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.

 

It is no secret that meteorologists are often the number one reason viewers tune in for newscasts.  Still the weather section of rundowns is not always getting the numbers it used to.  There are several reasons for this. Let’s take a look at one that can be tricky to solve: Trust.  Research keeps showing that viewers, even though they still watch newscasts do not always think they are getting accurate information. In fact, a recent survey by George Mason/Yale Universities on climate change showcases some of the issues for weather coverage.  It interviewed more than a thousand Americans in May, 2011.  52 percent said they trusted “television weather reporters.”   48 percent said they distrust “television weather reporters.” Nearly 50/50 isn’t bad you say?  Consider this:  The trust level for TV forecasters is down 14 points since a poll in November 2008.

You might be saying this was specific to weather climate change, a small element in our day-to-day coverage.  It still points to trust levels for a perceived large weather event.  Trust over severe weather coverage is a make or break for many stations and, therefore, its staff meteorologists.

Now let’s talk news icons.  The people you trust when you watch.  Here are two names to consider: Charles Kuralt and Bob Dotson.  Both master storytellers, who took facts, gave them meaning, and made you think of your world a little differently. (Dotson is still doing it for NBC News.) “Television weather reporters” have the same burden, despite being the scientists on staff.

So how do you connect the two?  Let’s take some basic storytelling principles and apply them to weather coverage.

Storytelling Principles for Television Weather Reporters:

  • Start with an image.
  • Be able to explain story in one sentence.
  • Showcase how it impacts people.
  • Find an Ah-ha moment. Let viewers see the situation in a way they haven’t before.

All of these bullet points are aimed at helping you provide perspective.  For all elements of television news this means identifying and clearly explaining an image.  This is why, when there is severe weather clean up, you hear management asking for the most compelling picture of the damage.  The goal is to burn an image in the viewer’s mind of what the storm meant for people.  Using visuals has to be more than calling up a weather map, full screen.  That’s because, for most viewers, weather maps look pretty much the same.  If you see something interesting on radar that you want to make your “headline” for a weather hit you need to be able to explain it in one sentence right away.  Spell it out.  Then expand on it.  Be visual while you do it.  Draw diagrams, telestrate, ask for interesting video or animation to spell out what the viewer should watch for.  This helps the viewer relate to the weathercast more.

The easiest way to pick your headline and spell it out is showcasing how an element of the weather will impact people each day.  Yes, you already sort of do this with hourly forecasts, school bus stop forecasts, game forecasts etc.  But it all looks the same, usually falls at the end of the weathercast and in a very predictable manner.  I know research shows holding those graphics helps with the all important meter points.  This means making the beginning and middle of the forecast more personal with mentions about how the weather will impact certain activities and neighborhoods while showcasing it in a more visual way than just putting up a map like viewers are used to seeing.

Often you are asked to give themes to each weathercast when you have multiple hits in a news show.  Frankly, many of those themes are not obvious to the viewer until the final outlook is put up with the weekend forecast, or a look ahead to an event.  The beginning of most weathercasts seems the same and can be confusing to viewers.  To viewers, the information is not clearly supported with visuals.  Remember, after a while, maps can appear like video wallpaper to the viewer:  Always there, no reason to stare at it.  That’s why I mention telestrating, animations and video to explain your headline along with those maps.

If you take away one suggestion for storytelling from this article make it this one:  Give viewers an “ah-ha moment” out of your weathercast every day.  Storytellers call this their “surprise.” Often it is an ironic twist or a very interesting fact that you didn’t know, or did not see coming, and makes the story relatable.  Weather has universal appeal, but forecasts often are not easily relatable for the viewer.  You watch all the graphics and hope you are actually guessing correctly where your location is on the various maps so you can figure out the impact.  I understand a meteorologist cannot give every person across the ADI a personal twist specific to their area.  But you can give them a headline that has impact and explain it in an extremely relatable way.  A recent example: Florida got a bunch of rain for a week this summer.  It lasted all but a few hours a day.  Usually Floridians see a couple of hours of rain late afternoon or early evening.  Many meteorologists focused on where the rain was in a broad base and what the next day would look like.  Helpful yes, because I was trying to figure out when to hit the amusement parks and beaches.  But everywhere I went I kept hearing: “Why is it raining like this?”  I watched the news for several days.  A few off hand comments I could not understand.  I went onto the weather channel website and searched “Why Florida rain?” Bingo!  I found a great explainer on why this was happening.  It was a change in a low over Texas and part of the midwest that drifted over.  Too often weather reporters are told to put so many graphics up for futurecasting etc, that the “why” gets glossed over in the middle of the weathercast.  You don’t need extra time to showcase the “why”, you just need to define it clearly in a sentence, with an image then, expand a few lines.  Here’s a big secret from storytellers:  The “why” in a story is often your most compelling and potentially ironic element.

Yes, many of the things I am mentioning technically exist in weather hits already.  So, what’s the big deal?  Too often the message is lost in the delivery.  The comments are thrown in as asides or transition lines when talking with the news anchors.  The perspective and the “why” elements need to take precedence.  This is where you establish that you are keeping watch, wanting to make sure the viewers are safe.  These elements will build your trust with viewers.  Storytellers are trusted.  They know the facts and can let viewers see those facts in a way that wasn’t clear before.  So learn from the storytellers and provide more “ah-ha” moments.  Your credibility in your market will soar!

A producer recently Tweeted me asking for an article on how to build a relationship with News Directors.  Frankly, I could write a book on that subject! But there are some basics easily put into a short blog.  First, you need to know, access to your ND varies greatly depending on market size, how many other managers exist in your newsroom and your ND’s temperament.  There are some fail safes though that will help no matter your situation.  We call them the 3 B’s:

  • Be subtle
  • Be consistent
  • Be loyal

Before we spell out these 3 b’s, let’s give you some insight into what ND’s often think.  Simply put, up to half the newsroom is “on board” helping out day to day, the rest are not loyal or don’t seem to pull their weight.  (Trust me on this one, I’ve heard many ND’s say it!)  That second group appear to fight the ND on everything by being argumentative.  The ND gives a critique and the person throws back reasons why it’s “the newsroom’s fault” something wasn’t done.  Then comes the “high maintenance” label  of being difficult or too needy.  This is especially true if you have valid points that, though probably unintentional, showcase the ND’s problem areas in the newsroom or even management style.  No one is perfect, including your ND.  We’re not saying you need to be a “kiss ass” and do whatever the ND wants all the time.  We are not saying your opinion isn’t valid.  It’s all in the delivery, which we will spell out in a moment.  The ND will have people on staff that they count on for their own gut checks from time to time.  You become one of those people with patience and by showing loyalty.  This all begins by being subtle.

Being subtle means being the person that sits back and listens to what the ND asks for.  Take, for instance, a staff meeting where the ND spells out the news philosophy of the shop.  You don’t raise your hand and ask a bunch of questions.  You want to hear not only what the ND says but his/her reaction to the flood of questions and instant critiques.  Once that’s completed, process what the point of it all seems to be.  A day or two later,  drop by the news director’s office and say something like: “So I was thinking about the meeting and want to make sure that what you are expecting is ‘XYZ’.”  Let ND answer and then thank him or her and walk out.  Then try and do what was asked of you.  After a few weeks pop your head in and ask for a critique.  Yes, you will likely get an honest answer that could be disappointing. Most ND’s recognize that asking for critiques is not the easiest thing to do.  The willingness to do so will show respect.  Now this is key:  Don’t ask for critiques all the time, just when there’s a philosophy change or change in your job assignment.  People constantly asking for critiques and therefore validation are considered high maintenance.  Remember the first B is to “Be subtle.”

Now that you have a clear idea of what the ND wants, execute it and “Be consistent.”  Strive to do it every day.  Keep your head down and just do your job.  The ND will notice.  You may not get a lot of pats on the back.  But that doesn’t happen often in TV news anyway. If you screw up one day, the ND may give you the benefit of the doubt if you’ve built this relationship.  You just might set yourself up for a promotion or at least an opportunity to ask for better assignments during your next review.  Consistently doing your job is another way to show loyalty.

That leads to the third B, “Be loyal.”  Before you start shaking your head and thinking to yourself “I’m not a kiss ass” know this: That’s not what showing loyalty is about.  Loyalty doesn’t mean planting smooches on backsides.  It means not going into the ND’s office and throwing fits when you just got royally screwed over.  That doesn’t mean you have to become the news room doormat either.  If something happens that puts you in an awful position, go in and ask for advice.  If the ND throws something back at you like “How would you fix it?” have a possible solution ready.  Spell it out, then accept the critique.  Thank the ND for listening when you walk out.  You need to do this even if the ND is a screamer.  (click here for more on how to handle bosses that scream.)  Showing loyalty means knowing your ND is going to screw up occasionally and you aren’t going to rub salt in the wound.  You will forgive it and move on in the best interest of the station.  If you see a situation that might really cause a problem, like a potential ethical issue, call the ND and give him/her a quick heads up.  Don’t call screaming about how you don’t appreciate being in this position.  The ND doesn’t care about your feelings.  You are replaceable.  (Never forget that.)  Stay humble and try to work with the ND.

News Directors can be very inaccessible and very hard to read.  You may never know if the ND likes you or thinks you are a hunk of junk.  But, all ND’s appreciate loyalty.  All types of ND’s will eventually notice if you make effort to just do what’s needed and try not to cause extra headaches.  The 3 B’s will benefit you, even if you can’t tell right away.  ND’s have given me good references throughout my career simply because I always tried to give them what they needed.

 

My career began covering a major flood.  I was a one man band, standing knee deep in floodwater, sandbagging in between shooting packages.  I also learned how the power of video combined with a knowledgeable meteorologist can captivate audiences.

Then, through the years, came tornadoes and hurricanes and massive snow and ice storms.  I produced newscasts through it all watching, and when I could, helping meteorologists explain what happened.  Over the years I worked with some big names in the biz.  They all had several characteristics in common that made them among the best at what they do:

  • An unending hunger to learn more about the area in which they worked
  • Great talent for boiling down conditions and clearly explaining impact
  • The ability to make weather coverage interesting even when the skies are sunny and clear
  • A drive to improve each day
  • Lots of volunteer work in their community

The thing that struck me the most watching these incredible meteorologists over the years was their unending hunger to learn more about the area they covered.  These meteorologists were always looking over maps from past to present, researching and looking for trends and coordinating with the local weather service.  They never tired of looking for a new nugget of information about the area.

When severe weather struck, these meteorologists could boil down what was happening in clear terms. They explained what was happening without using a lot of extra adjectives.  They didn’t pass judgment on a storm’s potential impact.  In other words, they didn’t say things like “this is going to be a scary one folks.”  They would just say, “Now is the time to take cover. Bring your TV or turn on a radio if you can. We will tell you when it is safe.”  These meteorologists knew which schools were on spring break, or when kids would be at a bus stop for each section of the DMA.  They were walking encyclopedias of the outdoor recreation areas, even able to casually mention specific places to take cover.  They could talk about how deep a mark you needed to claim hail damage on insurance and other little tidbits you needed to know.  They truly came across as a friend and confidant that would never lead you astray.

I truly enjoyed working with these meteorologists on sunny days.  They still made their weathercasts interesting with those tidbits of information.  They educated on cloud types, topography, or what local weather watchers might find interesting in the coming days.  You learned a little something every time they spoke.  These true experts made weather teases easy to write.  Most were also not in it for the “face time.”  If there wasn’t much to say and no interesting weather video to discuss, they came to me saying “let’s cut back the time.”

The most interesting trend I noticed over the years though, was how they took sunny days to work on their on-air performances.  One would come sit with me to talk about how I wrote news copy and why I used certain phrases.  Many would review tape of recent severe weather and critique themselves. (to learn how and why to do this check out our previous article: “Humble pie; why a slice of self-examination can change your career”)  Sometimes I was called into the weather center to discuss what we could have done better.  We would sit and brainstorm and make plans to implement before the next storm hit.  These meteorologists truly managed all aspects of weather coverage.

Finally, these meteorologists all had an intense sense of community.  They truly felt like civil servants to the families that watched them.  Many routinely went to schools to give talks and volunteered at various charities.  Their commitment to the community was inspiring.  On the days that severe weather struck, the example they set made us all want to perform even better at our jobs.  We did not want to let these weather experts down.  They set a standard that guaranteed your newscast would be worth watching.

 

Many TV stations, like many football programs are constantly changing the “coach.”  If the ratings don’t go up quickly the news director is gone.  That means a new chance to be fired, since the new boss will want to make an impact right away.  First impressions truly can make or break your future at that station.  So let’s talk star power.

All managers have one thing in common.  They want staffers that do not whine.  They want people that can change and adapt quickly.  To prove you can do this, research the new ND and see what type of news philosophy was implemented at their last station.  Did the place do a lot of consumer news?  Did the station cover a lot of breaking news?  What was the turnover like?  Calling and asking for an long time reporter or photojournalist to dig a bit will be helpful.  You want to ask what the ND liked to see from the staff. What kind of story ideas got the ND excited.  Try and find out if your new ND is a big football fan or has kids or a dog.  Now you have a leg up.

Listen to the ND during the first few story meetings.  See if the ND is getting excited over the type of stories you heard he/she will like.  The ND will give you clues about where the place is going next pretty quickly with offhanded comments.  Most people don’t listen.  They should and you will.  Next, adapt story ideas or input about newscasts to the trends you notice from the ND.  After a few weeks try and catch the ND for a minute and request a critique.  Don’t say “hey did you watch my show/package. etc. that day.” Just say: “I am checking in to see if you have any critique for me on what you’ve seen so far.  I am looking forward to taking my work to the next level with you.”  The ND will probably say he/she needs a few weeks.  That’s fine.  You just want the early impression to be that you are hardworking and eager to adapt to this person’s style.

Now let’s talk personal connection.  Remember you have intel on the ND’s personal interests.  Use it to make a human connection.  Let’s say the ND is a big football fan.  When you see ND in the hall or at the end of a meeting ask what person thinks of some headline, “How about that new recruit?  What about that last play in the last game?”  You get the idea.  Don’t linger.  Listen to the response and walk away.  You don’t want to force it.

You also need to make deadline and not complain about anything for the first several months; even if you are getting screwed on vacation time.  Stay out of the office and let other people seem difficult.  The ND is overwhelmed the first few months and doesn’t need to deal with any “little” issues.  Fair or not, your vacation time qualifies as little.

If you are in a meeting with the ND do not be the first person to run out of the room at the end.  Organize your papers, take one more sip of coffee, do what you need to linger a minute in case the ND starts small talking.  This is a subtle way to start building a connection without seeming obvious.

Remember ND’s are looking for employees who are loyal and willing to work hard.  So when you are asked to cover an extra shift or work late, do it without complaining.  You will get a chance to occasionally say no after the ND has been there awhile.  This is a way ND’s test to see if you are a diva or a battle tested, nose to the ground journalist.  We watched it time and again.  Staffers turned down shifts or complained about working late and the ND made a quick judgment call that the person was lazy and didn’t appreciate the job.  It was usually downhill from there.

The key in all of this is being subtle.  This is like dating.  Give the ND a taste of who you are, express some interest, but do not overdo it.  The people constantly in the office putting out will end up being the ones the ND takes advantage of and overworks long term.  The hard workers that stay out trouble survive and end up with some time to breathe.  You will keep the ND interested in seeing more.  That’s what you want.

 

Newsrooms are notorious for hazing.  It happens often in larger markets, but we’ve seen it in small markets too.  You have to prove to coworkers that you deserve the job.  You don’t truly have friends in the workplace. Everyone is out for themselves.  Why?  Because so many people are quitting the biz, less experienced people are being hired.  Some veterans in the newsroom, find this tiring and insulting.  I started in a large market right away and quickly wound up in another big city.  The hazing was awful.  I was asked if I slept with the news director to get my job.  I had reporters and anchors purposely rewrite copy to insert factual and grammatical errors to try and get rid of me.  One anchor even told me and several other producers it was his “God given right” to torture and make me cry.  He had the cry test and graded you on how long it took before you broke down.  People hide your gear, steal your rolodex, sit on the set during commercials and laugh at your news copy.  Coworkers don’t want to carry dead weight.  Many times fellow journalists will decide you are a moron unless you prove your worth, and quickly.  So do it.  Here’s how.

The number 1 rule:  Don’t involve management.  Management doesn’t care.  Period.  There are too many other things they have to take care of.

However, you should take the reigns and show the hazers you are not the patsy they think you are.  That starts with exposing dirty tricks.  The best place to start is befriending the IT person in the newsroom.  You know, the person who knows all the ins and outs of the computer system you use each day.  This person can save you.  News programs like AP Newscenter, ENPS and iNews have ways to call up past scripts and show who wrote each and every version.  This will give you a chance to document and show proof  if an anchor or associate producer is rewriting copy and putting in fact errors which they blame on you.   In some systems you even can lock a script so no one else can rewrite and put in fact errors or change the context of the story once your executive producer copy edits it.  Ask for this ability and you may receive.  Chances are your executive producer will play ball because you will then have documentation the EP can use to get some staffers to shape up.

You can also often find instant messages from all the computers every day.  Yep, all those annoying, petty and smarmy comments binging and dinging around you can be a click or two away.  Print them and hand them over to management.  This can get tricky because management won’t like you digging through the system.  But if it is in a forum where everyone could potentially have access they can yell at you and send a fiery memo saying don’t go there, but you won’t be fired.  Once the nasty top lines are exposed many newsroom bullies shut up or at least save it for the parking lot after work.  How’s that for investigative journalism?  Even more fun:  dump copies of the nasty top lines under the news director’s door anonymously so even he/she has to wonder who’s watching.

Also remember, many staffers who bully love to dish in the studio.  They think it’s a secret hideout.  Newsflash:  Mics are everywhere.  It’s easy to “accidentally” turn one on, hear and record the petty comments.  The studio is the one place where there truly should never be any expectation of privacy.  That’s not what the room is for.   The picked on should wander through the studio to “plot out a section of the rundown” right when a gossip session is underway.  Then, smile as if you are going to dish it all.   Another move is to “accidentally”  have the mics kept live during a commercial break when there’s an anchor who loves to trash everyone in those breaks.   Normally, when the nasty hazers get caught once or twice, they’ll back off.

What if the hazer likes to get in your face and yell at you in the middle of the newsroom?  This one is easy.  Just ignore the person.  Sit back in your chair, with your hands behind your head, gaze up at the lunatic putting on the show and wait until they either explode into pieces before your eyes or finally shut up.  Then as the hazer stares at you indignantly, simply ask: “Are you done?”  Then just  go back to work like nothing happened.  This will drive the bully nuts.  If that hazer really pushes it, follow up with, “You can say what you want about me because bottom line, I’m not the one who just had an unholy hissy fit in the middle of the newsroom.  You can’t expect your actions to prove you have anything worthy to say to anyone.”  Then get back to your work.

Lastly, sometimes you just have to fight fire with fire and stand up to the hazer. I once told an anchor who said I was “too young to write for her” that it’s not my fault she couldn’t handle that someone so much younger was just as capable of working in the same city and on the same shift as her.  She told me she’d have me fired.  I told her I had proof that she was purposely rewriting copy with errors and printing them to try and prove me incompetent.  I asked her if she would like to come with me to turn those documents into the news director so she could try and explain it, or would she prefer the news director to mull the evidence over before calling her in for a chat.  She backed off.  Hopefully, these tips and tricks will help you stand up to a hazer as well.

 

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