newscast – Page 13 – Survive Your Job In Television News

The ultimate tease challenge: the daily update on a recurring story.

If you ever wondered why you see producers sitting at their desks mumbling to themselves, then pacing in a hallway, this is it. Teasing the story that seems like it just won’t end. The rising flood waters waiting to crest, the trial that drags on forever, the storm damage cleanup that is so important to cover, but looks the same each day.

These are stories that, after a while, management and producers must debate on whether to tease at all, or does the viewer just expect the coverage to be there and watch for something else. While that debate rages, producers are often faced with a looming deadline and overnights that say they get a spike when coverage of that topic airs.

So what do you do when there’s no obvious unique element? Look beyond the obvious. Sometimes you need to come up with an interesting sidebar tag that would have viewer benefit. This is the time to search Twitter and tweet your sources for interesting tidbits that you can fact check and possibly add to your coverage in some way. You can also call a buddy who’s not in the business and ask where the coverage seems to be lacking for the story. They might have an idea you never thought off that would make a great vo/sot or even an outboard package. Also, have reporters keep an extra eye out for interesting character development that you can turn into an interesting tease.

Anchors are a great resource in this difficult time. They often are approached by people with interesting questions you could answer as an added element to your coverage. It’s a great tease option because it enhances your anchor’s credibility, with a viewer benefit. You asked and we got the answer for you! It engages viewers who often feel we talk at them instead of to them.

If there really is nothing interesting to tease about the ongoing story, talk with management about whether you can move the tease out of its traditional place, like the end of a block. This is a great time to do stealth teases (see article “You’re Hooked“) in the middle of the a-block for example. You can put the anchors on a two shot and have them say something like, “Hey, in 5 minutes we’re going to get an update on the trial. I hear (reporter) has (a quick line with the gist of the pkg).” Then go on with the newscast.

The one thing you want to avoid at all costs is the tease that goes something like these “Up next the latest on the Casey Anthony case.” or “We have the latest on cleanup of the tornado damage in Joplin.” These are the ultimate throw away lines and will cost you credibility with the viewer. Keep in a mind that viewers expect you to have the latest on a big story. That’s the reason they are tuning in. They believe in your ability to cover the ongoing stories. Don’t let them down by trivializing it with only a “coming up, the latest.” It makes your station seem callous and sloppy. Viewers are taking this story seriously. You need to as well. You don’t have to have a wow factor each day. A simple headline in a tease is okay. It helps viewers know when they will get the daily update. Taking a quick hit with a live reporter also can work, but coordinate with the reporter ahead of time to make sure he/she doesn’t give away too much. Viewers think it is cool if you check in live on something, it shows immediacy. Have the anchor say something like, “We’re hearing court is about to wrap up right now, (Reporter) interesting day?” Reporter says: “Yes, in fact we had something just happen that we will tell you about in two minutes.” You aren’t exaggerating, you are not giving the story away, you are showcasing a live ongoing event with immediacy. Again, viewers love feeling like they are in the moment. Another way to consider this along similar lines: Teasing these kinds of stories is like teasing weather. Some days the information is huge and you need to blow it out. Some days there’s not much to it, but you want the viewer to know you always have their best interest in mind, even on a sunny cloudless day. You want to shoot straight and build credibility for the times the teases are easy to write, because what you have to share is fascinating. Do these things and the amount of time you spend mumbling to yourself in the hallway, will begin to shrink!

Throw me a life line, I’m being hung out to dry, AGAIN!

If you’re an anchor, it’s one of your nightmares: A producer in over his/her head and constantly providing no instructions during a crisis in a live show. But simply yelling at the producer and then complaining to management doesn’t fix the problem.

First you have to understand the stakes. Producers are hard to come by. The burnout rate is tremendous. Producers also tend to be able to move up in markets quickly with very little experience. Like it or not, anchors are becoming on the job trainers for producers in many stations. Problem is many anchors don’t know enough about the fine points of producing to be a true help.

We want to bridge the gap a little bit so anchors can shine brightly on air, and turn into valuable assets, even without a lot of support. As an anchor, it is crucial that you are considered easy to work with and supportive. Your producer is a key player, so you need to build a relationship even if the person is not that great at their job.

Here are the main things most green producers really need help with, but may struggle to admit to an anchor:

Knowing how to write the way an anchor speaks.
Timing the show.
Handling breakers.
Making split second decisions in the booth.

Now let’s help you help the producer. When you get a new producer you need to have at least a little patience and give that person a couple of weeks of producing shows. See what the producer does really well. Then compliment the producer on those things. This is crucial because many producers fear anchors are out to get them. You need to begin the relationship showing you will be supportive and fair.

After that conversation you can start to rewrite copy here and there. When you rewrite, let the producer know why you did. But do it after the newscast. The producer is too slammed to pay attention before the show airs and they definitely don’t have time during breaks in the newscast. Do not rewrite everything then hand all the rewrites to the producer to figure out why. One anchor I know would switch the copy into lower case and let the producer know. She then explained she did that so the producer could see some of the phrases she would naturally use in conversation. This is an easy, and non-combative, way to teach a producer your conversational style. If there are a lot of grammatical errors, just let the producer know you are doing some rewrites because the producer seems behind and you want to help. Again, a rewrite in lower case signals what you changed to the producer so he/she can look back later and catch the grammatical errors. If those grammatical errors keep happening, give the producer scripts with the grammatical errors you fixed after a newscast. Tell the producer you know he/she writes a lot, and you just wanted to show common mistakes you are finding so he/she can keep them in mind for the next show. Speaking of help, if you see a script that you know the green producer will mangle or perhaps get the station sued if they write it, either write it yourself and have an EP look it over for legal reasons. You can also ask the EP to just write it and offer to do something the EP usually does.

Now let’s talk timing. This is very hard for producers and in fairness an anchor should not have to worry about it. Unfortunately, many producers learn everything, including timing a newscast, by trial and error. Often the EP’s, who are in charge of monitoring the producers “issues” won’t be able to spot the producers specific timing problems. As the anchor who sees it every day, you can easily spot timing trouble trends. When you do notice your producer mistiming the same spots over and over, let the EP know. This will help them guide the producer and also makes you look like a real team player who is watching out for the good of the newscast.

Handling breakers and the resulting split second decisions is also a struggle for producers. The producer has several people asking (and also telling!) him/her what to do at once. For the anchor, it can be hard to get the producer on the phone because the assignment desk and EP call constantly. So, if you possibly can, use top of screen messages to ask the producer when to do the breaker and how you should do it. (i.e. how long should you talk, is there video or a live shot, or a pitch to a reporter?) Also you can usually print out top of screen conversations later if needed. This can help in several ways. It allows you to show the EP that you are not attacking the producer if that person is particularly thin skinned. It also helps you check with the EP to see if you are phrasing questions in ways that let the producer quickly assess and respond. Finally, if you are ever called on the carpet for performance when these crises arise, you have concrete evidence that shows you were trying to be proactive.

If the producer still doesn’t give you clear instructions, talk about it after the show. Spell out what you need so the producer knows next time. Going straight to the EP may not help. EP’s may not be able to explain what you need as clearly, because they usually are in the newsroom funneling everything instead of in the booth watching the producer. If the EP is in the booth and everything still ends up a mess, ask to talk with the EP and producer after the show and have them explain what was happening on their end. Often talking it out, allows the EP or producer to see where the disconnect happened without you having to spell it out.

Finally, make sure you are very involved in the newscast throughout your shift. That doesn’t mean sounding off on what you think about every single story the whole time. But you should check in with the EP and producer to see if they need any help. Ask to write some stories. Offer to research extra elements that can be added for flavor at the end of a story. Offer to call and check on a reporter or two and see how they are doing. Being an anchor is not just about sitting around tweeting and waiting to read what others write. Those things are important. Preparing to deliver the scripts with breathing exercises and some down time before the show is also important. But it’s not enough. You need to be involved with the newscast and its contents. Bottom line, the more familiar you are the better chance you have to cover up your producer’s inadequacies on while you are on the air. Taking this kind of ownership makes you a key ally for the EP and upper management. It does not mean you will be stuck with a weak producer, it means you will be known as a team player and a leader the newsroom does not want to lose. You also will deliver your copy in a more meaningful and authoritative way because you truly own the newscast. Your hand was in it all the way through. So shine bright!

How to generate story ideas when you are swamped

Journalists are constantly told to source build and break stories. Problem is, in many shops you are given two packages a day and have no time to work the phones and source build. That’s what you think, but it really is possible. There are ways to generate fresh story ideas that do not take a ton of time. You also can source build. It will take some of your too precious free time. But the payoff is making you more valuable to the station.

So how do you come up with interesting stories when you have next to no time? Here are some ideas to get you started.

First, some help for reporters. Try and “befriend” one person a day while covering the news. This could be the secretary you have to stare at while waiting for an interview, the officer telling you to wait behind the yellow tape, even the restaurant manager at a local dive where you bought a sandwich. Ask them about themselves and hand out a business card. Make sure you get their card too. A few days later, send a quick email saying you really enjoyed your conversation. If you learn the person loves a football team or has kids that like to play sports send email links to interesting stories every once in a while. Bottom line: Build a connection. If you have time to write an update on Facebook, you have time to send a quick link to these new potential sources.

Set up a Twitter account and use it. When we say use it, we don’t mean throwing up a meaningless self-serving plug for the story you are reporting on that very day. Throw up a comment about something interesting you read about. Mix up the comments so you are engaging to follow. Give snippets of what it’s like to be a TV journalist each day. But keep it positive. Remember, employers and potential employers often research Twitter and Facebook accounts. For example, don’t gripe about how much you “hate” your assignment to babysit a “dumb” police standoff. But do mention that your feet sure do hurt after waiting two hours for the standoff to end. The first makes you seem look childish, petty and unprofessional. The second, however, makes you look real and is something your followers can identify with. Twitter is an amazing resource most people are not using correctly. It is a chance to tap directly into what people are thinking about each day and what they want to learn more about. You will gain a following and, eventually, you’ll also start getting interesting tips. The key to Twitter is creating a human connection not another shameless, weak marketing ploy that just ticks people off. People on Twitter tend to obsess about being in the know, right now. You will lock them in if you make them realize they can literally be your eyes and ears and that their ideas may actually make it on the news.

Next, contact the Better Business Bureau and county or state run groups that help small businesses get off the ground. Let these organizations know you are building a list of experts. This can help you when you are suddenly asked for an out of the box story on damage prevention during bad weather or the latest housing or computer scam. These businesses need publicity and cannot, generally, afford to buy ads. But they can afford to send you a quick email pitching ideas once in a while.

Look at blogs on local newspaper websites. People go off on interesting things that sometimes turn into colorful television. How about the guy with the American flag that is too big for the homeowner’s association by-laws? Many of these kinds of stories turn up first in these blogs.

Now let’s talk about generating interesting stories if you are a producer. Yes, it’s hard to source build when you never even leave the newsroom for lunch. So use the computer to get ideas. Search for blogs and groups online that target your key audience. Then browse them several times a week for fresh information. These groups constantly dish. Also keep your ears open when you go to the gym, pick the kids up at daycare or stand in line at the grocery store. You will hear what people are concerned about. These tidbits can turn into interesting stories that you can “produce up” in your newscast. Also look at the hottest video of the day online, then try and come up with a local spin. A Twitter account can be a great asset for you as well. Build your following in the same way we just laid out for reporters.

Finally check out what other stations around the country are covering. Go to a few station websites in areas nearby and see what they’ve played up. Often you can at least find a consumer story with universal appeal.

Interview the station, don’t let it interview you.

Read that title again. Interview the station, don’t let it interview you. This probably goes against the grain of what you’ve been taught. But hear us out and you’ll see the logic. Most people assume that news management knows what type of person it needs for a given job. That is not always true. Increasingly news managers want to do only 1 thing, find a warm body to fill a slot. We say this after working in a combined 14 shops; most of them in market 30 and above. Most are places you would think have a clue about how to hire for specific needs. Bottom line: They don’t. Even the 1st place stations with “higher standards” often just want to fill and move forward. Scary? Yes. But you can still increase your odds of becoming a super hire, instead of that warm body destined for doom. It all comes down to how you interview the station.

How to interview the TV station

Talk to staffers.
Go it alone.
Watch an editorial meeting.
Ask management to spell out its news philosophy.
Play out scenarios.
Ask for a writing and ethics test.

Expand? Sure.

Talk to staffers

This is your best shot at crucial intel. Talking to staffers doesn’t just mean talking to the people management chooses for you to speak with. Get business cards off desks of people who are not around and call them after your interview. Ask if you can speak with them when they are outside the newsroom. Better yet, ask current staffers for names of people who used to have the job you are interviewing for. Google them and call those former employees at their new job. If everyone says the place is perfect, say flat out you know that’s not true. Ask what frustrates them about station WZZZ. This is your best shot at seeing if you can handle the weaknesses at the station. And trust us, all stations have them.

Go it alone

Request time during your interview to wander the newsroom and get a feel for the place. If the manager gets hinky, that’s a big sign the place is a mess. Well run shops have no fear of this. In fact many insist you wander and then watch how you react. Newsrooms that are starting to get on track will gladly give you a short stint to walk around. Hell holes will not let you do this. Also, ask for the chance to go it alone, while you are in the interview, not ahead of time. You do not want to give management the chance to stage it. Lastly, if the manager says sure, but provides you free time only when everyone’s at lunch or out on a story, that can be a sign of trouble.

Watch an editorial meeting

“Watch” is the operative word here. This is not the time to pipe in and show off your knowledge of the area. If you want to share any ideas, wait until the end of the meeting and do it one-on-one with management. You want to see how the staffers react to each other and management. Take notes. Do you see snickering and note passing? Do the reporters and producers seem half dead or over eager? All of these are signs the place could be a mess. If the meeting runs smoothly and quickly then this shop may have a vision.

Ask management to spell out its news philosophy

You want the news philosophy to be boiled down to one sentence. Request it. Stations with vision and clear cut standards can easily spell it out. Let the manager say the sentence, then ask for examples of how the shop will execute the philosophy that very day. Ask every manager you speak with the same thing. Do it with the anchors, reporters and producers you meet too. If you get stuttering, stammering answers the place is most likely a mess. Write it off. If you get a sentence, but then get excuses on why there is no execution that day, walk away. Everyone must be on the same page, or you will step into one mess after another. A shop without a clear vision is political hotbed hell and who needs that?

Play out scenarios

Give managers scenarios then ask how the newsroom is supposed to react. A favorite of ours: Ask about an armed standoff with a station helicopter overhead and SWAT team outside. Who makes the call as to how close a shot the station will take on live TV. Who decides when to pull the shot back? Will a manager be in the booth at all times or on the phone? Another good one: Does the station mention social media chatter during breaking news? How is that decided? We also like to discuss natural disaster coverage. For instance, if it’s a hurricane prone area, what is the hurricane coverage plan? Where do crews stay during the storm? How does the station ensure safety? Will you be fed? And don’t forget to ask about more than the ins and outs of news coverage. What if someone loses their cool in the newsroom? How is that handled? What if that person is an anchor? Who has the final say on copy? If it isn’t the manager on duty, chances are the shift boss is a highly paid babysitter who will stab you in the back.

Ask for a writing and ethics test

Yes this sounds insane. But this is the cat daddy for interviewing the station instead of letting it interview you. Blow management’s mind and ask for a writing test and get the bosses to ask you how you would handle specific ethical calls. Well run newsrooms should do this automatically. But we must admit, in all of our years only one television station did both types of tests. You want to write copy and get critiqued. This will show you if your writing style works or can be easily adapted to the newsroom’s style. There is little worse than being “Big J” to the core and ending up at a tabloid shop. You can ask, but few managers will actually admit to an interviewee if the plan is to head down a “flash and trash” road. A critique of your writing style might give you a clue. Also having them set up ethical calls shows you what situations the newsroom often covers or worries about covering. The tests are a key chance to determine if you and management think alike. Having the guts to ask for these might get you the job and MORE MONEY as well.