Public Broadcasting Truths

 The Top Ten Truths 

Hey Pubsters. Remember this! 

The Top Ten Truths were discoveries made by ARA during Audience 98.

Perhaps you don't remember Audience 98, or are not aware of the efforts being made by ARA on behalf of CPB and PRPD to find out more about the Public Radio Audience. It came a decade after the discoveries of Audience 88. 

Audience 98 was a major study that aimed to extend programmers' understanding of listener behavior developed in the widely influential Audience 88.

Audience 98 is based in part on a rare re-contact survey of 8,000 Arbitron diary-keepers who indicated in fall 1996 that they listened to public radio. The survey was designed to elicit their pledging behaviors, personal beliefs, and attitudes toward public radio.

Besides nostalgia, what other feelings does the Top Ten Truths elicit from you? To be sure, this should not be confused with The Ten Commandments, but how much has changed from the listener's perspective. These ten points helped us build a loyal and engaged audience that still values our service today.

I Listen to Pledge

Maybe I should Stop

I admit it. I'm an armchair program director. Others who have held that position in the past admit to the same malaise. I listen and I can't help myself. Maybe it is because it seems like content directors (PD's) in the public radio system seem to want to keep learning the same lessons we (the old timers) did long ago.  There I was listening and analyzing the pitching and the content.

Three Minutes...Three Mistakes

Pledge has been raging on for over a week. Maybe I'm just cranky. Today I listened to the talent acknowledge a pledge from a regular guest on the show that was being pledged. She said the gauntlet was down for other guest talent of this show's regular segment to pledge. What's wrong with that? She just let the other 12,000 listeners off the hook. She pitched exclusively to a half-dozen people. Since radio is a companion...personal...the best pitch appeals to the individual, not to groups or to insiders.

Then I heard the other talent talk about what a commitment the station was making with three local productions daily. The station invests heavily in local production. That was it. Is the pitch self-evident? No! She needed to answer why. Why is it important to be local? What is the benefit to the listener? How is the station better serving the audience with local productions? I never found out. It is important to understand that local for the sake of being local is not important to the listener. It is the quality of the content and whether or not that content meets the listener's expectations.

Wasted Promotions

After the pledge break, the station promoted a one hour program airing on Sunday night. It was Monday afternoon. I can't for the life of me remember what was being promoted, but that is the point. The most effective promotional strategy is forward promotion/vertical promotion/horizontal promotion.  Forward promotion is for content coming up in the next 20 minutes. It encourages time spent listening. It should be been placed just before the break. Vertical promotion is something that is focused on content coming up later in the day. This was in midday so, perhaps, a promotion for All Things Considered would have been best. Horizontal promotion is for programming content in the same day-part in the next day. Vertical and horizontal promotions create more occasions. At the very least, promotions are most effective if they inform the listeners of something happening on the air within the next 24 to 36 hours.  The promotion aired by the station used a diagonal strategy...and this is considered the least effective of all the promotional strategies. This particular station does this a lot.

It's Radio - Not Rocket Science

I feel fortunate. I learned these strategies by listening to those already in the system. I participated with others in what it takes to gain and maintain and audience through PRPD ARA (Audience Resource Analysis), Walrus Research, RRC, Station Resource Group, and other people and organizations.  The information is out there. You don't need to reinvent the wheel. Ask.

To Paraphrase, Old PD's never die, they keep looking for opportunities to increase occasions and duration. Even during pledge.

It's basic radio - Think Audience

Car Talk Regrets

The Story Ended Happily

John Dankosky's Blog about Tom Magliozzi (Why Everyone Who Loves Public Radio Should Thank Tom Magliozzi) reminds of the time I decided to take Car Talk off the air. We had a classical music audience. The phone calls about the show were hostile...vehement. Based on those calls and the urging of the station manager I pulled the plug. It was a big mistake. I learned a lesson about programming by phone call. The caller represents his or her interest...nothing more. Audience figures over the next six months convinced me I made a mistake. Our Saturday morning audience went to our public radio competitors. Fund raising took a big hit. Within a year Car Talk was back. The program was welcomed back in a big way with a huge audience and blockbuster fundraising as described by John in his blog posting. I've been told the audience for Car Talk continues to be strong.

Community of Listeners

Reinstating Car Talk was the the impetus for the gathering of the public radio community. That community is one of the key concepts of the Audience '98 research project.

                  A Sense of Community

If givers think of public radio as a community, then a fund drive is a barn raising, not the Home Shopping Network. On-air pitching is passing the hat, not selling Beanie Babies. Shirts and mugs – still the most popular premiums – are emblems of membership and pride in the community, not merchandise exchanged for cash.

"Sense of community" may add dimension to the seminal concept of personal importance, and thereby help public radio professionals to influence giving, focus fundraising messages, and schedule programming. 

Communication technologies let us choose our neighbors based on their sympathies rather than their proximities. Being connected to other people by psychological rather than geographical space isn't so alien anymore.

Audience loyalty and support grew by leaps and bounds after Car Talk found a permanent place on WNPR's schedule on Saturday Morning. It was as if we had crossed a threshold of Core Listening. A solid base of support resulted. Radio at Connecticut Public Broadcasting became self sustaining.

If that sense of community disappears...Public Radio will become a memory.

Contributions to Public Radio and TV intersect

As contributions to public radio continue to increase...the contributions to public television continue to decline.

This trend has everything to do with programming. The reasons for the sad decline in programming can be attributed to the splintering of the marketplace but, public radio is feeling the same pressures. Public TV has done, at least in part, this to itself.

Those of us who have been around the system for a while remember the research put out by Audience Research Analysis called the Stairway to Given.

ARA called it the Stairway to Given
1.      Aware of the services/a user of the service.
2.      The user relies on the service.
3.      The content or service must be personally important.                    

Personal importance and sense of community. This is the idea that the content and                     the services are the ties that bind together people with certain shared values.  

4.      Funding Beliefs – Users must believe their support is crucial. They must understand that funding from other sources is only a piece of the fiscal puzzle. Individual support is the most reliable source of income.  

5.       Household income is a contributing factor in whether someone will give, but that it is not nearly as significant as the other steps of The Stairway to Given. People give because they rely on the service, find it personally important and believe their contributions are truly needed.

It starts with the content. There's a direct correlation between the loyalty of the audience and its willingness to contribute. PTV seems to have lost that along the way. Each time I stumble across another showing of Celtic Woman or another broadcast of the Moody Blues, I've wondered if others have found this to be as far off mission as I do. Do these fundraisers really appeal to the core audience? And, if PTV can't fundraise around core programming, what does that say? The answer always seems to be more fundraising!

There's a really good graphic published in Current.Org that shows this trend. The statistics are provided by the Corporation for Public Broadcasting.

Recurring Fundraising Dream

There was a time when I was responsible for the fund drives at WNPR. That continued even after Connecticut Public Broadcasting united donor development into one department. The fund raiser became a partnership...a collaboration.

Dreaming about Fund Drives
Just before every drive I had a recurring dream. In that dream nobody called. Since I was also responsible for content, the dream also meant that my choices for programming had no appeal to the audience. The axiom of "Significant Programming for a Significant Audience" proved false. The implications of the dream was that the programming was not significant and the audience it generated was not interested in voluntarily supporting the programming. The dream never came true. I worked with some talented content people who worked hard at programming that appealed to a significant audience.

There were ways of measuring what we were doing that helped predict what areas of our scheduled would be successful during the fund drive and what areas would be more difficult. I wrote a couple of articles with the help of the folks at Audience Research Analysis for Audience 98. You can read about it. Public Service Economics and Connecticut Public Radio By The Numbers. It's public radio geek. When I presented this stuff to upper management and the board, their eyes glazed over. They didn't get it. Because of the time put into the research, because we did our homework trying to understand how the audience used the content, the bad dream never came true.

That Same Old Feeling
I'm experiencing some of the same foreboding. We're about to launch an appeal for donations for the FOCUS Center for Autism. I'm working for them as Development and Marketing Coordinator. The audience is much smaller but, the content is significant and meaningful. FOCUS Center for Autism became a non-profit organization in 2000 under the name of FOCUS Alternative Learning Center. What began in 1996 as an after-school program and a camp in the summers for children and adolescents on the Autism Spectrum is now an intensive and growing clinical continuum of care. In 2009 we expanded our Extended Day Treatment Program to include the morning hours and to offer a Clinical Education Program that targets children who are having a difficult experience in their traditional school system. This program coupled with our After School Program offers a comprehensive clinical model that promotes social, emotional and academic growth. The FOCUS Extended Day Treatment Program has developed into a well respected community-based model of treatment that has now served over 500 children and families.

The challenge is getting the word out to a much smaller audience.
 

Maine public broadcasting cuts remain likely

Sen. says Maine public broadcasting cuts remain likely | SeacoastOnline.com

The move will eliminate state funding for public broadcasting in Maine. It is easy to say listeners and viewers will need to take up the slack. Some stations are better prepared to take a 20 percent cut than others.

A solid member base of support begins with the programming. Audience 98 outlined this concept with Fundamentals In Brief.

"But the most powerful force affecting giving is not in their control. Programming not only causes audience, it also causes audience support. Fundraising is always about programming. That’s the indisputable fact of 15 years of research, reconfirmed by AUDIENCE 98^®."

• Giving is the product of two programming factors (the value listeners place on the programming and the amount of listening done to it) and one development factor (the efficiency with which fundraising efforts turn this into financial support).
• Effective fundraising activities can raise giving and gift amounts above public service predictions.
• Fundraising practices can lower giving and gift amounts below public service predictions when they attenuate or otherwise interfere with public radio’s service to listeners.

There are many other factors. One is that size matters. The size of the audience and the size of the core audience (P1 listeners) determines the ability of the station to raise enough funds to become self-sustaining. External factors like market size are important too.

For three decades I was involved in public broadcasting through a variety of positions at Public Radio Stations and in Public Media. Much of my experience centered on fundraising and donor relations.  During my tenure as Program Director and Station Manager we built audience and support through programming appealing to core values of the public radio audience. We had about 200,000 listeners with about 85,000 in the core. Through our services we were able to build and sustain relationships resulting in significant support. Basically what we accomplished was the development and creation of content meeting the needs of our clients (listeners). The content fit in with their lifestyle and beliefs. The public radio audience was mainly made up from two VALS types, innovators and Thinkers. We deliberately targeted them. We fashioned messages reminding them of the value of the programming. A guiding principle was community service resulted in community support. 


These two highly educated groups take up the mantle of social responsibility and are motivated to support causes for the greater good. These are individuals who believe in the value of continuing education and believed public radio was fulfilling that need. By focusing our programming and our messaging towards these two groups, we became self-sustaining.

(It should be noted that this is not a model embraced by Public Television.)


There are many more factors that go into good fundraising. The Development Exchange is a great resource. So is the Station Resource Group. But, it all begins with programming.