| The phone rings. You hear an
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| | constitutes a nutcase? You may think it's
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| authoritative voice say, *Hello, I'm the
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| | a positive trait to be enthusiastic (and
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| producer of...Good Morning America or
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| | it is), but anyone who is overly zealous
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| Oprah, or Larry King Live* or any other
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| | about his passion is considered a nut.
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| top talk show, you name it. This is your
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| | Best-selling author and screenwriter
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| big moment, the break you've been waiting
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| | Richard Price talks about this phenomenon
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| for. After you catch your breath what do
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| | as *The dangerous thrill of goodness.* He
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| you do?
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| | says, *What happens is you can get very
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| Producers make an instant assessment of
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| | excited by your own power to do good.*
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| you in thirty seconds--or less. When you
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| | Don't get carried away by this thrill.
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| get that coveted call from a producer,
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| | One way to tell if you're being too
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| you aren't just *talking* to him: you're
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| | zealous is that you're hammering your
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| auditioning. You are being screened to be
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| | point at top speed with the energy of a
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| accepted or eliminated as a guest on
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| | locomotive pulling that toot lever
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| their show. How can you pass the
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| | non-stop. I remember a man calling me up
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| audition?
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| | about how he was single-handedly taking
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| Secret #1: Ask Before You Speak
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| | on Starbucks - who, he felt, had done him
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| Before you even open your mouth to start
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| | wrong. He wanted me to promote his cause.
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| pitching yourself and your story to the
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| | While this could have been a great David
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| producer, ask them a simple question:
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| | versus Goliath type story, he was long on
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| *Can you tell me a little bit about the
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| | emotion and short on facts. Some
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| kind of show you envision?* In other
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| | statistics or figures would have tempered
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| words, ask the producer the angle he is
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| | his mania.
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| planning to take.
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| | But he also never checked in with me to
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| Doing so has two advantages. First, it
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| | see if he had my interest. By talking
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| gives you a moment to overcome the shock
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| | loudly and barely pausing for a breath,
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| and to collect your thoughts.
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| | he appeared to be a man who wouldn't take
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| Second, once you hear the producer's
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| | direction well. His single-mindedness was
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| reply, you can gear your pitch to the
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| | off- putting, not engaging.
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| type of information he's seeking. Listen
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| | When you're talking to a producer speak
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| closely to the angle that he's interested
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| | for 30 seconds or so and then check in by
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| in and tailor your points to it.
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| | asking, *Is this the kind of information
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| Publicists often use this technique to
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| | you're looking for?* Listen for other
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| get their clients booked on shows. They
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| | verbal cues, such as encouraging grunts,
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| *get* before they *give* - so they are in
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| | or *uh huhs.*
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| a good position to tell only the most
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| | Secret #4: Can You Mark *The Big Point?*
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| pertinent information about their client.
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| | Contributors to the popular radio show
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| Secret #2: Wow the Producers with Brevity
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| | *This American Life,* hosted by Ira
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| Follow the advice of jazz musician Dizzy
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| | Glass, have taken to calling the wrap-up
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| Gillespie: *It's not how much you play.
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| | epiphany at the end of a story, *The Big
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| It's how much you leave out.* Keep your
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| | Point.* This is the moment that the
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| list of talking points by the phone when
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| | narrator gives his perspective on the
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| you call a producer (or a producer calls
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| | story in an attempt to elevate it from
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| you), so you'll be succinct. You will
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| | the mundane to the universal.
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| already have rehearsed your points so
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| | Another radio personality, Garrison
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| that they'll sound natural and inviting.
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| | Keillor, is a master at it. He tells
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| Be prepared with several different angles
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| | long, rambling stories (not good advice
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| or pitches, different ways to slant your
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| | for you), then ties up all the story
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| information. *Nobody gets on these shows
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| | strands in a coherent and satisfying way.
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| without a pre- interview,* says publicist
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| | As a great guest, you want to illuminate
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| Leslie Rossman. *Be a great interview but
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| | your story with a big standout point that
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| don't worry about the product you want to
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| | helps the audience see the significance
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| sell them because if you're a great guest
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| | of your story in their world and the
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| and you make great TV, they'll want you.*
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| | world at large. Rather than hitting them
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| And keep in mind the words of Robert
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| | over the head with a two-by-four, you
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| Frost: *Half the world is composed of
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| | want to share your insights with a
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| people who have something to say and
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| | feather-like touch. By framing your story
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| can't, and the other half who have
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| | you alert the producer to the fact that
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| nothing to say and keep on saying it.*
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| | you're a thinker and can contribute great
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| Secret #3: Prove You're Not a Nutcase
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| | insights and clarity to a story thus
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| If you area nutcase on the air, the
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| | increasing its appeal.
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| producer will lose their job. What
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|
