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Your Producing Voice: How you get into anchor’s heads.

I have a secret for producers. It’s something your anchors aren’t going to tell you. However, they may say it behind your back. Your voice in our IFB tells us everything we need to know about how good you are at what you do — or whether you have a long way to go.

A friend of mine reminded me of this the other day. In 2004, she produced the wall-to-wall coverage of Hurricane Charley that I anchored at WSPA-TV. As a new hurricane, Irene, was barreling toward the Carolina coast, she was reminiscing on my Facebook wall about the chaos going on behind-the-scenes at the station when Charley hit the Myrtle Beach area.

But her experience was far different from mine. All I remember from that day in 2004 was her soft, reassuring voice in my head calmly telling me which satellite shot to go to next. She’d line-up one. Sometimes it would work out and I could talk with the reporters out on the beach as the wind and rain beat them harder and harder. In those conditions, the satellite shot would go down a lot, though. It probably stressed her out to the max. But you couldn’t tell by her voice. With smooth, even tones, she’d let me know we’d lost that one and suggest where to go next. If she didn’t have a suggestion, I’d just ad-lib until we got back on-track.

Sometimes when she’d open her mic, I could hear someone near her in the booth screaming. It was clear that day who was really in control in the “control room,” the producer really knew what she was doing.

I’ve worked with some brilliant producers. The best are “power producers” in the newsroom who build innovative, incisive blocks of news that showcase their anchors’ full range of personality. Throughout the day, they prod their reporters. And they can be gruff when they’re not getting what they want.

But then, right before their show, they ascend the steps above the director to the producer’s perch in the control room and it’s like they take on the personality of a guardian angel: wise, patient, and soft-spoken. Like Bela Karolyi, the best use breaks in the action to coach their anchors into an Olympic performance.

“Nice ad-lib there on story X,” you might hear them say during a commercial break. “You had the whole control room laughing.”

Or it can be as simple as: “Great pacing on that A-block. We’re right on time.”

That doesn’t mean stroking your anchors’ egos. I don’t want you to tell me I’m doing a good job if the show’s a train wreck or my energy is off. You should still communicate with me though.

“Live shots down all over the place,” you might say. “Gotta love live TV! Just keep doing what you’re doing. We’ll get through it — and we needed material for the holiday party blooper tape anyway.”

It really is like that scene from Broadcast News when the producer, played by Holly Hunter, got the very inexperienced anchor, played by William Hurt, through a special report about Libya. Hopefully you won’t need to be the ventriloquist Hunter’s character nearly becomes in that scene. But this quote from the movie’s anchor is so true:

“You’re an amazing woman,” he tells his producer. “What a feeling having you inside my head!”

So the next time you feel like hitting that button in the booth and really letting your anchor have it in his IFB, remember that. You’re in his head. And what you say will dramatically impact his performance for the rest of that show — and maybe for the rest of the time you work together.

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Matthew Nordin is a morning anchor and investigative reporter at Raycom Media’s WMBF News, the NBC affiliate in Myrtle Beach, SC. He was an anchor/reporter at WSPA-TV in Greenville/Spartanburg, SC from 2001-2005. Soon, he’ll write about communicating with your anchor during live interviews. You can follow him on Twitter @MatthewNordin

It’s GM’s agenda and you are stuck covering it “as news.”

We promise this situation will happen to you. It happened to us at several stations, in small to large markets. General Manager walks into an editorial meeting and says “So what are we doing to cover such and such, ( fill-in the blank, new road widening project, special session by legislature, tax incentive package for a new industry in town etc.) since our viewers the tax payers are getting screwed.” The news director gives a blank look followed by the lifted eyebrow smirk, then stares at you, “So how will you cover that story today?”

If this happens, say you are going to make some calls and get out of the room pronto. Better yet, grab your photog and get out of the building while you make those calls! Why? You do not want the GM to start going off on specific players and agendas for the story. You do not want specifics on how this story should be told, and exactly what the tease will say. That way, if it is the GM skimming headlines and misinterpreting reality, you won’t end up having to tell him/her. Without specifics chances are you can find some small nugget to package.

Next, call the newsroom mega brain. You know, the walking, talking, human factoid! This person can save you hours of stress and research. Do the necessary ego stroke and get the person to give you background information on this subject. You need time to work sources for a backup in case the story falls apart. The “human factoid” usually can at least provide the name and number for a player in town who will give you insight on whether the GM’s “news” really is “news.”

Do your thing, work it and try to find an interesting character or bit of video to showcase so you can get by. If there’s just nothing to the story give the basics, then try and include a little subtle perspective in your anchor intro or tag. Managers tend to play in that copy more anyway. This way, if the story is taken out of context and the GM gets a call, it will more likely become management’s problem instead of the reporter’s failing.

If you cannot find a nugget to package, and there’s simply nothing to the story, offer to write a vo or vo/sot and let your manager know early. That gives management time to derail the GM situation well before the newscast airs. It helps if you can offer an interesting alternative story the manager can have you churn out instead. Sometimes management will then take the GM “news” burden off of you and have an anchor front it somewhere cool on set. You are off the hook, and the GM still feels heard without the station blowing a weak story out of proportion.

If you are told to package a story and say certain things in a tease you don’t like, try and do a subtle rewrite. Also, know this happens to everyone from time to time. Chances are your credibility is not ruined. Those in the know in town realize you got stuck “being the good soldier.”

Anchor’s Away! How to handle a difficult anchor.

Anchors, the title of this one is strong and may tick you off. But before you get too upset, read our previous article: “Throw me a life line, I’m being hung out to dry, AGAIN!” We are journalists after all and therefore must look at all sides!

As a producer, the largest challenge I faced without a doubt was anchors that “attacked” rather than talked through issues. It took years of frustration to figure out how to handle this. Now I want to share what I learned so other producers can relax more.

How to deal with a difficult anchor

Know your anchors strengths and weaknesses
Remember this person is the face of all that you do as well
Establish your role as manager of the newscast
If there’s a problem, take the lead and talk it through
As a last option, fight fire with fire

I fully admit that a lot of complaints anchors brought to me were valid. But, because I was being screamed at or worse yet had to listen to the boss tell me that I screwed up, it was sometimes hard to hear the message. Most of us producers are thrown into the fire without a fireproof suit and are just trying to get out alive every day. You have to separate yourself from that chaos and listen to the message. For example, one anchor thought I gave her too many instructions before going to a breaking news story. Maddening, since producers are often told we give anchors too little information. I put my frustration aside and asked why. She explained that she was unable to formulate thoughts to ad lib and felt foolish delivering the facts. She didn’t like reading scripts cold and preferred I not write breaking news, instead give her a few facts to run with. Next time we had a breaker, I gave her what she wanted and she did a great job.

Knowing your anchors strengths and weaknesses also means you have to be able to adapt to the anchors needs. I learned which anchors could ad lib and which needed those breaking news scripts to pull off spot news. If I had an anchor that could not ad lib, I gave the ad libs to the anchor that could ad lib, then changed anchor reads so the non-ad libber did not feel left out. I learned who needed compliments in their IFB at commercial breaks. It is a delicate balance. It seems like all you do is humor people’s egos. Frankly, that is a large part of producing a winning newscast. It’s also something you need to get used to in order to have success at the highest levels.

Which leads to the next point, remember these anchors are the face of all the hard work you do each day. Your copy will not “sing” unless the anchor can “deliver” it. Your newscast will be uncomfortable to watch if your anchors are not at ease. Whether some demands are ridiculous in your opinion, is another matter. Humor enough of them to calm the anchor down so he/she can perform well. A key to doing this is to give some compliments even if you never get any in return. You want to show your anchors that you respect the jobs they do, so they gain confidence that you have their backs. This is crucial to establishing a strong team on your show. As the newscast manager this is your primary responsibility, whether you make the most money on the shift or not.

As manager of your show, you do have the right to make the decisions. If an anchor has a really unreasonable request, you can deny it. Here’s a common scenario: An hour before your newscast an anchor comes to you saying their co-anchor has more reads. You have breaking news, your reporters haven’t fed and you are behind writing. It is okay to say: “Today the show airs as formatted.” Then, after the newscast, take a look at how you divided up the anchor reads that day, as well as a few days earlier. Anchors usually do not come to you unless they have noticed an issue for a while. Most people do not like confrontation. If your reads have been a bit skewed to the other anchor, fix the issue the next day. Thank the anchor who mentioned it for coming to you. Also if you don’t know this next trick, use it. Switch off who leads the blocks every day. By the law of averages, that means by the end of the week the anchors will have a nearly even number of reads and leads. If the reads were not skewed, print out a week’s worth of rundowns, highlight the reads in different colors and talk to the anchor that’s complaining. Do not accuse the anchor of being ridiculous. Explain what you do to prevent uneven face time, then hand the anchor the highlighted rundowns and ask him/her to look them over and see if there are any issues he/she wants to discuss. This establishes that you are not a push over, you are conscientious, and you take responsibility for your newscasts. This simple chat can keep an anchor from lodging attacks. Thank the anchor for coming to you and let him/her know you are always willing to hear ways “We can make the newscast better.” Again, this will show the anchor that you are the leader of the newscast.

So what if the anchor constantly runs to management to whine about you and never comes to you directly? Remember, people do not like confrontation. If a manager comes to you with an anchor complaint, listen, then ask the manager how you should handle the problem. This shows you are willing to be proactive. Then, after the newscast ask to speak with the anchor one on one. Explain that you understand that anchor is upset about XYZ and you will do XYZ to fix the problem. Then say, “in the future if there’s a problem, please know that I am willing to listen. The best time for me to talk is right after the newscast.” Then, walk away. You want to have this conversation in case the anchor goes to management behind your back again. At that point ask your direct manager, ideally an EP, to sit with you while you talk to the anchor about the current problem and solution, and respectfully ask the anchor to come to you directly in the future. You want to let the anchor know you also have a little clout with management to even the playing field. In many shops producers are becoming more of a commodity than anchors. There are less people willing to do our job. You don’t want to abuse that knowledge, but it is helpful to subtly let the anchor know you are a valuable asset as well. It is also good to include your EP, because this person probably has years of history dealing with difficult anchors and can help diffuse the situation further or divert it to the EP instead of you.

Finally, if you have a really difficult anchor, and no other choice, fight fire with fire. Tell your EP ahead of time and stand up for yourself. If you are being hazed, read our previous article: “Thank you sir, may I have another: How to handle newsroom hazing.” One anchor of mine, refused to get to the set on time. So, I took her out of the entire a-block and ended up with her screaming at me in the News Director’s office. The ND told me to include her from then on, and I told them both that I would when she was professional enough to get to the set 5 minutes before the newscast began, not 5 minutes after. The ND turned to the anchor and said, “ That is a basic request.” I won a big battle. The daily attacks stopped. I also made a weather anchor that constantly ran exceedingly long on weather apologize to the audience for running so long that we could not air a story that was teased the entire show. He was 30 years my senior. But, I told him over the studio PA that he needed to take responsibility like the rest of us do each day and he went with it. We came back from commercial and he offered an eloquent apology.

If you take one thing away from this article, make it this: When you feel it’s “anchor’s away”, and you are about to be the brunt of a brutal tongue lashing, keep your cool. Write down the anchor’s complaint and reasoning. Give yourself a few minutes to breathe and relax and actually look at the situation from the anchor’s perspective. You may learn some valuable lessons about putting on a better newscast.

Step out of the box, will you?

It’s a phrase that makes many journalists cringe and roll their eyes: “People, we need to think out of the box.” What does that mean?

Well, it means don’t pitch the same story ideas over and over. It means the station wants more than police blotter stories. It also often means news management is getting creative to attract specific audiences. This is an opportunity to have fun at work again if you know a key secret. The best TV stories focus on three things: Real people with compelling video and audio.

When management starts talking about thinking “out of the box,” you need to start presenting ideas in a visual way. Describe your story idea by explaining your first shot in it. Another way to pitch is with the “character” you will showcase. Thinking “out of the box” is a catch phrase for asking journalists to put a human element into a story.

Here’s how to execute “out of the box” for different news philosophies: If you work in an “action news” shop, managers want to see reporters and anchors interacting with the news in a more visual way. Add more sequences and nat sound. Look for a person or interesting business to focus on for a different twist to a news of the day story. Producers should include more interesting anchor tags with information from the anchor to make them appear more of an expert rather than just a reader. Add cool opens to blocks with video and nat sound. Replay cool video in slow motion.

If you work in a “big J” type shop, do what you can to showcase how news headlines impact real people. Write in a more conversational way. Look for interesting characters.

If you work in a headline news type shop where you normally just chase breaking news, play up any interesting video. Let some emotional sound bites “breathe” more than you usually would.

“Out of the box” also means thinking beyond putting stories only on television screens. More and more shops want to see you pitching ideas that also have life in social media or at the very least the station web page. It really is just another way to establish human connections. The only difference is making the story more accessible for people to react. That doesn’t just mean creating a blog for people to sound off. This can be an opportunity to empower with links to associated groups and content. It just depends on the station’s philosophy how far you will go online.

The best part about being told to step “out of the box” is that your news management team is thinking beyond old fashioned TV journalism. It is looking for ways to integrate technology with storytelling and to redefine news coverage. This is an opportunity for you to get really creative and carve a niche for yourself not only within the station, but in the industry. So go ahead, think “out of the box.”