Why the Former PROMAX Chairman Doesn't Go Anymore

The PROMAX Station Summit conference is in Las Vegas this week and a lot of my friends are there.

I was a PROMAX/BPME/BPA member for 25 years, on their board for nine and chairman for a year.  In addition, I chaired five conferences and spoke at 22 of them.  Now, I don't go anymore. 

There is no doubt that the PROMAX conference is  great.  I went last year in Las Vegas and, as always, found it helpful for new ideas and networking.  Unlike NAB and NATPE, this is a television and design conference dedicated principally to The Big Idea and creative growth. 

There are lot of PROMAX conferences--last week was the main meeting in LA, and this week is station folks in Las Vegas.  Then, there are a ton of them in Europe, Asia and around the world.  President and CEO Jonathan Block-Verk has done a phenomenal job of extending the brand around the world.

But I only have one beef--the cost.  Not to dwell on the "good old days" when candy bars were a nickel,
the on site cost of last week's conference in LA was $1,695 in Las Vegas is $599.  Wow!

Unlike other media conferences, PROMAX and BDA members go there to learn and take great ideas back to their companies.  The people who benefit most from these meetings are those with the least amount of experience.  The chance to meet or share a meal with a legend (or two), to exchange ideas with your fellow wizards is invaluable.  My first five to ten BPA/BPME (as we used to be known) conferences were not only fun, but I took more notes and got more ideas than my pad could handle.

I felt my brain swell each time, and the friends I made have lasted for decades.  I became a better broadcaster and got closer to my fellow affiliate members.  There was a sense of teamwork and purpose and they were my four favorite days of the year.

But somewhere along the line, budgets were slashed and every station was doing more with a lot less.  The first to go was travel and entertainment.  Suddenly, general managers did not see the benefit of this conference.

At a time where the benefit of four days honing your craft was most crucial, GM's felt this meeting was all fun and games.  In 2004, my GM even said "you've been to enough." 

As boorish and short-sighted as I felt this statement (from a former bean counter) was, I'm afraid he was right.  I had long since stopped taking notes, and was spending a lot of time behind podiums and teaching...while paying to go to the conferences.  At my last few, I realized that the true benefit of PROMAX is to those in "the biz" for fewer than ten years.  It's not that a veteran can't learn anything, but it becomes the law of diminished returns.

But, even if you jump on board for "early bird" registration, I fear that the cost is prohibitive, and most companies are anxious about sending the #2 or #3 person in the department, especially for $1695 or $599.
Toss in the cost of hotel and air fare and you could be investing $2-5,000 for a producer who may or may not be with you next year.

PROMAX & BDA have become hugely profitable.  In the mid-90's, we had over 8,000 attending our conference from around the world.  I found that getting to know broadcasters and designers from other countries was the best teaching device.  I couldn't get to know all of them, but I sure tried.

With growth under the leadership of the great Jim Chabin back in the 1990's moving us into Europe and Asia, PROMAX& BDA still provides a great service for all creatives, but at what cost.

I will always wear my time as a member close to my heart, but wonder if the cost of these mini-conferences are worth it, and how we can provide the maximum education and stimulation for folks on every level from broadcast, cable, international and design. 

Providing spots and instruction on line as a member is a good step and I applaud Mr. Block-Verk.  I just wish the benefit accompanied the increased cost, and that today's bosses see the benefit of creative stimulation at a time of slim budgets.

On another note, congrats to Promo Code co-founder Ed Roth, starting a new gig today at KMIR (NBC) in Palm Desert, CA.  A great writer needs a great station.  Look for Ed's next column next weekend. 

Ooooh, I can't wait.

--Rich Brase
rich@richideas.net

Are You a Good Fit? Seriously?

"Are you a good fit?"

Susan, a friend and former co-worker of mine, is one of the world's greatest interviewees.  She is a beautiful and smart woman with a captivating personality who seems to kills at every interview she always enters. 

As she's often said, "if they take the time to interview you, they already know you can do the job.  Now, it becomes all about the fit."  There are a lot of ways NOT to get hired.

Michael Scott is looking for a "perfect fit"

If you've been applying for a lot of jobs where you feel you would be perfect fit, but never get a sniff, get in line.  There are a lot of you out there, whether you're in the first year out of college or have all the education and experience in the world.

The problem with us creatives is that the idea of fit gets amplified.  Paper salesmen sell paper and auto mechanics fix cars.  Who cares about their temperaments?  For writers, producers, editors, voice actors and directors, even if you've got a killer reel, it still becomes about fitting in.

Recently, a very successful general manager told me that after posting a job and beginning the interview process, she was still getting five to ten applications a day.  It's really competitive out there, kids!  She also said she was looking for "the right fit," so let's try to see it from the employers' point of view, shall we?  


1.  Do Your Homework
Thanks to the web, you can discover a lot about the culture of a company.  If you're a hard-charging Type A leader, perhaps working for an organization that's described by others as a "laid-back, collaborative place to work."  You'd do a great job, but perhaps not be the person they need at this time.  Also, you probably wouldn't be happy, either.  You can also learn a lot by seeking out current or past employees through LinkedIn or Facebook.  Ask some pointed questions and you just might a learn something about the culture.

2.  Know Thyself
You know what they want inside out, and you think you're flexible enough to do any job, but are you?
I know that I'm not comfortable working in a place with ping pong or pool tables for people to relieve stress during work hours. To me, that's called personal time or the weekend.   I know that if I were placed in a place where employees can do absolutely anything they want without supervision or guidance, I would be out of my comfort zone.  If you don't know yourself, you are bound to failure in an interview and job.

3.  Be Likeable
Even if you're not a likeable person in real life, it's crucial that your new employer likes you.  This might sound a "DUH" moment, but it's an important thing to consider.  Tony Beshara puts it best in his crucial book, Acing the Interview, that "determining whether or not you are liked accounts for 40% of the hiring decision.  No matter how good your skills might be, no matter how much of a risk you may or may not be, and even if working the money out is a foregone conclusion, you will never get hired unless you are liked."  DUH!   I wouldn't hire a jackass. Would you?

4.  What's the Risk?
Are you likely to do something stupid and force the company to fire you at some point?  Having been a supervisor for a number or decades, I can tell you that NO supervisor likes to have to call you into their office, discipline you or even fire you.  It's a waste of time and talent and is disruptive.  And worse yet, will we take a lawsuit over anything you might do?  If you're someone who's made a series of missteps in the workplace, perhaps it's time for a little introspection and change of behavior, no matter how creative you are.

5.  Don't Be Weird
I've had great employees, such as men who wear toenail polish and women who were freakishly tattooed working for me, and they were great employees, but if they walked into an interview where they acted crazily, they would be immediately excluded.  If you're into bondage and anarchy, keep it yourself.  I may love the unique force of your personality, but if you have your best interview face on and still cross the line into weirdness,I'll wonder how much of the rest of the iceberg I can expect when I hire you.  There's a fine line between being unique and a loose cannon.

There are tons of other things companies (and especially conservative HR directors and general managers) are looking for.  Mostly, they are on the defensive, and their trusted department heads and your potential co-workers will get a big vote.

To get a really great perspective on the hiring practice, check out anything Tony Beshara writes:  http://www.tonybeshara.com.

Now, get out there and be yourself...just don't scare anybody.

--Rich Brase
rich@richideas.net

How Much Should You Do For Free?

Even cats in suits get it.

You're up for a gig, either freelance or full-time.  They love your work, the rapport is great, you're both in sync.  There's just one thing: Could you do this freebie first?

Sometimes it's a demo.  Or a few scripts.  Even a marketing plan for a new product launch.

You're fine if it's part of the original bidding process, but something feels wrong about this one.  Twenty hours and three meetings later, you realize you've been set up.  Now you're so far in, it's just easier to finish, cross your fingers, and hope for the best.

Once again, you should have paid attention when your spidey sense was tingling.  Next time will be different, you promise yourself, but it won't be.

Trouble is, it's an extremely competitive market and you don't want to miss any opportunities, especially if you're not that busy at the moment.  So, what do you do?  What...Do...You...Do?  (Yes, that was my Karl Malden impression.)

Dr. Steve Brule has tons of ideas.

I'm a big fan of presenting ideas.  Bringing something extra to the table upfront works for all parties involved.  The presenter gets to elaborate on concepts, unburdened by the inevitable constraints of reality.  Meanwhile, the presentee gains insights, as well as a sense of the working relationship.  

In this situation, you are being pro-active, and your enthusiasm shows.  You can feel it when you're developing your ideas and are eager to share them.

However (here we go...), when requests for further development start to pile up, and it feels like you're already on board, but you're not, then alarms should go off. 

Just because you're paranoid doesn't mean they're not out to get you... to do more work for free!

Be wary when strings are attached.

Here are some fine examples:

- You do a music demo, but now they want more horns, especially in the chorus.
- You develop an overall strategy for a grand opening, but now they want a day-by-day timeline.
- You write concepts for a sales presentation, but now they want an entire script.
- You produce a sample episodic, but now they want to see three more eps.
- You rough out new logos, but now they want them flushed out. 

So, where do you go from here?  Excellent question, which can be answered with some honest introspection and willingness to set boundaries.  Ask yourself these three questions: 

1. Does this feel wrong in my gut?  If it doesn't sit right, your body's trying to tell you something.
2. Is this different than the original request?  Changing parameters of a job is par for the course; it isn't when you're showing how you would approach it.
3. Is this a demo of my ability, or am I being directed to create a final product?  If it feels like the latter, it probably is. 

There's a reason demos for :30s come in at :34, prospective plans feature broad strokes and three different on-air scripts are presented.  You're selling yourself/your creative, as opposed to looking for approval.

Keep that in mind, and you'll always know how much you should do for free.

-Ed Roth
edrothshow@gmail.com

Do You Know Who You're Talking To?

You will never please everyone all of the time.  Ever.

But if you know your own business as well as your target audience well, you can focus on reaching them with laser intensity.

AT & T uses the power of kids to sell its many features

When I asked a client recently, “who is your target audience” and they said “everyone,” I knew we had some work to do.   Even AT & T with their wildly popular current campaign is aiming at a specific demo.

Only through answering the following questions can you begin to maximize your marketing efforts for yourself or on behalf of your clients so you can make an emotional connection.

The essence of a successful spot, ad or campaign lies in five basic tenets:

Think men over 50 is the audience?

Who are you marketing to and why?

What is it you sell and what makes it (or you) unique?  If I took out an ad for a similar product and changed the name of the product to yours would you know the difference?  If so, dig deeper.    Who are your main competitors?  What are they doing to market themselves and do you share an audience?

What do people think about your product?

Time for some tough love aimed at yourself.  Just look at your Twitter or Facebook reactions and you’ll get a good feeling, good, bad or indifferent.  Now, you’re at leastarmed with some info.  Time to ask some questions and engage your Friends with some honest discussion.  How you like me now?

Who is your target customer?

Male or female?  Young or old?  What do they believe?  What are their interests?  Are you selling nationally or locally?  What is the psychographic you are trying to reach?  Create a psychological profile of the ideal customer you are currently attracting, and those you WANT to reach.  

For instance, even though television newscasts may look the same in each market, one often skews older, one younger and one in between.  One may be considered more serious and one more hard-hitting.  Often, there's no right or wrong.  You are who your audience thinks you are.

Who is your ideal customer?

Who would throw their arms and embrace what you are selling?  That demographic or psychographic might be hipster men 18-24 and socially conscious women 50+.  It could happen.  Figure out the best message to  reach them…and through what medium?   Television?  Radio?  Print?  Outdoor?  Of course, each message should include social media.

Why do I need focus?

You are NEVER targeting “everyone.”   Even the giants like Coca-Cola and McDonalds know who’s buying their products, and it’s not everyone.  Even if the audience is pretty broad and you have the money to reach them, why are you asking advice from me?  You’re already doing well and have figured it out. 

Since most of us are reaching out to specific and limited audiences with a limited marketing budget, focus on the “low-hanging fruit”—the customers most vulnerable to your pitch—then branch out from there.

So, develop a laser strategy that is consistent, clever and delivers your promise to a limited group.

It’s a start, right?

--Rich Brase

rich@richideas.net

Somebody Stole Their Work - True Stories

Last week, I wrote about creatives whose work had been unfairly claimed by others.  This ranged from those who were simply in the meeting when the promo was discussed to outright thievery of entire shows.  (See previous post here.)

The response has been overwhelming.

On every level, and in every corner of our industry, people's stories sound like something out of Kafka. However, some solace can be gained by knowing that they're probably in the majority.  (Small solace, perhaps, but somewhat cathartic.)

Right about now, you're probably nodding in agreement, painfully recalling injustice(s) that you may have experienced, or are even battling today. 

Well, prepare to nod even more vigorously; here is a sampling of (cue dramatic sting)  

Tales From the Underbelly of the Beast:

 - A producer in Hungary invents a morning show on government-owned radio.  The government then sells it to a British radio company, complete with same name and jingles.  The producer spends years in the courts seeking compensation.

- A writer pens a documentary about the Spanish-American War - it is stolen by a network.  On another film, a producer gives the writer's credits to a friend who was not involved.  He eventually receives a letter of credit (!) from the producer.

- A producer brings his WGA-registered reality TV show concept to the networks.  They love it.  A few months later, one of those networks announces the premiere of an almost-identical show... and he is not involved.  There are few differences and all-too-many similarities. 

- A composer finds his music in lottery spots, note-for-note.

- A writer's script is stolen by a well-known agent.  He tracks down the agent's secretary, who admits she was instructed "to change the byline to my name of the principal character to this new name."  He then signs an NDA, and his work, already in production, is shut down.

- A screenwriter pitches a dozen ideas to the head of a Hollywood studio. A month later, the studio is sold and nothing materializes.  Cut to: five years later... The producer is watching TV and sees that his idea is now a made-for-TV movie.  Two weeks later, same thing - another movie, his story, same studio.  Turns out the head of the studio got divorced and his ex-wife had become an executive at the studio that produced the stories he had pitched.
  
Disclaimer:  The Promo Code assumes that all of these are true, but is playing it safe by not including names, networks or studios.  You know, just in case.

The list goes on and on, but the more these issues are exposed and experiences are shared, the easier it is to deal with them.  After all, creativity is part of our very essence.  When we hold back, nobody wins.

-Ed Roth
edrothshow@gmail.com