Every football season I am reminded just how awful network television is. I’m sure I’m not alone. It doesn’t matter if you prefer college football or the NFL. Tune into CBS and you learn that there is a show named after some government agency that stars some smoking hot 30-something you’ve never heard of and a dude that was on 30 Something. Tune into NBC and you’re inundated with ads for something called Ordinary Joe starring the white supremacist congressman from Watchmen. On FOX it’s that dancing show that looks like someone said “Hey, you know that cartoon Sing? Let’s do that but with people!”.
The result is always the same (for me anyway). I have never once found myself saying “that looks awesome!” I am always left wondering “who the f*** is that show for?”.
Do your show promos do the same? It may be a tough question to answer, particularly if you produce the promos for your own show. We can be blinded by whether or not something is entertaining in a 15-30 second burst when the memory is that it made for a great 10 minute segment.
Matt Fishman, who now programs ESPN 850 in Cleveland, was a BSM writer in 2018. During that time, he wrote a piece describing the state of show promos as “grim” across the format.
In describing the promo format that includes a 20 second clip from the show surrounded by imaging, he wrote “It assumes the listener knows what the show is and the promo does nothing to highlight the show.”
What can we do better? What makes for a successful promo? I asked two programmers that have a history of success.
Kevin Graham, who has a history of success in mid and major markets and was recently named the new PD of KNBR in San Francisco, says the best promos are the ones that play into the identity of the show.
“In my opinion the best show promos sell that one listener benefit,” he told me in an email. “It can be funny, a strong opinion or promoting ahead with a tune-in opportunity. Keep it simple, short but most importantly make sure there is a payoff to the listener.”
This is classic marketing advice. What emotion do you want your brand or your content to elicit in your audience? How do you want them to identify you? Whatever your answer is, you have to take every opportunity to create and reinforce the answer you want them to give.
It’s not a surprise that Graham goes to the marketing well. Marketing budgets, if they even still exist, a pretty small nowadays, and who is most likely to listen to your show? The people already listening to other shows on your station. Those factors make promos the most common marketing tool a show uses.
John Mamola has been at WDAE in Tampa for more than a decade. If you’re a sports fan in the city, his station is your only option for local sports talk. That may give the station an advantage over others across the country, but Mamola knows it doesn’t guarantee anything.
He doesn’t want promos that give listeners a sense that they missed something special. His strategy is about giving the audience a reason to come in and check out what is going on.
“Focus on what connects your brand to your audience,” Mamola says. “The more topical, the better. The more creative, the more memorable but always give a reason why someone who doesn’t know you now can be your best friend tomorrow.”
John Mamola looks at promos as another part of the PPM numbers game. That means being memorable matters. If an audience remembers that something you said is coming up sounds interesting or if they remember that you branded a particular show in a way that resonates with them, it is more likely to motivate them to make the effort to find that content.
A lot of show promos use clips of the biggest moments from past shows. The content might be good, but a clip is a good way to hammer home the idea that the listener missed this. If it is spontaneously fun moment, there is no reason to think it will happen again. If it is a big name guest, what is the guarantee he/she or someone of that calibre is on tomorrow?
“Creative writing is better and high production value is necessary. Always try to frame all your shows as the party that everyone wants to be at, and you’ll win more quarter hours than you lose.”
Great promos aren’t great because they are funny or because they capture headline moments. They are great because they do their job and make people want to tune in tomorrow and all the days after that. Otherwise, they are no different from all of those commercials for 9-1-1 that Joe Buck has to read. They are just taking up space and standing in between me and what I turned this on to see in the first place.
Remember that as you are constructing promos. Is something new everyday a necessity? How long can a promo run before the audience burns out on it? The answers to those questions do not matter if the promo doesn’t give the audience a clear and compelling idea of what they will hear when they turn on your show.
The Best Defense Against An Ornery Subject Is A Good Question
With the right question, a reporter never has to assume an antagonistic stance or role.
A question should be constructed to get the best answer possible.
This was the guideline I learned as a newspaper reporter, which makes sense. You don’t hear the questions in a story. You don’t usually read them. The questions operate off-stage, the unseen lever that pries out the good stuff from the subject.
The dynamic changes when the interview is conducted in public, though. I learned this first-hand when I transitioned from reporter to radio host in 2013. Suddenly, my questions were part of the content being consumed. This is increasingly becoming the reality for anyone covering pro sports now. Not only have the press conferences themselves become a part of actual sports programming, but those press conferences are increasingly the only access to professional athletes, given post-pandemic locker-room restrictions.
But any time I start to think that it’s important to consider how a question sounds to the audience, instead of focusing on the answer it gets from the subject, I will inevitably be reminded of where that thinking leads. This week, it was Jim Matheson, a veteran Canadian hockey reporter in Canada, confronting the Edmonton Oilers’ Leon Draisaitl over being non-cooperative.
On the one hand, this kind of tension has existed for decades in pro sports. It’s inevitable, really, that the people paid to play the games will at times be at odds with the people paid to critique their performance. The difference now, as Ian Casselberry pointed out here at BSM yesterday, is that the tension is increasingly visible.
Personally, I love these moments. Seeing someone get sensitive in public is catnip to my shallow sensibilities. But professionally, there is something to be learned here by going back to the question that started each impasse. Let’s start with Matheson.
“Lots of reasons for why the Oilers are playing the way they are, in terms of winning and losing,” Matheson said. “What do you think is the number one reason for the losses now? Is there one thing, in your own mind, that you’re saying, ‘We’ve got to get better at that’?”
It’s a bad question for two reasons, the first being that it is actually two questions. “Double-barreled” is the term used by John Sawatsky, a Canadian journalist, an absolute prince of a man, and an unrivaled expert in improving interview skills. In two days, John taught me more about good interview tactics than I’ve learned in 20 years of weekend workshops and workday brownbags. This won’t be the last time I mention him in my posts here at BSM.
The best piece of advice John offers is also the easiest to institute and provides the most immediate results: Ask one question. Just one. If you add a second question — either out of nervousness or because you try to phrase it better — it will confuse even a cooperative subject. If you have an uncooperative subject, it provides an out. An opportunity to answer the less difficult question and then stare right back at you to indicate it’s your turn.
That is exactly what happened to Matheson. Here was Draisaitl’s response: “Yeah, we have to get better at everything.”
Matheson asked if Draisaitl was willing to expand; Draisaitl was not, adding a sarcastic aside that Matheson could add to it because he knew everything. Jameson then asked Draisaitl why he was so “pissy.”
“Hmmmm,” Draisaitl said, raising his eyebrows as if he hadn’t heard.
“Why are you so pissy?”
“I’m not,” Draisaitl said. “I’m just answering your–” at which point he was cut off by Matheson.
“Yeah, you are,” Matheson said. “Every time I ask a question.”
Now, it’s likely that Draisaitl’s issue has nothing to do with the question Matheson asked. It’s possible that no question Matheson asked was going to get a good answer. But because that question was poorly constructed, it left Matheson cornered into the choice of accepting Draisaitl’s terrible answer to his poor question or creating a confrontation. He chose the latter, and while I don’t think it was wrong, per se, or crossed any lines, Matheson looked like the aggressor. And I suspect that will be the last piece of useful content he ever receives from Draisaitl.
This is the point where my column was initially going to end. Then I saw Ian’s post, which included an exchange between Gary Washburn, a reporter at the Boston Globe, and Celtics guard Dennis Schroder, who was every bit as uncooperative as Draisaitl. It provides the perfect example to see how a better question changed the nature of the impasse.
Let’s go to Washburn’s first question: “Dennis, in Philly, you had one point, but the game before in Indiana, you had 23. It seems like you’ve been up-and-down a little bit. Are you starting to feel comfortable? You had the COVID protocol, you had a lot of things happen this week, are you starting to feel a little bit of comfort in the offense?”
Washburn’s question wasn’t perfect. There are technically two queries, though I’d argue he really just restated his question about being comfortable. It was also a yes-no question, which doesn’t tend to be as powerful as a question that seeks an answer about how or why something has occurred. I’m nitpicking, though. The strength of this question was revealed when Schroeder bristled.
Schroeder: You with us or you with Philly?
Washburn: No, I’m just asking.
Schroeder: You with Boston? You work for us?
Washburn: I cover the Celtics. I’m just asking if you’re feeling any more comfortable over the last couple games.
Schroeder: It’s just a stupid question.
Washburn: My fault. Are you feeling any more comfortable? How did you feel like you played today?
Schroeder: Not good enough for you, huh?
Washburn: No. I’m asking about the bounce back.
Schroeder: We won, so that’s all that matters. I’m a team player, so end of the day if I’ve got 40 points or one point and win the game, I’m going to be happy with it. So end of the day, I’m a team player, trying to win some games. And in Philly, we didn’t come out right, we played right, and that’s it.
Washburn: Thank you.
At no point in that back-and-forth does Washburn have to do anything other than restate his question: Are you feeling more comfortable? Schroeder has the choice whether to answer it, and ultimately talks around the quesrion without addressing it.
Washburn never has to say he was dissatisfied with the answer or call out Schroeder for being uncooperative. He never has to assume an antagonistic stance or role. He’s courteous and even accepts responsibility for a question Schroeder doesn’t like. In the end, Schroeder’s defensiveness speaks for itself. And that is important given how many people are now watching not just the answers that athletes provide, but the hearing and in some cases seeing the questions that provoke them
When Ian wrote about these situations on Thursday, he concluded with a very poignant observation: “Tensions are now out in the open, when they might have previously happened in a corner, away from everyone’s attention. And when these dialogues become public, people feel the need to take sides with the reporter or the athlete. Which side you’re on as a fan likely depends on your perception of the media.”
He’s absolutely right, but I would provide one addition to that. A well-constructed question is your best defense against not only an ornery subject, but also those audience members predisposed to blaming you for antagonizing the athlete.
What is The Next Evolution For Nickelodeon And The NFL?
“The NFL and Nickelodeon are a perfect marriage. An expanded package of games is the ideal next step.”
No matter how you look at the results, the NFL has hit a home run with a playoff game getting kid friendly packaging on Nickelodeon each of the last two seasons. Parents are watching with their kids, it’s driving an online conversation, and the league is letting a creative group of people have fun.
The NFL Playoffs on Nickelodeon work! So what do you do when something works?
You start to think about what the next step is. Those are conversations both the NFL and CBS/Viacom, Nickelodeon’s parent company, should be having.
To me, the next step for the NFL is pretty obvious. Give us a package of kid-friendly games during the season.
It doesn’t have to be a full 18-weeks, but think of it like ET with Reese’s Pieces. If the idea is that you are using the caché of Nickelodeon characters and graphics to get kids to watch football, doesn’t it benefit you to do that, or something like it, five or six more times during the season? Isn’t that the trail of Reese’s Pieces that could get the little ETs watching football more regularly?
It could be a revenue generator too. Something like the kid-friendly NFL package really does seem tailor-made for a bidding war. After all, every streaming service needs content. You could absolutely see the NFL going to Disney to see if they wanted to counter with something Marvel or Star Wars themed, right?
I think it would be a mistake to put this package of games on the open market. CBS has assembled the right duo in Noah Eagle and Nate Burleson and Nickelodeon has created the right aesthetic for the game. It is goofy. I enjoy watching Patrick Star’s face go from concerned to elated when a kick goes through the uprights just as much as my kids do. I don’t know that I would be as invested in trying to defeat Thanos with football or whatever the counter would be.
Make it worth CBS/Viacom’s to up their spend. Take care of the company’s other TV properties somehow. Give them priority for the next Super Bowl bidding.
I don’t know the exact right answer. What I know is the NFL has a GREAT thing here and it should be focused on cultivating it.
So that brings us to the next obvious question: what is the next evolution of this model for CBS and Nickelodeon?
Oh man, some of y’all are gonna hate this shit!
PUT SLIME ON EVERYTHING!
I am serious! Give me a kid-friendly version of The Final Four. Dump slime on the winner of The Masters. Every week the SEC is on CBS, have Young Sheldon pop up to explain to the audience what a bag man is.
Obviously, I am giving you the extreme version of the plan, but you get the gist, right? We just ran a guest piece from Joe Ovies that discussed how leagues are learning to meet the needs of younger fans. Well, here is a chance to do that with the help of a network partner.
Golf is looking for a way to bring back the fans that used to tune in on Sundays to see Tiger Woods close out a big win. It is a shame The Masters is the least likely to let CBS and Nickelodeon help, because it is the event that could use it the most.
CBS is way more likely to get the cooperation of the NCAA Tournament. You would probably have to limit Nick’s involvement to the Final Four, or even just the Championship game, but it would be worth it. Basketball is popular with kids. Those games are played in cavernous domes with plenty of space for an extra broadcast crew. Plus, the players are young enough to be excited about a project like that.
Broadcasting and sports are both built on innovation. When an idea comes along that can truly change the trajectory of how business is done, you have to embrace it. That is what we are looking at here.
The NFL and Nickelodeon are a perfect marriage. An expanded package of games is the ideal next step. If the NFL isn’t interested though, CBS/Viacom cannot let this thing go to waste. It has created something sports-loving parents can do and watch with their kids that aren’t entertained by competition alone. That describes most kids now.
One side, hopefully both, recognize that this is a chance to invest in their respective futures. Not every kid-targeted game or broadcast can look the same, but you have a proof of concept. You know your formula works.
Now get out there and do more of it!
Five Down and Dirty Ideas For Gaining Radio Sales Advantage
Tie into the local team and have two ads ready to go. One if they lose and one if they win.
Sometimes, salespeople need a new twist on an old idea to close the deal with a client. Here are five bold, down and dirty, ideas to beat out the competition and stand out in your market:
1. Sell an endorsement
Make sure you sell the sponsorship in 13, 26, or 52-week increments. There is no way you want to burn your talent on a category because the client didn’t run long enough.
Start selling spring advertisers right now. Patios, pools, and landscaping makeovers. Maybe sell an advertiser on a community makeover for a prominent retired community person and have the on-air person lead the effort. Sell a crypto or NFT sponsorship to a host and let them learn all about it on the air.
Make sure the talent also posts on social for the client.
2. Update your copy!
Sell copy changes as a benefit to the client. Tie into the local team and have two ads ready to go. One if they lose and one if they win. Your traffic person will hate you, but it can happen!
Produce bad weather spots now. Insert them at a moment’s notice. Buy your traffic person dinner because they will have to re-con the logs. So what. Think “in the moment.” Your listeners do that and it’s the best way to relate to them.
3. Do you have several car dealers, heating and cooling, roofing, or restaurants on the air?
Help them stand out on the station by branding them on weather, traffic, or top-of-hour IDs. This is a great way to pound the advertiser into the listener’s consciousness and separate them for the pack. Consider bonusing them the IDs if they committed to an annual.
4. Sell some NIL
If you have a famous college athlete in your market and a local NIL deal, suggest adding a radio campaign. Dr. Pepper did it. Or sell one to a local sports bar and have the player go there after the game and do an appearance on your post-game show on site.
This concept works well when sold with your CHR or New Rock stations. The rules have changed and you can do a lot more now. Schools, in some cities, are even more than willing to help you! They are doing anything to show other recruits how much love they will get in their town.
5. Super Bowl bet
Get two non-competing advertisers to take sides for the big game coming up. Set it up so if one team wins, listeners get a discount and vice versa. A Heating and cooling guy vs. a plumber could work well. You know how to say “Big Game,” “green and gold” for Green Bay, and the “red team” for Kansas City.
Just find the clients who care about the game. See if your shows would let them do a call-in. Let them cut up a bit and give them some promos, make them part of the Super Bowl hype.
If one of these doesn’t work, sell like Tom Brady.
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