| Most people believe that getting on Oprah will make | | | | remember?" Carla Winter,the niece of Sol Wurtzel |
| them amillionaire, their book a bestseller or their | | | | who ran Fox Film (20th Century Fox) withfounder |
| business boom. For yourcareer to take-off like the | | | | William Fox described the success of the studio |
| last space shuttle, you must prepare tomake the | | | | thisway: "For Fox Film it was an excellent director, a |
| most of your appearance. Here are some hot tips to | | | | good story and abox office star." In her book, The |
| help youget invited as a guest on the show, rivet | | | | Myth of the Perfect Mother |
| your audience on the air,and ultimately sell yourself | | | | (Contemporary Books), Jane Swigart says, "Being a |
| along with your product(s) or book(s). | | | | mother is likeasking half the population to do brain |
| As a media coach and marketing expert, I have | | | | surgery without sending themto medical school." |
| helped many people getbooked on Oprah, so I know | | | | These memory nuggets consist of anecdotes, facts, |
| there is a strategy that, if followed,will help anyone | | | | statistics,stories, or something unlikely, unusual, |
| increase their chances of getting on the show. | | | | controversial, shocking,funny, humorous, romantic, |
| Pitch and prepare. | | | | poignant, emotionally moving, or dramatic. |
| Before you actually get booked on Oprah, you need | | | | 6. Make sure you're blurbable. |
| to know how topitch an idea to the show's | | | | By definition, a blurb is a very short advertisement or |
| producers and how to prepare yourself forthe big | | | | statementabout a topic, product or idea. For |
| day. | | | | example, many book jackets haveblurbs about the |
| 1. Tape and watch Oprah. | | | | book, or what people have said about the book. |
| At least a dozen hopefuls call me every year for | | | | Theaverage sound bite on television is 10 seconds, so |
| media coaching or tohelp them create a marketing | | | | it takes someintensive practice to say something |
| plan. The first words out of theirmouths are: "I want | | | | meaningful about your book ortopic in such a short |
| to be on Oprah." When I ask them if they watchthe | | | | period of time. Practice with a timer until youcan |
| show 90 percent say, "No." Part of preparing for | | | | speak your message in 10 to 20 seconds. |
| success isbecoming familiar with the content, format, | | | | 7. Get booked on local shows first. |
| rhythm and pace of the | | | | Even before you consider approaching Oprah with |
| Oprah show. | | | | your idea, getpractice on your local news and talk |
| Your first step is to record two to four weeks of | | | | shows. This will give you achance to fine-tune your |
| Oprah. Then, sitdown in a comfy spot and watch | | | | sound bites so you won't be shocked by thespeed |
| them all at once. This will give you asense of what's | | | | of national television. Many people don't realize that |
| hot on Oprah for the next few months. (It does | | | | the |
| changeand go in cycles). Notice which producers | | | | Oprah Show isn't a platform for their subject. When |
| (listed on the credits atthe end) are responsible for | | | | you're on theshow as a guest you'll typically have a |
| each particular type of segment. Send aproducer | | | | total of one to seven minutesto communicate your |
| information only after you are sure of who you'd like | | | | entire message-in 10 to 20-second increments. |
| toapproach and why. | | | | Once you have a good feel for the rhythm of |
| 2. Pitch a hot topic. | | | | television, you'll feelmore relaxed and ready. |
| Never pitch your yourself, your speech, your product | | | | 8. Wow the producers with brevity. |
| or your book. | | | | Remember, the moment you open your mouth you |
| Instead pitch something that's newsworthy now: a | | | | are auditioning. Keepyour list of talking points by the |
| pressing nationalissue, a controversial subject, a | | | | phone when you call a producer (ora producer calls |
| problem for which you have thesolution, a common | | | | you) so you'll be succinct. You will already |
| myth debunked. Propose a topic that is relevant to | | | | haverehearsed them so that they sound natural and |
| Winfrey's audience (controversy, relationships, | | | | inviting. Make sure allyour points are targeted exactly |
| personal triumph,makeovers) then prove you are the | | | | to the angle you're proposing-makingyou (and your |
| expert on that topic by tellingonly the information | | | | product or book) irresistible on the air. |
| that is relevant to the idea you're pitching. | | | | Smile! You're on Oprah |
| For acting coach Cynthia Brian, speaker and author of | | | | Now that you know what it takes to pitch an idea to |
| "Be the Star | | | | Oprah, you needto know what to do when you |
| You Are!" (Celestial Arts), we created a pitch about | | | | actually appear on the show. |
| how she helpsteenagers work out their problems by | | | | 1. Connect with your eyes. |
| role-playing with them oncamera. We proposed a | | | | It is very important to maintain eye contact with |
| makeover show with before and after footage | | | | Winfrey 100 percentof the time when she addresses |
| forparents with difficult teens. Although the show | | | | you. This means while you're talkingand while you're |
| idea isn't directlyrelated to her book this is an area of | | | | listening. Audiences believe that you're sincere |
| Brian's expertise-and Winfreyhas been doing a lot of | | | | andknowledgeable if you keep consistent, soft eye |
| shows around parent eenage relationships. | | | | contact. |
| Think about the areas in your personal or professional | | | | 2. Create a "Top Five" list. |
| life whereyou're an expert and connect that to a | | | | Help your audience remember you by developing a |
| provocative theme. | | | | "Top Five" list to beprojected on-screen so all your |
| 3. Put together a winning press package. | | | | key points will be illustratedvisually as you discuss |
| Send your book (if you have one) along with a pitch | | | | them. This is also a secret way to keep |
| or angle pagewith two or three different ideas, and a | | | | Winfrey on track. Once she's stated that you'll cover |
| paragraph bio highlightingyour expertise as it pertains | | | | five points,she has to help move you through all of |
| to your pitches. Be as brief aspossible. You must be | | | | them or her audience willfeel cheated. Making this list |
| able to sell your idea in one page. Remember | | | | guarantees you more airtime. |
| Oprah producers get hundreds of packages every | | | | At the request of the producers speaker and author |
| day. If possibleinclude a two-to-four-minute video of | | | | Victoria Moran,who wrote Lit From Within |
| you on other talk shows ordoing a presentation to a | | | | (HarperSanFrancisco) created a quiz for ashow on |
| group. If your demo video includes talkshow clips, cue | | | | vanity with questions like, "Are you constantly |
| it up to those segments. If not, cue your video up | | | | comparingyour appearance to other women's? Does |
| toa short segment that shows you speaking | | | | the way you look in themorning determine your |
| succinctly so the producerscan see that you're a | | | | mood for the day?" After Winfrey got herguests to |
| viable guest. | | | | answer, she asked Moran to comment. She got five |
| 4. Explore the show's Web site. | | | | chances tospeak-totaling one minute and 33 seconds. |
| Winfrey's Web site, has as much information asyou | | | | 3. Bring visual props. |
| will ever need to get on the show. There, you can | | | | Visual props add liveliness and helps your viewers |
| review herentire wish list of subjects. She even | | | | remember yourpoints, which indirectly translates into |
| makes it easy for you with alink called, "Be on the | | | | buying your product or book. |
| show." With the touch of a key you can sendan | | | | Let the producers know how you plan to use your |
| e-mail that will reach her producers instantly. | | | | prop(s) ahead oftime. During the show you also need |
| Make your topic relevant in a short paragraph to | | | | to direct the cameraman to yourobject by pointing |
| receive a quickresponse. Let the producers know | | | | to it or holding it up to cue them for a close-up. |
| that you'd be glad to hop a red-eyeat a moment's | | | | 4. Introduce yourself with a stellar sound bite. |
| notice to be a part of their show, and you | | | | On television your very first utterance sets the tone |
| increaseyour chances of being invited. | | | | for all theinformation you plan to deliver. Say |
| 5. Create 6 dynamic sound bites. | | | | something that instantly bringsfocus to your most |
| Mark Twain defines a sound bite as "a minimum of | | | | important message that ties into your book. |
| sound to a maximumof sense." Sound bites or talking | | | | With dedicated practice, channeling your passion, |
| points, are the essential messagesyou want to | | | | enthusiasm, andknowledge about your subject will |
| convey. Talk out loud the most important ideas, | | | | come across to your audience, andpeople will |
| concepts,and points of your topic as they relate to | | | | naturally want to know more about you, your |
| the idea you are pitching. | | | | products andyour services. |
| Ask yourself, "What do I want my audience to | | | | |