Where do program ideas come from? How are concepts developed into saleable productions? Who do you talk to about getting a show produced? How do you schedule shows on the lineup? What do you do if a series is in trouble? The answers to these questions, and many more, can be found in this comprehensive, in-depth look at the roles and responsibilities of the electronic media programmer. Topics include: Network relationships with affiliates, the expanded market of syndication, sources of programming for stations and networks, research and its role in programming decisions, fundamental appeals to an audience and what qualities are tied to success, outside forces that influence programming, strategies for launching new programs or saving old ones. Includes real-life examples taken from the authors' experiences, and 250+ illustrations!

This widely used text (over 250 adoptions) offers a current strategies approach to broadcast and cable programming, with network/local and commercial/noncommercial perspectives. It focuses on three primary responsibilities of programming executives: (1) evaluating audiences and programs; (2) selecting programs; and (3) scheduling, or organizing, programs into coherent program services. The book is divided into five major sections: Part One introduces the concepts and vocabulary for understanding the remaining chapters; Parts Two through Five look at programming strategy respectively for television, cable, radio, and public broadcasting from the perspective of industry programming experts.

This text focuses on strategies for programming small market, local stations (rather than the major networks), and it explores the wide range of choices and options available to the programmer. The authors include discussions of both radio and television in each chapter, and aim to make the instruction immediately applicable to real business programming considerations. Electronic Media Programming highlights important economic issues, emphasizing and exploring effective marketing research and audience analysis in making programming decisions.

This book is primarily about television and radio and it focuses on entertainment and informational programs coming to viewers as pre-produced units of content. -Pref. [This book] provides students with ... information on the techniques and strategies used in the programming industry. [This] text covers all aspects of media programming for broadcast and cable television, radio, and the Internet ... The authors explore how programs (units of content) are selected (or not selected), how programs are arranged in schedules of various kinds, how programs are evaluated by the industry, and how they are promoted to audiences and advertisers. The book also delves into the limits of media programming arising from technology, regulations, policies, and marketing needs, as well as how things like human attention spans, lifestyle patterns and economics determine the availability and arrangement of media entertainment content. -http://www.wadsworth.com.

Where do program ideas come from? How are concepts developed into saleable productions? Who do you talk to about getting a show produced? How do you schedule shows on the lineup? What do you do if a series is in trouble? The answers to these questions, and many more, can be found in this comprehensive, in-depth look at the roles and responsibilities of the electronic media programmer. Topics include: Network relationships with affiliates, the expanded market of syndication, sources of programming for stations and networks, research and its role in programming decisions, fundamental appeals to an audience and what qualities are tied to success, outside forces that influence programming, strategies for launching new programs or saving old ones. Includes real-life examples taken from the authors' experiences, and 250+ illustrations!

Programming TV, Radio, and Cable provides an in-depth look at the roles and responsibilities of television, radio and cable programmers. You will discover how programmers come up with ideas, how those ideas are developed into programming, how the show ideas are pitched to the buyer, how the program schedule is created, how the success or failure of individual shows and the program schedule as a whole is determined and what, if anything, can be done to save shows. Each topic is explored, then applied to three different media: television, radio and cable. Numerous illustrations and real-life examples bring this topic alive and present you with a realistic view of today's programming issues.

A practical handbook for programming directors, this guide focuses on achieving specific objectives in today's modern, competitive environment. Radio Programming is designed to convey underlying principles and to assist the programmer in accomplishing specific objectives, without mandating exact implementation methods. Instead, it empowers station management and the PD to implement strategies that will work for the particular format and market niche. Radio Programming will be helpful for neophytes in programming, experienced programmers seeking further growth, air talent seeking to develop skills, and general managers trying to understand programming and effectively manage program directors without stifling creativity. It will also help general managers hire effective programmers. Eric Norberg is the editor and publisher of the Adult Contemporary Music Research Letter and a radio consultant. He has worked as a program director at several radio stations, as on-air talent and general manager, and has also operated a radio production company. For fourteen years he has written a weekly column on radio programming for The Gavin Report, a radio trade publication.

Fundamental beliefs is what the reader will be exploring here -- a common understanding of what the radio enterprise should be about: entertainment and information. A major thrust of this book is to arrive at a set of fundamental beliefs about the values and realities of the radio business in regard to entertainment programming -- a set of beliefs that may or may not be right, true, or forever, but that might at least provide a basis for developing programming strategies. This second edition of Future Radio Programming Strategies seeks to answer the question: "What do listeners really want from radio?" Some of the answers are derived from "users-and-gratifications" research in the mass media. Instead of focusing on what mass media do to people, the users-and-gratifications perspective seeks to discover what people do with mass media. The functionalist viewpoint of such research basically says that a medium is best defined by how people use it. Having looked at some of the audience research that comes from sources other than the standard ratings companies, the book then goes on to demonstrate new ways that formats, production procedures, and announcing styles can meet audience needs and desires. Although the volume concludes with several original methods for selecting and presenting airplay music based on the audience's moods and emotional needs, it does not insist upon a singular, formulaic approach for constructing or modifying a music format. Instead, it attempts to involve the reader in thinking through the process of format development. Two audio tapes are also available for use with the book. The tapes contain nearly 3 hours of important, detailed information and provocative points from the book. Exclusive audio examples include: * the sense of acoustic space in music; * hi-fi versus lo-fi listening environments; * subjective perception of the announcer's distance from the listener; * audio editing rates; * comparison of luxury versus inexpensive car listening experiences; and * the components of emotions that are expressed vocally. The tapes also include new sections about the threats to traditional radio from specialized digital audio services, competition for the listener's attention from computer-based media, and additional proof of how music can be chosen on the basis of listeners' emotional reactions and mood needs.