Working Together in Public Radio: Does it matter?

This blog is not written to imply that radio broadcasting is the end all and be all of public media. There are too many platforms creating opportunities to reach the audience to think that one platform is better than the other. Instead it is meant to demonstrate how best to use the broadcast platform based on personal experience and the collective experiences of others. No matter the platform, best practices for that particular platform will help us reach our full potential to reach and engage the public media audience.

Yeah, it does! 

A few decades back when I was taking courses in Mass Communications and radio programming basics we spent a lot of time talking about increasing time spent listening and reducing barriers to listening. The models we worked on were commercial formats.

The question of stationality came up in a couple of job interviews. How would you change the culture here to make us one station? The question came up in a different way recently when I was asked to examine the weaknesses in a particular station's weekday schedule. Their weekdays are filled with a hodgepodge of programs provided by independent producers primarily concerned with their content rather than appealing consistently to an audience. The end result is long stretches of audience data that barely registered above zero.

Why look for examples of success among commercial broadcasters? The thinking was, the best way to attract and keep an audience was consistency of format and super serving the target audience. We discussed music formats and news formats and using rotations and solid forward promotion strategies to keep listeners listening. We also looked at consistency. Inevitably, people will tune away. Once they tuned back in, the successful station delivered the programming the core audience expected to hear.

Eliminating barriers to listeners is the same thing as eliminating seams. It is not be possible to eliminate them all. Some are easier to eliminate than others and, I am not advocating blandness and the safety of banality. But.. Public Radio is filled with examples of seams and barriers. A few examples include...

• Opening and closing themes.
• Billboards.
• Hellos and long goodbyes.
• Self-encased hour long programs
• Announcers who say "I'll be back," "All of you out there."
• Announcers who think in terms of "my show."
• Checkerboard schedules that promote churn.

The Best of Intentions

At my first public radio station we used to run feature news stories during our music programming. The intent was to highlight news content as a sort of cross promotion during the music programming stream. It didn't work. The music imperatives hated the interruptions and tuned out. The news imperatives never tuned in. We were creating huge seams in our programming suppressing time spent listening and audience loyalty. At my second station something similar was happening. We programmed all sorts of modules during music programming. These things had introductory music and closing themes with goodbyes from the host. There were gardening modules, star gazing modules, ecological modules, business modules and more. Instead of being intriguing bits of informative programming, the audience thought of them as interruptions. They tuned out. We created huge seams because we thought the public radio listener wanted this kind of information. We should have asked first.

Not for Lack of Effort

There have been attempts at creating midday and weekend streams that have a consistent appeal with the public radio tent poles...Morning Edition and All Things Considered.  To date, the attempts have been less than successful. Think about what's happened to Weekend America, Talk of the Nation, Performance Today and Modal Music. Meanwhile, we're looking for the next Car Talk and Wait, Wait! The later two worked because they appealed to the same audience that values All Things Considered and Morning Edition. They also work because listeners can tune-in at any point in the program and understand what is going on...just like ATC and ME.

To find out what's working, look at where the core audience gravitates. Look at which programs draw that audience on a consistent basis. Unfortunately for the stations with poor results, there's even longer stretches of no core audience. Without substantial core appeal, the ability to raise funds from listeners is almost nil.

Finding programming that fits well together is only a part of the programming game. So is forward promotion. A focused promotional effort on what to expect in the next ten to 20 minutes promotes time spent listening and can help bridge the natural gaps between programs. Forward promotion, vertical and horizontal promotion are a station's most effective on-air promotional tools. Promotions can also give stations a sense of unity and purpose.

There's loads of research on effective programming strategies for public radio. Some good places to start include the Radio Research Consortium, Public Radio Program Directors Association, Walrus Research, Audience Research Analysis and Corporation for Public Broadcasting.

I've been asked and, at times, castigated, "Why do research? This is public broadcasting. We can do anything...and they will come." Those days are long gone. With new platforms drawing away audience, the stakes are too high not to be paying attention to what your audience wants. If you want to do your own thing, start a podcast. If you want an audience, just be sure you know what you're doing, and how to listen then engage.