moving into their own state of the art studio in Miami that will help expand their creativity. Patrick’s show doesn’t even have guests call into their show anymore – most join via Zoom. Eisen’s guests are more often than not in studio. All of these shows also upload highlights relatively quickly to YouTube. They’re still audio-first but video is no longer secondary. It is 1A in terms of importance.

As much as these simulcasts feel close to real TV, there are still some hijinks that fans have to get used to that aren’t the same as a regular TV broadcast. During LeBatard’s broadcast, a rolling loop of their own self produced album plays during breaks. While the songs are hilarious in nature, if you’re a weekly viewer of their simulcast it might get tiresome to hear every time there is a break.

A loop of some of the show’s greatest moments and some of the side projects Meadowlark Media produces might be more engaging and help reduce drop off rate. McAfee’s show also struggles with white balancing their cameras almost every telecast. At times in the middle of a conversation during the show, discoloration occurs before changing back to normal skin tones.

Patrick’s show has used the same set of graphics since it began simulcasting on NBC’s linear sports network years ago which could be a turnoff for younger viewers of the internet era who always want change in order to grab their attention. Eisen’s show has awkward interruptions happen in the middle of conversations because commercial breaks are different in length on terrestrial radio vs. streaming.

At the end of the day though, these shows are the epitome of what it means to have grit and guts to achieve your American dream. Although their productions are subsidized and/or licensed by big media platforms and sports books, their social media presence and the actual production of these shows was built on their own. During the first couple of weeks after LeBatard’s show left ESPN, the former columnist could often be heard teasing listeners that they were working on building a video enterprise and how difficult it was.

It’s hard to stand on your own in sports talk media without the backing of superpowers like ESPN, Fox, NBC, CBS and Turner who have been producing live broadcasts for decades. But these shows have found a way to do so in a new world that is tailored towards doing everything on your own. 

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BSM Writers

5 Ideas For December Sales Success

How much better will you enjoy Christmas and New Year knowing you have some presentations to make to prospects who want to roll into 2023 with a new idea?

Jeff Caves

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Now is the time to put your foot on the gas for a great start to 2023-not waiting til January. With Christmas Eve, Christmas Day, New Year’s Eve, and New Year’s Day all falling on weekends, you can’t count on who will be at work the Friday or Monday around those holidays in December.

So, looking forward from here, you only have 15 or so days that you can count on your clients and prospects to be at work before the end of 2022. And, if they are at work, consider their motivation or lack of it before approaching them. But here are five ways to attack December.

Cutting a year-end deal

Make sure you go back from the potential start date of the schedule and allow for production, proposal, and acceptance. That usually means you need a week from when you present a year-end idea to when the schedule starts. So, aim to have all appointments booked by 12/9, so you can sell 2-week packages that begin Monday, 12/19. That will give you a sense of urgency and gives you five solid business days to sell your ass off starting Monday.

5-day sale

Make all your pricing and payment terms expire by Friday, 12/9. You can always extend if need be once they give a partial commitment. You want anybody involved in the decision to sign off and let you cut this deal! The idea here is to create urgency and work ahead.

Beat the bushes

Do you want to wake up on 1/2/23 with an empty pipeline? How much better will you enjoy Christmas and New Year knowing you have some presentations to make to prospects who want to roll into 2023 with a new idea? Don’t try to qualify these prospects over the phone. Do it in January when both of you are fresh but get that commitment NOW. Look for your new client avatar.

Be gracious

From now til the end of the year is also an excellent time to meet with your sales assistant, traffic manager, production person, or anybody who helps you at the station. Sit down with them face to face and see what you can do better to make their job easier. Give them some ideas on how they can help you as well. Mend some fences or make new friends; the reason tis the season. Surprise them with a Cheetos popcorn tin for less than $10. Please do it. You will be surprised by what you hear because this is a popular time of year for layoffs, transfers, and people taking new jobs.

Practice a new pitch

December is also a great time to record yourself doing a webinar and start planning to let your content do the talking. Wouldn’t it be nice if your 10-minute talk on how to make live reads work, how to buy radio, or why your audience buys the most widgets produced some warm leads? Practice and get going!

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