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!

How To Speed Up Your Writing Time

Producing, Reporting, Survival Kit, Writing Help Comments Off on How To Speed Up Your Writing Time
Dec 032015

A common discussion I have with news managers and universities looking to place recent grads, is the huge workload journalists face today. It is becoming more of the norm for reporters to barely make deadlines not because they are lazy, but because there is so much to get done. Scarier yet, there are producers in top 5 markets, still writing in the booth during newscasts. And not because of a breaker. Why is this getting so common? Two reasons. First, the workload is truly much larger. Producers for example are now often editing vo’s and vosot’s in addition to writing them. Producers are also making their own maps and graphics for air. And that’s not even getting into all the responsibilities they have on the digital side. Reporters are turning more than one piece, on completely different subjects, often on different ends of the market. And the social media expectations for them are often even higher.

The other reason why a lot is being pushed to the last minute, is that journalists are not taught tricks on how to speed up their writing time. They spend too much time prepping for writing instead of just getting the stories done. Bottom line, in a tight deadline situation, you will have to do some calculated short cuts when gathering information in order to make it. So let’s talk about some of those shortcuts.

How To Speed Up Writing Time For Producers
Focus on the W’s
Think summary
1 line = 1 idea

When writing a story from scratch, (as in not rewriting from a story that aired the newscast before) you need to condense your information quickly. This means focusing on answering the who, what, when, where, why and a little of the how when researching the story. For example if you are writing from a crime report read for these elements. Throw those facts into your story page, then go back and scan for that little nugget that makes the story a bit different (Often the how). If you approach it this way, you won’t slowly read every little bit of information and end up getting confused and re-reading the crime report 4 and 5 times. I am not saying give a quick scan and be done. But by focusing on what you really need to have as you read, you can better focus your attention and get to the core of the story quickly.

Which leads to the next point, think summary. News releases and crime reports tend to have about triple the information you need for a 15 second vo. So remember, you don’t have to memorize every detail of information, you are giving the viewer a summary of the story. This tends to help you more quickly outline the story in your head and then quickly write it.

Finally, 1 line equals 1 idea. This keeps you from “lunch bagging” a ton of information into the vo, then killing yourself to try and shorten it down to that required 15 second or 20 second mark. Think outline, 1 idea per line. Then if you have time you can flesh it out a bit after you have this skeleton script.

How To Speed Up Your Writing For Reporters

Sum It Up
Write As You Go
Know Details Before Camera Rolls

Reporters can also speed up their writing a lot by also thinking summary from the beginning. Chances are by the time you leave the editorial meeting, you know why you are assigned a certain story, and the specific point your station wants to make about that subject. Do not go out of your way to deviate from this. Sure, as you gather information sometimes the point of the story can change. If that’s happening immediately call and explain the new main idea. Again, keep thinking summary. This will help you not get bogged down in extraneous details that will never make air.

Once you have your interviews set up, write an outline of the story as you head to the scene. You should already have enough background information that you can walk into your first interview with an outline in place.

Pre-interview the person you are talking to as the camera is being set up (or as you are setting up the camera if you are an MMJ) so you know what 3 or 4 questions you actually want to get the answers for on camera. This helps you avoid scrolling through tons of video making the editing process more efficient. It will speed up your writing and editing.

The biggest takeaway from these tips is simply this: think summary. Too often journalists want to spend a lot of time finding that unique element or finding the perfect sequence of events or stories to make their package or rundown rock. If you spend too much time looking you will not have enough time to finesse. TV news is all about the packaging: Make the facts easily understandable for the ear and eye, in short order, so you don’t bury yourself in detail. You need to give a broad understanding of the story, and pick a key element to add that character. That means thinking overview from the get go. Otherwise you won’t get it done, and won’t serve the viewers at all.

Journalists Experience PTSD, Too

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Nov 152015

We are the observers. We bear witness to society’s worst outcomes: dead bodies, mangled cars, weeping family members.

The scale may be smaller than the horrific scenes of war American service members witness overseas. Yet journalists covering local tragedies are at risk of developing PTSD, too. I would submit photojournalists are particularly at-risk because they get sent out on everything. And as the years go by, all that trauma witnessing can literally affect our brain’s sense of well-being.

Which reminds me, this is a brain issue. Not a “toughness” issue. Not a “you’ve lost your objectivity” issue. You have no need to feel guilty.

Unfortunately, news executives do a poor job of proactively warning journalists they send out into the field about the emotional dangers of the job. In a study of photojournalists who witness trauma, only 11% had been told of the emotional toll the job can take, while only one in four photographers had been offered counseling.

A chief photographer I once worked with joked about needing to take a “mental health day” every so often instead of a sick day. There may be times when you need to take a “mental health day,” too. How open you are with your manager about the exact reason you’re not coming into the newsroom is up to you. As sad as it is, “I have the flu” is often greeted with more sympathy and understanding than “I have the blues.”

I can’t imagine not needing some time off after covering the 9-year-old Chicago boy investigators believe was lured into an alley and shot to death by a gang. But if you’re expected to keep following a story day after day and don’t feel right about asking for time off, debriefing is the most basic thing you can do for yourself.

Debriefing is simply talking with another journalist or manager about what it was like to cover this senseless murder — or similar stories. And it’s a must. You can do it in the darkness of the live truck on the way back to the station, inside the news director’s office with the door closed, or over a beer at your favorite bar.

If you’re too shy, debrief in your journal. I would advise against debriefing on Facebook, however, because people who don’t know our world are going to make some pretty stupid comments under your post that’ll make you feel worse.

Over time, having covered so many of these stories, you may notice you never feel “right.”

You may be easily startled. You might dream about the traumatic event. And with all the negative emotions and anxious feelings seeming to never fully leave your body, you may become so angry you explode at co-workers.

That last one is what usually gets my attention, especially if the journalist lashes-out over something trivial. What is he really angry about? I ask myself. How many years has he been shooting/reporting? What types of stories?

The person might have PTSD. It goes so much deeper than the blues, too. Rather than feeling down for a couple of days, the symptoms of PTSD last a month or more.

Then it’s time to ask your family doctor if she’d recommend a therapist trained to help PTSD sufferers. You might also search your station’s website or archives to see which mental health experts your staff has put on-the-air for PTSD segments. See who the local newspaper has interviewed, too.

The Anxiety and Depression Society of America also has this handy therapist search tool.

It’s time to really take care of yourself. If you don’t like the first therapist you go to, try another one. But make sure you get the help you deserve. Your sense of who you are and your relationships are depending on it.

Matthew Nordin is a weekend anchor/reporter at WSIL-TV in southern Illinois. He is currently making the transition from broadcast journalism to the mental health field. Feel free to reach out to him on Twitter: @MatthewNordin

Can't See It? Then Tweet It!

Know Your Newsroom, Reporting, Social Awareness Comments Off on Can’t See It? Then Tweet It!
Oct 212015

By now you’ve probably heard about the big story this week. It was an embarrassing gaffe during a live shot about the Michigan and Michigan State football game. It was a game decided on the final play. The on-scene reporter went TV and said the wrong team won. The anchor then had to correct the mistake when the reporter tossed back to the studio.

In this FTVLIVE article the sports anchor is quoted as writing on Facebook that “we tried bringing the most up to date stats as we could as we were going live at the exact moment everything was happening. Had two scripts written and ready to go and got bad information off my phone while on air. And then we immediately corrected it when we could. I’m sorry for getting it wrong but in the end it was corrected and it certainly won’t be a finish forgotten by any of us.”

Now if you have worked in TV news and covered a live event, especially a sports event even once, you know that it can be very hard to get the right information on the air in the final minutes of a newscast. Frankly, I am shocked this kind of gaffe doesn’t happen more often. The biggest reason why is the reporter has to leave the event in order to go live. That’s generally because of where you have to park the live truck and coverage rights, since the live event itself is televised.

So how can the reporter know what is happening when he/she doesn’t have eyes on the event?
There are several ways to prevent this, the biggest being putting someone in the stadium, who has news sense and can let the reporter know. But based on the description of how it went down quoted above, they may have attempted this solution. Guessing whoever was on the phone, or whatever site was used, will not be part of the equation next time.

This gaffe does open up discussion for an even bigger issue, and that is the need to be first, even at great risk of being wrong. This particular flub is making all sorts of rounds because it seems like such an obvious mistake. How could the reporter not know? How could you miss something when you are at the event? Look at his live shot background. He had huge stadium walls separating him. A big part of the blame here, lies with the decision on how to execute bringing the latest about the game to the newscast audience.

There is an age old argument that the people who really give a rip about the game or sporting event you are at, are actually watching it. So the push to be first is irrelevant because the audience that cares is not watching you, they are watching the game. But there is a strong counterpoint that this is a huge event everyone will be talking about in the DMA and you simply cannot ignore it. So here’s where I am going to get bold and ask, why not go non traditional? Why not keep the reporter in the stands, so your eyewitness actually knows what happened? Can you show a live pic, in the place where crews are allowed to be (even if that’s outside the stadium) and mention that your reporter is there, and live tweeting about the event? Can you show tweets fullscreen from your crew in the stands to show that you are all over the coverage? Here’s why this is a win-win scenario: The people watching the game, may still engage with your sports reporter on the scene through social media. The reporter can focus on the experience of the game for those who could not go for TV and tweet about the event with no worries about missing a key play. So the reporter can turn a piece on how much the fans are loving the event, or something controversial that happened earlier that airs in the newscast, then tweet about the here and now in the final minutes of the game. Put the tweets up, put up a live pic and keep your information accurate. It hits more audience because he can even be interacting with people who are still at the game.

The problem TV stations face is how to disseminate information in this digital age. Most stations still want all the biggest information to be on TV first. That means we have to take a crew live at the event. This is sometimes a mistake. You are limiting your possibilities and increasing the risk of an embarrassing mistake like this one at the Michigan/Michigan State game. In the case of live sports events, live shots need to be more about the atmosphere, and eyewitness accounts of what is happening. Relevant facts are already being posted online. I am not saying ignore the facts, but don’t force someone into the situation this reporter was in. The odds were stacked against him. He was OUTSIDE the event with no way to personally witness what was happening. How can he realistically report on what was happening? If you go the social media emphasis route, he could be in the stadium bringing information in a relevant way through Facebook, Twitter and the station website. He could post to these outlets without having to leave the stadium. In order to serve the live newscast audience, remember, the viewers are likely casual fans, they are not watching the game. Do a pkg on the experience and then use graphics of the tweets to update the facts. The biggest payoff is that you serve multiple audiences and are emphasizing what each cares about in the way you are covering the event. TV news is not just about showing up and covering an event anymore. Now the focus has to be on how to do it, and include social media in a relevant way. The reporter being on scene showcases that the station understands this is a big event for the community. Showing what it’s been like at the game in a package, serves the casual sports-viewing audience. Tweeting and posting Facebook updates on the game itself, in real time helps your reporter directly engage with the audience in real time, thus making a connection. Showcasing that he is doing so throughout the newscast generates curiosity and a chance to engage with the reporter if you cannot be there yourself. This is effective even if the person is watching the event live on another channel. It is another way to be a relevant eyewitness and get more of the audience actively involved with your reporter who’s at the event.

Again, you have to look at the regulations for covering these sporting events. Some events prohibit live tweeting. Most of the time mentioning a Tweet works and is still compelling. Especially because the photographer with the live picture would then understand why some fans were walking out looking devastated. The whole scene, inside the stadium and out would have had relevant perspective. As TV stations cover a variety of live events, the bottom line is that they need to discuss how they will engage with the viewers actively. Simply showing up and reporting what you hope is first and right, is not enough anymore. Your viewers use social media to track events, they expect you to as well.

Ways To Make Live Shots Safer Right Now

Know Your Newsroom, Reporting Comments Off on Ways To Make Live Shots Safer Right Now
Aug 272015

No doubt, the killings of Alison Parker and Adam Ward have really shaken up fellow TV journalists from all over. And whenever a tragedy like this happens there are calls to action.
Including two stations in Milwaukee that are not doing discretionary live shots the day after this attack. Several excellent articles have already come out asking broadcasting companies and station managers to consider using live shot delay buttons (similar to what is done in radio),
think about the dangers of one man banding  and raise the issue of live crews routinely feeling very vulnerable while on live shots. All of these are excellent points that journalists frankly should push for discussion about in their newsrooms. In the meantime “Survive” is all about very practical tips that you can do right here, right now to handle difficult situations you face each day in TV news. So let’s talk takeaways that deserve to be heard and implemented right now.

What I am hearing from TV journalists is this horrible loss hit everyone hard. And when something like this happens staff members really want one thing to happen right away: To hear from newsroom leaders that they recognize the concerns this creates, that there are provisions in place and more being discussed and that management passionately wants their crews to be safe. You can say this is a lot of hot air and we need to move forward. But simply put, at a time of crisis, staffers want to believe their leaders have their backs. So if you are a news manager reading this, it is not silly or stupid to make a few remarks. Your newsroom needs to hear it. In fact, at this point they are distressed if they haven’t heard it.

If you are an MMJ you need to think about how you select where you will be live. If you are told you have to be live, then look for a location where there are people around in case you need help. If you are covering an arrest, go from in front of the police station if you can. If the scene is active go live as close as you possibly can to where the officers are working. If the scene is about to be over and you will be standing alone in the dark, call and ask to send in a look live before the cops leave. If you have to, ask an officer or deputy if they can wait just a few more minutes to watch your back as you finish up. If they are already gone, call the department and tell them you are feeling unsafe, but have to stay, and ask if they can send an officer by. All they can do is say “No.” But sometimes they say “Yes.” We can only hope that managers will stop and think harder about the need to have MMJs going live on a regular basis. But again, we need to talk practicality here. Many of you went live the same day as the attack. Many more will go live today. Keep your eyes out, and stay within ear shot of other people. MMJ’s should play it even more safe and conservatively when going live than two or three person crews.

Managers when you think about where you are sending live crews, think about their surroundings. I have always been a proponent of cross training, this is even more true now. If you are not very familiar with the coverage area, at least take some time on your off days to drive around and explore the common areas where you send crews. Get a good idea of what they face. I understand that the story the WDBJ crew was covering was in an area considered safe, and did not have controversy around it. But crews face more than you might realize day to day. See it, so you can more easily identify solutions if a crew calls with safety concerns. Educated suggestions go a long way. Also reiterate to your crews that if they have concerns you will listen, offer suggestions and try to help in any way you can.

I hate to have to include this, but I worked in news long enough as a producer and manager that this has to be said. If you are one of those crews, that says you are nervous just to get home earlier (Yes, there are some people like this, and yes, I had to deal with some firsthand at nearly every station where I worked) you are doing your co-workers a great disservice. If you cannot handle the hours and workload, get out of TV news. Now, more than ever, a trust has to be inherent between news crews and managers back at the station. If you say you are not feeling safe, that has to be true. Be responsible. This will go a long way toward managers being able to more easily trust all their crews. Read “The Little Boy Who Cried Wolf” again if you need. And managers remember, one bad apple should not ruin the crop especially if you deal with the bad apple. The vast majority of news crews come in ready to give 110 percent. If they say they feel vulnerable, the fast answer of “just deal with it” is not correct.

Can we please stop letting consultant advice take precedent over common sense in newsrooms? In this day and age viewers take live shots for granted. Many, I promise, barely notice that “Live” bug. Managers, if in your gut when assigning a crew a story you think the live environment will stink, do not assign it as live. You can still have crews in live trucks, turning their pkg in a little earlier in case a breaker happens. In fact that is the smartest thing you can do. Live shots are meant to cover breaking information. It is the fastest means to get viewers the facts. If every newsroom reiterated this definition tonight, that move alone would prevent a lot of live shot photo bombing, “f her in the…” incidents and would make it a lot harder to predict where live shots will happen. Therefore, making it harder for people with less than good intentions to find your live shot locations.

Yes, if it’s the first night of the state fair, it will make for a great live shot. Do it. But overall, many live shots in newsrooms today have no point except to slap a “Live” bug up. By just saying no to live shots in dark holes, in front of empty buildings and hours before or after an event where there is nothing to show, you are making crews less vulnerable. Remember, safety in numbers. The best live shots have action happening all around them anyway. Being live is the best/only way to get the latest information quickly to viewers when it is changing. Those should be the parameters for live shots. And MMJ’s, no live shot is worth big risk. If your gut says no way, call your manager. The beauty of digital news nowadays is there are so many ways to tell a story.

Finally, all of us need to recognize that no matter how much we try to stay safe, things like this can happen. No one could truly predict what happened in Virginia, despite what’s coming out about Vester Flanagan’s past. That’s why Alison and Adam are heroes to fellow journalists. They did their jobs all the way to the end. Adam’s dedication and ability to get the image of the shooter is something I think all journalists will carry with them. We are trained to be eyewitnesses. We will fight to bring the facts to the viewer. And now we’ve been reminded again that there are risks. May the reward continue to be greater.

Live For The Sake Of Being Live: A Survival Guide

Know Your Newsroom, Reporting Comments Off on Live For The Sake Of Being Live: A Survival Guide
May 072015

A savvy viewer recently asked me a very telling question. Are most of the live shots done on TV just for the sake of being live? I think most TV journalists would have to admit, yes.

First, in defense of sending the trucks out, you cannot get to that breaker at the top of the 5, if all the trucks are sitting at the station. It makes sense to put crews in trucks at the beginning of a news cycle. And if you are going to drive the truck all over town, it makes marketing sense to use the truck. Think of all the people who drive by just wondering why that news truck is there.  As for backpack journalist live shots, well we could (and likely will) dedicate another article to that.

But just because you are assigned a live shot for the day, and no breaker comes up does not mean you should just stand in front of a generic scene, and go through the motions. This is meant for both the crews who have to get creative because they are stuck with the live shot for that day, and the assigning managers who are supposed to help crews best showcase and explain the news of the day. I say this because I would be very rich if I had a dollar for every time a crew called in to say: “We don’t know what to show ( event x) is over and they are turning out the lights.” The manager’s answer was “Go live anyway, just reference that “The crowds just cleared up.” Seriously? Come on.

You have to reference the scene in some way. That might mean moving from an event to the next scene or focusing on the one area still damaged (just don’t exaggerate the extent). If there’s absolutely no way to reference where you are, then ask not to be live for an intro and tag. A live tag only can really help the crew not feel stupid and doesn’t waste the viewer’s time.

And here is another idea, why not shoot a backup intro and tag, as live, while there is something happening and offer that as an alternative option. I promise a live bug on the TV screen does not make or break viewership. Reporters demonstrating things attracts viewers. It helps the story become more relevant and the journalist become more approachable. You still got use out of the truck. You are still interactive and the reporter doesn’t look like he or she is forcing relevance at a dead scene. If the scene is absolutely a dead one, like the dreaded “stand in front of our satellite dishes and be live” assignment, think of an anchor question. At least then you can sort of justify why you are  “live” by engaging with the anchor, and providing relevant information.

And a final thought, managers please, please, please stop and think about these assignments.  Do stations really need to put live bugs up when a reporter is standing in front of their own satellite dishes on their own property? This is a classic example of live for the sake of being live. Often there’s a mandate. “We must have 5 live shots a day!” Why? What does that image really prove? Again, I make the argument, viewers would rather see an interactive standup somewhere in the piece to engage with the reporter than some person standing in front of satellite dishes. This has no marketing benefit at all. It doesn’t show that you are everywhere. It just looks sloppy. I hope this article gets stations talking more about relevance and less about live bugs in corners of screens.

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