Q1: For Group A - Music Programming - can I telescope in and out of music?

A1: Yes - you can now telescope in and out of music tracks but you must maintain the transmission sequence and 'flavour' of the programme.

Q2: Can I cut out ad breaks?

A2: Yes - in all categories, but you must 'intro' and 'outro' all ad breaks and you must maintain the transmission sequence and 'flavour' of the programme.

Q3: My show runs for three hours and I want to enter 5 different extracts from the one single show linked together by the original presenter to make up the 20 mins for A1 music Programming. Is this ok?

A3: No - The entry must be taken from a single broadcast in transmission sequence. You can only edit out ad breaks and, where permitted, music tracks and information segments. Adding links postbroacast will disqualify.

Q4: Can I cut out segments (news, traffic, weather)?

A4:Yes - in all categories, except of course for those categories where information segments form an integral part of the subject matter. You must 'intro' and 'outro' all information segments being edited out and you must maintain the transmission sequence and 'flavour' of the programme.

Q5: Category D4: Station Imaging. As independent producers, we produce imaging for several statons around the country. Can we include work we have done for all stations as a montage in one entry or must we submit work carried out for each station separately?

A5: Each station must be separately entered, and each station must approve the entry and certify that entry as being a true reproduction of their on-air identity. It is important that the individual stations endorse the fact that you are submitting entries on their behalf. Note that, should your entry win, it is the radio station that will receive the award.

Q6: Under rules 'Submitting Broadcast Material', the conditions appear slightly contradictory in relation to "compilations" and "telescoping". Can you define further what you mean by these two words?

A6: A 'compilation' is a series of unedited extracts, not necessarily relating to the same topic. 'Telescoping' means internal editing. That is, you cannot edit an interview so as to make it shorter and/or more interesting. Each piece submitted, whether a single continuous broadcast or a series of unedited (i.e. not telescoped) extracts, must be as-aired, save for the editing out of ad breaks and telescoping of music tracks which is permitted.

Q7: We are entering a series of extracts, as allowed for a particular category. Is it ok if there is just a short gap between each of them so that you can pretty much see where an extract begins and ends?

A7: There must be a clear 3 second 'intro' and 'outro'.

Q8: What's the point in a small low budget station entering when we will be competing against stations with large resources?

A8: Because you really can win! Judges will recognize outstanding radio irrespective of the resources placed behind any given entry. Remember, the judges are required to judge each submission solely on the entry in an independent and objective manner and NOT on the programmes aired throughout the year.

Q9: What will get my entry noticed?

A9: What they do all appreciate is the opportunity to hear some impressive radio. Make certain that you use your 250 words to help judges understand why you believe your entry is a potential winner.

Q10: Is it OK to incorporate voice-overs, edit out mistakes & enhance our entry for the judges?

A10: NO. Entries must be judged on how the entry was first broadcast. NO ALTERATION OF TRANSMITTED MATERIAL IS PERMITTED unless specifically allowed in the submission information for a particular category e.g. the telescoping of music where permitted and/or editing out of ad breaks. The judges have the right to disqualify those entries where internal editing, when not permitted, is evident. If you're using extracts then you can of course fade in or out on music or ads.

Q11: Will the judges have listened to my programme all year round?

A11: The judges of the IMRO Radio Awards are required to judge each submission solely on the entry in an independent and objective manner and NOT on the programmes aired throughout the year. Remember, some of the judges of the IMRO Radio Awards are based in the UK and will not have had an opportunity to have heard your programme throughout the year.

Q12: Should we archive the original tapes once we have submitted our entries to the awards?

A12: It is very important that the master tape of the full programme as broadcast should remain available to the IMRO Radio Awards should it be required by the judges. Failure to supply this information may result in disqualification, as will any evidence of editing. Spot checks will take place and stations will be called upon, at random, to provide original log tapes as evidence on non-editing.

Q13: Can a station enter more than one documentary into category C1?

A13: Yes they can enter more that one documentary provided that each documentary has a different team, producer etc. up to a maximum of 5. There should be no link between the documentary programmes entered. Each documentary team/producer can only enter once into this category. Therefore it is necessary to check with freelancers that they are not entering on the basis of programmes broadcast on a number of different stations.

Q14: When I have a compilation entry how do I complete the "original date of broadcast" information on the online entry form?

A14: Provide the date of the first extract.

Q15: When I have a compilation entry how do I complete "the duration of the original broadcast" information on the online entry form?

A15: Insert "0"

Q16: What is the specific date for Group F Station of the Year entries?

A16: The specific date will be announced shortly.

Top Tips

Plan Ahead

  • Systematically save your best work over the course of the year - don't leave it too late. If you think something's good - keep it.
  • Technical competence and good quality sound are important. Entries should present the station to the judges as fully as possible.
  • Before you submit an entry, ensure that you listen back to it as the judges will hear it, keeping in mind the judging criteria.
  • The judges are asked to reward excellent programming - this means they're expecting to be gripped from the start. It's fine for any climax to come later - but the winning entry will be one the judges cannot stop listening to. Will your entry make the judges sit in a lay-by listening, make them late for a meeting, cancel lunch or keep them up till the late hours?

Which Category?

  • Read carefully through the rules and the categories and take time to think about whether your entry has been placed in the right category.
  • Which category to enter can be a difficult choice. You must read the Call for Entries Brochure carefully and discuss with your colleagues and managers.


  • It is better to be targeted, rather than copious, with your audio and supporting material.
  • Check that there are no blank entries and that the sound is audible and clear and of a quality that represents your programme and station.
  • No post production allowed.
  • A running order with your entry is compulsory, unless specifically excluded by the category.

Supporting Material

  • Don't assume the judges know everything - if you feel you need to explain the context of an item, do. A judge may have no idea where your show fits in the schedule, who it is aimed at and why you did it the way you did - so don't be afraid to tell them. Use the 250 word paragraph and ensure it matches the feel and quality and values of the audio entry. Don't over-sell the programme, but try wherever possible to provide supporting evidence which is complimentary to your entry.
  • Running orders are complusory.

Group F - Station the Year

  • Judges tend to look for confident stations with well thought out programming and for stations that know their audience.
  • The presentation of entries is important. Entrants should try to put themselves in the judges' shoes, and tell them as much about their station - and in particular its aims over the year, and its strengths and obstacles - as they can.
  • The audio should flow, should show a good range of material, should show humour and sadness where it exists, and excitement, and day-to-day done well, and the really interesting, or unusual, and the very local, and the mundane.

Winners' Tips

  • Think like a judge - they'll have lots of entries, many of them very similar. Make their life easier - well labelled entries, simple background info to support your entry.
  • The hardest part is keeping the material in the first place. We encourage people to put things in a IMRO Awards 'deposit bin', but it needs people to be thinking IMRO Awards all year long.
  • READ the entry information carefully - is the category relevant and have you chosen the material which highlights the achievements judges might be looking for as described in the 'submission information'?
  • At the end of the day it has to be a bit 'special' somehow to make it to the shortlist. Why is your entry that bit more 'noticeable' than others?
  • Famous guests on the show isn't enough - judges will look to see if the presenter reacts with style and humour, connects with the audience one-to-one or takes the programme off in an unexpected direction - etc.
  • The grab factor - choose the first couple of minutes of your audio with great care.