Secrets to Get Top TV Talk Show Producers to Book You As Their Guest

It Works! Secrets To Get Top TV Talk Show Producers To Book You As Their Guest

Learn to Pass the Interview and Make the Cut

SUSAN HARROW

Author of Sell Yourself Without Selling Your Soul Contact Information

Published by: Harrow Communications 4200 Park Blvd. #333 W Oakland, CA 94602 Toll-Free: 888.839.4190 Email: mailto:[email protected] Web site: http://www.prsecrets.com

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HOW THE SELECTION PROCESS WORKS ...... 1

TECHNIQUES TO “PASS” AN INTERVIEW AND HAVE PRODUCERS WANTING YOU ABOVE ALL YOUR COMPETITION...... 2 SECRET #1: ASK BEFORE YOU SPEAK ...... 2 SECRET #2: KEEP SOLICITING INFORMATION...... 3 SECRET #3: WOW THE PRODUCERS WITH BREVITY...... 4 SECRET #4: POSITION YOURSELF FOR BOTH OF YOUR BEST INTERESTS...... 5 SECRET #5: SUGGEST A TWIST ON THE TOPIC ...... 6 SECRET #6: MAKE SURE YOU’RE REACHABLE ...... 7 SECRET #7: GET ALL THE PRODUCER’S CONTACT INFORMATION UPFRONT ...... 8 SECRET #8: BE A GREAT DANCER ...... 8 WHAT THE PRODUCER NEEDS TO KNOW...... 9

1. ARE YOU A NUTCASE? ...... 10 2. CAN YOU MAKE “THE BIG POINT?” ...... 11 3. ARE YOU TOO CHUMMY? ...... 11 4. WILL YOU TRY TO TURN THEIR SHOW INTO A COMMERCIAL?...... 12 5. DO YOU TALK EXCESSIVELY ABOUT YOUR ACHIEVEMENTS?...... 13 6. CAN THEY HEAR YOUR INNER BEAUTY?...... 13 7. DO YOU CARE? ...... 14 8. ARE YOU DECISIVE? ...... 14 9. ARE YOU A PRIMA DONNA? ...... 15 10. CAN YOU WORK AT GODSPEED?...... 17 CONCLUSION...... 17

ABOUT THE AUTHOR...... 19

By Susan Harrow Top Media Coach & Marketing Expert

The phone rings. You hear an authoritative voice say, "Hello, I'm the producer of…Good Morning America or Oprah, or Larry King Live" or any other top talk show, you name it. This is your big moment, the break you've been waiting for. After you catch your breath what do you do? Producers make an instant assessment of you in thirty seconds – or less. When you get that coveted call from a producer, you aren’t just “talking” to him: you’re auditioning. You are being screened to be accepted or eliminated as a guest on their show.

This report teaches you the secrets to help you make the cut.

Producers are listening for a number of factors: Are you clear, Producers make concise and articulate? Do you know what you want from them? Can you an instant stick to the point? Are you respectful of their time and attention span? Are assessment of you you fascinating, or do you have the potential to be? Are you kind and in thirty seconds – considerate? Do you have a story worth telling? Are you the best person to or less. be telling it?

H O W T H E S E L E C T I O N P R O C E S S W O R K S

Here’s typically the way the selection process works. You (or your publicist) pitches a TV talk show. Unless it’s breaking news, some time later – days, weeks, or months – you hear that golden ring of the telephone with the words, “Hi, I’m ______calling for the ______Show.”

Some typical reactions that you may experience when this happens:

a) You think it’s your best friend calling as a joke. b) You think it’s any old friend calling as a joke. c) You are in total shock and are rendered speechless. d) You sputter some inane response that belies your intelligence.

Once you have recovered from the shock, you can’t even remember when or why you called the show and have no idea where your talking points

a) Eliminated. b) Told that the producer will get back to you. c) Told that a crew will be sent to your location or another location to film b-roll (background story footage) in 1-3 days. Producers, too, want d) Asked if you can fly to ______tomorrow to film in- you to give them an studio. enhanced bit of that e) Asked to “stand-by” for a possible call in the future. imagined life – some f) Any combination of the above. heightened reality, some myth that speaks to the best of T E C H N I Q U E S T O “ P A S S ” A N I N T E R V I E W A N D what life is, intense moments of joy and H A V E P R O D U C E R S W A N T I N G Y O U A B O V E A L L sadness. Y O U R C O M P E T I T I O N .

I just received a fax inviting me to go to Orlando Florida to “Get away from life.” This got me thinking: there is no “getting away” from life – what we’re really looking for is a version of life that is exciting, vibrant and romantic. Producers, too, want you to give them an enhanced bit of that imagined life – some heightened reality, some myth that speaks to the best of what life is, intense moments of joy and sadness.

The life of the painter, Jackson Pollock, had tremendous drama to it. He struggled hard for many years in lonely isolation. He came from a poor itinerant family in the West, moved to New York, and after ten years of misery in the depression years, broke through with his art in the early forties. A few years later he had an article in Life Magazine and became the leading American painter of his generation. Then almost as abruptly, he fell into alcoholism and depression, and was killed in a car crash in 1956 while driving drunk.

It’s a story of humble beginnings, huge success, tragic flaw and violent death. His story is a mythic drama. While your life or story doesn’t have to be as dramatic as Pollock’s, look to the aspects of what you’re speaking about and pick out the big painterly moments, the startling elements. Give us something that won’t have us thinking about flicking that remote or getting up to grab a bag of potato chips.

S E C R E T # 1 : A S K B E F O R E Y O U S P E A K

Before you even open your mouth to start pitching yourself and your story to the producer, ask them a simple question: “Can you tell me a

Doing so has two advantages. First, it gives you a moment to overcome the shock and to collect your thoughts.

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.

HOT TIP! Buy time with a clarifying question. In the thousands of interviews I’ve conducted, the best job applicants always answered a question with information that was perfectly suited to the question. If their skills didn’t match the information I was seeking, they used a simple, but smart technique: they bought time by asking me to rephrase the question. If you’re stuck and don’t have an answer to a question, ask, “What do you mean by that?” or “Can you say more about what you’re looking for?” Often potential guests think they understand a question, but a producer may have something completely different in mind. This is a way to clarify their needs and give you time to think of the best answer possible. The producer will really appreciate your thoughtfulness.

S E C R E T # 2 : K E E P S O L I C I T I N G I N F O R M A T I O N

The more information you have, the better your chances of getting Your goal is to booked – if not at this time, another one. Your goal is to develop a develop a relationship with a producer so he can use you as an expert whenever relationship with a they’re covering your topic. Be ready to give him names and numbers of producer so he can other people who can be subjects or guests if you’re proposing a show. By use you as an expert the way, if the angle of the show doesn’t suit your expertise, feel free to whenever they’re suggest one that does. Producers are often open to new ideas they haven’t covering your topic. conceived of.

Keep this list of questions nearby so you can make the most of your chances:

· What’s your focus – what kind of angle are you interested in?

· What do you want me to look for in additional guests?

· What’s a good timeframe for me to get back to you? (If the answer to the above question is yes).

· What scenarios are you looking for?

· How many hosts will there be?

· How long is the segment?

· After everything you’ve heard today, am I ever going to be on the show? “Half the world is This last question is like asking if someone loves you and not composed of people being sure of the answer. But it’s better to know realistically what your who have something chances are – versus sitting by the phone waiting for a call that will never to say and can’t, and come. Even if you get a “no,” you can ask, “Is this a hard or soft no? In the other half who other words, a ‘never in a million years no,’ or ‘no it’s not fitting in with have nothing to say us right now no?’” Most producers will be honest with you, given the and keep on saying invitation. it.” Robert Frost

S E C R E T # 3 : W O W T H E P R O D U C E R S W I T H B R E V I T Y

Follow the advice of jazz musician Dizzy Gillespie: “It’s not how much you play. It’s how much you leave out.” Keep your list of talking points by the phone when you call a producer (or a producer calls you), so you’ll be succinct. You will already have rehearsed your points so that they’ll sound natural and inviting. Be prepared with several different angles or pitches, different ways to slant your information. “Nobody gets on these shows without a pre-interview,” says publicist Leslie Rossman. “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.”

And keep in mind the words of 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.”

Leslie Charles, speaker and author of Why Is Everyone So Cranky?: The 10 Trends Complicating Our Lives And What We Can Do About Them had four conversations with a producer of 48 Hours. This took months, and then she didn’t make the last cut for their show on the Keep in mind that, topic of rage. when producers call you, they already Why? “They wanted me to cover air rage,” she said, “and I think that you’re allowed them to determine how I was positioned – which was a mistake.” some kind of 48 Hours wanted to put her in an airport and interview her, but she didn’t particular expert. At feel comfortable with that angle – even though she convinced herself she the time they call, was. “I didn’t listen to that voice that told me not to do it. Therefore I they’re trying to didn’t pitch that I could be the pivotal person in the story to talk about the figure out, primarily, if you’re going to work with the ideas HOT TIP! they’ve constructed Clarify how you will be positioned. thus far, using the You’ll be very excited once you’re accepted to be on the show. Beware! information you’ve Understand how a producer is planning to portray you before you agree to given them. Often become a guest. There are three times you should refuse to be on any talk they already have show: several other experts 1. The angle the producers propose is not congruent with your lined up and are expertise. comparing you to 2. You will be positioned in an uncomplimentary way. them. 3. They want you to air your dirty laundry.

overall climate of rage in our culture. I wish I had said, ‘Your program isn’t just about air rage, it’s about the anger epidemic in our culture today and the interpersonal effects on each of us.’”

Keep in mind that, when producers call you, they already think that you’re some kind of particular expert – or at least they hope that you might be. At the time they call, they’re trying to figure out, primarily, if you’re going to work with the ideas they’ve constructed thus far, using the information you’ve given them. Often they already have several other experts lined up and are comparing you to them. They must determine who are the very best guests for the show segment, the segment that could be evolving as you speak.

As you ask them questions, try to gauge how they’re planning on fitting you into the show. Don’t hesitate to take the lead and show a

Copyright Ó 2003 - 2006 by Susan Harrow. All rights reserved. ISBN:1-931007-19-5 5 producer how you play a bigger role than what they originally imagined, or might be of greater help than they thought. It’s up to you to show them that you have the expertise to make their show even better than they’d formulated. By demonstrating that you’re thinking of ideas they hadn’t conceived of and simultaneously giving them a perspective on how the show will look and feel (i.e., how the show will be better) if they give you more airtime, you can influence their decision about how you’re positioned.

Think of yourself as their partner. This is your show as much as it is theirs.

If the producer seems S E C R E T # 5 : S U G G E S T A T W I S T O N T H E T O P I C open to new suggestions, begin by Producers often have set ideas, which can change when they begin acknowledging the to interview potential guests. If that occurs, they may decide to do one of producer’s vision three things: (1) to find guests who fit their original concept; (2) modify (“This sounds like a their original concept and then search for guests who fit the new twist; or great way of (3) if the concept is broad enough and has enough appeal, do several handling the topic.”), shows in a series, and develop a few more. and then find an angle to make your As you talk to the producer, try to get a feeling for which option vision work. Map out seems the most likely. If the producer seems open to new suggestions, what would happen begin by acknowledging the producer’s vision (“This sounds like a great between guests, way of handling the topic.”), and then find an angle to make your vision between the host and work. Map out what would happen between guests, between the host and guests, how your guests, how your props would be used and the effect you hope to create props would be used with them. If it’s an issue you’re discussing, show how dramatically both and the effect you sides can be presented. Being humorous and entertaining is always a hope to create with bonus. Finally, and most importantly, show how your vision would look. them. Think in storyboards, shot by shot. Every second is important on TV especially in the highly condensed format of the talk show world.

The key here is to have a concept developed that a producer can visualize easily. TV is a visual medium. The more you can include props and scenarios the easier it is for a producer to “see” the entire segment.

Here’s what happened to executive personal coach Jerry Ervin.

His friend Ramona saw the following request from the list on Oprah’s web site: “Are you a high maintenance person?” She responded with an eloquent letter via email. A producer called and spoke to Ramona for about 40 minutes.

Originally, the producers were looking for a story about people who want to shop, get their nails done, and are generally prima donnas.

Copyright Ó 2003 - 2006 by Susan Harrow. All rights reserved. ISBN:1-931007-19-5 6 “Ramona’s twist,” says Ervin, “was that she was high maintenance to her friends in a different way. She gives 200% and expects the same in return. If you don’t, you’ll feel her wrath. Gifts received from friends don’t have to be from Prada or Gucci, they can be from Target. If you remember that she likes Ivory Liquid Detergent she’s happy. It’s about noticing what’s important to her, not the gift itself.”

The other part of the twist that interested the producers was the psychological aspects of being a high maintenance person. “This isn’t some shallow issue about shopping, it’s about her fear of intimacy and getting close. Ramona controls her friends and what they do and then tests them. If you don’t pass the love test then you’re gone (as a friend). I’ve always told her, ‘Ramona, no matter what you do I’m going to be here.’ I’ve been her closest friend for 13 years. She was my inspiration to become an executive and personal life coach in San Francisco.”

The producer wanted to get live action footage, so she interviewed a number of Ramona’s friends on the phone. Jerry made the cut. They selected six of her friends to participate in the 2.5-minute segment. An on- site producer (who was given all the notes from the phone interviews) flew to San Francisco and followed the six friends out on the town having cocktails and interviewed them at various settings. They did one group taping and filmed Ramona shopping.

Jerry and Ramona’s flights were booked. The producer said, “We’ll pick you up at the gate and a limo will drive you to the hotel.” On The producers’ tight Tuesday, when they were set to fly to New York, the September 11 World deadlines often make it Trade Center bombing prevented the flight from leaving. As of yet, they imperative that they haven’t taped the segment in-studio. reach you instantly. NOTE: Although the show doesn’t center around Jerry, he’s already thought about how he can discreetly and respectfully include important points about his business into discussing his relationship with Ramona. “It’s a wonderful thing to go on Oprah, but being high maintenance is not my issue, it’s Ramona’s. The show isn’t about my business. Obviously it’s a great asset to be able to put that I’ve been on Oprah on my website.”

S E C R E T # 6 : M A K E S U R E Y O U ’ R E R E A C H A B L E

Give the producers a number of options to reach you. Their tight deadlines often make it imperative that they reach you instantly. Be accessible by email, telephone and keep your cell phone and beeper on in the event that they want to contact you. Realize that producers typically

Copyright Ó 2003 - 2006 by Susan Harrow. All rights reserved. ISBN:1-931007-19-5 7 need to find guests fast. Calling back ASAP is essential. If you don’t, they may book another guest in your place. Time is always of the essence.

S E C R E T # 7 : G E T A L L T H E P R O D U C E R ’ S C O N T A C T I N F O R M A T I O N U P F R O N T

One of my clients, inspirational humorist, sales trainer and author of Forget Perfect, () Lisa Earl McLeod, missed out on an opportunity because she didn’t gather all the producer’s contact information during the initial call. She had interest from a top talk show that is no longer on the air. “I got the call while I was in an airport. The producer said, ‘Tell me your address and fax and I’ll get back to you tonight.’ I wrote up a pitch right then and wanted to get it to her right away. I gave her my web site address. She probably got all of what she needed from there, which was a mistake on my part. She was so excited at that moment, but then she never called back! I had gotten her direct number, but didn’t have her address or fax number. I would have over- nighted a package to her with five different ideas. I let it get away from me because I wasn’t sure what to do.” Get their direct dial, fax number, cell phone, Get the producer’s direct dial, fax number, cell phone, everything. everything. Opportunities like this are often never repeated. Timing and timeliness are two key factors to keep in mind at all times. Sometimes time dictates the final outcome in that the person who responds first gets the gig.

S E C R E T # 8 : B E A G R E A T D A N C E R

When Richard Laermer, Chief Executive Officer and Founder of RLM Public Relations, was on The Today Show with Katie Couric discussing his book about the future, he brought funky gizmos and gadgets like a printer that prints tastes and smells on edible paper, and a Nokia phone that plays movie trailers. At one point, to demonstrate a product, he grabbed Katie and started dancing with her. People loved him. Katie said, “You woke me up! This was one of the best segments!”

If you show the producer before the appearance that you’re the kind of person who can “dance” with the host, that you have personality and can be improvisational, they’ll want you at their party. How can you show this? In this first interview with the producer act exactly the same as you would on the show. Give them a taste of what to expect if you were their guest. Show them you can be light on your feet, follow, or lead.

You never know what is going to happen. Most of the time something you don’t expect will occur – so know that surprises are just a

Copyright Ó 2003 - 2006 by Susan Harrow. All rights reserved. ISBN:1-931007-19-5 8 way of life, and enjoy them. “Act like you’re just hanging out in your own house. Then nothing can go wrong,” says frequent talk show guest and author of a series of “Top Secret Recipe” books Todd Wilbur. “I’ve had plates of food fall on the floor on live TV. You make a joke about it. That’s good TV. You know it’s not planned and if you play with it, it might even make for a better segment! Take the point of view that nothing can go wrong.”

The audience loves when mistakes happen on live TV – because they’re unexpected. They enjoy the spontaneity because they know it’s fresh and alive. Not that you should purposely make mistakes, they happen enough naturally. But when you get pie on your face, eat the pie.

W H A T T H E P R O D U C E R N E E D S T O K N O W

If you are relentlessly peppy person, you’ll probably have an easier time getting on TV than the more subdued. Why? Because most cultures reward dramatic outward expression. They reward funny, lively, hippy, happy. It makes us all feel good – and we want to feel good all the time. We are more reluctant to approve of our more thoughtful, heartfelt, subtle expressions. Most TV shows just don’t have the time to develop more in- depth depictions of emotionally or intellectually complicated stories.

When I asked my brother Peter, who had been living in Austria for almost twenty years, to read my book proposal and offer comments, he crossed out all the humorous, witty parts. “You won’t be taken seriously,” he said. You may think it’s a positive trait to be “I won’t be read,” I said. “This is the United States. We are an enthusiastic (and it entertainment culture and if I don’t put in the part about the axe murderer I is), but anyone who is won’t get on Oprah.” While I don’t believe entirely in what I’ve just said, overly zealous about part of detecting tests and mastering the interview entails being conscious his passion is that we are a sound bite nation with the attention span of tse tse fly. And considered a nut. it’s not just our nation. In most industrialized nations, TV shapes the way we think more than it ever has. With that in mind know that if you’re a deep thinker there is a place for you – if packaged properly. Find out how you can master any type of interviewer from the rambler to the hostile here: http://www.prsecretstore.com/sywssbook.html.

Whether you’re a gabber or a ponderer, here are the top 10 ways that producers eliminate you, and what you can do to overcome them.

If you area nutcase on the air, the producer will lose their job. What constitutes a nutcase? You may think it’s a positive trait to be enthusiastic (and it is), but anyone who is overly zealous about his passion is considered a nut. Bestselling author and screenwriter Richard Price talks about this phenomenon as “The dangerous thrill of goodness.” He says, “What happens is you can get very excited by your own power to do good.” Don’t get carried away by this 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 When you’re talking how he was single-handedly taking on Starbucks – who, he felt, had done to a producer speak him wrong. He wanted me to promote his cause. While this could have for 30 seconds or so been a great David versus Goliath type story, he was long on emotion and and then check in by short on facts. Some statistics or figures would have tempered his mania. asking, “Is this the kind of information But he also never checked in with me to see if he had my interest. you’re looking for?” By talking loudly and barely pausing for a breath, he appeared to be a man Listen for other who wouldn’t take direction well. His single-mindedness was off-putting, verbal cues, such as not engaging. encouraging grunts, or “uh huhs.” When you’re talking to a producer speak for 30 seconds or so and then check in by asking, “Is this the kind of information you’re looking for?” Listen for other verbal cues, such as encouraging grunts, or “uh huhs.”

Once while talking with an agent to pitch a book concept, I talked for about 20 seconds before she said, “Hmmmm,” with an upward lilt indicating she was intrigued. I continued to explain my premise. Then she said, “Hmmmm,” in a disappointed tone. I asked her right then what she didn’t like about what I’d just told her. Don’t let these subtle cues go by unaddressed. Silence can mean either interest or boredom. If you’re not hearing any verbal cues or a producer isn’t asking you questions, check in, by asking, “Would you like to hear more?” or, “Shall I go on?”

“Producers love if you’re controversial,” says Celebrity Creator, Lori Prokop. < http://www.bestsellerpublishing.com > “But if you put controversy on steroids, it gets scary. We worked with a Holistic dentist. He was passionate that amalgam (mercury) fillings shouldn’t be in your mouth. He’s a sane, sensible, educated man, but when he came to us we had to tone him down a bit. We didn’t take away his passion - we just showed him how to deliver it in a softer manner.”

Copyright Ó 2003 - 2006 by Susan Harrow. All rights reserved. ISBN:1-931007-19-5 10 If you tend to be evangelistic, work to temper it. Don’t tell anyone they “must” or “need” do something. Present your case with logic, facts and emotionally riveting stories that support your point. Your good intentions will then come through if you’re passionate without being preachy.

2 . C A N Y O U M A K E “ T H E B I G P O I N T ? ”

Contributors to the popular radio show “This American Life,” hosted by Ira Glass, have taken to calling the wrap-up epiphany at the end of a story, “The Big Point.” This is the moment that the narrator gives his perspective on the story in an attempt to elevate it from the mundane to the universal.

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.

Once you’ve been 3 . A R E Y O U T O O C H U M M Y ? confirmed as a guest, you can gracefully Once you get a producer on the phone, follow publicist Annie suggest ways to Jennings’ cardinal rule: “Never ask someone you don’t know, ‘How are incorporate you?’” whatever you’re promoting into the It may be counter-intuitive, but in this time-scarce business it’s show. actually disrespectful as it’s an unnecessary and even intrusive question. Don’t try to befriend a producer. In other words, don’t begin by asking them personal questions to establish rapport. Begin by asking or answering a question relevant to the information they’re seeking. These producers are savvy and will sniff you out right away. You enter their good graces by doing a great show. You don’t do it by chatting about their kids or sending flowers. Bottom line is it happens by mastering what you’re talking about. There isn’t a magic formula or a cheat sheet. Getting chummy too fast is a warning sign that you can’t deliver the goods. Show them that you can. Stick to the point.

Even though a producers knows it’s tit for tat – that you’re promoting something and they are the vehicle, at the same time they want to know that you know how to deliver an incredible show.

This first interview is not the time to discuss your product, service, or cause. In fact, former Oprah producers Molly Allen and Melinda Morrison say that Oprah producers may automatically disqualify you if you dare mention your wares. NEVER NEVER NEVER say “In my book” even once in pre-interview – they’ll notice it and make a mental black- mark. Just give them the information. It’s understood that they will do what is necessary to get your book, product, service or company mentioned.

Once you’ve been confirmed as a guest, you can gracefully suggest ways to incorporate whatever you’re promoting into the show. Producers will be prepared to show your book or product, put up a chyron (information on the screen that tells your title, web site etc.), use b-roll (background footage filmed before the show), create stills of your Producers want to know products and the like. what you can do for their show, not what I emphasize, wait until you have secured a spot before trying to you’ve accomplished for shine the spotlight on your promotables. yourself. While they don’t want you to be an obnoxious promoter type, they are looking for experience. But that doesn’t mean you’ve been on a national talk show before. It means that you understand how to handle yourself. “They love finding fresh talent,” says Prokop. “We are always asked what shows our experts have appeared on recently on this topic. That’s why a person needs to be like Madonna and continually reinvent themselves.” Remember to be conscious of the producers’ goals. Your desire to promote yourself is secondary. It will happen naturally if you do a good job, and have planned methods to incorporate whatever you’re selling into the segment in a subtle way.

Discover easy techniques and secret methods to integrate whatever you want to promote into a conversation. Click here to learn more. http://www.prsecretstore.com/sywssbook.html.

“Most people waste time frontloading the pitch with their achievements,” says former producer Connie Dieken. Producers want to know what you can do for their show, not what you’ve accomplished for yourself.

Your talent and credentials will come through by delivering a pitch that’s right for the show’s audience. Dan Janal, author of “Dan Janal’s Guide to Marketing on the Internet,” speaker, Internet authority and owner of PR Leads, a service that can help you get immediate publicity: , says, “Producers don’t care if you work for a Fortune 500 company. If they need an expert and you can show them you are one, that is all they care about.” You can discuss your accomplishments when you’re asked, or weave them into the fabric of the conversation. But begin by addressing the angle or topic that the producer has chosen. Remember, they’ve called you because they already believe you’re an expert! Don’t sell beyond the close.

6 . C A N T H E Y H E A R Y O U R I N N E R B E A U T Y ?

Producers need to hear your smile and your good looks. And that doesn’t have to do with actual good looks, but they need to hear inside of you the inner beauty is coming out. “An inner charge that a producer can actually hear gives a person an edge,” says Prokop. “If they have the choice between a pleasant looking person or not so pleasant one, they will Producers need to look to see if person can pull out inner talent and carry a spot on the hear your smile and show.” This isn’t something you can manufacture. Once you’ve developed your good looks. And yourself as a person it’s a matter of conveying that “inner beauty and that doesn’t have to do talent” with your voice, your face and your body. It comes through in all with actual good that you do. looks, but they need to hear inside of you the The generosity of sculptor and inventor of the mobile, Alexander inner beauty is coming (Sandy) Calder was legendary. He brought pliers and a ball or wire out. everywhere he went. At parties he’d make wire portraits of everyone there as a gift. Will Csaklos, a screenwriter and story guru at Pixar Animation Studios uses his attention as a gift. When he focuses all of his interest upon you, you feel like you’re bathed in the warmest tropical breeze. I watch people light up from the way he bestows his attention. Whether your gift is something you carry in your pocket or in your imagination, you can give spontaneously anywhere to anyone at any time.

Copyright Ó 2003 - 2006 by Susan Harrow. All rights reserved. ISBN:1-931007-19-5 13 Click here < http://www.prsecretstore.com/sywssbook.html > to find out how you can inspire people to want your product, service or cause in the book, "Sell Yourself without Selling Your Soul." There you can get a free chapter excerpt! You'll find out how to express your inner beauty naturally in everything you say.

7 . D O Y O U C A R E ?

Producers want someone who cares about them and the show first – before their own agenda. Take the attitude: How may I help you? Become an extension of their staff. “As soon as I make that connection it means I really care and am concerned about that producer’s job. I know that they have a mortgage, that they have to put their kids through school. I watch their backside,” says Prokop. “And if it comes down to the show taking a show in a different direction than we discussed, and my client doesn’t get to be the star I still stay with it. They remember that and the door remains open.” An ancient saying goes, “It’s impossible to give without being blessed in return.” Concern yourself only with your shared goals – creating a great show.

8 . A R E Y O U D E C I S I V E ?

Producers want a decisive guest. They want someone who can handle the fast pace of the show itself and someone who doesn’t balk at jumping on a plane in a few hours. “They don’t want to smell fear at all,” says Prokop. “If you say, ‘That’s so soon,’ you’re out. The Leeza show Producers want a called one of our authors on a Friday and said they had an expert decisive guest. They scheduled and she can’t come. We need a replacement. We’ll fly you out want someone who on Monday and shoot on Tuesday. The author gasped and her voice can handle the fast trembled.” Then she made a major gaff. “She said, ‘Let me get right back pace of the show itself to you and check my calendar.’ She called me for permission! She was and someone who just so shocked when the big opportunity happened. It took the air out of doesn’t balk at her lungs. We said, ‘Call back right now!’ By the time she called back jumping on a plane in they had booked someone else. They’re not calling for social reasons.” a few hours. Producers are always on deadline. And this was a Friday afternoon. They don’t have time for a call back – ever. Especially when a scheduled guest cancels they need their experts now.

I once heard a saying, “Poor planning on your part does not constitute an emergency on mine.” If you want to be on a show, their poor planning may constitute an emergency on your part. Prokop’s client lost the deal out of momentary fear, and not handling the producer’s emergency. Don’t do the same.

Academy Award winning actress Meryl Streep says, “You can’t get spoiled if you do your own ironing.” Take the attitude, “I’m here to be an asset, not be temperamental talent.” Don’t become a person who needs to have your orange perfectly peeled with no rind. One of the ways to put your talent ahead of everyone is to be easy to work with. This means you do anything you’re asked with a gracious attitude and no hesitation.

In fact, you should offer to do more work than you’re asked. Make suggestions that support the producer’s ideas. Then make sure you can deliver what you’ve promised. “Some of our clients say ‘Oh, this is grueling. Why do I have to do this?’ Prokop says. Instead say, “I will follow, I will lead, I will deliver. I will help you get the best show ever. I’ve been close to your shoes so I understand. I will pull through for you.”

1. You spend more time asking the about camera angles to make you look good than the angle of the show. a) Always. b) Sometimes. c) Never.

2. In the middle of the interview you say you must put the producer on hold to take another call from your masseuse. a) Always. b) Sometimes. c) Never.

3. You find yourself filing your nails, sipping a Margarita and staring at yourself in the mirror admiring your profile when you should be concentrating on your sound bites. a) Always. b) Sometimes. c) Never.

4. You casually mention the other shows you’ve been on but fail to mention you went gaga and asked for the hosts’ autograph and kissed their shoes. a) Always. b) Sometimes. c) Never.

5. You yawn or take a haughty tone when you’re talking about being on other national shows while in reality they were the biggest events in your life, besides having your children. a) Always. b) Sometimes. c) Never.

6. You request a plane ticket for your stylist and want to know who will be available to watch your Pekinese while you’re starring on the show. a) Always. b) Sometimes. c) Never.

7. You insist your bio include your husband’s Ivy League college and your sorority name. a) Always. b) Sometimes. c) Never.

8. You request that the host not wear red as it will take away from your outfit. a) Always. b) Sometimes. c) Never.

9. You mention that you abhor sour coffee and day old Krispy Kreme donuts – only organically grown fruit and Swiss bottled water will do. a) Always. b) Sometimes. c) Never.

10. You ask that their make-up person use non-animal tested products ordered specially from a distributor in France. a) Always. b) Sometimes. c) Never.

Scoring system: · 2 or more a’s and you’re a prima donna and need a good lashing. Take two spoonfuls of humble pie and stand under a cold shower to bring you back to reality. · 1 a and two or more b’s and you’re on your way to being a pain in the butt. Please remember that even if your children or dogs mind you, there is a bigger world out there – and you are not the star of it. · No a’s or b’s all c’s? You’re a welcome guest. Give yourself a gold star – but wear it only in private.

It’s that fast sometimes. Prokop says, “It’s up to you to support their speed and their need and to put the show on the day that you’re on it. If you’re told to stay over tomorrow you say “Thank you.’ You need to make them feel like they are your highest priority.”

C O N C L U S I O N

Here are several key lessons we hope you gained from this training manual:

1. When the call from a producer comes, don’t just jump in and start pitching, begin by asking them what their angle will be with the show.

2. Continue to gather information throughout your conversation.

3. Position yourself as one who is helpful and willing to do whatever is necessary to make the show a success.

4. Understand that time is of the essence and if you don’t act immediately, the spot will likely go to someone else.

5. Show the producer your personality.

6. Don’t hesitate to suggest alternative ways to handle the show if they would truly make a better show (don’t make suggestions to make you look better, make suggestions to improve the show!)

7. Never pitch or even mention your product during the first interview – how your product is handled can be dealt with after your spot is confirmed.

8. Be brief and engaging in your conversation.

9. Let your inner beauty show through.

10. Be grateful for every opportunity. This could be the beginning of a fantastic career for you.

Get tips like this and more than 100 pages of insights and hot tips in my new book "The Ultimate Guide to Getting Booked on Oprah: 10 Steps to

Copyright Ó 2003 - 2006 by Susan Harrow. All rights reserved. ISBN:1-931007-19-5 17 Becoming a Guest on the World's Top Talk Show." You'll find dozens of ideas, advice on how to pitch Oprah producers, and insider secrets from the best publicists in the business. Click here: < http://www.prsecretstore.com/ultimateguide.html > to get more information.

Susan Harrow is a Media Coach & Marketing Strategist and is President of Harrow Communications.

Harrow Communications, founded in 1989, specializes in presentation and media coaching, as well as creating marketing strategies for executives, speakers, authors and entrepreneurs.

Harrow Communications clientele includes companies such as iVillage, Pacific Bell Directory/The Yellow Pages, Bill Graham Presents, Gillette/Oral B, the North Face, Random House, Doubleday, Celestial Arts, and Peachpit Press/Addison-Wesley. They have also done extensive work with numerous best-selling authors and successful entrepreneurs.

Susan Harrow is also the author of the Book Sell Yourself Without Selling Your Soul and is a beloved professional speaker, presenting to professional organizations, entrepreneurial groups, and authors’ associations.

For more information, visit < http://www.prsecrets.com >