You know you only have 10 minutes to spare, so not to be late at work. You are about to open the door, when the phone rang. Since, it’s just within your reach, you’ve decided to answer it. On the other line: “I am looking for “insert your name”. I am the producer of Larry King Live, and we would like to invite you for a one-on-one TV interview”. Bedazzled, what would you do?
Once you’ve answered the phone, the producer starts to assess if your appearance on their show would be valuable, aka interesting to the audience. Thus, you should know the important points to keep in mind during this phone screening because you don’t want to be eliminated. Now, what are those important points?
Secret #1: Ask Before You Speak
Think before you speak. Now, the kind of thinking I am talking should be efficient and effective. You are free to ask the producer a question. One important question to ask is “Can you please inform me of the kind of show you envision?” Simply said, you would like to know which angle the producer is planning to incline his plans.
Second, once you hear the producer’s reply, you can gear your pitch to the type of information he’s seeking. Listen closely to the angle that he’s interested in and tailor your points to it. Publicists often use this technique to get their clients booked on shows. They *get* before they *give* – so they are in a good position to tell only the most pertinent information about their client.
Secret #2: Wow the Producers with Brevity
According to the great man, Dizzy Gillespie “It’s not how much you play. It’s how much you leave out.” Hence, this short phone call is something you have to prepare for. Allot some time, to write on a clear pad, all the your points. Have this piece of paper posted, in all your telephones. To complete your performance, you should practice what you should say. Practice the different ways you’ll bend your idea, to be able to meet the expectations of the producer. As Ms. Leslie Rossman said, “Nobody gets on these shows without a pre- interview”. Moreover, “Be a great interview but don’t worry about the product you want to sell them because if you’re a great guest and you make great TV, they’ll want you.” These advices are taken from the experiences of Leslie’s life as a publicist.
To cap-off the importance of Brevity, let’s hear it from Robert Frost: “Half the world is composed of people who have something to say and can’t, and the other half who have nothing to say and keep on saying it.”
Secret #3: Prove You’re Not a Nutcase
If you sound and look like a nutcase on air, the producer’s career would be on the line. One trait that might put you in danger is overly zealous. Being too enthusiastic about what you can offer, might categorize you as a nut. To avoid this kind of misconception, beware of Richard Price’s theory on “The dangerous thrill of goodness.” According to him, “What happens is you can get very excited by your own power to do good.”. So, be careful as you maybe carried away by thrill.
One way to tell if you’re being too zealous is that you’re hammering your point at top speed with the energy of a locomotive pulling that toot lever non-stop. I remember a man calling me up about how he was single-handedly taking on Starbucks – who, he felt, had done him wrong. He wanted me to promote his cause. While this could have been a great David versus Goliath type story, he was long on emotion and short on facts. Some statistics or figures would have tempered his mania.
I noticed that he was not actually trying to get my interest. He was merely talking about all his feelings and thoughts about the company. His manner of talking to people is simply a turn-off.
Take note of cues that may tell you if the producer is pleased. To do this, minimize your talking to 30 seconds, and asked if that is the kind of info they are looking for. The encouraging grunts, “uh-huhs”, are the usual indicators. So, take note of those.
Secret #4: Can You Mark *The Big Point?*
The contributors of “This American Life”, with Ira Glass as the host, placed the emphasis on the epiphany at the end of the story. This is also known as the “The Big Point”. In this moment, the narrator elevates the story from the mundane to something universal. That is one trick, you should do.
Another radio personality, Garrison Keillor, is a master at it. He tells long, rambling stories (not good advice for you), then ties up all the story strands in a coherent and satisfying way. As a great guest, you want to illuminate your story with a big standout point that helps the audience see the significance of your story in their world and the world at large. Rather than hitting them over the head with a two-by-four, you want to share your insights with a feather-like touch. By framing your story you alert the producer to the fact that you’re a thinker and can contribute great insights and clarity to a story thus increasing its appeal.
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