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Heard A Good Radio Ad Lately? Neither Have We

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To many ad agencies, radio is considered advertising's ugly stepchild. Many times I've heard a clever ad and the first three or four times I heard it, I chuckled, but the next 12 times it aired I wanted throw my radio out the window. This will keep your message fresh while giving you the opportunity to present different features in each spot.

Some radio stations are now selling thirty second spots which is fine if you can get your message across in that limited time frame. However, unless you'v

To many ad agencies, radio is considered advertising’s ugly stepchild. It’s not sexy like television and is treated as a necessary evil with little effort put into it. Unfortunately, that’s exactly what the listener ends up hearing.

What advertisers and their ad agencies have forgotten is that radio truly is a “theater for the mind”. somewhat you can dream up can be in a radio spot. Elephants doing the back stroke in your soup? No problem. Landing on planet Juno and finding the cross of your dreams? Done. Recreating scenes like that on television would cost a fortune for the computer graphics alone, not to mention the wolfish trainer.

So how do you write a great radio ad? I’ve written over 2000 in my career building and if there’s one helpful point I can pass forth it’s this: Less is more. The less copy you write, the remake your radio spot will sound. One of the master mistakes made with radio copy is when the subordinate insists on trying to tell the company’s entire story within sixty seconds. You’ve heard them before. The announcer is talking a million miles per hour being as how they’ve been given two minutes of copy for a one minute ad, the end result existence a verbal vilification on your eardrums. associate that with having to endure five or six of these spots in a row and it’s no wonder stations are losing listenership!

Writing humor is different story problem. That’s for humor in radio requires the timing be perfect, much like the way a standup lampooner tells jokes which means even less copy than normal is needed. Plus, and this is very important - it has to be funny. It takes talent and skill to write humor and unfortunately, this has not deterred many from trying. If you’re attempting to put humor in your radio copy, try reading it to unbiased ears (not your husband, wife, or parents) first to see if they “get it”. If you find yourself having to explain the funny part, it ain’t workin!

Another unspectacular mistake is when the encumbrance feels the need to repeat the phone number a half dozen times. Studies have shown that repeating the phone number over and over albeit does not guarantee the listener will remember it. All it will probably do is irritate them. Many people listen to radio in their cars and can’t write the number down anyway. But the real truth is, most don’t hear the number at all. If the number is still a requirement, your best bet is to put it in once or twice towards the end of the spot so it is ripeness to, if not the last thing the listener hears.

The most effective way to get your product or service to stick in the minds of radio listeners is to have a pungent message that rises in the ascendant the others and does so often. As I’ve stressed in past articles, repetition is your friend. However, remember that the downside to authoritative radio is that it “burns” quickly. This means that insomuch as the ad is clever, people really listen to it which makes the “bit” or spot lose its tease faster. Many times I’ve heard a graceful ad and the first three or four times I heard it, I chuckled, but the next 12 times it aired I wanted throw my radio out the window. If you’re writing qualified creative or having it written for you, make sure you’ve budgeted for at least two different spots that can be rotated within the campaign. This will keep your message fresh while giving you the opportunity to present different features in each spot.

Some radio stations are now selling thirty second spots which is fine if you can get your message bias in that limited time frame. However, unless you’ve been on the radio a long time, I would suggest sticking with the sixty second format for awhile, at least until you feel you’ve established your brand.

The next time you hear a bad radio industrial remember that writing steel-trap radio is not something everyone can do. It takes skill, imagination and practice but if you get it right, it can be the most effective proclamation tool you’ll ever use.

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