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Stop Turning Full Time Jobs into Part Time Positions

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It isn’t cheap to run a radio station. Ownership groups are always looking to cut costs. That forces program directors and market managers to sometimes have to figure out how to run a brand with a bare bones staff that is making a nearly unacceptable salary.

Sports radio is a format that demands commitment. It’s not just hosts that have to make sacrifices. Programmers do too, and more importantly so do owners.

The desire to cut costs is perfectly understandable, but some positions demand investment. If an owner wants his sports station to sound its best, he has to make a financial commitment to the programming staff. As a format, we have to demand that full-time jobs stop turning into part-time positions. If you’re cheap with your people, your station will sound cheap.

Why is producing at an all time low in our industry? Because the industry treats producers like crap. 

A producer has so much control over the way a show sounds. How can anyone expect to get quality people in those roles if management is only willing to pay them for 30 hours a week? A good producer is on the clock 24/7. It’s not that they don’t have lives, but they are constantly thinking about how to turn what they see on their TVs and phones into content on air.

A producer can’t just show up 30 minutes or an hour before the show goes on air and start pulling audio. There’s strategy to discuss. There’s prep to be done. Even hosts that like to map their own shows need a producer to go over ideas with in order to turn their opinions into great content. 

When you’re trying to fill an opening for a producer, you’re looking for someone who is creative, organized, knows how to hold a conversation, and can multi-task literally every second of their workday. Does that sound like someone that is worth only $10 or $12 per hour? Does it sound like the description of someone that would be willing to work for $12 an hour?

Making the executive producer position a part-time one is not only disrespectful to producing talent. It is unfair to your hosts. A good host knows how valuable skilled, experienced producers are. They can make flat conversation sound better by pulling the right sound. They are dogged in their pursuit of the right guests for the show.

Even shows with a single host cannot possibly be one man productions. Stripped to the bare bones, a show has to at least have a second person to run the board and answer the phones, but if a second person to run the board answer the phones is the only support you are willing to give your host, the message you are sending is that quality doesn’t matter.

I get that profits are down for a lot of station owners. I get that that means there isn’t always enough money to go around when it comes to hiring. But anyone in a position of making a budget has to do their homework. If you’re on strict orders to make only essential personnel full-time employees, you better understand which personnel are essential.

On the programming side, our job is to create a product that is entertaining enough for the sales staff to sell the ad space around it. There is no entertainer on Earth that can create a show that is engaging for three to four hours, five days a week, fifty to fifty-two weeks a year all on his own. Not investing in full-time producers is a disservice to your sales staff. 

Being successful in radio requires that you invest the right way. That means you identify the positions that need to be filled and pay what is necessary to fill them with the people that will put you in the best position to succeed. It doesn’t mean you try to invest as little as possible. If the latter is your goal, maybe you need to reevaluate whether you should have invested in a sports radio station at all.

BSM Writers

Asking The Right Questions Helps Create Interesting Content

Asking questions that can get a subject to talk about their feelings is a much better way to get an interesting answer.

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USA Today

When ESPN’s Mike Greenberg interviewed Paolo Banchero in the lead-up to the NBA lottery on Tuesday, he asked what I’ve concluded is the single most maddening question that can be asked of any athlete preparing for any draft.

“Why do you believe you should be No. 1 pick in the NBA Draft?” Greenberg said.

Before I point out exactly why I have such a visceral reaction to such a harmless question, I want to point out the positives because Greenberg’s question avoids some of the most common pitfalls:

1) It is an actual question. That’s not as automatic as you think given the number of poor souls who are handed a microphone and say to their subject, “Talk about (whatever issue they want a quote or a sound bite on).” This is the mark of an amateur, creating the opening for an uncooperative subject to slam the door by saying, “What do you want me to say?”

2) Greenberg’s question can not be answered with a yes or a no. Questions that start with the word “Can you …” or “Did you …” may sound like they’re tough questions for the subject, but they’re actually fairly easy if the subject wants to offer an answer. Now, most interview subjects won’t take that one-word exit, but some will in a touchy situation.

The problem with Greenberg’s question has to do with the result. Why do we ask questions of the athletes we cover? Seriously. That’s not rhetorical. What’s the goal? It’s to get interesting answers. At least that’s the hope whether it’s for a quote that will be included in a story, a sound bite to be replayed later or — like in this situation — during an interview that is airing live. The question should be engineered to elicit interesting content, and there was very little chance that the question Greenberg asked Banchero was going to produce anything close to that.

I know that because I have heard some version of this question asked hundreds of times. That’s not an exaggeration. I attended the NFL scouting combine annually for a number of years, and if a player wasn’t asked why he should be the first overall pick, he’d get asked why he should be a first-round pick or why he should be one of the first players chosen at his position. Never — in all that time — have I ever heard what would be considered an interesting or informative answer. In my experience, players tend to talk in incredibly general terms about their own abilities and then seek to compliment their peers in an effort to avoid coming off as cocky.

Here’s how Banchero answered Greenberg’s question: “Yeah, thank you all for having me, first off., I feel like I’m the number one pick in the draft because I’m the best overall player. I feel like I check all the boxes whether it’s being a great teammate, being the star player or doing whatever the coach needs. I’ve been a winner my whole life. Won everywhere I’ve went, and when I get to the NBA, that’s going to be the same goal for me. So just combining all those things, and knowing what I have to work on to be better is a formula for me.”

There’s nothing wrong with answer just as there was nothing wrong with the question. It’s just that both are really, really forgettable. ESPN did put a clip on YouTube with the headline “Paolo Banchero: I’m the best overall player in the NBA Draft | NBA Countdown” but I think I’m the only who will remember it and that’s only because I’m flapping my arms and squawking not because there was anything bad per se, but because there was nothing really good, either.

First of all, I’m not sure why it matters if Banchero thinks he should be the number one overall pick. He’s not going to be making that decision. The team that holds the top draft pick — in this case Orlando — is. Here’s a much better question: “How important is it for you to be the number one overall pick?” This would actually give an idea of the stakes for Banchero. What does this actually mean to him? Asking him why he should go number one is asking Banchero to tell us how others should see him. Asking Banchero how important it would be go number one is asking him to tell us about his feelings, something that’s much more likely to produce an interesting answer.

The point here isn’t to question Greenberg’s overall competence because I don’t. He’s as versatile a host as there is in the game, and anyone else in the industry has something to learn from the way he teases ahead to content. What I want to point out not just how we fail to maximize opportunities to generate interesting content, but why. Interviews are a staple of the sports-media industry. We rely on these interviews as both primary content that will be consumed directly, and as the genesis for our own opinions and reaction yet for all that importance we spend very little time thinking about the kind of answer this question is likely to produce.

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BSM Writers

The Client Just Said YES, Now What?

We should spend as much time on what we will do after the client says YES.

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One of the most significant moments in radio sales is when the client agrees to your proposal and says YES. But, when they do say YES, do you know what’s next? We better have an answer!

We spend a lot of time getting ready for clients with research, spec spots (thank you, radio sales trainer Chris Lytle-go to 22:30), proposals, and meetings. All of our focus is on getting the client to say YES. We should spend as much time on what we will do after the client says YES. For example, getting newer sales reps to sell annual advertising contracts would be ideal for building a list. They would have less pressure, more job security, and could spend more time making the advertising work for their clients. But, since most newer reps don’t know the business yet, they don’t bite off more than they can chew and sell a package of the month.

When a client says yes to the weight loss promotion, it’s pretty clear how to write the ads, what the promos will say, etc. BUT, if a newer sales rep starts selling annual contracts to a direct local client who needs a resource, how will that work? Let’s make sure we paint the picture right upfront. More experienced reps know that they need to assume the client will say YES to the weight loss promo and have a plan accordingly.

They have the next steps to building copy and promos, a credit app or credit card payment form, and any other detail the client must provide. But, when we ask a direct local client for an annual advertising contract, watch out! You have just made a partnership. Why not lay out, upfront, what that will look like. And I understand not every local client needs the same level of service.

A car dealer has the factories pushing quarterly promotions, agencies producing ads, and in-house marketing directors pulling it all together sometimes. Other clients need your help in promotions, copywriting, or idea generation. Make a plan upfront with your client about when you will meet to discuss the next quarter’s ad program. Include your station’s promotions or inventory for football and basketball season, a summer NTR event, digital testimonials with on-air talent, etc., in your annual proposal. Go out as far as you can and show what you have to offer to the client and how you can execute it. This exercise is good for you and, once mastered, guides the client on how you will take care of them after the sale. It also opens your eyes to what it takes to have a successful client partnership inside and outside the station.

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BSM Writers

Media Noise – Episode 74

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This week, Demetri is joined by Ian Casselberry and Ryan Brown. Demetri talks about the NBA Draft getting an ABC simulcast, Ian talks about Patrick Beverley’s breakout week on TV, and Ryan reminds us that Tom Brady may be the star, but Kevin Burkhardt is the story we shouldn’t forget.

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