Radio Industry Award Judging is in full flow, with both ARIA and SRA entries currently under the microscope. I’ve been really lucky to judge a few awards over the last couple of years and I am always struck by a couple of things that I thought would be useful to you when you’re deciding whether to trawl through your audio or “forget it this time”.
1. There are never as many entries as you think
Just like there are never as many texts into a radio studio as you think, there are never as many entries as you think. So you will always have a better chance of being nominated than you presume.
2. You never know who will be a judge
When else do you get industry people listening to you intently with the will for you to do well? Your next boss could be judging your category.
3. Never assume
The biggest mistake people make in editing their entry is assuming that the judges know what’s going on. Because you are on air every day, you assume they’ll have heard it.
But… The judges can’t judge you on what goes out on air every day, they can only judge you on your entry audio. Start from the point of view that the judges have never heard of your show, feature or the presenters, and include audio that sets out your stall at the beginning of the entry.
Good luck if you have entered anything this year. Remember getting a nomination is as good as winning: you get to go on the night and you’re in the programme.
If you want to know how to engage and build your difficult “youth audience” (those pesky under 25s) then Next Radio is the place to be: Monday 19th September.
This last couple of weeks I’ve been coaching some of the speakers lined up to do Next Radio. So, I have a sneaky heads up on some of the content on the day and there is a bit of a theme…
There will be people on stage speaking from hands on experience about how to actually use live streaming, how your business can adapt to the youth audience, how to work with You Tubers and what to be aware of when it comes to employing the next generation of radio professionals.
These are all things you will be able to take to work and put in to action on Tuesday 20th September. You can get the final tickets for Monday here.
I’ve been saying “Show Don’t Tell” in a lot of my sessions recently. It’s one of the fundamentals in “performing” your content and drawing in your listener.
The ideology I use is taught in novel writing. The lesson is that you give the reader the opportunity to add their imagination to the story. Instead of the author writing “She laughed nervously” – which tells the reader exactly what is going on, the ‘Show Don’t Tell’ version is “Her cheeks flushed as she laughed”.
A good author then allows you, as the reader, the space to put your thoughts and pictures into the book, to read betwen the lines, meaning you’re able to engage with the content at a personal level.
How then does this translate to presenting?
Often it’s how you go about explaining your content.
Imagine you are using an audio clip from an interview. You set it up by giving it context…
“Tom Odell was in yesterday and we asked him what he thought of the Euros…. Here’s what he said” <Play Clip>
At a basic level, you don’t need the “here’s what he said”. It is fine to say:
“Tom Odell was in yesterday and we asked him what he thought of the Euros…<play clip>”
One step further might get you to a more interesting place
“Up next is the new song from Tom Odell – He’s a big football fan, how’s he feeling about the Euros? <PAUSE FOR A BEAT> <Play clip>”
In an “On Stage” context you can also think about how you are using your slides to show what you are talking about rather than telling your audience what you are saying. You and I both know we shouldn’t write up bullet points on the powerpoint word for word, but when we get to it it’s difficult to find images. We’ve all done it: the bullet points find their way back in. Unfortunately it is a sure fire way to get your audience to glaze over.
Of all examples of the “Show Don’t Tell” technique in presenting content, my favourite has to be the first 60 seconds of this.
It’s back. The podcast that blew up all podcasts. The elite in storytelling.
“Serial” landed this weekend and if you are anything like me, you’re already starting to ache for episode 2. Listening to the first episode, I was struck by one thing in particular: vocal tone
The ongoing jeopardy experience throughout this podcast is that you are working out the authenticity of every contributor. The fun is in spotting the liar. But without being able to see their body language or facial features, you have one thing to go on…. their voice.
As the series goes on you will be listening out for any over detailed descriptions, individuals who add or take away from their original story (remember Jay from the last season?) or if anyone counteracts the story you are buying in to (“there is no payphone at Best Buy”).
In “DUSTWUN” (S02 Ep01) there is a great moment where narrator, Sarah Koenig references the soldiers’ stories and says the one consistent is that none of them saw it coming. They all express surprise at Bowe leaving the camp. In the montage of the soldiers’ voices that follows, what you listen for isn’t the words, but their vocal tone.
I still think it’s amazing that your ears can instinctively tell so much without even hearing the words. You are listening for tightness of the throat, overly forced tones, exaggerated dancing intonation & excessive “erms” or unaccountable stutters. All signs that someone is lying.
Even down the phone I was listening for Bowe to trip up. He says he wanted to be like Jason Bourne…. Really? Is that right?… his vocal tone seemed so relaxed and honest so it must be right?
The actual master of the piece, is Sarah Koenig herself. I know that there must be a script – so much detail and pieces to pull together, it needs it. The opening sequence, as she describes the video of Bo being released by the Taliban, is exceptional in its picture painting. And her relaxed cliff hanger at the end of the piece: “Hello?” she says followed by “That’s me talking to the Taliban”… is inspired.
The thing she does best is tell the story so authentically: her words and her tone sound like she is talking to me as if I was with her “in the pub”. When she breaks from the script you hear a more conversational Sara, but you always, always believe her. Not only does the script leave room for her own doubt, making her more believable in her vulnerability, but her delivery is real. It makes for a deeply engaging experience.
Finding your authentic presenting voice can take years to master, there are various techniques that can help you, but mostly it’s “On Air Miles” and practice that masters it.
Without deviating too far from Serial, there is a great interview between Ira Glass (Sarah Koenig’s colleague and “This American Life” creator) and Alec Baldwin on his podcast “Here’s The Thing” where they talk about vocal delivery. Ira plays Alec a piece he did for NPR and dissects it beautifully. It’s really worth a listen…
Serial Episode 3
I’m working with the BBC Academy on personality driven content. It’s really interesting to hear the challenges they face in terms of engagement, and how it really relates to the challenges often felt within Commercial Radio.
The main thing that stands out is how you get personality into format. For commercial radio its the short links and commercial reads, and for BBC Local Radio, its breaking from the format of news reporting and adding personality.
If you watched the talk I did at Next Radio, you’ll know of the “Ten Things” exercise I do. This is where I ask the presenter to list 10 things they know to be true about themselves. I ask for passions, wants, needs, fears, worries….anything.
It never fails to help me as a producer or coach, to get under the surface of what makes presenters tick. Similarly it can help you to get to know your own passions, build story arcs, attach yourself to content or music you are playing out. Knowing these things means you can begin to work at getting personality into the format you are working with.
In addition you can do this about your audience: Ten Things You Know To Be True About The Audience”. The idea being that you should be able to find intersections between your wants, needs and fears, with your listener.
Sarah Kay is the inventor of this exercise. A poet who works with teenagers to enable them to express themselves through poetry. This is the exercise she does with a group, and when they start to share she finds that there are intersections between the people in the room. For example “I hate having to tidy my room” could be on more than one person’s list, and *boom* you have an intersection – a place where you connect.
Doing a list of what you know to be true about the audience, could create a similar experience between the presenter/content maker, and the audience. No doubt your own wants, needs, fears, loves and annoyances, will correlate somewhere with your audience’s, and enable you to make engaging personality driven content.
Here is Sarah Kay’s beautiful talk, including an amazing poem at the start….
As a presenter you are at the sharp end of communication. Your job is to connect with your audience and keep them listening longer (15 minutes longer at least *ticks Rajar book*). It’s an art, and it’s an underated artform. This blog is dedicated to changing that.
I love presenters: people who can put their head above the parapet and share their lives. They hold stories together, they break the news to the world, they change your mood, and they become your virtual friend. The only other artform that does that as rawly is stand up comedy.
Reviews, observations and techniques will be shared on this blog, so subscribe to the mailing list to find out about updates.
Over the last 15 years, I have coached & trained presenters, produced radio programmes (BBC and Commercial), written and made adverts & jingles and I have had the privalegde of running a radio station in a competitive market. The one ethos that runs through every discipline is: connect by getting real.
In 2014 I did a talk at Next Radio on “How To Be An Authentic Radio Presenter”. Powered by Brene Brown, Sarah Kaye and Jimi Hendrix, this is the epicentre of what I do, think, preach and love.