Five Reasons to Appear in Your Own Commercials

Turn on your radio or watch TV tonight and I guarantee you’ll come across a plethora of spots in which the owner of a business acts as his or her own spokesperson. 

Thought is divided on the topic – there are solid reasons to do your own pitch, and reasons that are just as solid for not being your own brand ambassador. 

In this week’s article, we take a look at five reasons why it’s a good idea to appear in your own commercials.

Could you be this guy?

1.    Enthusiasm and sincerity.  It’s your company, your brand, your service, and your success on the line.  If you truly believe in what you’re doing then nobody can talk about it, explain it, or sell it as well as you.  Nobody else will appear as sincere or enthusiastic about it as you will, and your enthusiasm will perceived by the audience and motivate them.  Example from the past:  Victor Kiam's "I bought the company" spots for  Remington Shavers.

2.    Credibility.  There’s a reason why lawyers do their own spots.  The most important tool a lawyer has is credibility.  Lawyers who advertise on TV have one strike against them already --  advertising on TV for years has been frowned upon by the legal profession, and many people who see ads for attorneys who specialize in personal injury cases laugh at them.  That is, until they have their own accident.  Then it’s the attorney who seems most competent and experienced they call.  In the Boston area, Attorney Jim Sokolove does a pretty good job of appearing competent and serious.  (Here is  a Jim Sokolove TV spot.)

3.    Personality.  If you’ve got a big personality then doing your own spots is a natural.  Every brand has its own personality, and if you’re the kind of guy or gal that people are naturally drawn to, that personality might as well be your own.  This is great for car dealers like Ernie Boch  (Senior was better at it than Junior is, but Junior is coming along.)   (Here's a vintage Ernie Boch spot from the '60s.)

4.    You can’t quit.  You won’t be threatening to quit if you don’t get more money.  When a company uses a paid spokesperson it’s public image is tied to that person.  If the spots are successful at promoting your business it’s a safe bet that your public spokesperson will be wanting more money for the next go-round. 

5.    Cost.  This is simple.  It’s cheaper to do your own spots. 

When it’s time to plan your next ad campaign, think about your intent – how you plan to portray your product, service, or company.  If you’re up against cost issues, or you need to establish credibility, sincerity, or a personality for your brand, appearing in your own advertisements might be the way to go. 

Next week we’ll take a look at the other side of the coin and look at some good reasons not to star in your own commercials, so please check BullShots! next week. 

Who’s your favorite TV spokesperson?  Let us know!  Your comments and links to this blog are appreciated!  Thanks for reading BullShots!

 ---

Brown Cow Studios of Boston produces radio, TV and Internet commercials

that establish brands and drive in business.

How can we help you? – Get in touch with Fred Pagano today.

Out of Season? Then Think Out of the Box!

Last time in BullShots! we talked about the effectiveness of advertising during the off season.  This week, we'll take a look at some possible campaign ideas.

Off-season advertising campaigns lend themselves easily to humor.  The disconnect between the current season and advertising something unseasonable sets up a situation that's ripe with possibilities.  Although not all off-season campaigns need to be humorous, humor is a great way to avoid annoying your audience.

What does Santa do in the off season?  He plays golf!

For example, we've all had the conversation in which a friend tells us that she's been to a certain store, and by golly, they've already got their holiday merchandise up -- and it's only August!  Everybody shakes their head and wonders "what is this world coming to?"  The store seems greedy. 

But had the store added a touch of humor -- maybe putting out signs or tent cards with a little joke about Santa running out of room so he asked us to hold on to some things for him -- the result would be different.  The joke would become the topic of conversation, not the retailer's greed.   

You can use a serious approach too.  For example, here in New England there's not a lot of home remodeling going on during the winter.  January just isn't the best time to rip out all the doors and windows!  But it might be a great time to generate some new business.  Perhaps mention that drafty window that's bothering them right now, and that they don't have to put up with it.  "Why not book with us now and put a stop to the chills!"  Or, make a special off-season offer: "Book now and we'll save you 20% ... and, you'll be first on our list come Spring."  It's a good deal and I bet you'd get a lot of takers. 

A winter business, such as a ski shop or resort can apply the same techniques.  Why wait until ski season starts to tell the audience about the improvements you're making to Bunny Hill?  Tell them in the summer, and get those dedicated skiers excited about how great the coming season at Bunny Hill is going to be.  "Hey skiers, we just wanted to let you know that we're hard at work making Bunny Hill better than ever..."   Just keep it light.  Off-season ads aren't the place for the hard sell. 

Educating your customers can work too.  A bike shop might talk about new models and features that manufacturers will introduce next bike season.

A public service campaign is a great way to keep in the public's mind and do some good at the same time.  A seasonal specialty shop might offer safety tips:  "When your kids are walking home from a friend's house at night, make sure they carry a flashlight so they'll be seen by oncoming cars.  And by the way, this fall your spooky friends at Halloween Scene will have the most ghoulish flashlights and lanterns you've ever seen...."  Maybe Dracula should be doing the voiceover for that one? 

One of my favorite promotions was done by a tavern in a resort area.  They did most of their business during the summer, and most of that was over the Independence Day holiday.  Another holiday during the summer would be great for business.  So they decided to host a New Year's Eve party -- in August!  Complete with hats, streamers and noisemakers, they did a pretty good business that night as we all counted down "10...9...8... Happy August 17th!" 

Keeping your seasonal business front and center in your customers’ minds during the off season can be tricky, but it is good marketing.  There is always a way to do it.  Just get your creative juices flowing, think out of the box and have fun with it. 

Was this article helpful to you?  What ideas have you come up with for your own seasonal business?  Need help?  Let us know!  Your feedback and links to this page are always appreciated (just let us know where to find the link).  Thanks!

Fred's Advertising Clinic Part 4: Build Desire

"Wow! I want one of those!"

"That thing sounds great!"

"Yeah? So what?"

Have you ever seen or heard a commercial on TV or radio and had one of those reactions? I have. A notable one happened just a couple of months ago.

I was watching TV, and a spot for a new sandwich from KFC came on. Well, it wasn't really a sandwich, because it had no bread. Just two slices of chicken with other good stuff in between. Precisely the kind of thing this manly man wants more of!

And when I saw that spot, my mouth watered.

I even remarked out loud, "Oh yeah! That's the stuff!...that sounds wonderful" I hope I wasn't drooling, but there's a chance I was. Ask my wife.

Was it a good sandwich? I can't tell you because there's no KFC near me at which to get one. But it sure sounded good when I saw that spot. I wanted one. A lot! And the next time I'm in the mood for chicken for lunch (which admittedly isn't often) I'll definitely get one. Because....

"That thing sounds great!"

Now what about the last reaction? "Yeah, so what?" I had one of those reactions recently too. I've long since forgotten what the product was, so don't ask. What do you expect, anyway? I should remember the name of a product I have no interest in? Life's too short.

A successful spot doesn't just grab your interest. It makes you want the product. It makes you want to install new flooring, have a beer, buy a new car, eat chicken or serve your kids yogurt. It gets your saliva dripping. In other words, it follows the fourth part of our five-part advertising formula: It builds desire.

How do you build desire for your product or business? Well, first think about your product. Who is it targeted to, who is your customer? What need does your product fulfill? Then ask yourself why your customer would want yours in particular. What sets it apart from the others? When you know the answers to these questions, you're on your way to building desire for your product.

Let's take a look at the example we've been using in this series, dry erase markers. A pretty boring product, so what can you possibly do to build desire for them? Think about it. Who uses them? Students and teachers in school, business executives giving presentations, and many homes have dry-erase boards in their kitchens so family members can leave messages. That's pretty much the market for dry-erase markers.

Let's zero in on business use. What would make me desire a particular brand of marker? Suppose it could help me win a promotion, or impress my boss. Or streamline work flow or make the job easier. Any product that fills one of those needs is desirable.

A marker that can get me more money and a promotion? I'll have to look into that!

On the household front, dry-erase markers help people keep in touch. They remind Dad to pick up Junior after the soccer game, or to grab milk on the way home from work. I want my household to run smoothly, and if dry-erase markers help do that, then I want dry-erase markers. Lots of 'em!

When it's time to write the copy, key in on those desirable traits in your product or business. Tell the exec how markers can help to win a promotion, or tell parents how they can run the house better. Be creative. Have fun.

Need to build desire for your product?

You can do it yourself. Or you can have Fred do it.

For spots that sell, come to BrownCowStudios of Boston.

Radio Excels at Positioning, So Use it to Sell Your Image

Some advertisers, especially shops that are locally owned, are addicted to "price list advertising." Their radio commercials drone on and on about what's on sale for how much. You've heard them. They sound like this:

"This week at Super Mega Value Shop Mart ... Denim jeans for guys $19.99 ... for kids only $12.99 ... SuperMegaValueShopMart brand laundry detergent just $1.99 ... Dog collars 89 cents or three for two dollars! And SPF 30 suntan lotion $3.99! ... Fifty paper bags for only 39 cents!"

So let me ask you a question: Do you remember those spots or are they just part of the commercial jumble? Five minutes later, do you remember what was on sale for how much? Do you even remember the name of the store? Right now, without looking back, can you tell me the price of the laundry detergent?

A list of anything more than one or two items and their prices is too much for a radio spot. Our memories aren't that good. To catch all that information requires strict attention. But radio listeners are a distracted bunch. We do most of our listening while we drive or are getting ready for work in the morning.

If a listener pays attention at all, he or she probably ends up wondering, "Did the announcer just say there was a sale on bananas or hammocks? Or was it ham hocks? $29.95 is a good price for hammocks, but way too much for ham hocks! ... Hmmm, I'd like to get a red bandanna ..."

Here's where radio ads work: Positioning and image building. If your store is the low-price leader, your listeners need to know that. But you don't have to give dollar and cents proof that you've got the lowest prices on No. 24 rectifiers. The only people interested in the price of No. 24 rectifiers are those who are in the market for them. And that's not most people.

Just tell people your prices can't be beat.

To make your positioning stand out, give yourself a nickname or a slogan that tells the world what you're all about. Then plug the bejeebies out of it in every spot, every time.

• For the lowest prices, it's Rectifier Rick's.
• Larry's appliances: The low price kings.
• Nervous Ned! What a great buy!
• With the money you save at Joe's garage, you'll get that limo in no time.
• Bill's exterminators: Bugs. Dead. Now.

If addiction to price list advertising is hard for you to kick, here's the cure: Buy a newspaper ad and put all that item and price stuff in it. Then, tag your radio spots with "find out what the Low Price King has on sale this week - see our ad in the daily newspaper."

Take advantage of radio's theatre of the mind effect. Use it to position your company's image in the listener's mind. Hit them often, hit them hard, make it interesting. Soon, everyone in town will know your prices are the lowest. Or even better for you - they'll think they are!


Need help positioning your business with radio spots that sell? Come to Brown Cow Studios of Boston. Creative services to complete production and media buys. Get in touch with Fred@BrownCowStudios.com today!

If you're only talking for 30 seconds, why do I have to pay so much?

I was talking with a friend who is in the public relations business the other day. He's one of the most successful press agents in Boston, and specializes in getting his clients booked on TV and radio talk shows. As we compared notes, we realized we both faced the same obstacle: Clients who don't understand why our services are priced the way they are.

Not that we can blame them. To the uninitiated and those new to using the services of a press agent -- or in my case, a voice over artist -- it doesn't make sense. They wonder how a commercial that takes sixty seconds to do can cost so much to record.

A similar comment is one I used to hear back in my Top-40 DJ days: "I wish I had a job at which I only had to work four hours a day!" On the surface, it sounds about right, and believe it or not, there really are some DJs who only work four hours a day. But the fact is, they're not very good and they don't last in the business very long. The best radio personalities -- the ones who make it seem oh-so-easy have to work at it. And they work hard. The best don't put in a four-hour day, or even an eight-hour day like most of us. They'll spend hours preparing for their shows and trying to come up with new material. For the truly successful, it's more like a 10- or even a 12-hour day.

My friend the press agent? Sure, all he has to do is make a phone call to get his client booked, but again the truth is there's much more to it than that. He doesn't make one phone call, he makes fifty. And the only reason he can make those fifty calls is because before those fifty he made made 500 other calls to newspapers, radio and TV stations so he would know the producers and bookers, and what their tastes, interests, and preferences are.

Now since this blog is about voiceover production, let's take a look at what happens when a voiceover artist is hired to do a 60-second spot.

Even before the voiceover artist gets hired, he's already put a lot of work into the job. He's made phone calls to his agent, he's paid for and sent out demos, bios, postcards, letters, and maintains a web site too. He's probably called a few hundred potential clients on his own, and done every other kind of marketing he could think of. Along the way he's probably done fifty or sixty auditions -- maybe 100 -- that haven't resulted in any gigs.

Then one day the phone rings, or he gets an email from somebody who liked his audition enough to actually ask him to do their spot. They fax the copy over.

The first thing our voiceover artist does is read the copy to find out what it's all about. Then he reads it again, this time to get an idea of how the read should sound. Depending on the type of spot it is he may have to figure out who his character is, what his purpose is, even how he feels about it. In other words, he goes through the same preparation all actors go through when they land a part. But our voiceover actor doesn't have the length of a feature film or even a sitcom to develop his character and get his message across -- he's got 57 seconds, or even less.

He reads the copy again, this time marking it to note which words to emphasize and which to downplay, trying to find the most effective way to get it said.

By this time, he's read the copy five or six times, and hasn't even opened his mouth yet. But that's next. It's time to rehearse. Again he'll read the copy as many times as he needs to -- or, if he's working with one, as many times as the producer wants him to -- until it sounds right. So we're up to ten reads or more.

When the mike goes on, all that preparation hopefully results in a good read the first time. But, alas, that's rarely the case. Inevitably there will be goofs, mistakes, places where he rose in pitch when he should have gone down. Since he didn't write the copy, the words he speaks aren't his own in the way he would speak them, but in the way some committee somewhere wrote them, and he has to find a way to make that committee sound like one person with one voice, who's fluent in the English language.

If the recording is being done in a studio with a producer, engineer, and likely the client too, all of which are listening in on the session in the control room, our voiceover artist will have to follow their direction. Some of that direction may be genuinely helpful. Some of it may be arcane. "Can you make it sound like stardust?" or "put more electrons into it!" Hmmm ... electrons! More takes...

Eventually the tracks do get laid down and the recording session is finished. It's taken all day, and for his day's work the VO artist has earned $600. It may be the only job he'll do that week. If he's lucky, he'll get a check within 30 days as promised. If he's not so lucky he'll have to wait, track the client down, or maybe just not get paid at all. It happens.

So add it all up: The VO actor has probably read that script anywhere from ten to 50 times. And the money he gets paid has to cover all his administrative expenses and the costs of marketing, maintaining a studio, and going to auditions. Don't forget he has to pay his agent's commission too, if he ever wants to work again.

Do the math and you'll see that for all the effort to land and then produce that 60 second spot, our voiceover guy is lucky if he makes $10 an hour.

So why does he do it? Easy: He loves it.

Should you take advantage of a station's offer to produce your ad for free?

Just about every radio station, and many TV stations too, offer their advertisers free commercial production. To advertisers pinched by today's economy it's a very attractive offer that's hard to refuse. But should you refuse it?

I think so. From my years of experience in the broadcasting industry, I believe a very strong case can be made for declining the station's offer and instead using a professional, independent voiceover artist.

First, if your ads are being produced by the station on which you've bought time, your ads are being produced by one of the station's staff announcers. The voice will be one of the five or six people who voice probably 80 percent of all their spots - those of your competitors too! I'm not saying that the staff announcers aren't good at what they do; on the contrary, they're probably excellent. But your spots will end up sounding like every other spot on the station, and listeners will easily tune them out because they don't sound any different from everything else they hear. They'll just be part of the "clutter".

To be their most effective, it's very important for your ads to stand out and sound different from the rest. This is particularly important with 10- or 15-second "shorts."

Secondly, auditory memory plays a big role in the success of your ad. If a listener dislikes a particular personality for whatever reason - maybe they think those dulcet tones are too syrupy, or they don't care for the subject matter of that DJ's show (think of your local "shock jock"), that voice will have made an unfavorable impression. That impression carries over, subconsciously, to your product - it's quite likely that just hearing the voice of the announcer they don't like will work against you.

If you've ever found yourself talking back to the radio or arguing with a particularly annoying or stupid commercial you know what I mean.

But when you use an independent voiceover announcer, you're using a voice that's not heard every day - day in, day out for years. So your spot cuts through the clutter, is more likely to command attention, and won't suffer ill effects from a listener's auditory memory of an unfavored personality.

Many voiceover actors have spent years in training, taking acting classes, courses on dialects and accents and the like. The result is not just a "read" of your copy, but an interpretation of it. Even with relatively straightforward copy, professional, independent voice actors bring elements of drama, credibility, and showmanship to your spots. They don't get lost in the clutter.

In the end, your advertising is more successful because it commands the listener's attention and gets results.

Finally, there's the price issue. Free sounds great, but how much is that "free" actually worth? Most voiceover actors, myself included, operate their own studios and can provide complete creative services - from copy writing to voiceover to producing a finished spot at very reasonable rates.

You also gain the benefit of a professional who gives your spot complete attention and wants to earn your repeat business. Radio DJs and staff announcers don't get paid extra to do your spot, and they may not be happy about it either - it's just one more spot on the list of 5 or 10 spots they have to do that day, in addition to doing prep for their on-air show, paperwork, and the show itself. Because they simply don't have the time to give you their full attention, you might end up with a spot that's not great, but "good enough."

When you think about the total cost of your advertising schedule, the cost of choosing a a pro voice actor versus the station's "free production" offer works out to a small percentage of your ad budget. But the results a pro voiceover actor will get you are much greater!

So when the sales exec from the station offers you free production, tell him "no thanks." Then get in touch with Fred@BrownCowStudios.com, or one of the many fine VO talents working today.

- Fred Pagano