Creative
Execution on
Radio
The peculiarities of radio as an advertising
medium.
Identify the elements of radio commercials
and understand how they can promote
visualization without using any visuals.
Learn to write the script for radio
commercials, and classify and recognize some
of the structures of radio commercials.
Comprehend the basics of the production
process of commercials.
An Introduction to Radio
Number of unique characteristics that have ensured
its existence even in the midst of new media.
A portable little medium that creates a personal
connection with people.
Level of interactivity on radio is much higher than
any other form of media.
Listener’s don’t have to fight for remote to listen to
radio.
Audience tend to sing with radio’s song, visualize its
verbal descriptions, lend an attentive ear to it
dramas, laugh at its jokes, and listen raptly to its
daily newscast.
Its is rarely used as a standalone medium, and
usually is a part of the larger media mix.
The reason is, creating effective radio advertising
is tough.
No exotic locales, popular models, beautiful
visuals, trick photography or fancy camera work
hide behind.
Radio ads have to be extra creative simply
because they have to deliver a memorable
message only through sound and that too in a
short time span.
Radio is a background medium that people listen to
when they are involved in different activities.
Absence of picture and playback, there can be
comprehension and recall issues.
Pen is the mightiest
On radio, writers are in full command of their
audiences and can make them ‘see’ whatever they
want them to.
Talented writers effectively use the pen to deliver
visual impressions with sounds alone, with no budget
of
Building sets
Create costumes
Go to exotic locations.
Addition of visuals are done by using tools of voices,
sound effects and music.
Voice modulation is done by:
Deep voice
Angry voice
Trembling voice of a grey haired
Accented voice of NRI
Tired voice of a laborer
Excited voice of an agitator, etc.
Right sounds and voices can save words and
help dramatise situations.
Elements of script, voices, sound effects and
music must be in sync to ensure that the
listener gets the message.
SCRIPTWRITING
FOR
RADIO
Structures of radio
Commercials
One Voice
Dialogue
Multivoice
Celebrity
Continuing Character
Audio Demonstration
Sounds and Music
Interviews
Vignette
Case history
PRODUCING
RADIO
COMMERCIALS
The ABCs of Writing and
Producing Radio Spots
Start with a bang
Make one point
Identify the brand
Simplicity Counts
Keep Away from numbers
Make it personal
Be Conversational
Use sound effects and music discreetly
Choose the spot length wisely
Get the timing right.
Ask for action
Unify a radio campaign
Exploit the timeliness of radio
Use humour prudently
Be daring
Refresh the spots
Customise
Present the commercial to the client
Try going live
Ad example
SFX: PHONE RINGS
HOTEL MANAGER (in a slow tone): Hello Noorani
CUSTOMER (in a rushed and excited voice): Haan Noorani, khana order
karna hain.
HOTEL MANAGER (nonchalantly): Haan Bolo
CUSTOMER: Ek Biryani aur ek kadai chicken. Aur chicken fresh hona
chahiye, han.
HOTEL MANAGER: Aur kuch?
CUSTOMER: Nahi, kuch nahi.
SFX: PHONE RINGS
HOTEL MANAGER: Hello Noorani
CUSTOMER: Haan mein abhi phone kiya. Woh chicken bilkul fresh hona
chahiye.
HOTEL MANAGER (reassuringly): Haan, haan, fresh hoga baba.
SFX: RECEIVER BEING KEPT DOWN
SFX: PHONE RINGS
HOTEL MANAGER: Noorani
CUSTOMER: Achha suno, woh chicken kadai mein chicken ekdum fresh
hoga na?
HOTEL MANAGER (somewhat angrily): Ekdum fresh hoga baba
CUSTOMER: Naaraz kyun hota hain?
ANNCR: If you are over cautious, the Franklin India Mutual Fund is just for
you, with 19.4% returns per annum over the past nine years. Franklin
India Mutual Fund – performing consistently (pauses and then
emphasises) for you.
SFX: DOORBELL RINGS
DELIVERY BOY: Aap ka fresh chicken kadai.
SFX: HEN CROWING
ANNCR (very rapidly, almost incomprehensibly): Past performance may or
may not be sustained in future. Refer the offer document before
investing.
THANK YOU
