Advice on radio, tv & the media industry.

Should a show aim to be broad/inclusive or niche and edgy?

Andy Lee was advised by a Nine TV executive to remember they are 'broadcasters, not narrowcasters' and to lean into broad, inclusive, family-friendly appeal rather than chasing edginess, which matched where the show naturally wanted to play.

What should a radio network CEO do to stay relevant in 2020?

Focus on shows with strong community connection and skew programming toward older demographics who still value live talkback radio, rather than treating programming as set-and-forget in a podcast/streaming competitive environment.

How should you approach interviewing celebrity guests on radio?

Tailor a fresh, specific idea to each guest rather than asking generic questions, and acknowledge if they've had a long day of interviews to build rapport and get a better result.

When should you start a countdown clock during a long broadcast or event?

Don't start announcing 'hours to go' until more than half of the total time has elapsed, otherwise it signals you don't want to be there, similar to how being ranked just outside the top on some lists looks worse than not mentioning rank at all.

What should you avoid or do during a long overnight livestream?

Don't play copyrighted music on the stream or it will get taken down; stay active (stretch, move around); save caffeine consumption for the hardest overnight stretch rather than the whole event.

How do you actually break into a radio career?

Be willing to work for free, move to regional or far-flung markets, and put in unglamorous grunt work before any on-air opportunity comes — persistence over connections is what separates people who make it from those who don't.

What should a producer do to support a show rather than hurt it?

A good producer gives performers a practical framework (time limits, content rules for broadcast standards) but trusts the performer's own tested, audience-validated material rather than overriding it with personal taste; stifling creative control can actively harm a show.

How should creators think about distributing their content across platforms?

Zach Sang suggests that since content already exists, creators should repurpose it across as many platforms as possible (audio, YouTube, Instagram snippets) to reach the maximum audience, since viewers of short clips often convert into full-show listeners.

How much should I prepare before going on air?

Aim for roughly as much prep time as airtime (e.g., 3 hours of prep for a 3-hour show); very few naturally gifted performers can skip this and still succeed consistently.

How rigid should my show's plan be?

Plan thoroughly but be willing to abandon the plan entirely when the room or moment calls for something else; keep the audience's needs at the center of every decision rather than the plan itself.

What should you do when you make a mistake on air?

Own up to the mistake almost the second it happens — 'rip the bandaid off' straight away rather than letting it linger.

How do you write a script that sounds natural when read aloud on air?

Write and read simultaneously — write a sentence, read it back, and if it doesn't sound right, rewrite it; be wary of scripts written by others who don't write for reading aloud, as they can be grammatically correct but awkward to vocalize.

How do you break into the radio/media industry when you're trying to get noticed?

Be persistently visible to decision-makers (e.g. sending regular emails to program directors) rather than playing it too cool, while being careful not to come across as trying to push others out of the way — it's a fine line that requires picking your moments.

How should you handle negative comments from strangers online about a long-running personal joke (e.g. a slow house renovation)?

Treat it as endearing rather than hostile when people engage with the joke as if they were a friend; the issue is usually that some commenters don't know how to 'play fight' properly and come across as genuinely nasty rather than affectionately teasing.