TV Survival Skills. The 10 Things You Need To Do To Be Successful In The Modern Newsroom

Anchoring, Reporting, The Latest Comments Off on TV Survival Skills. The 10 Things You Need To Do To Be Successful In The Modern Newsroom
Feb 252016

1.  CAN YOU FIND EXCLUSIVE STORIES? No really…can you find the story that makes politicians and PIO’s lose sleep?? Better yet, can you do this even with news of the day? Do you have fast attack investigative skills? You better! Everyone can get PIO info and sound. You have to be able to separate from your competition to get paid. How do you do that?? Know the process and procedures of paperwork- school districts, police and sheriff- what documents exist and when do they become available? Time is quickly wasted, opportunity and credibility forever lost by not knowing procedures. Can you get a great tip confirmed? Most reporters cannot. You are only as valuable as the contact list in your phone.

2.  WORK SMARTER, NOT HARDER-Do your research, demand from management a specific beat- geographic or content based. GA stands for going anywhere-owning nothing! Develop sources that work for you. Build relationships before asking for stories. Go left when other go right. Stand out by standing apart. If someone pitches you a story- make them do the document digging, and initial research- then they can come back and pitch you a partially vetted legitimate story. You just have to confirm documents and details- not spend hours chasing empty leads.

3.  Shoot in sequences, write in sequences, edit in sequences- this saves hours! The best MMJ’s are the most creative while being the most efficient!

4.  Your professional Facebook likes/Twitter followers/LinkedIn profile will make or break a hiring decision. These are your personal brand. They directly reflect your audience appeal, your marketing savvy, and your ability to tease a story! Do you understand news and how to promote yourself as well as your coverage? Social media answers all these questions.

5.  Have a career plan- It is a simple question with horrific consequences- What is your TV career goal?? Most TV folks stumble on this simple question. Your answer will be used against you in a hiring decision. This is a weeding out technique and is a loyalty test for current employees being considered for promotion.

6.  Out work your teammates- first in, last out, first to call-in to cover breaking news, first to ask to travel, this effort gets you choice assignments, management trust, and promoted to the anchor desk.

7.  Hot mess- if you are one and want to anchor or jump to a big market you will go nowhere. You must apply appearance feedback at every level and every turn. Everyone that looks at your tape or consults you should be heard and further feedback solicited. One consultant or ND could be a bit eccentric, 2-5 people saying you appear less than polished is problematic.

8.  Your cover letter is killing you! It is costing you a look at your tape- which is the whole goal! Don’t try to tell me you know someone I used to work with 3 stations ago or we are from the same town! What are you going to do to make my newsroom better today? Why do I have to hire you versus the 50 people that look and sound like you??? This is the written interview that gets you the tape review and phone interview- Be consistent in your message, your strengths, and what makes you a difference maker. How do you fit in with my news style and newsroom needs?

9.  Never send a glossy 8X10 head shot- instant rejection- are you a model/ actor/ or journalist?? Send me a resume tape with exclusive banners on every story- that’s a beautiful picture!!

10.  Is your cellphone number, Facebook and Twitter handles on your business card? Personal cellphone? You are fully available to your audience and sources or not. No problem, I call your competition with my exclusive story.

There are a hundred things a journalist has to excel at to be successful in the modern newsroom. These are ten of the most critical to master to avoid a career setback. Our next blog will answer” Why your resume tape is killing your job search”.

Now go be memorable!

Greg Turchetta is President, www.Brutallyhonestcritique.com and a former News Director
He’s now a life coach to reporters and anchors nationwide!

Making Desk Calls: The Risk To Your Credibility

Anchoring, Know Your Newsroom, Producing Comments Off on Making Desk Calls: The Risk To Your Credibility
Jul 262015

Recently there was a bunch of talk on Twitter about why anchors sometimes feel the need to make producing calls from the desk during a newscast. Producers talked about ways they try and prevent this from happening by being proactive before the show. Others discussed how this really causes them to lose respect for the anchors. Mostly though, the discussion centered on why then?

Let me quantify, this is not in reference to anchors who also produce the show and have no choice. We are talking about anchors who sit on the desk and ask the producer to move things around in the rundown or say they aren’t going to read story such and such or are going to mention a breaker next. This is a slippery slope. The biggest reason may surprise you. In today’s “everything has to be automated world” it can be very hard to just move things around on the fly. The anchor could be setting him or herself up for a major live mess up.

Some anchors make the argument it is worth the risk because they are seasoned journalists and the producer is green. I totally see that. Understand there are likely times the anchor is absolutely making the right call. The issue here is the timing.

Possible technical snafus aside, anchors making quick on desk decisions exposes something anchors should never want discussed. Lack of dedication. That newscast was not put together in a vacuum. Chances are high the story you want moved was in the rundown for hours before the newscast. Even if the producer writes copy late, you can at least check to see what each story is about based on slug, so you are informed of the subject matter. That is part of an anchor’s prep work before a newscast. Just sitting back and waiting for the scripts to come in is never a good way to gain credibility. If you want it moved up, you better know the facts of the story very well. You are taking a big risk that you will be ad libbing. You want to make sure you absolutely know what you are talking about.

Then there’s the issue of who’s really in charge during a live newscast. There needs to be a clear chain of command. Too many decisions are made on the fly. It needs to be clear to all involved who is making the call. No hesitation. Bottom line, even if that producer is half your age, management gave that producer that designation.

One last clarification. If the producer is trying to throw in a breaker, and the anchor doesn’t know what is happening, he/she may be forced to “make a call” on the set. This is more of an extreme circumstance and should not be lumped in with the points being made in this article. The anchor has to make sure fact errors do not come out of their mouth during breaking news. There is no time to check ahead of time in this case. But if the story has been in the newscast, even as a slug for hours, the producer should be the only voice making decisions to move things around during the live newscast.

A common issue I coach producers on is how to handle it when an anchor decides to “call out” mistakes in front of the staff. Too often, producers have to sit and listen to anchors going off on the set about something that did not work. The comments are often not constructive. Live TV is tense. Everyone’s anxiety is up, no matter how seasoned they are. That said, making fun of the writing, or complaining about mistakes on set, is not necessarily going to help you get the help you need later. We addressed some of this in “Why don’t you show us how it’s done then.” Now let’s focus on how to get the message across, and have it actually be heard.

If your station holds special discrep meetings when the ND is visiting the morning or nightside shift, keep in mind that tensions are higher than usual then. The producers feel like they are under extra scrutiny (frankly, anchors probably do too). This is a good time to have an open discussion. But you do not want to create an environment where the team is turning on each other. This cannot be emphasized enough. When the ND and/or AND attend the discrep meeting, and the staff starts complaining and/or putting each other on the defensive, it gives a bad appearance. It makes it look like this is a group that either needs more monitoring or could need changing up (as in some of you may need to go).

These meetings go south fast, when an anchor says “That story on (fill in blank) was awful.” or makes fun of a story. The producer, gets embarrassed and will either shut down or lash out. So how do you bring up issues without setting off a firestorm? The head of the meeting has to set the right tone and has to phrase things better.

Let’s start with the leader of the meeting, which is often an EP. Start the meeting off by asking your producers what worked and did not. This allows the producers to take ownership and makes it psychologically easier to take the criticism still ahead. Producers feel more willing to do things like say, “Hey, was the end of the A uncomfortable?” Then a discussion can happen. If the producers do not do that, then the EP should. This keeps the anchors from having to bring the issue up first, and come off as defensive or attacking.

Anchors, if that doesn’t happen and you feel you have to bring an issue up, just think about your phrasing a bit. “Maybe it was just me, but the end of the A block felt a little uncomfortable. I know we are supposed to get more creative. But can we talk about why we did what we did, so we can figure out if there’s another way?” This gives the producer (who, remember, is likely extremely passionate, a bit of a control freak and THRIVES on problem solving) a chance to “save face” and bring up ideas as discussion points. Then you can add to those ideas. Everyone gets what needs to be said out there, and the message is more likely to be heard.

Better yet, wait until the end of the meeting and ask for a sub meeting with only the people directly involved with the issue, to bring up the subject. This isolates the potential for public humiliation. Then the producers can hear what you have to say better, because they are not being put on the spot publicly. You also will not have to worry as much about phrasing because it is a smaller group. So if you accidentally come across as a little harsh, it will be easier for the producer to give you the benefit of the doubt.

If you are going to bring up an issue, that involves a section of the newscast the producer asked you to look over ahead of time, better make sure you mention that as well. Producers hate proactively asking your opinion, having you seem to ignore it, then getting bashed for the decision later. That is a fast way to guarantee the producer will not have your back when you really need help.

The biggest thing I can emphasize is that producers in their own way, are as sensitive as anchors. The newscast is a part of them in many ways, just like it is for anchors. So you have to think about how you want to be told things. It would be humiliating to walk into the newsroom and hear the producers gathered together saying “Nancy looked like an idiot when she said …..” and then start cracking up. Or “Joe looks like he’s getting goosed the whole show, what a dope.” No one wants to be publicly humiliated. Just because a producer or EP’s face is not seen during the newscast, does not mean that their heart and soul is not attached to it. In many ways, they feel as tied to it as you do.

Producers, a big thing to consider is that anchors do not always mean to come off as insensitive or like they’re trying to “get you.” Even if they sound callous or just plain rude in a public critique, many are internally struggling with how to bring the issue up. Many try to use humor, and fail miserably, so it becomes a case of making fun or picking, instead of lightening the blow. So even if it stings, try and discern if the anchor just really doesn’t know how to bring the issue up well. And once the sting wears off, there could be great constructive criticism in the comment that will help you grow.

One last point to anchors: If you routinely make fun of things the producers do, or make you say on the set, whether during commercial breaks or after the show in discrep meetings or in the middle of the newsroom, you are setting yourself up for a world of hurt. Even if pay structures do not always seem to reflect it, producers have a lot of power in newsrooms and often have more say in your future than you might want or like to admit. Picking at that person, or making fun of them is asking for them to point out to the bosses every time you screw up. So unless you have achieved daily guaranteed perfection while on set, you are going to get burned.

Should anchors help write newscasts?

Anchoring, Know Your Newsroom, Producing Comments Off on Should anchors help write newscasts?
Jul 092014

Here’s an age old debate. Should anchors help write newscasts? Some say yes. Many say no.
The answer to this question is not as simple as it seems. It all depends on the resources used to build newscasts and the makeup of the newsroom itself.

Let me explain. If you work in a newsroom where there is one producer for two hours of a morning show, or the producers are very inexperienced, anchors need to have more of a hand in writing the newscasts. It’s just smart business. If there is a story that is legally dicey, either the anchor needs to write some stories to give the producer time to work on it. If the anchor is a more seasoned journalist than the producer, then the anchor needs to write the dicey story. He/she should have a better understanding of the potential legal ramifications of a mistake. Again, it’s smart business.

Recently I spoke with a producer who got stuck producing three hours of a morning newscast, alone. The anchors not only did not write anything, but the male anchor yelled at this producer for a mistake in a graphic in front of guests in the newscast. This is just plain wrong. News flash for this anchor: You are a journalist not an actor. Help get the newscast on the air clean. You are part of a team. Pitch in. The producer was asked to do too much. Management was not fair in this situation. Do not make it worse by hanging that producer out to dry. Step up and help. If you do, you generally win a huge advocate. I promise that anchor this, if that producer gets a chance to burn you later, that producer will take it. If you are late to work, regularly take dinner breaks that are too long or make a fact error in a script , management will find out. That producer will also share what you did with the other producers and managers. You are now marked. It will come back to bite. Why not just pitch in, be a team player and help write instead of taking that risk?

Now let’s talk about well staffed newsrooms. If there is an EP, producers and AP’s then anchors should have a chance to jazz up scripts and not have to write large sections of the rundown. If that producing team cannot pull off getting the newscasts done in a timely fashion with that much help, there is a serious problem. EP’s and producers in this environment need to understand that anchors need time to look over the sheer volume. Too often the “systems” are messed up in this scenario. Producers are not time managing well. AP’s are not being asked to do the right things. EP’s are not delegating properly. The anchor should not be responsible for picking up that slack.

I recently spoke with an anchor in a top 20 market who was told he was responsible for any fact errors in the newscast, not the EP. He was also told that he had to write significant sections of the morning newscasts. This anchor works with a staff where there is a producer for each hour in the morning, an EP and several AP’s. It is common in this scenario to have the anchors helping to look for fact errors. But to write significant sections of the newscast? I quickly found out that the producers were simply not getting their writing done in time. With that much help, a veteran former producer cannot help but ask: Why? (And no, they are not also desktop editing or contributing to the web.) In this case, it really is better to make sure the anchor has time to read over all scripts, HELP look for errors and focus on “performance.” That is why there are so many content generating resources dedicated to the newscast day part. If you really need the anchor to write, have him do stories that showcase his personality. Write about subjects he knows a lot about, to save him time and help him come across authoritatively. (See “How to Get Inside Your Anchors Head”.)

Too often in newsrooms the work load is not divided up equitably, or even sensibly. This is to me one of the largest problems local newsrooms face as they try and “modernize” and command three screens (TV, computer, smart phone). The “systems” in newsrooms need to be reviewed better and corporate needs to respect what management needs. Too often managers are forced into positions to make anchors responsible for all fact errors, or to require producers to produce three hours a morning, solo, because of decisions made in an office several states away, by number pushers. The question of whether an anchor should write for newscasts highlights this larger problem. Cutting fat is one thing, breaking down systems is quite another.

What Does “Taking Ownership Of Your Newscast” Mean?

Anchoring, Management Issues, Political Hotbed, Producing Comments Off on What Does “Taking Ownership Of Your Newscast” Mean?
Nov 202013

TV news is full of expressions that can be confusing or thrown around lightly.  The term “taking ownership of your newscast” is not a term to be taken lightly but can be confusing to producers and anchors.  So let’s delve in to what this term means to management and your reputation in the industry.

Let’s start with what it means for producers.  “Taking ownership,” is essentially making it clear “the buck stops here” with decisions made for the newscast.  In truth, the buck usually stops with an EP or other manager.  But the expectation is that the producer will fall on the sword and take full responsibility for decisions made.  This is confusing, and frankly at times unfair.  It is expected though.  So when the ND calls the booth during or after the newscast and asks why the heck such and such story did or did not make air, the last answer the boss wants to hear is “the EP told me to do it.”  It doesn’t matter if that’s the reality.  The ND wants a reason.  He/she wants to know there was some thought put into the rundown.  So tell them the reason:

“We thought it was significant because of where it happened.”

“We wanted to add more new stories.”

“We were not able to confirm key facts, but I am happy to help do that now, so the next newscast can air the story.”

These are the phrases the ND wants to hear.  Now a little secret to make you feel better:  The EP will get the same question, and will then get the litany of reasons why the thinking needs to change.  You, the producer, may or may not get that list of reasons.  But be sure, the EP will also be questioned.

Taking ownership also means doing all you can to prevent messes and come up with quick solutions when a mistake happens.   This is more than factual issues.  If your anchor always stumbles on the scripts in the back half of the newscast, you are expected to implement possible solutions to stop the issue.  Yes, you the producer.  No, you are not the one stumbling.  It is still partly your responsibility as the show boss.  If master control never gets live shots tuned in on time, it is partly your responsibility to come up with plans to change that pattern.  Taking ownership means being the leader of the show, the show boss, the one who takes responsibility when things go wrong.  Consider this a chance to get a taste of what upper management is like.  Yes, you will have to have a thick skin.  Yes, sometimes what you are being lectured about you probably cannot really change.  However, you should offer solutions and try them.  This will earn you high praise and respect.

Now anchors.  Taking ownership of your newscast means sitting down with the EP and newscast producers, regularly, and hearing what issues there are with the newscasat.  Do you need to get more men watching the newscast?  Help brainstorm ideas.  Are the EP and producer at their wits end trying to make sure master control tunes in live shots on time?  Perhaps mention to the ND, the next time you are talking, that your EP and producer are busting it trying to fix the problem, but could use some backup.  Is a certain reporter killing the meters by constantly fudging the total running time for their package or going SUPER long every live shot?  Pull them aside, compliment what you like about their work and ask a favor:  Could they trim those live intros next time or call in the actual total running time.  Taking ownership means showing support and providing public backing for the producer and EP.  If you have philosophy differences, take those issues up behind closed doors.  And when there is breaking news, sometimes skip dinner break and sit down and help the assignment desk make phone calls or help the producer write copy.  You are the leader of morale for the newscast whether you like the role or not.  As the face of the show, you are the image leader.  So the more involved you become by partnering with the show boss, the more you will be respected as a natural leader.  That reputation can really send your career skyrocketing

Taking ownership of your newscast means you are showing the bosses and your peers that you are ready to take on key responsibilities.  You are a leader, not a trouble maker.  You believe in the product and the people executing it each day.  A reputation for being a team player and someone who is not afraid to make a decision will quickly earn you respect in the industry.  This is one of the best ways to ensure your future success and increase your job stability.  Even if there are layoffs, the people who take ownership are the ones who have managers working behind the scenes to get them placed in even bigger and better jobs instead of just shown the door.  Time and again, these simple efforts will reap large rewards for you.  The biggest of which is loyalty.  Something that is increasingly hard to come by in the world today.  So go ahead, take ownership of that newscast.  You owe it to yourself and the team around you.

When a producer sent me an email about this issue, I had to shake my head a little.  Been there a couple of times.  I could just see the anchor that used to count the number of stories lecturing me again.  I also could see the anchor that used to count how much time reading she got versus her co-anchor handing me a list that tracked a one week period.  She was shocked when I stared at her in disbelief.  In a week’s time, the cumulative amount differed by less than a minute.  Seriously?  This is what she worried about?

Here’s the deal.  Anchor reads will never be completely even.  It just isn’t possible.  There are tricks to get them pretty darn close though.  I will explain those in a minute.  First I want to talk about this “read counting” mentality.  Read counters, who base their worth on how often they are on the air, versus their co-anchor create all kinds of problems.  The biggest negative impacts: Themselves and other anchors.  Here’s why.  When a producer sees that you spend your time counting the seconds to make sure you get your face time, you are telling that producer that all you care about is being on TV.  That is simply the truth. In fact, my read counter actually said to me, “My audience needs to see me more than my co-anchor.  They count on seeing me.  I just know I am a bigger draw than her.  You must want her to be the draw and not me.”  How does a producer, who cares about getting crucial information out to the viewer place confidence in that mentality?  It made it very hard to trust that if I gave him breaking news, he would use due diligence to make sure the information was correct.  He also was the only anchor in the shop to pitch a fit if he actually had to go “in the field” to turn a story unless he deemed it glamorous.  This example is not unique.  Producers talk.  We love to tell each other who the read counter is.  That’s the person you never hand the big breaker.  That’s the person you avoid at all costs.  That’s the anchor whose critiques often fall on deaf ears.  Fair or not, that’s what happens.  The stigma is there.  You only care about face time, not being a thorough and complete journalist.

Now, let’s address the time counter.  The producer who emailed me gave the example of an anchor saying “ My co-anchor had 1:15 in reads, I had :50 seconds.”  This simply screams, “I love my face time. I need all the face time.  Look at me I’m on TV!”  Look, obviously all anchors like a little face time.  If you hated it, you would not be on TV.  But again, this sends the message that you care more about being recognized out and about town than being a solid journalist.  Not the reputation you want in a newsroom, period.  Time counters are considered petty, arrogant and superficial.  It just makes you look bad.

Now the kicker, for all the other anchors who are solid journalists.  Because of read and time counters, producers often get defensive about reads.  So when there is a legitimate issue, like one anchor being written out of 7 minutes in the a-block, that anchor may not raise a red flag for fear of being labeled “high maintenance.”  There are times, when there are legitimate issues with reads.  Newbie producers often make this mistake until they get enough of a handle on designing the rundown, timing it correctly and making deadlines.  That’s a long wait for the anchors who just don’t want to disappear for big chunks of news blocks.

So here’s the solution.  First, producers should trade off who leads the newscast, and each block.  For example, let’s take Joe and Amy.  On Monday, Joe leads the a-block, Amy the b-block and on down the line.  If you have an hour long show, have Joe lead the a-block Monday, then Amy leads the 30 block.  Switch on Tuesday.  Repeat.  This only takes a second to do, and really helps make the reads appear even.  The second part to creating even reads is to try and make sure the anchor reads change every two minutes or so.  If you have a package that is 2:30, the anchor who introduced it should read the tag.  If it is a long tag, do it on a two shot to re-establish team as long as the next story is not a rough transition.  If you have a rough transition before the two minute time is up, switch then and get back to the other anchor within two minutes.  Of course, you can’t make it every two minutes on the nose, but it is a good approximate time to keep in mind.

So there you have it. That’s why read counters do what they do.  That’s what it means and how to stave it off.  If you are a read counter, and your producer switches block leads and tries to change reads every two minutes or so, stop complaining.  Your reputation depends on it.

 

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