Deck 20: The Radio Commercial

Question 1

An advantage radio does NOT have over other media.

A)flexibility
B)price
C)marketability
D)believabilty
E)promotability

Answer 1

D

Question 2

Before beginning the creative process, the radio copywriter must refer to:

A)the director.
B)the advertising theme.
C)the objectives and strategy.
D)the product features.
E)the audience.

Answer 2

C

Question 3

Which of the following is NOT used to awaken images in a radio listener's mind?

A)voices
B)opticals
C)music
D)sounds
E)jingles

Answer 3

B

Question 4

If used properly, sound effects do all of the following EXCEPT:

A)invoke almost any mood desired.
B)unlock the listener's imagination.
C)explain a product or service.
D)help to create feeling.
E)underscore a point.

Question 5

To overcome the innate cynicism of American consumers, your radio copy must above all else:

A)win them over.
B)amuse them.
C)provide them a "reason why."
D)disarm them.
E)entertain them. F)all of the above

Question 6

Which of the following does NOT pertain to jingles?

A)on the wane
B)reject relying upon known talent
C)use edgier music
D)help make slogans more memorable
E)can be stupid

Question 7

Regarding music, all of the following are true EXCEPT:

A)a minor key is sadder than a major key.
B)increased tempo creates a sense of anticipation.
C)different kinds of music appeal to different emotions.
D)annoying jingles are not easily remembered.
E)can be very powerful in catching the listener's attention and evoking feelings.

Question 8

Which of the following does NOT fit the characterization of radio as theater of the mind?

A)Superman
B)"watching radio"
C)combining audio with visual
D)War of the Worlds
E)breathtaking, scary, beautiful, or funny mental imagery

Question 9

The success of the name tag campaign stemmed from its use of:

A)a vertical integration approach.
B)a defined strategy.
C)a warm appeal.
D)never naming the speaker.
E)explaining economics in commonly understood terms.

Question 10

If writers for radio are charged with developing an entire commercial alone, their responsibilities could include all of the following EXCEPT:

A)billing the client.
B)picking the talent.
C)producing the spot.
D)writing the copy.
E)selection of sound effects.

Question 11

Which of the following is the major advantage radio offers advertisers?

A)When your ad is running, there's no other competition.
B)Morning and afternoon drivetimes provide a captive audience.
C)There are many programming formats to choose from.
D)Local advertisers can effectively compete with national advertisers.
E)It's a very personal nature.

Question 12

Characteristics of "print radio" copy include all of the following EXCEPT:

A)created by people with little to no understanding of radio.
B)most copywriters can visualize what has to be said and state it in terms that take advantage of radio's uniqueness.
C)too much dependence on print experience for format.
D)copywriters create audio newspaper ads.
E)has a headline, subhead, body copy, logo, and a slogan.

Question 13

If you plan to mail a script to radio stations for live delivery, the format should:

A)be open-ended.
B)have clear instructions so it is read as intended.
C)allow the DJ to rewrite it and introduce humor.
D)have a Q & A cover note.
E)include descriptive pictures.

Question 14

A key attribute of words demonstrated in the Motel 6 spots is:

A)do what it takes to be attention grabbing.
B)the intimacy of the human voice to communicate a message.
C)the more a person shouts, the more the prospect desires his/her product or service.
D)as long as they describe the product or service, your message is effective.
E)it is better to hire professional voice talent.

Question 15

Reasons many members of creative teams prefer TV over radio include all of the following EXCEPT:

A)TV provides the fastest route for recognition.
B)TV provides impact for their campaign.
C)TV highlights visual work.
D)TV is high on the pecking order.
E)TV can be viewed safely everywhere.

Question 16

Advertisers use collaborative music alliances to try to reach which market?

A)13- to 17-year-olds
B)18- to 25-year-olds
C)26- to 30-year-olds
D)Gen X
E)Boomers

Question 17

Words are used to fulfill all of the following objectives EXCEPT:

A)to build desire.
B)to grab attention.
C)to win awards.
D)to create interest.
E)to evoke a response.

Question 18

Recorded sound effects typically would NOT include which of the following?

A)rustling leaves
B)barking dogs
C)thundering hoof beats
D)crashing thunder
E)hissing cats

Question 19

If you expect a listener to stay tuned to your radio spot, according to copywriter Tom Monahan, the things that "must be good for the spot to be good" include all of the following EXCEPT:

A)casting.
B)pricing.
C)copy.
D)production.
E)concept.

Question 20

To create a sense of anticipation through music, you'd:

A)increase tempo.
B)use a minor key.
C)use a major key.
D)use a diminished eighth.
E)use a blended tempo.

Question 21

If you are striving for distinctiveness in your radio spot, which of the following would you AVOID?

A)try to sound different
B)use a particular voice quality
C)use tried-and-true phrasing from award-winning spots
D)use an easily identifiable sound but for different reasons than the ordinary
E)use a musical phrase

Question 22

This radio advertising technique allows listeners to eavesdrop on a conversation.

A)establishing presence
B)dialogue
C)using emotion
D)straight announcing
E)audio voyeurism

Question 23

Indications that your spot produced an immediate physical, emotional, or mental response would NOT include which of the following reactions?

A)thoughts about using the advertised product or service
B)laughter
C)tuning to another station
D)a tug at your heartstrings
E)a tear

Question 24

As a radio copywriter, you try most to achieve which of the following?

A)hold attention of the audience for the duration of the spot
B)give meaning to copy only in a visual way
C)focus on the busiest member of the target audience
D)factor in the audience's other media choices
E)ignore all the rules

Question 25

For copywriting, deleting unnecessary words, sticking to one train of thought, and avoiding extraneous issues should lead to:

A)cohesiveness.
B)clarity.
C)decisiveness.
D)pleasantness.
E)rapport.

Question 26

For maximum effect, humor should portray a retail business, even a service, as:

A)formal.
B)prescriptive.
C)predictable.
D)likable.
E)humorless.

Question 27

Things to remember about creating radio spots include all of the following EXCEPT:

A)everyone has mental images of sounds they hear.
B)guide the listener so they have the proper response to your spot.
C)screaming spots are a sure way to convince listeners that they should buy from the screamer.
D)when there are no visuals, sound creates an image in the mind's eye.
E)mental images help seed the memory with the targeted message.

Question 28

Humor goes quite well with which of the following?

A)products whose primary appeal is durability
B)a situation that is not normally funny
C)low-priced package goods
D)high-priced package goods
E)products whose primary appeal is exclusivity

Question 29

Because good radio writing is focused on one major point with subordinate points revolving around it, it is similar to a(n):

A)mama and ducklings.
B)wheel of persuasion.
C)solar system.
D)elliptical method.
E)atom.

Question 30

Funny Farm Radio Hollywood, World Wide Wadio, and Right Brain Visions are:

A)major advertising agencies focusing on radio.
B)popular boutiques creating and producing radio commercials.
C)specialists in sound effects.
D)organizations that no longer do radio spots.
E)virtual recording studios.

Question 31

If you are striving to enhance believability in your radio copy, you want to:

A)avoid overstatement and obvious exaggerations.
B)tell the truth about your product or service.
C)strive to be straightforward.
D)speak as would a trusted friend.
E)all of the above

Question 32

Your authors do NOT include which of the following as an element for a good radio spot?

A)research your product or service as well as the competitor's
B)produce a delayed mental, physical, or emotional response
C)be single-minded and focused
D)generate extension or "buzz" about your commercial
E)relate to the customer

Question 33

When writing radio spots, it's important to realize that everyone has mental images of sounds they hear. This means radio writers must:

A)limit their use of sound effects.
B)tell listeners what they're supposed to visualize.
C)let listeners control the imagery.
D)take control of the listener's imagination by creating the mental image that leads to the proper response.
E)not use radio for product advertising because you can't show picture.

Question 34

Products or services like health care, security, donations, and mental care have successfully used the following technique to stimulate the targeted response.

A)emotion
B)features/benefits analysis
C)dialogue
D)jingles
E)sound effects

Question 35

Which of the following will NOT vitalize radio copy?

A)simplicity, clarity, and coherence
B)establishing rapport
C)including cutting-edge data
D)interest
E)pleasantness

Question 36

Generating ________ multiplies the effect of your commercial many times.

A)extension
B)unique data
C)immediate emotional response
D)plain conversational language
E)intense focus

Question 37

To establish rapport, it is helpful to:

A)emphasize the key points through repetition.
B)lecture at the audience.
C)make frequent use of the word you.
D)entertain for the sake of entertaining.
E)use professional, formal language.

Question 38

If you are striving for simplicity in your radio spot, then do all of the following EXCEPT:

A)be sure to include all product benefits.
B)build around one central idea.
C)use known words.
D)use short phrases.
E)use simple sentence structure.

Question 39

If you were trying to write a 60-second spot, you'd likely have no more than:

A)45 words.
B)60 words.
C)100 words.
D)125 words.
E)150 words.

Question 40

This is the most simple, most commonly used, and the most direct of all techniques.

A)sex
B)pure facts, straightforward announcer delivery
C)combination
D)coherence
E)pleasantness

Question 41

Creative Director Steven Lang says that with proper focus on your subject, using "theater of the mind," and repetition, you can stand out from the clutter with radio commercials that get results.

Question 42

The basic ingredient of a radio commercial is the promise of a benefit.

Question 43

A local advertiser can effectively compete with national advertisers on the radio because of the reasonable cost of production.

Question 44

Rather than words, sounds are the basic building blocks for effective radio spots.

Question 45

The first step the advertiser or agency takes in the production process for a radio spot is to:

A)receive management approval for the script.
B)select appropriate music or sound effects.
C)appoint the producer whose job is to convert a script into a recording ready to air.
D)determine the strategic viewpoint.
E)select the talent.

Question 46

If radio copywriters do their job well, they can make radio the "most visual" medium.

Question 47

New and highly effective method of delivery that does NOT use polished or scripted commercials.

A)historical presence
B)word-of-mouth endorsement
C)station announcer
D)prerecorded commercial
E)live commercial

Question 48

Software has changed audio technology dramatically since the early 1990s, when it was largely associated with which manufacturer's hardware?

A)Macintosh
B)Dell
C)IBM
D)Hewlett-Packard
E)Sony

Question 49

A major advantage of a live commercial is:

A)you never pay extra talent fees or higher rates to a live reader.
B)the reader cannot overlook key selling points from an accompanying fact sheet.
C)the announcer may be quite popular so the copy is even more credible.
D)there's always room for the local tie-in.
E)the personality would never forget the mandatory phrases.

Question 50

According to award-winning creative director Tom Little, people don't really buy products and services, rather they buy solutions to problems.

Question 51

Free recoding of station-read copy and the flexibility to change content frequently are characteristic of which method of delivery?

A)MIDI
B)prerecorded
C)live commercial
D)station announcer
E)network

Question 52

In the 1950s, TV demonstrated its effectiveness in telling stories and presenting theater through the compelling use of audio and visuals, and radio was subordinated to delivering talk, music, and audio-oriented programming.

Question 53

It is the primary duty of the radio writer/producer to control the listener's imagery, guiding it to a positive reaction that seeds the memory with the targeted message and leads to the proper response.

Question 54

Because American consumers search for excuses to disbelieve what is being said in radio spots, any hint that you're trying to sell them anything makes them blank out mentally.

Question 55

Which of the following is NOT important in writing musical commercials?

A)have an intro
B)be subtle
C)have verse
D)have theme
E)consider a chorus

Question 56

Low-budget, prerecorded music used on a rental basis is called:

A)filler.
B)stock.
C)public domain.
D)jingle.
E)theme.

Question 57

Looking at session fees in the AFTRA chart, you realize all of the following EXCEPT:

A)how complex use fees can be.
B)how simple use fees can be.
C)use fees in New York alone are higher than in either Chicago or Los Angeles.
D)minimum session fees for a group singer/speaker are less than for an actor, announcer, solo, or duo.
E)use fees last 13 weeks.

Question 58

Which would NOT be a reason to use prerecorded commercials?

A)It is impractical to write a separate script for each announcer's particular style.
B)ensures that the commercial will be identical each time it is aired
C)allows for improvisation
D)allows for the use of techniques that are impractical for a live commercial
E)allows for times when announcer are off the shift

Question 59

Which of the following statements can you ignore when you write a commercial?

A)Time is the major restraint in producing a spot.
B)For a 10-second spot, use no more than 25 words.
C)Inserted sound effects should remind you to reduce the number of words.
D)Commercials should be written a couple of seconds short.
E)For a 20-second spot, use 60 words.

Question 60

Of all the media, radio has the most captive audience.

Question 61

Copy that comes in under the traditional number of words associated with its designated commercial time does not provide an advantage to any of the parties involved in radio advertising.

Question 62

While print and television are primarily visual media, radio is a different medium, one for the ________ alone.

Question 63

You can create interest in your radio commercial by giving your customers useful information as a reward for listening.

Question 64

Because copywriters who often are assigned to write radio spots have the most experience in print media, they likely will turn out "________," with a headline, a subhead, body copy, a logo and a slogan.

Question 65

Historically, ________ have been a popular means of making a slogan or theme line more easily remembered.

Question 66

________ are the basic building blocks of effective radio, while ________ unlocks the listener's imagination and creates feelings.

Question 67

Radio spots read by station announcers are especially useful for retail advertisers who may want to change offers or copy frequently.

Question 68

The thought process and strategy for writing music for a radio spot are similar to those in regular songwriting.

Question 69

Humor is quite an effective technique and rarely backfires even when you make fun of the product or use, or use it in a situation that is not normally funny.

Question 70

The last step in the radio production process is oriented around having the master tape of the commercial prepared for distribution.

Question 71

Technology created in the 1990s for the Macintosh has today made it possible for the individual to control every step in the multitrack production of digital audio.

Question 72

After its copyright has expired, a melody is in the public domain and available for use without cost.

Question 73

Los Angeles is the most expensive area for radio artists' fees.

Question 74

In live commercials, ad-libbing a spot from a fact sheet can be more troublesome than anticipated by the advertiser or copywriter.

Question 75

When you're in the studio producing a radio spot, the engineer and the talent should remain in the studio until the account executive and the client give final approval.

Question 76

In radio advertising, white space, in the form of music or sound effects, can create curiosity and be quite compelling, especially when combined with a provocative message.

Question 77

If in your copy you remember to use a warm, personal tone and speak as if you're talking to one or two people, you are more likely to establish rapport with prospects.

Question 78

Use and payment of performers appearing in radio spots are dictated by the AFTRA commercial contract.

Question 79

Although there are broad similarities in producing radio and TV spots, TV can be far less complicated and less costly because of up-front costs.

Question 80

________ revitalizes copy by ensuring that it flows in a logical sequence from first word to last, using smooth transitional words and phrases for easier listening.