producing – Page 19 – Survive Your Job In Television News

Stuck working? A Holiday Survival Guide.

You know you’ve been in this business a long time when you’re scheduled to work a major holiday and you don’t even flinch.

But for many young journalists just starting out in broadcast news it is a shock to the system. You can imagine why. They’ve just left an institution where they didn’t just get Christmas off but often wrapped-up final exams in mid-December and didn’t have to return to campus until the day after the Dr. Martin Luther King, Jr. holiday.

For young journalists who are close to their family — and let’s hope most of them are — not being able to take part in Christmas traditions that have been repeated year after year since they were born can be emotionally wrenching.

And I want to include Jewish, Muslim, and journalists from other religious traditions in this, too, because from Hanukah to Yom Kippur from Ramadan to the Day of Ashura, all of these observances have one thing in common: coming together with family.

But entering journalism can mean putting the wider society and your profession above these traditions. After all, even on these holy days, the killings won’t stop, cars will still crash into other cars, and houses will catch on fire. Our communities need someone to document these things and tell the stories of the people whose lives have been forever altered.

So if you have to work on a major holiday during your career – and if you’re a journalist, you will – I humbly offer you Matthew Nordin’s Holiday Survival Guide:

1) Clear, doable story ideas: Don’t wait until Christmas morning when you show-up in the newsroom at – ahem! – 9 a.m. to worry about what story you’re going to turn. Maybe there won’t be any breaking news in your market that day. Go to the news director or executive producer at least two days in advance and get them to approve Story A, Story B if the first story falls through, and Story C if the first two fall through. Better yet, start shooting interviews and b-roll for Story A as soon as you get approval. It can be almost impossible to get an interview on Christmas Day. All the people you usually want to talk with on-camera who need someone’s approval to do an interview on an average day still need it on Christmas. And they don’t want to call their supervisor in the middle of her family opening presents to ask if they can go on Eyewitness News.

2) Plea to managers: Yes, I know your brand is “On Your Side.” But unless you’ve got your team of reporters executing stories that meet the brand days in advance, let’s cut the reporters a little slack here. Trying to solve someone’s problem on Christmas Day is going to be next to impossible when all corporate offices and City Hall are closed. The viewers who do tune-in Christmas Night will want to catch-up on the major events in your community that they might have missed. I doubt they’re tuning-in to see how you’re holding a major retailer accountable for selling the Smith Family a bad flat screen TV. (Don’t worry, news directors. The consultant won’t be dialing-up your show on the Internet on Christmas Night either.)

3) Bring your lunch/dinner! Early in my career, when I had to report on Christmas Day, I made the mistake of thinking I could just roll-up to McDonald’s or Wendy’s like any old day of the year. Nope. Have a good meal prepared for yourself that’s microwavable. Make sure it’s better than your average lunch/dinner at work. Treat yourself since it’s a holiday. It’ll make you feel better.

4) Don’t gripe. Your producer has a huge hole to fill because there’s probably not a lot going on in your market. So don’t yell at him about having to make a smallish story into a package and going live during the newscast. We all want to go home. You’ll get there eventually that night.

5) Celebrate on your schedule. If you have a significant other, you can always have that big meal and gift exchange after you get off work that night. If you’re a young journalist and missing your family, consider asking your parents if they’ll hold-off opening some of their presents until you get home and can join them via Skype. Then they can watch you open the gifts they got you, too.

Finally, here’s a secret that will sound ridiculous to any well-adjusted person, which is perhaps why it’s coming from a television journalist, but working a major holiday isn’t all that bad. It’s usually a slower day. The managers are gone. The people who are in the newsroom are usually in a good mood. And you’ve got a comp day coming!

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Matthew Nordin is an investigative reporter/anchor at WXIX-TV. You can talk with him on Twitter @MatthewNordin.

Newsflash, your EP doesn’t have ESP! How to clue them in and form an alliance.

Being an EP is a weird little world. You are a manager for sure, with a lot of responsibility. But you sit in the newsroom all day long and work in the trenches. You have this element in common with another prominent figure on your shift, the anchor, but often the two don’t connect. It fascinated me as a producer for years. The EP and the anchor would rarely speak. I, the producer, was caught in the middle all the time, newsroom after newsroom. Then I became an EP and tried to change this relationship. What I found was fascinating. Time and again, my anchors assumed I knew everything going on in their world and they would actually avoid telling me about any issues. They even became frustrated if I regularly tried to check in to make sure I was aware of any needs they had.

I am guessing that being a manager made me seem a little untrustworthy. Understandable since EP’s do weigh in on annual reviews. But the anchors that did sit down with me and clue me into their expectations succeeded better at their jobs. The reason: I could fix problems for them. I was able to make my expectations crystal clear as well. To me, having both sides understand the other is only beneficial. So, anchors, here’s how to forge a relationship with an EP, since we unfortunately don’t have ESP and always know what you need:

Set up regular check in sessions to make sure you’re on same page
Compliment and critique
Be the key backup

First of all set up regular check in sessions to make sure you are on the same page with your EP. This is a two way street, but you have to ask for it. I used to try and sit down once a month and just ask my anchors how everything was going. Did they have any segments they liked? How was the writing? Were they getting enough time to ad lib? Were they getting enough guidance when given breaking news on set? Sometimes my anchors would candidly provide answers, which I appreciated immensely. Other times my anchor would say everything’s fine, then go off and bad mouth situations. Often they would do this just a few hours later and in the hallway where I could easily walk up and hear it (and often did). If you are given an opportunity to spell out your likes and dislikes, do it. Otherwise keep your mouth shut in the building! Not openly talking about what you need, and instead trashing the situation in the hallway makes you look immature. That means the EP will develop concerns over your ability to lead. When it’s time to get a new higher level show, that EP will not endorse you.

During check in sessions, you should complement and critique. It is very beneficial to know what’s working for you as well as what isn’t. Remember even EP’s need to know if something they are doing or their producers are doing is going great. Compliments are rare in most newsrooms. They help boost morale and help the EP figure out what your likes/needs are so they can pass the information down to appropriate staffers. As for critiques, I know what it is like to have a manager call you in and ask for a critique when you know they actually don’t want to hear it. These check in sessions should be clearly defined so your criticisms are understood to be constructive. Also, the EP has final say in whether some of the issues you bring up are addressed, how and when. Frankly, some things you bring up, the EP may deem not that important. Be professional enough to see that perspective as well.

Finally, EP’s need people to back them up sometimes, especially if they are making major changes to a newscast. Back the EP up. Tell the staff that change can be good. Be a cheerleader (see Smart Alliances). This will go a long way toward winning major loyalty from the EP. Remember, when you’re trashing major formatting changes, most of the time they already went up through higher channels than you and the EP. To rip them, especially in a group setting, is not in your best interest. This is where your leadership role really comes in for the newscast. Often if the anchor says an idea is worth a try, the staff supports attempting the plan. Your support will go a long way toward winning a major ally, your EP.

Taking ownership, from the first line of the anchor intro

Reporters, I know this is a big pet peeve. The producer writes the anchor intro or rewrites it and steals all of your thunder, just gives away the big surprise or the really good stuff in your package. That’s why I am writing this article my friends. Good storytelling begins with the first line of the anchor intro and ends with the last line in the anchor tag. Notice, I did not say package. I did not say reporter track. I did not even say live shot. It all begins with the anchor intro.

This is an important concept for both reporters and producers to understand and take seriously. Crafting a story begins with the anchor’s ability to make the viewer want to hear it. Then the reporter’s video, information and hopefully a surprise element or two (or three, four and five!) will keep the viewer engaged. The tag line should satisfy the viewer that you (as in the team) truly spelled out the entire story to the best of your ability at the time. Executing this way enhances the credibility of everyone involved and makes viewers trust the whole news team more.

So let’s talk anchor intros and storytelling. First I have to point out what NOT to do. Say the reporter is at a hit and run. The typical way to pitch to the reporter is to have the anchor give a rundown of what happened, then go the reporter with what happened. Something like: “Tonight investigators are trying to find a driver involved in a hit and run. Two women were struck (please don’t say and are fighting for their lives FYI) and traffic is still at a standstill while police piece it all together. Here’s reporter at the scene.” Then the reporter stands there looking frustrated and repeats the same information, because it just happened and there’s nothing else to explain yet. In this scenario you just spit out a bunch of facts. The anchors stole the thunder from the reporter on the scene by stating everything relevant before the reporter that’s standing there got a chance. The viewer notices you are being redundant and wonders why the anchors and the reporter didn’t talk to each other before the newscast came on the air. Yes, viewers really do catch this sort of thing. They may not be able to spell it out as clearly as I just did, but they are great at getting the point across another way, clicking onto another channel. You become too repetitive. The remote is too easy to click. Never forget that.

So what do you do instead? Give the anchors a chance to interact with the reporter (we will call him Bob) from the start. In this breaking news situation the anchor would say something like: “We want to check in with Bob right away for you. That’s because he’s on First Street in Typical City where some women were hit by a car. (take double boxes here) Bob, you just told me police are there looking for the driver. So what do witnesses say happened?”

This gives Bob a chance to tell a story even with just basic facts. He can walk around the scene and point out anything interesting, and stay engaged with the anchors. In breaking situations like this, I often had my director keep double boxes handy in case my anchors came up with a question during the live shot. This way I had the option to take the boxes and have the anchor ask the reporter for clarification etc., and stay engaged.

Now let’s move from story telling, breaking news anchor intro’s to planned out live shots with a package. The kind you have time to finesse. First, understand, as an EP I usually required reporters to turn in anchor intros before getting script approval for their live shots and/or pkgs. Tags were due right then and there as well, unless the reporter was waiting on a specific fact. In that case I asked for an outline of the tag. Why require an anchor intro with the script? It forced the reporter to segment out the information. It helped the entire segment, from anchor pitch, to live intro to pkg to live tag, to anchor wrap up, all flow better. It helped avoid the situation above. Again, so we are clear, that scenario was: Anchor intro gives away all the facts, then the reporter repeats, then the tag repeats again. So reporters, how do you write the anchor intro? You pick out the headline, the what’s in it for me or “WIFM” (if you don’t know what that means read “What is viewer benefit really” first.) Before you fuss that this is giving the story away, hear me out. That is NOT your surprise. The “WIFM” is the hook that will make your viewer want to watch your piece. It is the connector. That means your package needs a human element and ah-ha moment and/or a surprise to live up to the viewer’s expectation. If you need help with those elements read “Storytelling on a dime.”

Producers, do not write anchor intros unless it’s the lead story of the newscast or breaking news. (By that I mean it happened so late your crew will be getting on the scene during your show, or shortly before.) Yes, you can copy edit the anchor intros for time and to make sure the sell is in the intro. If a reporter hands you a 30 second intro with sloppy writing and no WIFM make the reporter rewrite. Remember, this anchor intro exercise helps the reporter break down the facts into sections so they are not: (a) just repeated over and over until the viewer is screaming “Enough I get it move on!” to the television screen. Or (b) so wishy washy the anchors seem clueless and uninformed. Remember, hardworking reporter, you do not get dibs on all the facts. You must share.

This sharing is especially true if you’re discussing the lead story. I used to let the reporter I had tagged as the lead know as soon as I could. This meant we would write the anchor intro together. Yes, we would actually sit on the phone and hash it out. Why? I needed the copy to be compelling and accurate. I needed to make sure that the anchors were able to set the tone for the newscast authoritatively and effectively. I also wanted the reporter to really shine. We had to do that as a team, from the anchor intro on. Yes, that meant my lead package elements were often hashed out earlier than the other stories in the newscast, unless the facts were late breaking. But even with late turning stories, the reporter knew what the sell was going to be in the anchor intro, so he/she could flow easily to the next fact in the story before air.

Now let’s talk anchor intro rewrites. Producers, you cannot just copy edit the anchor intro, change the essence of it, switch the pitch line and not inform the reporter. Simply put, that’s unacceptable. If you do this, the reporter will (a) stop giving you anchor intros at all (b) call the EP or AND and pitch a fit about you or (c) be caught off guard when you go to him/her and seem uncomfortable. Treat the anchor intro with a lot of care. If you cannot wait for a rewrite from the reporter, copy edit then call and read the reporter what you wrote. Make sure you are not stealing any thunder. Try not to change the essence of the copy. Your job is to make the anchors and reporters look like a cohesive unit, not two independent entities that happen to come back to back and talk about the same subject.

Which leads to my final point about why reporters should always begin their stories by writing anchor intros: It forces you to talk with your copy editor during the day. You have a responsibility to make sure your idea of the sell for your package jibes with the ideas of the producers, managers and the promotions writers. Good story telling involves solid sells. You cannot story tell if you have no point. The point of the piece is what the anchors need to allude to in the anchor intro. The promotion is just as crucial and the point of the piece is what is promoted. You do not want promotions to air a tease that is way off base. It makes all of you look bad. Calling in to the producer or a manager with an outline of your piece, including the anchor intro, will prevent miscommunication. It will make your life easier 90 percent of the time. It is a true mark of taking ownership and telling good stories.

Your Weathercast is going long again! How meteorologists can rein it in.

Yes, this is a stereotype. The meteorologist is going long, again… and again… and… well you get the picture. The thing is, this really does happen a lot. You are given 2 minutes, but take 2 and a half or 3. The exasperated producer asks you why and you tell him/her: “I had a lot of stuff today… someone sent in a weather photo … the bosses are requiring me to put too much into the forecast each night.” Here’s the thing: The producer doesn’t really appreciate any of these reasons. Think about it. The producer has a lot of elements, then gets stuck with your weather photo also at the last minute, and is often required by management to put too much into the newscast. Still the producer has to hit the meter points and time the show out correctly start to finish. So let’s take some producer timing tricks and apply them to weather casts so you can time them to the second. Here’s how:

Pad it
Explain escape plan
Watch the clock
Practice “feeling” the time

First pad your weather cast with an extra element or two in each hit. This is an element that is nice, but can be done on any given day. If you can, put it in the same place in your weather rundown for the director/TD’s sake.

That’s where explaining the escape plan comes in. Let the director/TD know what element is considered an extra and how long you need to get through it. That way they can help you dump out quickly and make time.

Now, let’s talk about watching the clock: It can seem difficult for a meteorologist since your content is so literally hands on while you are live. To get around this, you can do 1 or more of the following things: 1) Wear an IFB so you can get time cues and tell the producer specifically what you want. 2) Write what time you have to wrap up on an index card and place it above your camera. That way you don’t have to do math in your head. You can look at the time casually and know what to do. 3) Have the production crew time cue you to the wrap up element so you can get out quickly.

Another trick that isn’t as common but can be effective is to get a stop watch and practice doing forecasts to time. Stand in front of the green screen and practice each of your hits several times with all the elements management is requiring. Use the stop watch to help you figure out how to time youself. Then repeat what you did several times over. You will start to develop an internal clock that let’s you know what, say, 2 minutes “feels” like. A lot of seasoned producers have this. They can time out segments of their newscasts almost to the second, by feel, as much as by watching a clock.

Now let’s talk specifically about when management throws extra elements at, then says you must find a way to pull off without extra time. You know you cannot do it in the time allotted. So, spell that out directly to the producer as early as possible. That way the producer has time time to find a work around in their format to hit meter points. There is nothing more frustrating than watching weather go long, then hear from the meteorologist that she/he knew the wx was going to go long, but didn’t warn the producer. Sometimes management forgets if a section of a newscast is particularly crucial for hitting meter points. The producer or EP may need to go in and request some formatting changes so you can do what you need, and hit meters. Yes, you would think management would let the producer know so you can just focus on doing the weather. But often that’s simply not the case. The producer goes into the newscast blind, then gets royally screwed on air. Yes, it makes the producer bitter. You don’t want the producer cheating you on time or, worse yet, complaining that you cannot time manage and are difficult to handle. Weather may be the most watched element, but solid producers are hard to replace. It’s probably best not to test your luck and potentially rock the boat. Just provide a heads up so the producer can prepare.

Lastly, if you are asked to reformat your weather cast and add a bunch of new elements, try to add 1 a day. That way you can figure out what fits and doesn’t in a given hit, then provide that feedback to management and/or the producer. That helps everyone time out the changes better so you aren’t stuck going long and the producer isn’t pulling their hair out.