Is your product show-worthy? Industry experts share the keys for making DRTV work for you.

By David Lustig

DRTV production is simultaneously a stable advertising platform and an ever-changing one. The principle of reaching out to the intended audience can be seen as constant. Yet, how that audience is drawn in to complete the sales equation is something that can be dictated by the economy and the ever-changing, albeit subtle, buying habits of the consumer. Staying on top of today's market is absolutely essential.

"We research many different publications, attend trade shows such as INPEX (the inventors show), DMA and ERA," explains Collette Liantonio, president of Concepts TV Productions in Boonton, N.J. "We also contact marketers directly to see if they have anything new and innovative they wish to have introduced to the direct-response arena."

CONNECTING MARKETERS, INVENTORS WITH PRODUCTION COMPANIES
Timothy Hawthorne, chairman and executive creative director of Hawthorne Direct Inc. of Fairfield, Iowa, says his company's clients usually find them.

"We will look at between 25 and 50 products every month from entrepreneurs with new product ideas," he says, adding that 95 percent of these products are not suitable for DRTV. "So we recommend the prospects save their money and not attempt DRTV, but rather look at alternative marketing strategies, some of which might be the web, print, direct mail, retail or even international."

The selection process of what will or will not work also differs a bit from company to company.

"I look for products that will benefit people, not products in specific categories," notes Dena Levy, CEO of Two-D Productions in Calabasas, Calif. "We've produced infomercials in virtually every category. I don't focus on one or two types of products; it really is about how and what a particular product will do for someone."

"I don't find 'products,'" says Wendi Cooper, founder and CEO of C Spot Run Productions in El Segundo, Calif. "I am contacted by the company--usually the marketing company or the company itself that is going into DR for the first time--that wants to have a commercial produced or needs consulting advice for their overall campaign. I would say about 95 percent of my business comes from referral within the industry. The other 5 percent comes from website presence--C Spot Run Productions does not do any advertising on the web. My business is truly word of mouth."

"We don't really seek out a certain category," says Eric Stilson, CEO of Stilson Productions and Stilson Global Direct in Salt Lake City, Utah, citing some of the firm's current project categories, including telecom, fitness, supplements, medical devices and public service.

"We do a lot of fitness just because it's such a large category, but the fundamental principles apply to any product. What we're most interested in are products that represent innovation--something with mass appeal and visual excitement. Some products sell themselves just by virtue of what they do or the engaging or intriguing way they look, function or operate."

WORKING TOGETHER CAN BE IMPORTANT
Then there is the interaction between the production company and the inventor or marketer.

"We like working with both on a campaign," says Drew Plotkin, creative director of Launch DRTV in Los Angeles. "As a company, we're passionate about the product we work with, but nobody can possibly have the same passion or vision as the original product inventor.

"We like to also work closely with the marketer to ensure their vision and end goals are being brought to life, especially since they are usually putting up the bulk of the financial development to make the product happen."

That financial side, as Plotkin mentions, is very real.

Hawthorne contends, "The financial risks for our entrepreneur and small company clients--the DRTV marketers--are very real and cannot be over-emphasized.

BANKROLLING THE PRODUCTION
"I always tell inventors and entrepreneurs that they should not invest in their DRTV campaigns with the children's college funds," Hawthorne continues. "The risk in DRTV is significant and the rewards can be great, but common sense has to prevail. By doing their homework up front--and by working with a reputable production company--marketers and inventors can lessen their risk and increase their chances of success."

Production expenses generally include scripting, crew, talent, location and studio fees, editing and dozens of other line items that may not be apparent when initially trying to get your hands around a successful campaign.

"We use an analogy for this," explains Rick Cesari, CEO and founder of Cesari Direct in Seattle, Wash. "It's like building a house." He says the production costs depend on what the end product dictates, which include post-production music and graphics.

HEY, ISN'T THAT WHAT'S HIS NAME?
Should on-screen celebrities be considered? The answer is sometimes yes, and then again, sometimes no. More succinctly, it depends.

"Using a celebrity in a show can create instant interest for the viewer if it's a highly recognizable face," says Concepts TV Productions' Liantonio. "It also instills a sense of trust. Often, it creates an unforgettable connection between the product and the celebrity.

"George Foreman is an example of a great use of a celebrity in an ad to sell a DRTV product. Also, viewers who recognized Jessica Simpson in the Proactiv ads most likely trusted that if the product worked for her, it would work for them. The use of celebrity talent in a show can be cost prohibitive depending on the celebrity--especially to an entrepreneur or a smaller company."

Two-D Productions' Levy says, "A high-profile celebrity is used to stop channel surfers and add credibility to a product. If you are doing a beauty product and you use a good-looking celebrity--male or female--the consumer thinks, 'If the celebrity uses it, I want to use it, too.'

"The cons, however, are cost and royalties that are paid to the celebrity. And sometimes, the celebrity will not resonate with the product. You have to make sure the celebrity is truly and sincerely endorsing the product and that they use it. If the celebrity comes across as just being there to get a paycheck, it can be a disaster."

And that paycheck can sometimes be substantial.

"They are paid up front for their shoot, then they receive a big payment against royalties," explains C Spot Run's Cooper. "They all receive a percentage of the adjusted gross--or should--and are paid quarterly, which can be in a lump sum for the year or on a quarterly basis."

PROTECTING YOURSELF LEGALLY
As in any business transaction, everybody has to protect themselves against legal risk. DRTV production is no exception.

"The product marketer is ultimately responsible for the legal aspects of the production," says Hawthorne. "We require our clients to have a DRTV-savvy attorney who is familiar with all of the applicable laws to review the script and the final commercial before it's aired.

"Sometimes, if a product's claims are of a health-related nature, we will also ask them to provide an attorney who is experienced with Food and Drug Administration regulations to be on location for most major shoot days."

ROLLING OUT THE CAMPAIGN
The entire shooting process, most everyone agrees, usually starts off with a creative brainstorming session.

"Our process starts with multiple creative brainstorming meetings with marketers and inventors followed by a creative treatment, an outline and then a rough draft of a script," says Launch DRTV's Plotkin. "We often start our testimonial groups going on a product right from the very outset of signing a contract and well before scripting so we can at least be sure the testimonials love the product.

"We often look to our testimonial groups for key selling points; we learn from them first-hand what people really love about the product. And in cases where they don't like certain aspects of a product, we often have the time to make adjustments as needed so that the best product possible makes it to the consumer."

Plotkin adds that while infomercials can be completed in as little as 12 weeks, most of his company's shows take anywhere from 14 to 20 weeks from date of contract, with some high-end brands with more detailed and elaborate creative taking longer.

"As we shoot a show, we are constantly revising and re-writing scripts all along the way and through post production," he explains, adding that innovative and successful campaigns come from an organic process that requires flexibility and adjusting "on the fly" to capture the true essence of a product.

PRODUCT-FOCUSED REALITY SHOWS
When asked if television reality shows that are focused on product inventions help or not, the answer is mixed.

"I don't think it has much effect," says Stilson. "But it may give the audience a greater appreciation for how difficult it is for inventors and how challenging it is to get innovative products--like the ones they see on DRTV--to the marketplace.

"I think the average viewer believes that it's a simple matter of thinking of a new idea, making it, getting a camera, putting it on television and getting rich in a few months. They have no idea it takes years of development, building relationships, marketing, production, media testing and typically a million dollars to get a new product on-air for the first time for a test."

Hawthorne says, "Anything that promotes good old American 'know how' is great and always welcome. One of the things that has made our nation strong is the ingenuity and innovation of its people, and we love the entrepreneurial aspects of the DRTV industry."

"I believe reality shows such as 'American Inventor' are helping DRTV," says Liantonio. "Sometimes our industry gets a bad reputation, but these shows are focusing in on the uniqueness of the products as well as their value."

"Every time I see one of those I think it's great for our industry," says Cesari. "Where they talk about successes, all this stuff just helps our industry."

David Lustig has been a journalist for more than 30 years, and has written for such well-known publications as the Los Angeles Times and People magazine.