Question 1

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

Accepted Answer

The answer of Historically, ________ have been a popular means...

Question 2

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.

Accepted Answer

A) True 
 B)False

Question 3

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

Accepted Answer

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

Question 4

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

Accepted Answer

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. 
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 5

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

Accepted Answer

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

Question 6

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

Accepted Answer

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

Question 7

When talent records a commercial, they receive a ________.

Accepted Answer

The answer of When talent records a commercial, they receive...

Question 8

Which of the following will NOT vitalize radio copy?

Accepted Answer

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

Question 9

Describe the challenges radio faces in convincing advertisers that it is a viable medium in the twenty-first century.

Accepted Answer

The challenges that radio faces in convi

Question 10

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

Accepted Answer

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. 
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 11

The ________ ensures that a radio spot will be identical each time it airs, key selling phrases will be included, and the copy will meet the copy requirements for highly regulated products.

Accepted Answer

prerecorde

Question 12

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.

Accepted Answer

A) True 
 B)False

Question 13

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

Accepted Answer

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. 
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 14

Which would NOT be a reason to use prerecorded commercials?

Accepted Answer

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 
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 15

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

Accepted Answer

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. 
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 16

Discuss the rationale for using prerecorded spots.

Accepted Answer

Prerecorded spots are used in advertisin

Question 17

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

Accepted Answer

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. 
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 18

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

Accepted Answer

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

Question 19

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.

Accepted Answer

A) True 
 B)False

Question 20

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.

Accepted Answer

A) True 
 B)False

Exam 20: The Radio Commercial

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

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.

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

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

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

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

When talent records a commercial, they receive a ________.

Which of the following will NOT vitalize radio copy?

Describe the challenges radio faces in convincing advertisers that it is a viable medium in the twenty-first century.

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

The ________ ensures that a radio spot will be identical each time it airs, key selling phrases will be included, and the copy will meet the copy requirements for highly regulated products.

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.

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

Which would NOT be a reason to use prerecorded commercials?

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

Discuss the rationale for using prerecorded spots.

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

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

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.

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.

Background of Todays Advertising

Roles of Advertising

Brand Planning and the Advertising Spiral

Target Marketing

The Advertising Agency, Media Services, and Other Services

The Advertisers Marketingadvertising Operation

Media Strategy

Using Television

Using Radio

Using Newspapers

Using Magazines

Out-Of-Home Advertising

Digital and Direct-Response Advertising

Sales Promotion

Research in Advertising

Creating the Message

The Total Concept: Words and Visuals

Print Production

Video and the Commercial

Trademarks and Packaging

The Complete Campaign

International Advertising

Economic, Social, and Legal Effects of Advertising

Filters