Liz Nable 0:00
When you work on a television show called Sunrise, it probably goes without saying your alarm goes off early, very early. But what if I told you the guest on my show today set her alarm for 11:30pm For four years, then 2am For a few years after that, and now thankfully, she's joined us mere mortals working normal hours, nine to six as managing editor of Australia's highest rating morning television show, sunrise. Me I lasted for about six months working in morning television. I just couldn't function at 2am. And so I have the highest amount of respect for journalists and producers like my guest today, Jasmine Costas, who've made a career out of it, and with two small children and a family as well. Okay, enough about my obsession with other people's sleep habits. Everyone knows when you work in TV news, you're pretty much working around the clock anyway, so it probably doesn't matter when you wake up. Jasmine Costas is the managing editor of Channel Seven sunrise, Australia's top rating television morning new show for the last 19 years. Before joining seven she held roles with today and weekend today as supervising producer and was the founding producer of the gold week telethon. Lucky for us. She's also one of the prestigious guest experts inside the next round of the media masters Academy in August. And I'm so thrilled she agreed to be part of it. Because her experience and inside knowledge of pitching the media is invaluable. On today's episode, she said she shares with us all the incredible opportunities we have as founders, directors and business owners to help producers and reporters fill three and a half hours of live television every day. It's chock full of story ideas. Sunrise is constantly on the lookout for tips on how to break through the noise to get in opened in her inbox. And to get noticed, and the best ways to get yourself on sunrises guest expert database. Plus, she shares her personal email address, so you can pitch her directly. So whether you're a night owl or an early bird, this is an episode worth losing. Sleep over, enjoy. Hello, I'm Liz Nable. And you're listening to enable my business, the podcast. When I first started in small business almost 10 years ago, I had no idea what I was getting into. You see my background was in the media. I had spent 15 years as a television news journalist and reporter working at several major networks in Australia. And then as a freelancer in the US and around the world. I spent years dividing my time between working long shifts on a news desk and travelling the world chasing stories. It was unpredictable and exciting. Until it wasn't anymore. I decided I wanted to live where I was in charge of what happened next. And where I was working to build my own empire, not someone else's. I also never wanted to work a midnight new shift again. Now, I don't have to. There was a lot I had to learn about running my own business. But one thing I already had in the bag was how to get media coverage and free PR. I knew what the media wanted. I knew the secret formula for what made us and I knew how to leverage those organisations to build my business, get more exposure, and ultimately make more sales. During my decade of building my business, I have managed to get featured in almost every major news outlet in the country. I've been interviewed on television countless times, had personal profiles written up in women's magazines, done point of view pieces for large newspapers, and being listed in top 100 List women in business and in my industry. And I've never spent a single cent on PR. I took that knowledge for granted until it dawned on me one day that I could teach what I knew to other businesses, let them in on the secret. And they too could build their businesses, leveraging the media and gaining free PR. They could use my insights in the industry and my behind the scenes experience and take their business from Best Kept Secret to well known brand simply by following my formula. Welcome to enable my business, the podcast. Hi, Jasmine, welcome to the show. Hi,
Unknown Speaker 4:17
thank you for having me.
Liz Nable 4:19
I know you're probably exhausted we recording this at 27 at night and you are a morning show producer. So this is probably not the best time of day for you.
Speaker 2 4:28
It's not it's not too bad. We are you know the the beautiful thing about working in breakfast television is it's not a job. It's a lifestyle. And we are always on so happy to join you.
Liz Nable 4:40
Well thank you. I appreciate your time. So you are the managing editor at sunrise, correct? Yes. What does Managing Editor mean? Let's start with the basics.
Speaker 2 4:49
So the managing editor is a role that kind of brings things together for a relatively big team at sunrise. We We've got people who work across multiple shifts, we have people who start work at midnight, three o'clock in the morning, 9am, and all the way through to the debt to the end of the day. So it's my responsibility to make sure that we are choosing the right stories for our audience, that we are giving those stories, the right treatment, that we have the best talent possible to deliver that information to, to our audience. And it changes, you know, as the news cycle changes, so So we're constantly updating and developing the show until it goes to between 530 and 9am. Every day. Wow,
Liz Nable 5:41
that is a massive responsibility.
Speaker 2 5:45
Yeah, it's a lot of fun. And we, and we get to meet amazing people along I bet. I mean, that's the best thing about live television. Right.
Liz Nable 5:51
Tell me a bit about this. You mentioned the story that the best possible stories for the right audience, and obviously morning television is a very specific kind of audience. Can you tell us a little bit about what that audience is what that looks like? And what kinds of stories would always suit what you guys do at sunrise? Yeah,
Speaker 2 6:11
so sunrise hits all the major demos, particularly the 25 to 42, the 55. Plus, the thing about sunrise is, we're national, and we want to talk to everyone. So that is our goal, to create a show for our audience that everyone's going to be interested in. So the difficult thing is, we need to have a, I'll take a step back, I'll take you through what the show looks like over the course of the morning, we at 530, we have new sport and weather. And we have that every hour and half hour. And so across the show, there are about 12 stories that we need to find content for. So typically between like 710, to about 730. That's going to be our news of the day, where we invite guests, experts, politicians to come and discuss that on the show. And then between 740 to eight o'clock, they're the entertainment water cooler, big promo, don't miss stories, be late to work stories. And then from eight, bout 820 through to about 850 We start to introduce a little bit more consumer, some more social bit socially based stories, couple more, you know, people based stories, but the thing for us is that we want a show that represents everyone. So we don't just want politicians or experts. We want to talk to real people. We want to know what's happening out there, across the nation wherever you know whether that's Metro, regional or anywhere in between. So that's a bit of a snapshot of how we make decisions.
Liz Nable 8:04
Wow. So are you looking for I know, I mean, I'm probably noticed I did back in the day work on morning television, I was on the 11pm shift. I didn't last very long out different person at midnight. And obviously you have your heart and new stories earlier in the piece. Correct. And then it softens out towards you know, as you get into the morning, is that right?
Speaker 2 8:25
It does. But we still do news across each of those hours, both in bulletin form, and as what we call segments, so crosses in chats and interviews on the show.
Liz Nable 8:39
Yeah. And are you looking for like you trying to get your audience to start the day happy? Or is it really just a balanced portrayal of news? Is there something specific you're looking for in stories? Obviously, you have your breaking news stories, and that will always be news. But things that perhaps aren't breaking news, there might be you know, things that topical things people are talking about or having news stories or those sorts of things. What are you sort of looking at? Or is there anything specific that you're looking out for when I'm assuming you get hundreds of pitches a day?
Speaker 2 9:08
Yeah. And so that's a difficult question to answer because we are looking for everything. So for news that could, you know, be as simple as giving us you know, let's take an example. There's a strike happening at a hospital. We want to talk to the nurses and the emergency room doctors. That's one way we could cover it up. Another way we could cover covered up is to fight for our audience, and to get bosses and experts and ministers on the show and fight for a change so that we can be the voice of the community. If we move away from us, we also like to be informative. That kind of captures consumer cost of living health. Maybe Call fitness. And then we'd love to entertain and make people laugh. And so across the show, that could be a major celebrity, it could be someone who's gone viral. It could be the weather. And that's a, you know, another opportunity to get on the show on on a show like Sunrise, they've got to do multiple different crosses across a topic or across it location. And they've got to have lots of fun characters and people to bounce off. What is your audience,
Liz Nable 10:35
like? Consume the show? Do they just dip in and out? Like, what is your data sort of show? Like, I'm just thinking in terms of the audience for my podcast here. A lot of small business owners small to medium business owners thinking like, how is what they do each day, or their stories relevant on a morning news show like Sunrise? Can you give us any insight into how the audience watches the show? Or do they specifically, you know, does it peak at a certain time? Or are they just watching for 10 minutes or? Yep,
Speaker 2 11:04
so typically, we don't have many people who watch from 530 to nine o'clock, we have people who dip them out based on you know, whatever their their morning routine looks like at home, the the audience peaks between seven o'clock, all the way through to 830. So for us, that's when we've got the most eyeballs on screen. And, and everyone is competing for those slots. So it's really hard to get that slot on Sunrise, because there's limited time. And it's got to be the best story of the day with the best talent.
Liz Nable 11:44
Absolutely. So when you're give me a snapshot of, aside from the breaking news, which is obviously something that just happens as it happens. Some of the stories that might be patchable, from our audience on this show, might be softer, more feature style, or can, you know, not necessarily have to go in there that day? They could be, you know, they're not time sensitive, so to speak. How many pitches? Are you getting a day? How do you sort through those pitches? And what can people do to stand out? Are there any tips or tricks you can share?
Speaker 2 12:17
Okay, so I get hundreds of pitches in my inbox every single day. I'm surprised like, I like that, because I have a fear of missing out. I don't want to miss out. I want to see everything that you know, could or could not come on that show. And so email is the preferred way that I like to work. And I like to get the email with like a good headline in the subject line. And I often say to people think about that subject line. Like it's my promo on the show coming up after the break. Yeah, that are you trying to do? How are we going to make people late for work. So I that is going to hook me in. And then in the body of the email, I'm keen to understand what you're trying to, you know, get across really quickly a couple of key points about where we could take the story. You know, it's as easy as thinking like the beginning, middle, and an end. I want practical points as well about, you know, if you're going to offer tips to our audience, what are those tips, if we take sleep, for example, we have heard 1000 times that you shouldn't have coffee after three o'clock. Don't hold your iPhone near face. And you know, as you're falling asleep at bed, make sure you've got the right temperature. Everyone's heard that those tips aren't going to get to air. We need something outside of that that's unique that that our audience hasn't heard before.
Liz Nable 13:53
Wow. Is there anything? I know when I was working as a journalist, if you had someone come to you with a pitch, where they were essentially making your job easier, particularly because you do have three and a half hours and television airtime to feel? How important is that that they understand what you're looking for that understand your audience? Like they've obviously what you're hoping they've watched the show before, is that you
Speaker 2 14:16
would be surprised how many people pitch stories to sunrise, and they haven't watched the show. So it's pretty cool that and it's a waste of you know, their time as well as their energy and time is money for them. So, so it's critical that you've watched the show, you know what the format is what the tone is. And you're really thinking about carving something for the sunrise viewer?
Liz Nable 14:44
What about pitches? Because I know in my course, often, you know, people will pitch me a great idea for a story and then like, Oh, I'm going to pitch this to sunrise or whoever. And I'm like, But how are you going to tell that story? It's in visual medium, and they look at me with By face and like that your pictures are key like that there's not a story without pictures,
Speaker 2 15:05
right? That's right. And so we can work on that together, right? So as long as we get a good summary good key points and, and your client, the person pitching to us has thought about what would the pictures be, we don't need that link in the inbox, we can send our crew. And we can work together on that. But there absolutely has to be a visual element to the story. Otherwise, it's not going to work on a story. And to that point, if the visual element is hard to explain, send me a photo or attach something that's, that's going to show me the visual. So I go, Hey, ya know, I can't miss out on that. That's, you know, that's terrific. And that's gonna look amazing on TV.
Liz Nable 15:56
Absolutely. Is there anything? Can you give me an example? Or maybe a couple of examples of things that you would always like he's mentioned sleep? Like, is there anything that your audience would always want to know about? And I know, that's really hard to read, tell those stories, like sleep in new ways. But I also know that you guys will continue to tell those stories. Yep. in new ways, because that's what people want.
Speaker 2 16:17
Yes. So for us, consumer is a large part of the show. So that could be anything from cost of living, credit cards, travel, new tech. It's a, you know, a broad market. And for us, those stories are really important for us to share, to share with our audience, the critical thing for us are the case studies. So who, who's going to come on and help us demonstrate this story? And they can't be paid? They have to be real, actual customers with a story to tell. And most definitely can't have been paid for that. For that slot. No
Liz Nable 17:04
independent objective. That's right. So I think so your audience, I'm assuming is like a mass market audience, but with things like luxury products and goods, probably not relevant to sunrise? Is there any more specific is that like, you know, if you have, say, for example, someone's listing, and they've got a high end or a high ticket product, or, or service or they're servicing, what perhaps might not be your audience? Is that still relevant at all, or just something for a different media outlet?
Speaker 2 17:33
No, we typically don't do that sort of content. But having said that, we do like to see how the other half leaves. So for example, if you're a real estate agent, and you're selling a $500 million property, and it's going to set a record, we'd love to come and see it and showcase, showcase what that looks like and what you get for that sort of money. So you typically no, we don't do those, you know, high end luxury items. But if you can be creative about it, and find a way to spin it for for us for our audience, which is yet mass market. That's, you know, that could be beneficial. Everybody loves real estate porn,
Liz Nable 18:19
especially in Australia. They love seeing how the other half lives. That's a really heavy example. What about I'm putting you on the spot here? Because I know you run the weekday show, but would there be more opportunities, possibly for small business owners and my personal brands influence and that sort of thing on the weekend version of sunrise? And how does that sort of defer to the weekday version?
Speaker 2 18:41
So so we're one brand, we're two teams, and we work really closely together? The the thing for us is, if we're really keen to get out of the studio, and for us, we need to team up with great locations. So on the weekend, that's, you know, a huge opportunity, if you've got an event or a festival, um, definitely reach out and see if we can team up together for weather, all different sorts of integrations and activations across the show. But yeah, like it follows a very similar format. We can sunrises on air from seven to 10. They have a very similar structure to the week, the week day show. So it's yeah, quite similar in those ways.
Liz Nable 19:29
So if you received a pitch that you're like, Wait, this is not right for us, or we don't have time or whatever. Would you call it that to the weekend thing?
Speaker 2 19:35
Absolutely. Yep. Got it to the team. Have a discussion with them. See if it works for them, and then they'll you know, go back.
Liz Nable 19:43
Yeah, as it might might have maybe a bit more flexibility on the weekend is tends to be slower. You never know these days, but technically it's supposed to be slower on the weekends,
Speaker 2 19:52
technically, but not not on our show. Like typically we give our segments about three to five minutes, and that's seven days a week. We'd like to keep things moving keep it Pacey have a lots of variety. So, so yeah. Speaking
Liz Nable 20:09
in exposure terms, I know from my point of view, what if anyone who has a small business, listen to the show, three to five minutes on national television is massive, it doesn't sound like a lot, if you're not in television, that is a huge amount.
Speaker 2 20:22
It's huge. And there's, you know, enormous and if you were to buy those slots, you would be spending an enormous amount of money for to do those sales deals for the commercial side of the business. So it's a huge opportunity. In those three to five minutes, you need to have thought about how are you going to deliver your message in short, sharp grabs, and don't try and work up to your best moments, you need to hit us with your best moments, right from the very beginning.
Liz Nable 20:55
Now important is that if someone's good talent on we call it good talent in PD lead, if someone's really good person to interview when they speak really succinctly, and it gets the point in there. You know, they've got a bit of charisma and that sort of thing, is that someone that you guys would go next time there's a story in that, you know, feel or that area, pick up the phone and say, can we get you back?
Speaker 2 21:15
Absolutely. So good talent for us are people who present well, they're animated, they get to the point really quickly, they give us good examples, good context. That's what we consider good talent on the show. And yes, we would absolutely continue to get that person back on the show time and time again. The other on the flip side, it's really important to build those relationships. So if someone's been on the show, and they want to come back on the show, it's really important that, you know, just as we do monitor the new cycle, they're also monitoring the new cycle. And they reach out and they say, Hey, Jas, have you seen this story today? I can, I'm an expert in that area, I can talk to these following points on that topic. And you never know what kind of day it is. It could be a really, really slow day, and I go, You know what, that's a really good idea. That's a great way to follow that story or to move it forward. Yeah. Or, you know, you wake up in the morning, and you see it in the paper, email me again, we're constantly on it could you know, something could have fallen over on the show, we could be looking for something to pop into the show that morning. And you literally could get a phone call and be like, we could be like, Hey, can you join us in half an hour? Or we'll send a crew to you, Ken, can you be a part of the show this morning, you know, in an hour's time. So it's really important to build those relationships, and to keep contacting us so that we know what stories you could assist us on and ultimately make our lives a little bit easier to Yeah, absolutely.
Liz Nable 22:51
What sort of exposure are we talking? Obviously, TV has changed a lot in the last 10 or 20 years. And the ratings like the generic ratings on TV aren't what they used to be. But I know that there's lots of other ways to measure the exposure on the show. Do you have but how would you guys maximise exposure of stories and feature?
Speaker 2 23:12
So So talking about rating sunrise has been the number one show for 19 years. And on average, we reach about a million people every day. Now, this year, we've had the introduction of vos. And so that's really exciting, because that is the streaming services. So like seven plus people who stream sunrise on their way to work, like I often do. Those measurements are now giving us a total audience. And so that is critical because it's more accurate. It's telling us exactly who's watching the show. And from where
Liz Nable 23:54
that's so interesting, because it for a long time, obviously, you know, television ratings have been, you know, slammed in his transition period as not being what they were. But the way people consume media is so different. You could be in fact doubling or tripling that exposure in different kinds of ways, depending on how people watch the show.
Speaker 2 24:12
That's right. And the show is our bread and butter television is our bread and butter. But we have a website we are on all the social media platforms tick tock Instagram, Facebook, Twitter, so we communicate across all those channels. And if someone's coming on Sunrise, let's say you've you know, you've we've been booked to do a pre record we've been booked to do a live cross. It's really important that in return they're thinking well how am I going to leverage this opportunity across my social platforms it's well you can take that you know sunrise video and promote it after you've been on the show. But while you're there while the cameras setting up for a live cross or while you're on set with Shiva when NAT what what photos are you taking? What videos are you doing for both pre promotional posts He's promotion so that you're milking that moment for months to come.
Liz Nable 25:03
Yeah. Wow, that's good tips. And is there a certain time that is a like a timing thing? When people pitch the show? Are they pitching you directly? Do they pick the Chief of Staff? How does it work at sunrise, for best chance, I guess if you're cold pitching, and you don't have that relationship with yourself or anyone yet, what's the best course of action if you're trying to establish relationship?
Speaker 2 25:24
So at sunrise, we've got a Chief of Staff, we've got a late supervising producer to help us you know, with the the never ending new cycle and managing editor, I think the best thing to do is to pitch all of us and whoever's on will come back straight away. But to your point, it's important to build relationships. So if you, you know, find a rapport with a reporter, or a different producer, like everyone on the show is responsible for bringing great content to our audience. So, so if you've got an in with someone, absolutely keep working that and hopefully, that will come to fruition. And particularly if you're in
Liz Nable 26:05
an industry, obviously, small business owners are experts generally in the industry, they live and breathe out every day, to help bring those stories to a journalist or reporter or producer who might not necessarily just be focusing on that one thing, they've got a lot of other sort of spinning plates, it's so important, isn't it for them for you to continue to bring those stories to them, and maybe eight times out of 10, they're like, it's not the right fit today. But you know, 20% of the time, you can get that exposure, which like we said is hundreds of 1000s of dollars, potentially, of what you would pay for an ad or, or something in the same time slot.
Speaker 2 26:41
Yeah, that's correct. And don't feel bad. If we reject your pitch, like, it could be for a variety of reasons, the timing could be wrong, the show could be packed, keep going, keep building those relationships with us. Often, we like to start people with a pre recorded shoot, and you can, you know, be part of a package on the show be part of a Shaun White consumer story, be the case study for a wider story that we're doing, you know, take any opportunity that you can get, really work on on building those relationships and building those examples in your toolkit and in your media toolkit. And through that, you know, we'll all get to know each other, and then that will lead to live opportunities and other opportunities on the show as well.
Liz Nable 27:32
Yeah. Because journalists is so time for you can't make any of this like Skype too hard or personally, just rejection is part of the course in this game, unfortunately.
Speaker 2 27:41
Yep, it's Yep, it's just business. It's not personal. We, you know, remember, it's about 12 slots. And that's prime real estate, that's 12 slots every day is is you know, when you think about all the stories that come across all the different channels and platforms, and online, that's that's not a lot. So really hard to get those slots. And it's a really big deal if you get it.
Liz Nable 28:09
Before we wrap up, we were talking today, before we hit record about today, it's a good example, I assumed it was really busy news day because we had the Victorian Government pull out of hosting the Commonwealth Games, and I was like, Oh, wow, it must have been a super busy day. And you're like, actually would have been great to have a few more things on the side. So we could have filled out tell me a little bit about those days when it's slow news and what sorts of stories might be good to have on the side or pitch to you on the fly that you can use to fill that three and a half hours?
Speaker 2 28:37
Yes, so So today is a good example, we were super busy on that one particular story on the on the Victorian Government pulling out of the Commonwealth Games. So a couple of producers are assigned to that story. But outside of that we have lots of other slots that we're trying to fill with variety. So if the new cycle isn't strong that day, we're looking for themes that are happening in the cycle. So that could be cost of living interest rates around the corner scams, things like that. And we're sitting there going, Okay, how do we move this story forward? And if all it takes is like an email in the inbox to spark something, we could have had a conversation in the office a little bit earlier, little pieces can come together and make a larger narrative for us. But it's important that you know, every story is not just one track. So we're looking for lots of little pieces to help us tell that story beginning,
Liz Nable 29:42
middle and end. Yeah, and that's an important point to make. Because even in a big story, like you know, this Victorian government situation, and perhaps that's not a great example, because it's a very specific story, but in those big breaking stories, you're often looking to flesh those story that over a few days you might look for a financial angle, or a personal angle or female angle. So there's lots of different ways people can piggyback those stories with their own product or service or brand to weave it into the current news of the day and to continue to move that story forward over the course of a few days or a week or
Speaker 2 30:18
so let's look at Coronavirus, right. Typically, Sunrise is not the show where we're going to be talking about toilet paper. And yet, over the course of Coronavirus, we were talking about types of toilet paper, we were crossing to the toilet paper factory. We were talking about you. Yeah,
Liz Nable 30:43
yeah. Wow.
Speaker 2 30:44
It's about looking at what's happening around you. And yeah, how does my How does my story or my business fit in with that? Yeah, and it doesn't have to be serious. Like, we'd love to have a laugh. We'd love to tap things differently on Sunrise. So we're always looking for those opportunities,
Liz Nable 31:01
I think for people just to, and I often teach this to the students in my course, it doesn't need to be a full time job doing your own PR, you just need to pay a little bit of attention to the news of the day, and start to think a little bit more about how your business might relate. Or, you know, what you're like cold is a perfect example how your business was affected or how it was booming or how you had to layoff staff or how you had to go online or there's so many different ways to cut.
Speaker 2 31:28
That's right everyone, short staffed everyone's struggling no matter what industry you're you're in finding and retaining the right people. So if your business has a unique story about how you're doing that, that's that's an amazing cross. For us. That's that's a case study in a package or a live cross where we're shining a light on someone who's doing really well.
Liz Nable 31:51
I love that any parting kind of top tips for someone who's sort of starting this for the first time or listing she got I feel like my story could be really relevant on Sunrise, I reckon I've got a really great scoop for them any sort of top tips to get started, because this is I know, this is a barrier to you. And I this sense, like, this is easy. This is how our brains work. But for a lot of business owners, they've got 400 million other things they're doing in their business. And this is just a small part of what they're going to do to help promote their business.
Speaker 2 32:20
Yeah, I think you should give it a go. Email me and impeach me and see what comes out of that. It's, it's teamwork. I like to think of it as teamwork. You don't have to give me a story that's completely ready to go. It's also my job to meet you halfway and workshop with you to work out. Is that going to fit for us. And if it's not going to fit, I often, you know, save notes in my phone or notes in my contacts. I you know, it'll jog my memory down the track. And I'll go, Oh, someone emailed me about that topic, or, you know, we're working on a story next week, I might introduce you to that reporter and see if there's some way that you guys can can leverage that into something. So give it a go. Don't feel bad if you if we reject you. It's not personal.
Liz Nable 33:16
It's never personal.
Speaker 2 33:17
No. And yeah, just just help just build a relationship with us and stay in touch. I typically like to get an email. And I like to get back to everyone in about 48 hours.
Liz Nable 33:31
Wow, that's
Speaker 2 33:33
and sometimes it's short and sweet. I can't give everyone long explanations as to why that may or may not work for our show. But if you haven't heard from me, then follow up with with a phone call. Yeah.
Liz Nable 33:47
Perfect. Now, that being said, Would you like to share your email on the podcast with everyone?
Speaker 2 33:54
You're gonna get flooded. Do you know what I would love to because we're always looking for amazing story. Amazing. Go for it. So it's J Costas. JK, O S for Sam T for Tom a s for [email protected]. And it's word seven ACB.
Liz Nable 34:16
Perfect. Well, I hope you get inundated with tonnes of pictures from
Unknown Speaker 34:19
it, he's gonna hate me.
Liz Nable 34:22
And Jasmine is one of the guest experts inside the next round of the media masters Academy which launches in mid August. So if you would like to live pitch Jasmine and hear many more of her top tips and behind the scenes secrets of working in morning television, jump into the course. And I will pop some show notes in here about how you can get yourself on the waitlist for that course. Thank you so much for your time, Jasmine. You must be exhausted and you have a family at home to get home too. So I will let you go but I really appreciate your time.
Unknown Speaker 34:54
Thanks for your time please.
Liz Nable 34:55
Thank you for listening to this episode of Nable My Business. If you've loved it, please share it on Instagram and Facebook for your friends. I'm all about listening and learning from you, my audience. So please pop a review on iTunes and let me know how you're enjoying the show. I'd love to hear from you. So if you have any questions, email me at Liz at Liz Nable dot com - And if you want to know more about what I do, head over to Liz Nable dot com I truly hope this podcast is a game changer for you. Whether you're a small business owner, a franchisee you have a side hustle or you're just starting out. This is where you truly begin to build your own empire and the life of your dreams.
Transcribed by https://otter.ai
