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