Radio production - Module 07 - Radio Presenter

module 07

Radio Presenter

Radio Presenter

Structure of radio

The Radio Industry In The UK

(From OFCOM)

Radio industry revenue increased by 2.8% in 2010 to reach £1.1bn

We estimate that total radio industry income (commercial radio revenue and BBC expenditure on radio services) in 2010 stood at £1.1bn, up by 2.8% year on year.

This was the first increase in total income since 2007.Estimated spending by the BBC on its radio services was £685m in 2010, up from £660m in 2009. Spending increased by 3.8% over the year, compared to a 1% increase on estimated BBC TV expenditure (to £2.7bn) and a 1.4% increase on its online services (£212m).

Commercial radio revenues were also up in 2010, rising from £432m to £438m, up 1.4% year on year. National advertising sales were responsible for the commercial revenue increase, increasing 4.5% on 2009 to £210m. Local advertising sales stabilised at £136m while sponsorship revenue fell by 5.3% to £89m.

(From the RAB)

The British radio market is split roughly 50/50 between stations owned and operated by the BBC and stations owned by commercial groups and licensed by Ofcom.

Most listening is via FM, but digital transmissions via DAB are growing in popularity and there is still some listening via AM frequencies (also known as medium and long wave).

In addition there are about 200 community stations, also licensed by Ofcom, and many student and hospital services.

BBC Radio

BBC Radio is a service of the British Broadcasting Corporation which has operated in the UK under the terms of a Royal Charter since 1927.

The BBC is primarily funded by the TV licence fee, currently £142.50 a year (£11.88 a month), which is payable by everyone in the UK who watches television programming live. Commercial revenue and grants top up this figure to £4.6 billion a year. Of the monthly £12 it earns from each licence fee, the BBC spends £2 on radio.

The BBC runs ten national domestic radio stations, five of which are only available in a digital format.

Commercial Radio

Commercial Radio has been broadcasting in the UK since 1973. Stations are funded through sourcing advertising and their broadcasting licenses are awarded by Ofcom.

There are three national commercial stations broadcasting on FM or AM throughout the UK as well as via DAB, DTV and online. Most commercial stations serve a local or regional area and are owned by one of three big groups which dominate the sector.

Some of them have been collected into networks, sharing some programmes and syndicated output.

Independent Producers

There is a buoyant independent production sector, mostly making programmes for the five main BBC networks. They are represented by the Radio Independents Group (RIG).

For details of how to sell programme ideas to the BBC click here.

Community & Voluntary Radio

There are upwards of 200 small-scale not-for-profit stations now operating under Ofcom licenses for the benefit of local communities and interest groups. There is a full list of stations on the Ofcom website.

For information about community radio, student radio and hospital radio please visit our voluntary radio section.

Audience Figures

rajar

All sections of the industry recognise and support RAJAR (Radio Joint Audiences Research Ltd) which publishes quarterly listening figures at www.rajar.co.uk.

Approximately 90% of UK residents listen to the radio at some time each week, that's 46 million people.

The BBC's share of listening (*Feb 2010) is 55%, commercial radio takes 43%.

Regulation & Licensing

Radio in the UK is regulated by the BBC Trust and the Office of Communications (Ofcom).

All radio stations must hold the relevant licenses to play or included performances of any music.

To find out about licensing copyright music contact:

    PPL (Phonographic Performance Ltd)

    PRS for Music (Performing Right Society)

Commercial radio in the UK

Commercial Radio

Most commercial stations serve a local or regional area and are owned by one of three big groups which dominate the sector. There are over 300 in the UK, mostly using FM frequencies and DAB.

    There is a full list of UK commercial stations and their owners here.

    You can find out about DAB reception of commercial services in your area here.

    The trade body for commercial radio is RadioCentre.

National Commercial Radio

There are three national commercial stations broadcasting on FM or AM throughout the UK as well as via DAB, DTV and online.

    Classic FM (100-103 FM) - classical music

    Absolute Radio (AM [mostly 1215 medium wave]) - rock and pop music

    talkSPORT (AM [mostly 1089/1053 medium wave]) - live sport and debate

Commercial Radio in London

The most popular local commercial stations in London are:

    Heart 106.2

    Capital 95.8

    LBC 97.3

    Magic 105.4

* according to RAJAR Q4 2009

National Brands

Some stations have been collected into networks, sharing some programmes and syndicated output.

Global Radio

    Heart

    Galaxy

    Gold

    Xfm

Bauer Media

    Kiss

    Magic

Guardian Media Group

    Real Radio

    Rock Radio

    Smooth Radio

Hospital Radio

A great place to start each hospital radio station was founded independently and they are not centrally organised or managed. Almost all are members of the Hospital Broadcasting Association (HBA), which was set up by stations for their mutual benefit and does not govern or run them. Most in the UK are registered charities, others are part of larger organisations such as hospital Leagues of Friends.

Hospital radio stations are staffed and managed by volunteers (more than 2,500 in the UK alone), and each volunteer is commonly attached to a particular weekly programme. Some broadcast, others work to keep the station's record library or computer systems up-to-date, but most also visit the hospital wards, to discuss the music that patients would like to hear, and to provide an opportunity for the latter to converse with a member of non-medical staff.

Many stations use sophisticated computerised playout systems for music and jingles. Live programming is limited to the times that stations' volunteer members can attend studios - generally evenings and weekends - but many stations offer a 24-hour service by using computerised systems to play music and prerecorded programmes at other times.

There are more than 230 hospital radio stations in the UK

Internet Radio

Internet radio (also web radio, net radio, streaming radio, e-radio webcasting) is an audio service transmitted via the Internet. Music streaming on the Internet is usually referred to as webcasting since it is not transmitted broadly through wireless means.

Internet radio involves streaming media, presenting listeners with a continuous stream of audio that cannot be paused or replayed, much like traditional broadcast media; in this respect, it is distinct from on-demand file serving. Internet radio is also distinct from podcasting, which involves downloading rather than streaming.

Many Internet radio services are associated with a corresponding traditional (terrestrial) radio station or radio network. Internet-only radio stations are independent of such associations.

Internet radio services are usually accessible from anywhere in the world—for example, one could listen to an Australian station from Europe or America. Some station geo-lock their streams due to local music or mechanical copyright laws, others block commercial breaks due to union restrictions.

Student radio

Campus radio (also known as college radio, university radio or student radio) is a type of radio station that is run by the students of a college, university or other educational institution. Programming may be exclusively by students, or may include programmers from the wider community in which the radio station is based. Sometimes campus radio stations are operated for the purpose of training professional radio personnel, sometimes with the aim of broadcasting educational programming, while other radio stations exist to provide an alternative to commercial broadcasting or government broadcasters.

Podcasting

A podcast is a type of digital media consisting of an episodic series of audio files subscribed to and downloaded through web syndication or streamed online to a computer or mobile device.

A list of all the audio or video files currently associated with a given series is maintained centrally on the distributor's server as a web feed, and the listener or viewer employs special client application software, known as a podcatcher, that can access this web feed, check it for updates, and download any new files in the series.

This process can be automated so that new files are downloaded automatically. Files are stored locally on the user's computer or other device ready for offline use, giving simple and convenient access to episodic content.

Pirate radio

Pirate radio is illegal or unregulated radio transmission. The term is most commonly used to describe illegal broadcasting for entertainment or political purposes, but is also sometimes used for illegal two-way radio operation.

Its etymology can be traced to the unlicensed nature of the transmission, but historically there has been occasional but notable use of sea vessels – fitting the most common perception of a pirate – as broadcasting bases.

Radio Presenter – Key Skills

(From Skill Set)

Presenter

Presenters work at the front line of television and radio. They introduce and host programmes, read the news, interview people and report on issues and events. As the number of channels and radio stations increases, so do the openings, but opportunities to become a Presenter are still scarce and competition is fierce.

Presenters work across the whole spectrum of broadcasting – national and regional television and radio, satellite and cable channels – and also in the non-broadcast sector, e.g. training and corporate productions. Most are employed on short contracts and the hours can be long and unsociable. The work may be studio based or on location. Some presenters achieve celebrity status and command high salaries, but life in the public gaze is not always desirable.

What is the job?

Some presenters work on a range of programmes; others specialise in a particular type, such as current affairs. The calm and relaxed manner of successful presenters makes the job seem easier than it is. They are usually involved in the careful planning that goes into every programme, including rehearsals and research, and they keep the programme running to plan whilst on air, working closely with the production team, often following detailed instructions whilst reading from an autocue and/or script, and responding positively to any problems or changes. They may write their own material and they also need to be able to memorise facts and ad-lib when necessary.

Typical career routes

Presenters come from a variety of backgrounds. Some begin their careers as journalists or researchers, others as actors or models, and some side-step from other roles within the industry. There is no set route. Being in the right place at the right time, with a face and/or voice that fits is what counts. This is often a matter of luck, but determination, hard work, preparation and signing with an agent can also play a significant part. Presenters all have an enthusiasm for broadcasting, along with motivation, self-belief, excellent personal presentation and a good voice. Detailed knowledge and experience of a specialist field, such as sport, music, gardening or history, can also lead to a presentation role.

Many presenters start young, working up from a local level, and do anything they can to gain practical experience with e.g. student broadcasting, in-store and hospital radio, and local and community broadcasters.

Essential knowledge and skills

Personality is central to this role and presenters need to be outgoing, confident and enjoy contact with an audience and with people in general. Presenters are often part of a much larger team of technical and production staff and they must be able to communicate effectively and have a good understanding of the whole production process.

In radio, where teams are smaller, presenters often also fill other roles and may have to operate technical equipment.

Key skills include:

·      excellent written and oral communication and presentation skills;

·      performance skills and a clear voice for broadcasting;

·      research and interviewing skills, and an inquisitive nature;

·      awareness of media law;

·      the ability to handle stress and make quick decisions under pressure;

·      a broad range of interests, including current affairs;

·      knowledge of the requirements of the relevant Health and Safety legislation and procedures. (Risk assessment)

People who present are performers. They must understand their audience and be able to engage with them in all circumstances.

Training and qualifications

A formal education is less important than having the right skills and experience, but many presenters do have higher level qualifications. Any degree subject is relevant, but it is essential to develop practical skills in broadcasting and/or journalism as well. Drama school training is also useful preparation.

Journalistic training is increasingly a prerequisite for those wishing to work in a reporter-type role. There is a range of degree level and postgraduate training accredited by the Broadcast Journalism Training Council. The BBC runs training schemes for broadcast journalists.

Other people at a Radio Station

Manager

Who might be the Programme Controller or News Editor.

Journalists

Who write and read the news.

Producers and Broadcast Assistants (BBC) or Assistant Producers (Commercial)

Presenter’s

Marketing, Promotions and brand teams

Responsible for marketing the radio station.

Sales Team – responsible for selling spot advertising and or sponsorship.

Commercial Production – they make the commercials.

Traffic Department – they schedule the commercials.

Music scheduler – will schedule music using Selector or other software.

Community Affairs – some stations have a community remit.

Engineering and Reception staff.

Station branding

Radio station’s are named and given a strapline and a brand is created based on a promise of format in the UK through the OFCOM regulatory body.

Audience

Are defined and programming aimed at the chosen demograph.

Shows

Breakfast dominates the commercial market and the biggest budget most high profile presenters fill this slot.

Daytime shows are sometimes syndicated or automated.

Drivetime shows are aimed at the audience returning home from work or school.

Evening shows are often more relaxed or carry specialist msuci format.

Night time shows can be automated or syndicated, in speech radio night time radio can have an audience spike different to that of music.

Overnight shows – often automated or syndicated with the exception of speech format. (LBC – Talk Sport – Radio 5)

Saturday Shows

Are more empathetic to audience and carry lifestyle elements or different music programming.  Some stations carry sport.

Sunday Shows

Can have more interactivity – the audience has more time to listen and again music programming will reflect this.

Music Programming

Most music radio stations tightly format their music and music policy and use a computer playout system to achieve the correct rotations and frequency of play of selected tracks.

Music plays an important emotional link between the listener and the radio station.  Presenters also are important to that link and on some formats the presenter is more important than the music policy – Radio 2, one example.

Some music is edited for radio playout (swearing etc) this is done by the record company. Some tracks are further edited by the radio station to shorten the time and increase the number of tracks played in an hour.

All music is licensed and a radio station will have a PRS performance, and PPL playing  licence and obligations under MCPS mechanical distribution copying.

Speech programming

Again is structured and might be interactive, for example a radio phone-in with text, email and social media interactivity.  Other programmes are news driven or topic driven.

The BBC, notably Radio 4 carry an eclectic mix of speech programming that includes drama, documentary, news and interactive shows, comedy and soap opera.

Show Prep

Show preparation is very important, research using prep services for dates, jokes and topical material are used by some radio stations.

Show structure

Successful radio shows have structure, beginnings, middles and ends and light and shade throughout the show, this includes music and or speech programmes.

Guests

Guests are often part of the programming and are booked by Producers or in smaller stations by the presenter.  They can include regulars and guests plugging books, celebs, politicians, actors, musicians and can be live in the studio on ISDN – down the line studio or on the phone.

OB’s

Shows are sometimes broadcast from a remote location, at an event or sponsor.

Key Skills of presentation

Back to basics.

1. Confidence and enjoyment - it's an entertainment medium (even when you are presenting news shows) so remember to enjoy what you are doing and have confidence.

2. Structure and time - structure is everything and timing of items should be carefully worked out in advance - there is nothing worse than discovering you have a 4 min gap with nothing to fill.  My old mentor Linda Gage used to say 'Always have a plan B.'

3. Cadence and tone - Look out for gear changes particularly if you are going from a light to a serious story or vice versa.  Nothing worse than a hearty laugh over a story and straight into another about death and destruction.

4 Scripts - a good thing but they can sound too scripty.  Light material like showbiz needs a light touch script, made more conversational almost to the point of the odd ab lib.

5 Mistakes - I have made a few, too many to mention, and I still keep making them, I am only human, but if you make a mistake just recover and carry on and always, always own up if you caused the cock-up.

6 Tell em  - Tell em you are going to tell them, tell them, tell them you told them.  The mantra of the blind medium that is radio.  Guide your listener with your cue and always back announce material and tell them where you are off to next.

7 Teasing - a bit like Tell em - teasing is a vital part of keeping your audience on side.  Grow expectation and desire by honest but interesting teasing of subjects to come.

8 Communication - I hate wearing headphones, particularly in a control room with others around - you need to communicate quickly and efficiently - everybody needs to know what they are supposed to be doing before they start to do it.

9 Attribution - Who said that? Where are they from? And the order of attribution, which should always be - what they do/are followed by who they actually are.  (Their name)

10. Linda Gage - Who taught me - good radio programmes have beginnings, middles and ends, they also have light and shade.  Stick with that mantra and you will not go too far wrong.

Radio Presenter Key Skills 2

1. You need talent.

2. You need experience.

3. You need to network.

4. Be interested in everything.

5. You need good luck.

You need talent – if you can’t do the job nobody will employ you.

You need experience – get involved in radio and Podcasting and VODcasting projects, work experience at commercial and BBC stations, prove that you are hungry for the job.

You need to network – It’s not what you know it’s who you know, there is quite a lot of truth in that statement.

You need to be interested in everything – keep your interests broad remember everybody has a story to tell.

You need good luck – don’t beat yourself up if you fail or have setbacks, being in the right place and right time might be all you need.

Living by numbers

Lot's of numbers, statistics, percentages, in short anything with numbers is one big turn off. Radio is a blind medium you have to take your listener on a journey, blind them with numbers and they will get confused, lost and probably tune away. So if you have to quote statistics remember to keep is simple and easy to understand.

Tease Me

One of the most important things you need to do is tease. If you want to keep your audience with you to the next RAJAR half hour, keep telling your listener whats happening, what they have missed and what they have to look forward to. Radio is a blind medium so you need to signpost.

Fader W*nking

Never fader w*nk . Example: the song is happily playing just coming to the end of the track but the lyrics are still in full swing when suddenly off the song disappears to be replaced by some inane banter from the presenter who then whacks the fader back up. Meanwhile they have trodden all over the vocals and ruined a good tune. The moral of the story is keep your hands to yourself until the fat lady has well and truly stopped singing - thank you.

Personality, Personality, Personality

The three most important things you need to be a successful talk show host/presenter. It's not the topics or your skill as a journalist but what and how you say it. It's what you bring in from your personal life. The experiences that you can share with your listener. The person that you are. So go take a hard look in the mirror and discover your personality.

Keep Focused

Keeping a show focused can be harder than it sounds, it's so easy to go off at a tangent, we do it all the time when we're having a conversation with friends.

On a radio show you need to steer yourself and the audience in the direction of the topic, keep your objectives clear in your head. As ever there are exceptions, if someone calls in with a truly amazing subject or side-line then make an editorial decision to go with it or can it.

You can hear poorly focused shows all over the country, where the presenter and or producer have not thought the subject through and just tossed an idea onto the airwaves with half a hope it might work.

Call To Action

If you are a host/presenter you should try and follow this rule of play. Topic then call to action. Topic - your churn on a subject, then the phone number, text and email details. How many times have we heard hosts/presenters come out with the line - 'lots to talk about today call me on xyz...' Well what lots are there to talk about? What do you want me to call about? So Topic then call to action

Doing the housework

If you are a host/presenter take care when you do the housework - read that trail, slip in that promo. Avoid the start of hours or gear changes. Imagine your audience as an invited guest to your house, they arrive expecting a nice cup of tea and you are busy doing the Hoovering. So pop in that dust around, during a sequence. Usually and unless they are paid for, the promos and trails are not a strong way to start a sequence.

Voice Projection

A Good Voice For Radio

A good voice for radio?

Twenty years ago a good voice for radio would speak with ‘Received Pronunciation’

Here’s what Wiki has to say about r.p.:

Traditionally, Received Pronunciation was the "everyday speech in the families of Southern English persons whose men-folk [had] been educated at the great public boarding-schools" and which conveyed no information about that speaker's region of origin prior to attending the school.

So if you spoke posh you could get a job reading the shipping forecast on the BBC.  Now that did start to change as long ago as the second world war, when regional accents were used on the radio to distinguish between the German broadcasts which often used announcers who spoke r.p.

So right here right now, what makes a good voice for radio?  It’s more about clarity and intelligibility and much less about accent and pronunciation. My favourite example of that would be Jonathan Ross who has a terrible voice complete with slight stutter and speech impediment but is easily one of the best broadcasters the UK has.

What makes Woss so successful? Well he has a natural ability to present himself in a clear and concise way.  He is sharp and quick-witted.  He is natural and relaxed.

When it comes to voice-over work the regional accent has made some inroads but a variation of r.p. still rules.  Voice over work is more about acting than finding your own voice which is what radio broadcasting is about.

Think of radio broadcasting as you, your voice but just a bit more confident and expressive.  I say a ‘bit more’ it’s very easy to go to far and sound like an excited children’s TV presenter or to cover your nerves end up sounding dull and monotone.

The voice work-out

Here are 4 things you should do for a better sounding voice:

1 Sit up – raise your diaphragm (The muscle bit under your lungs) or stand.

2 Breathe – nerves will have you gasping for breath, take a breath do not be afraid of the silence that you create to breathe.

3 Smile – not like a Cheshire cat but some facial expression changes your delivery and helps to stop flat lining.

4 You – be yourself try to relax and don’t forget to think and understand what you are reading.

Three words ahead

Hard to do but if you can read three words ahead whilst speaking three words behind.  Example ‘The cat sat on the mat.’ Whilst you are speaking the words; ‘the cat’ you are reading in your mind ‘on the mat.’

This has advantages in that you know what you will be reading out loud next.  The disadvantage is that you see ahead of you a difficult word and in a split second your brain will say to yourself ‘you gonna mess this word up,’ and of course you do.

Listen to yourself

And also have someone listen to you.  A good mentor will listen to your performance and be able to point out mannerisms lack of clarity and of course where you succeed in communicating your thoughts and ideas with clarity and intelligibility.

Polish

Listen to others, hear how they do it, but don’t mimic.  In radio there is only one listener so talk to them not an 'audience'.  Prepare and practice as they say in the theatre; ‘Turn up on time and know your lines.’

Writing For Radio

George Orwell's rules of writing

Using an active voice is very important when writing copy.

Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.

Metaphor - A figure of speech in which an implied comparison is made between two unlike things that actually have something in common "The streets were a furnace, the sun an executioner."
(Cynthia Ozick, "Rosa")

Simile - A simile is a figure of speech that directly compares two different things, usually by employing the words "like" or "as 

Unlike a metaphor, a simile can be as precise as the user needs it to be, to explicitly predicate a single feature of a target or to vaguely predicate an under-determined and open-ended body of features. Empirical research supports the observation that similes are more likely to be used with explicit explanations of their intended meaning. Examples:

She is like a dynamo.

Her eyes twinkled like stars

Never use a long word where a short one will do.

If it is possible to cut a word out, always cut it out.

Never use the passive voice where you can use the active.

"The sentence 'John picked up the bag' is in the active voice because the subject, John, is also the thing or person doing the action of 'picking up.'

"The sentence 'The bag was picked up by John' is in the passive voice because the subject of the sentence, bag, is the passive receiver of the action. . . .

"Try to use the active voice. But realize that there are times when you will need to use the passive. If the object of the action is the important thing, then you will want to emphasize it by mentioning it first. When that's the case, you will use the passive voice."

Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.

Break any of these rules sooner than say anything outright barbarous.

Ina House Style

It's not what you do it's the way that you do it. Profound words from Bananarama and The Fun Boy Three - and very true.  Wherever you work you will find there is a house style - a way of saying or writing material.

The BBC has a very good House Style Guide that also gives you a basic grounding in the proper way to write a news story.  Here is an extract looking at the relationship between the writer and the audience:

You have a relationship with the audience, so try to make it a pleasant and productive one. Here are some tips to consider:

• Do not describe news as good, bad, shocking or horrendous. Tell the story and let the listener decide.

• Do not frighten off your audience. One presenter began his programme by declaring that many people thought parliamentary reform was boring, but he was still going to talk about it.

• Do try to get a strong active verb in the first sentence. You want to make an impact and keep people listening.

• Do not start a news report with a question. The audience wants to be informed, not take part in a quiz.

• Do not begin a story with As expected. If your item was predictable and you have nothing new to say, why should the listener or viewer pay attention?

• Be positive. Make assertions wherever possible, and try to avoid negatives. It is more direct to say The plan failed than The plan was not successful.

Despite the above, we are mainly dealing with advice, not rules. The most interesting writing often involves creating something unexpected, and rules tend to get in the way.

Ten things to help you and your listener:

1-Relate to them as a friend.

2-Repeat and repeat - listeners are like goldfish and have the attention span of five seconds.

3-Create furniture and structure in your shows and STICK TO IT!

4-Make sure interactive (calls,text,email) drives the show forward and not sideways or worse nowhere.

5-Build an emotional bond with your listener, be personal but not private.

6-Be liked, listeners can like you even if you are a 'shock jock.'

7-KISS keep everything simple stupid.

8-Have a running order and remember the structure

9-Be yourself not what others want you to be. (Fake personality shows up pretty fast)

10-ENJOY - we're in the entertainment industry - even the news and information segments are part of that industry - never forget that.

The 5 Senses

We all see the world in different ways. Some of us are better at touching things, some seeing things, some listening to things, for some it's smell. So what has this to do with radio? When you throw out topics use concrete words that describe the story bearing in mind the different way we see the world. Example You must have heard about this... did you see they way they did.. do you feel that way... don't underground trains have a peculiar smell as well. Touch your listener with all the senses.. it makes sense.

Hear

See

Smell

Taste

Touch

Example of script that uses senses

VO1 Mmm the fresh smell of coffee

VO2 That always makes me feel so hungry

VO1 Oh and those cakes – don’t you just want to reach out and grab one.

VO1 Can you hear something?

FX Sizzling bacon

VO1 Oh no more temptation - fresh sizzling local bacon.

VO2 I can see free range eggs frying on the griddle as well

VO1 It’s no good I’m going to have to do it

VO2 Do what?

VO1 Open the door to Joes Café the most delicious breakfast in Manchesterford of course.

FX Shop door bell and open

VO2 I’m right behind you

VO3 Joes Café – the most delicious breakfast in Manchesterford.

Interview Technique

The perfect interview, preparation is everything.  Here are some top tips.

1: Find out about your subject most people have some kind of internet footprint.  Also ask yourself what you want from the interview and what questions you need to ask to get what you want?

2: At the interview a bit of chit chat helps you both establish a rapport.  Give them an idea of the area you will be interviewing them about, how many questions and how long the interview will be.

3: Get the microphone close to them, do not interview in an adversarial position you are better sitting beside your victim that way it doesn't appear that you are shoving a mic in their face but you can still get close.

4: What, who, where, when, why and how are the key words to start your questions.  Avoid closed questions - the ones that get you just a yes or no.

5: Listen, your guest might actually have answered your next question and you sound a pratt asking it and getting the answer, 'well as I have already said.'

6: Noddy but no Big Ears, nod encouragement rather than say 'yes' or 'ah huh'

7: I always get my guest to say on the recording who they are and the title they hold, that way, fewer mistakes.

8. Shake rattle and roll: Hold the mic steady clamp the lead between your hand and the body of the mic, and remember to return the mic back to you if you want to keep your questions in.

9.  Take Two: If you think that you haven't got what you want from your interviewee - don't be afraid to ask the questions again, help them by telling them what you would like them to say. (This doesn't mean putting words in their mouth)

10. Before you go, check the interview has recorded.

How To Create Powerful Radio

1.  Speak visually, in terms your listener can "picture."

2.  Start with, your best material.

3.  Tell the truth.

4.  Never be boring.

5.  Listen to your station.

6.  Make it matter.

7.  Address an individual, use "You,"

       - talk to ONE listener at a time! 

8.  Do engaging transitions & handoffs.

9.  Promote, brag about your stuff.

10. Brag about other people's stuff

11. Be who you are on the radio.

12. Take risks. Dare to be great.