Few genres of TV shows and podcasts captivate audiences quite as well as crime magazines or documentaries. Dateline and 20/20 have built amazingly loyal fan bases over decades by mastering suspense, storytelling, and emotional connection. It is also the old, tried and true “fascination with ugliness” that is equally compelling. I know, I know! While radio personalities aren’t tasked with solving real-life murders, you are tasked with keeping audiences tuned in and turned on. The carefully crafted, and perfected techniques that make this category of podcasts so compelling can also help you sharpen your craft and turn everyday breaks into can’t-miss moments.
The most important piece of the puzzle is to never just recite facts. Facts are boring. People want a story versus just data. You must frame the various elements and pieces you deliver with emotion, context, and stakes that make the story resonate. The listener must care about the characters, and those characters need to be well developed. On-air personalities can learn from this by setting up even the simplest of stories with an engaging introduction or tease. Rather than saying, “There was a huge traffic jam on Main Street holding everyone up this morning,” frame it as, “Imagine being stuck behind a school bus that makes ten stops within a half mile, on the busiest street in town while you’re rushing to work!” Framing pulls listeners into the story and makes them care or relate.
Then of course there’s the use of your voice. Keith Morrison’s iconic delivery is a lesson in itself. We have all heard it. I remember the classic story I was told by a friend who saw Keith Morrison at the airport and walked up and said, “Are you Keith Morrrison?” to which Keith replied, “Yes – I am – – – or AM I? The way he uses tone, pace, and pauses, adds weight to virtually every word and line. For you, the voice is your primary instrument. Varying tempo, leaning into a dramatic pause, or softening the tone to convey empathy can elevate even routine segments. Vocal delivery transforms words into an experience. Keith Morrison is a terrific voice actor.
One of the trademarks of a podcast like Dateline is how it keeps the audience hooked through carefully timed reveals. Instead of giving away the ending, the narrator teases what’s coming and leaves questions unanswered just long enough to build anticipation; anticipation that keeps us through commercials. Sometimes, the content only lasts 3-5 minutes before another stop set.
As a radio personality, you get to capitalize on the same tactics. Instead of dropping all the details of a story in one breath, tease the highlight, pause, and then deliver the payoff after a song, a break, or a commercial. Suspense keeps listeners from leaving in search of something better. In radio though, you should remember to always tell them when the reveal will be delivered. Something along the lines of, “Coming up in 4 minutes…” Be specific. Don’t say, “Coming up soon.” Give a time that they can trust. This is especially valuable to someone who may be willing to sit in the car a few minutes longer just to hear for the payoff.
But what is really at the core of a great True Crime story? It really isn’t about the crime at all. It’s about people. As the listeners, we care about the families, the investigators, and even the motivations of suspects. So, it’s not about the criminal activity at all – it’s about the people involved in the web of the crime. We can take a cue by putting people at the center of our stories. Whether covering local news, sharing community events, or talking about celebrity gossip, bringing out the human experience makes the content so much more relatable and memorable.
One of the reasons audiences return week after week to crime style stories is the sense of closure provided. Sometimes frankly, I have experienced disappointment when the show doesn’t offer a conclusion and simply says that they’ll follow up as the case moves forward. WHAT? You mean there won’t be any resolution to this? Ordinarily though, by the end of an episode, questions are answered, and justice is usually served.
Radio content works the same way. Your listener will appreciate it when the stories you tell wrap up with a satisfying ending. They may not like the way it ends – but they will always love that it does end. Just keep in mind that leaving people hanging on and waiting too long without resolution can erode their trust and loyalty for you. That’s why you give specific times for each segment.
Every episode of any crime drama is emotionally charged, whether it’s outrage, injustice, sympathy, disgust, shock or relief. Emotions drive the connection. On the radio, we should strive to inject emotion into the delivery, whether through humor, empathy, or excitement. The more heartfelt the presentation, the more listeners feel like part of the story.
Your world and the real crime podcast may seem different, but they share the same mission: keeping audiences engaged. By using techniques like suspense, strong framing, vocal dynamics, and emotional storytelling, you can elevate your on-air presence. After all, it’s never the facts that keep people listening; it’s the way you tell the story.
Bob Lawrence writes weekly columns on radio leadership and business. Additionally, he serves as Market Manager for MacDonald Broadcasting in Saginaw, Michigan. He has held virtually every position in the business over his 40+ year career, from being on-air in Philadelphia, San Diego, and San Francisco to programming legendary stations including KHTR St. Louis, KITS Hot Hits and KIOI (K101) San Francisco to serving as the head of all programming for Saga Communications and working for the Radio Advertising Bureau. Before landing his current role, Bob helped lead Seven Mountains Media’s cluster in Parkersburg, WV/Marietta, OH. He can be reached by email at BGLawrence@me.com.
Bob also honed his research skills over ten years as Senior VP of Operations at Broadcast Architecture, eventually launching his own research company and serving as President/CEO of Pinnacle Media Worldwide for 15 years. Bob spent five years as VP of Programming for Saga Communications before joining New South Radio in Jackson, Mississippi as GM/Market Manager. Prior to joining Seven Mountains Media, Bob served as General Manager for the Radio Advertising Bureau, overseeing its “National Radio Talent System”.
link