If there was no 30 second ad, how would you do radio differently?

We caught up with the Loeries 2011 TV & Radio Communication judging panel and posed this burning question. The answers may surprise you…

“If the idea best suited a 30 second ad, I’d probably do it exactly the same. If the idea best suited a series of 8-second teasers, followed by a fake live read, then covering all the stations with the same message at the same time, I would do that. I think it’s important that we let our ideas dictate how we use the medium. Nightmare for the media planners, awesome for creative”. Paul Warner, Founder and Chief Creative Strategist, Metropolitan Republic

“The short answer would be that it should be the idea that determines the length of a radio ad, not a predetermined media schedule put together without any heed for the creative concept or idea. Some ideas need a little more time to come to life. Others can be communicated in the blink of an eye. Radio often relies on humour and you don’t have to be an expert to understand that comedic timing is crucial in the telling of a good joke. A few seconds more, or a few seconds less could be the difference between your radio spot being noticed and remembered by the target market and your radio spot just being part of the clutter”. Cath Ireland Executive Creative Director, GREY SA

“The 30 second radio ad might just be the most archaic concept in advertising. It’s an absolutely bizarre restriction to place on your communication, especially if you want 3 product benefits, 2 brand mentions, and a phone number in the ad. There’s just no space for any intrigue or emotion. You may as well just get a DJ straight read. In my mind, the quality of the idea is infinitely more important than a pre-determined media length, and all ideas should be judged in that context. If it’s a 30" (or even 20") and it’s great, by all means go for it. But you wouldn’t be doing your brand justice by letting a great 40" or 50" pass you by just because you have an out-dated concept of what length an ad is supposed to be. Anyone who regards media length as more important than the quality of the idea is in trouble. Imagine saying ‘Real men of genius ads, 60? No thanks, go back and write me 30s as requested’.   Alistair King, Group Chief Creative, King James

“For me, the most important thing about radio is that it’s about telling a story. So what would I do? I’d do it the same way. I’d write a ‘story’ that works within whatever new or different timing parameters I’m presented with. Be it 34", 65", 40”, 10", whatever. It’s more about the story”.  Kamogelo Sesing, Creative Group Head, TBWA Hunt Lascaris

“I would encourage clients and creatives to explore less intrusive ‘and now a word from our sponsors’ type of communication and use it as a means of entertainment or source of information as was originally the case with radio. (Orson Welles got people to start fleeing cities when he broadcast ‘War of The Worlds on radio, remember?).  Good TV ads are often called ‘little films’ because they use the medium’s visual nature to connect with the audience. Regarding radio then, I would hope to create work that was more informative regarding a brand and its offering while capitalising on the immediacy that one can really achieve on radio. For example, a sale is better communicated via a live read or as part of the DJ’s banter because that’s what’s happening now and it’s news worth telling people. I would also press to have the right kind of information communicated – what makes that special ingredient so special? – as opposed to less relevant information – having our phone number read out twice at the end – and make for better radio, from a listener’s perspective”. Mick Shepard, Creative Partner, M&C Saatchi Abel