What's It Going To Take...?

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Re: What's It Going To Take...?

Postby pave » Sun Nov 08, 2020 9:41 am

Doggie Poop – Part II

For continuity, I am including a slightly re-worked copy of the dog grooming spot provided in my most recent. The script provides a demonstration of using the sensory modalities in order to; more powerfully and influentially communicate a set of concepts and, to provide a more emotionally compelling spot for the benefit of the advertiser.

(Music up and Anncr,)
"Once there was a dog. This brindle-brown, terrier-sized mutt was sporting tightly matted fur and a worn and crumpled patch over one eye. While bouncing up and down on overgrown paw nails clicking on the pavement in an infectious and cheerful manner, he was happily barking an invitation for a petting,”

“However, the following couldn’t be avoided: This pooch was also sporting a 4-inch, steaming, yellow turd dangling from its butt. It was like another appendage – only this one would burn in, making my eyes water and traumatize and collapse my nostrils. The wretched stench was strong enough to pass through Kevlar.”

“In those moments, were I to foolishly take a bite of my burger, I would put me off meat for, like, forever. Doggie, meanwhile, seemed to want to lick my hand, but I knew where that tongue had been and I wasn’t getting anywhere near that.”

“Fortunately, the application of a few of Dr. Brown’s Pet Medicines and Fine Grooming Products would turn this hound from hell into a harmless and affectionate little critter-companion. Dr. Brown’s Transformational Pet Medicines and Fine Grooming Products are available at pet stores everywhere. Works great for cats, too. Camels – not so much.”
(Music out)

So. That guides a listener/reader to generate a very specific scenario and leads them to the transformative aspects of the products. The key is in that the spot introduces the sensory modalities – some in specific detail. The reader/listener is compelled to engage in generating internal, sensory responses, if for no other reason than to make sense and to understand what is being read/said.

The spot includes:
• Visuals – multiple images of the dog.
• Kinesthetics – the feelings of touching or avoiding touching the pooch.
• Different Kinesthetics – the emotions developed during a listen to the spot.
• Auditory – the dog barking and nails clicking.
• Olfactory (smelling) – getting a whiff of the dangling steamer.
• Gustatory (taste) – the idea of having a bite of a burger while everything else is going on. (Really sorry about that.)

Woven into the script were a few descriptions and commentaries, as well. Plus, the joining of two of the elements (taste and smell) as simultaneously-occurring elements was also introduced. That might have been a cruel, nasty and probably unwelcome piece of trickery, but it was there, so I applied it. Granted, I took some liberties with the non-PC components, but the gist of the spot was still well established. By all means, however, keep those critically abusive cards and letters coming. (Cheques are also welcome. Interac transfers are more convenient.)

I am satisfied that most readers would agree how an approach of this kind would be far more effective than featuring an oh-so-boring list of features and benefits. Not only would this be of value to a listener because of its entertainment and engagement value, it would be of a greater benefit to the advertiser by generating emotional connections with and about the products. Plus, an emotional connection can overrule many price points.

Of course, contemporary radio has made the production of such a spot a practical impossibility. I am unconvinced that radio’s owners and managers are even willing to concede the benefits of arranging for emotional tie-ins between listeners, products and services. Certainly, what makes this even a greater difficulty has been the systematic suppression and, in many cases, the complete elimination of those talented folks that would line up to participate in such productions.

Meanwhile, “these difficult times” will only serve as a convenient, and still painful but dwindling dodge to avoid taking on the responsibility and yes, the need for radio to unleash a portion of its full potential. To participate as a rejuvenated and powerful entertainment, informational and advertising medium has to, indeed, be taken on as radio’s new mandate.

I have considered the alternatives – maintaining the status quo and/or giving up altogether. Both are untenable and unacceptable.

Please note: I am inviting reader comments be sent to my email address (below).

Ronald T. Robinson
info@voicetalentguy.com
pave
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Posts: 1569
Joined: Tue May 23, 2006 11:22 am

Re: What's It Going To Take...?

Postby pave » Sun Nov 15, 2020 11:46 am

The Diablo’s In The Details
In my most recent, I brought attention to a visual of a small, brindle-brown, short-haired terrier with a patch over one eye and a dangling hunk of poop hanging from its butt. Given such a charming visual, those relevant details, are still, in the mind of each individual listener or reader – relative and very much - subjective. The visual will be slightly or grossly different from others who are guided to generate a similar experience.

Now, for an even more exciting development. By that I mean that other, different distinctions can be made about those individual visual representations. Some of these distinctions are so powerful they can even support and maintain delusions and the long-term emotional impact of phobias and traumas. That, I realize, is no small claim, so let’s delve into some of those distinctions, most of which are maintained at levels just below consciousness.

Interviewing a person who is afraid of sharks will reveal a great deal about how, specifically, they represent sharks in their minds. This investigation will not only demonstrate their fear, but the level or intensity of their fear, as well.

A person could be indifferent to sharks; they might be somewhat leery of sharks; they could genuinely be afraid of sharks and they could be absolutely terrified of sharks, some to a point of being hard-wired to being gut-wrenching phobic of sharks – to such a degree as to lose their self control when presented even with the very idea of a shark. Phobias, after all, are overwhelming responses to questionable stimuli.

When quizzed about their discomfort with sharks, an individual might construct an internal, visual representation, perhaps of an aquarium featuring 3-5 foot long nurse sharks where the viewer’s position is on the other side of the glass. The image may also be a still – like a photograph. The fear they generate would be, essentially negligible. At the other end of the scale is the person that, in their mind’s eye, would be in the sea with dorsal fins cruising around them. Directly in front of them, a 16-foot Great White is only mere inches away with its vacant black eyes staring at them. Its jaws are agape and its razor sharp, serrated teeth are poised to viciously slash the swimmer into pieces of sushi. This image is also likely to be in motion – an ongoing video event. It’s fairly safe to say the person making the up-close-and-personal images will suffer the most.

The difference, then, is in the construct of the sub-modalities – the distinctions an individual makes in the generation of their internal, mental images.

If we, as communicators, would become aware of the distinctions people are making – all the time – we could better influence those distinctions and become more influential in the process. We have all the tools we require to do just that, even as we work in a purely auditory medium. We have words. We have music. We have sfx. We have tonality, emphasis and tempo along with all the other nuances of the spoken language.

It is important to realize that every one of these aspects of communicating on the radio do, indeed, influence how people are constructing their internal representations of what is being said and how it is being delivered. Consequently, it will also have an impact on their behaviours – subtly or otherwise overtly.

It shouldn’t come as any surprise that banal, maudlin and minimalist on-air communications generate equally fatuous responses from our listeners. There is nothing particularly appealing about generic information and price/item/benefit/feature advertising in spots, either. Under such circumstances, listeners’ minds remain, generally, unengaged - practically, flat-lined. The listener's neuro-synaptic responses would be quite dull, to be sure.

One of the keys to effective broadcast communication is in the capacity of the communicator to influence a listener’s sub-modalities. Working without that knowledge and those practiced skills leaves a presenter or writer very much in the lame duck position. There appears to be no pressing need for this task to be undertaken either, as everyone’s peers are in the same, exact situation – firing blanks. At least, this way, there are fewer injuries to report. Or, so it seems.

By taking a little more care and spending a little more time in constructing our communications, we can magnificently enhance the experience of our listeners and further, influence those listeners in more productive ways – for ourselves and for the benefit of our advertisers.

Indeed, the devil is in the details – especially when it comes to sinister, evil and callously indifferent monster sharks or, for that matter, innocuous guppies in a fish bowl.

Please note: I am inviting reader comments be sent to my email address (below).

Ronald T. Robinson
info@voicetalentguy.com
pave
Advanced Member
 
Posts: 1569
Joined: Tue May 23, 2006 11:22 am

Re: What's It Going To Take...?

Postby pave » Tue Nov 24, 2020 5:57 pm

Yearning To Learn

(Music and fireplace sfx up)
(Anncr)
Miriam’s Hearth and Patio reminds us: There is something especially satisfying about being close to a crackling fireplace. The hearth or the campfire has been stirring the imaginations of humans for untold millennia. So long as there was a fire, there was a sense of comfort, certainty and continuity. Shadows from the flickering flames are constantly in motion while the smoke scoots up a chimney or meanders into the sky – sometimes tickling our nostrils.

Gathering around a community fire often triggers memories of other times during our lives when a fireplace marked so many special occasions. Voices from the past can return in those moments, triggering further memories that can lead us to times of comforting reverie. Sometimes the recollections are not particularly pleasant, but they, too, become part of a continuing chain that can take us back through times that make up parts of our lives – our experiences – and are uniquely our own. There might be memories of long sticks and marshmallows, as well.

The fireplace experience is available now, with units to match any budget, at Miriam’s Hearth and Patio. Here then, is an invitation to drop by to enjoy the fireplace experience from a multiple of varied applications of the traditional and modern hearths.”
(Music up and out)

The point of the preceding copy is to emphasize the value of sensory language predicates. Sights, sounds, feelings, tastes and aromas have all been included. These are provided because those make up the primary functions of our understanding, appreciating and describing the environments in which we find ourselves.

In terms of audience appeal, straight content/price/item advertising takes a chair at the very back of the room. And yet, that’s the almost exclusive approach we are applying and on which we rely to make our livings.

It really is a shame as our medium (radio) is so unlimited in the practices we can utilize through the use of only words, music and sfx. Production costs can be kept to a minimum and time spent in the creative process can be significantly reduced – compared to other media.

Only two elements stop us from exploiting our own resources.
1. A willingness to accept that such an approach would benefit all concerned – audiences, advertisers and the stations. And,
2. A yearning to learn the applications of sensory-language basics.

There is nothing about the (supplied) script that is particularly unique, unfamiliar or weird in any way. Every reader understood the structure of the language and the subjective meanings that were implied.

But, the fact remains: Most presenters and radio writers forego the niceties of sensory language because doing so infringes, through time constraints, on the delivery of pure content.

The delivery of pure content, particularly through a medium that generates more emotional appeal than print or the print equivalents online, is a waste of potential effectiveness than are either practical or cost-effective in other media.

The neurological impact of radio, I remind, is primarily of an emotional appeal rather than one of intellectual properties. As an aside: How else could Rush Limbaugh be so compelling was it not for the emotion-generating properties of radio. His intellectual appeal, after all, is nebulous.

Still, it takes a yearning for learning before these advantages of radio can be exploited. The results of taking on such knowledge and applying the skills of the more proper use of the language can be quite significant.

Please note: I am inviting reader comments be sent to my email address (below).
Ronald T. Robinson
info@voicetalentguy.com
pave
Advanced Member
 
Posts: 1569
Joined: Tue May 23, 2006 11:22 am

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