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How to “go big” on national breaking news

Producing, Survival Kit, Writing Help Comments Off
Jan 242013

A producer recently emailed asking about ways to handle big, breaking national stories.  Do you sacrifice local and fill the a-block?  How without offending the viewer who might want a lot of local?  What a great topic, since it is so easy to go online and on cable news and get that national story.  So let’s delve in to ways to do this, without offending local viewers.  Also, I would love to hear your feedback on whether you think going big on a national story, locally, is effective since social media and online news are so relevant now.  Please go to our FB page and talk about it.  This debate will continue to grow as TV redefines its role.  When you discuss it, consider these key points.  They can help you decide how much to do on large scale national stories during your local newscast.

  • Viewers are used to getting news at this time of day, from you
  • Viewers feel a connection to your anchors

 

Both of the points listed above come down to one important point, when deciding how to cover a big national story:  Trust.  Viewers trust their familiar, local, anchors and like checking in that time of the day with those anchors.  They are prepared to see your anchors giving them the most important news at that time.  That’s why so many newsrooms go big, even when the story is not local.

The producer that emailed me specifically mentioned the Newtown school shootings.  This is a different scenario than the fiscal cliff, which is easy to localize.  The day of the shootings, you are still figuring out what the basic facts are, so localizing can be a little more difficult.  Blowing out an assumption, to turn local angles can backfire.  So localize as much as you can but, do not feel you must have a lot of local tie-ins in order to go big.  Large market producers will tell you this is an opportunity to let your anchors own the big story, just like a local breaker.  That means avoiding a national package.  If you are allowed to get a live shot from the affiliate feed, go for a custom and let your anchors debrief the anchors with questions you think your viewers would want answered.  Make sure you have a set up spelling out the basic facts and setting the scene, so the viewer understands the scope.  This can be done with vo/sots, a package you write for your anchors, or a combination of nat sound, vo’s, vo/sots and graphics.  Do what you need to really spell the story out in an effective way for your viewers.  The point is owning the story, instead of seeming to hand it off to a network reporter and moving on.  Handing it off can encourage a viewer to switch channels.  Remember, the viewer has a trust connection with your anchors.  They can tell the story well, and should.

When you can add tidbits of local reaction, do it.  Let your anchors help you find this information out.  It really is an effective technique to have your anchor say something like, “I just called so and so, and that agency would handle a situation like this, the same way.”  Again, your anchor is acting as an advocate for the viewer, let them ask the questions the viewers would love to ask themselves.  Let the anchor “own the story.”  The viewer trusts the anchor and wants to see him/her in that role.

Another solid technique is letting the viewer know about local stories coming up, and when they will see them during this national coverage.  Some mention it as an umbrella lead and some do it with teases off the top of the newscast.  Some just have the anchors mention there is a lot of local news coming up in 5 minutes.  That way, viewers know you are also on top of the “big” local news of the day as well.

The key when determining how much coverage to give a big national story is the potential impact it will have on your viewers.  For example, the Newtown school shootings were so shocking, viewers would crave information.  By not covering it much, you would actually encourage viewers, used to watching news at that time, to switch channels.  The viewer’s gut feeling would be “This is a huge story, I need to know about.”  They want to learn the information from journalists they trust.  You can encourage them to further believe that it is your anchors and reporters they need to trust.  Do not just shove a national pkg off a feed into the a-block and let it go.  Let your anchors ask the questions the viewers want answered.  Continue to build the trust. That way when a big story happens, your viewers will turn to your newscast first, no matter where the story came from.

Taking Teasing Challenges Head On.

Survival Kit, Tease Writing Comments Off
Jan 142013

Whenever I publish an article on teases, journalists talk it up on Facebook and Twitter.  Teases, as I have said before, are not natural to us newsies.  So we have plenty to discuss because teases are a completely different writing style.   I asked on FB and Twitter:  What are the biggest challenges you face when writing teases?  Here’s the list and some fixes.

Tease writing challenges

  • Making the time to write them
  • Not giving away too much of the story
  • Picking what to tease
  • What order to put teases in

The number one secret of killer tease writers is this:  Make time to really work on your teases.  These are not the elements you save for last and just throw something in to get them done.  Teases make or break your newscast.  You are judged on them harshly and often.  They have to be a priority.  They need a special amount of time set aside.  Give yourself a chance to write and read over the teases to challenge yourself:  Are these really the best I can do?

That said many of you mentioned writing the teases right after you write the story you are teasing.  That can be an effective technique, as long as you go back and look at them again.  Why?  Often you end up giving away too much of the story. Sometimes you need a little separation from writing the story, to see what your short term memory actually retains.  What is it about that story that made you want to tease it in the first place?

Picking what to tease is very challenging, especially when you look at your rundown and think, the stories all sound run of the mill, with no good sound, average video and the same old facts.  This is key.  There should be a reason every story is in your newscast.  It may be that a little tidbit is interesting, the fact the fire happened in a key demo of the market you are tapping into, or because you need video on a day when you have few resources and too many copy stories.  Realistically not all of the reasons are super compelling, but they are reasons that have WIFM (“What’s In It For Me”).  So draw on the reason why the story is in the newscast and try to build on that for a tease.  Viewers do not expect every story to be a gut wrenching, heart stopping, amazing moment.  Remember at their core, viewers want tangible relatable information.  Information is teasable.  Just don’t oversell. (see “Reel ‘Em In Without Exaggerating”).

Finally, order.  How many producers have wasted way too much time on this?  For the most part, the way to “stack” teases is this deep, deeper, next.  You can play around with the deep, deeper part, but not the next (unless you are in the second to last block of course).  If viewers see a pattern (and they can and will recognize it) of you teasing next right off, they will not stick around for the whole newscast.

So now you can take  those teasing challenges head on! Go knock ‘em dead.

Why don’t you show us how it’s done then! The result of on set rants in the booth.

Getting Along With Peers, Political Hotbed, Producing Comments Off
Jan 092013

So now we know that anchors often resort to onset rants, when they are super frustrated and feel there is no other outlet.  Anchors, we get it.  Other journalists understand some of these issues are hard to take, but it’s time for you to see what impact that moment of weakness has on the rest of the team.

First, the producer.  Let me clue you in on a little secret, producers tend to be control freaks, who place a lot of their self worth on their work.  Their biggest points of pride, the writing and flow of the newscast.  The writing is their stamp, on the newscast.  So when you the anchor make fun of the writing, right or wrong, for many producers it is a deeply personal insult.  In some ways it is the same as viewers sending scathing critiques of your clothes, hair or delivery.  It takes awhile for many producers to understand that the writing has to be a team effort. (see “How to get inside your anchors heads”).  Anchors can say the  critiques are not personal until you are blue in the face, most producers never buy it.

The producer is also the team leader, especially in shops with newscasts that are more content driven rather than personality driven.  So when you make fun of the writing or complain about how it made you look, you are essentially calling out the newscast leader as a fool.  That is how it feels to the producer, and the production staff.  Again, think about this.  I personally know of only one anchor, foolish enough to call out an AND or ND in the middle of the newsroom.  Producers are a type of manager as well.  Show enough respect to talk to the producer one on one.

That said, producers read “I can’t believe that aired again!” and understand, anchors usually do not go off on the set unless they feel they have no voice and that any suggestions in the past were ignored.  So, if the anchors are constantly calling you out on the set, it can be a message.  You don’t respect us, and therefore we don’t respect you.  As the leader of the newscast, you have to try and make amends.  It is important that you not only allow critiques to happen, but actually acknowledge them and make changes at times.  You are fallible.  Everyone is fallible.  Recognize it, grow from it, and allow yourself to self reflect.  Leaders help those around them rise up.  Are you doing that or serving your own self interests?  Spell out to the anchors, that you will really listen to what they have to say.  If you go against their advice, say why.  One more thing, solid leaders also admit when they make mistakes.  If you can set that tone, chances are the people around you will too, and all of you will grow together.  Set up basic trust, that is crucial especially during breaking news.  All of you need each other.

Anchors need to consider another thing before ranting on the set.  It undermines your authority with the production staff as well.  No one wants to sit and hear someone being criticized openly.  If you can say that about the producer, what do you say about the production crew behind their backs?  It causes a sense of superiority that is not appropriate.  Production crews and producers are fully aware of how much they impact your success.  Never, ever, forget that.  Every time you sit on the set, you are placing your fate in many hands, no matter how talented you are.  Do you really want them collectively saying “Why don’t you show us how it’s done then?”  They will monitor how long you take to do your hair and makeup, they will help managers figure out if you take three hour dinner breaks, even on big news days.  In other words, if you regularly rant on the set, you better be the hardest working journalist in the newsroom EVERY SINGLE DAY, or you will have a host of enemies waiting to watch you get yours.  It is just the truth.  A producer I used to work with purposely used words her anchor struggled to pronounce in copy, and especially during breaking news, just to trip the anchor up.  She was tired of the on set rants.  I watched a production crew, purposely call up a mic line early to catch an anchor in a rant, on live TV, just to make her shut up.  I have also seen producers lobby together to request that anchors be fired, because the on set rants became too much to take.

News is stressful.  We all have moments of weakness.  But when those moments happen on set, they are not easily forgiven.  They create the “us vs. them” mentality that damages so many newsrooms and so many newscasts.  Anchors, stop those rants.  Producers, give anchors a forum to talk with you about concerns, and really listen and learn from the information.  Make it your pledge for the new year.  You will be shocked how much better all of you perform when you set aside the ego, and focus on team.

That term is suspect: When to use the word and when to avoid.

Producing, Survival Kit, Writing Help Comments Off
Dec 122012

By now most of you know we have a cliché list of words and phrases you just should not use.  “Allegedly” is one of the very worst, and we explained how to get around it.  Now let’s talk about another very overused, and obviously misunderstood term: “suspect.”

By definition “suspect” means: “to think (a person) guilty without having proof.”  It is a term police, lawyers and judges use.  Viewers get the essence of it, quite possibly more than most newsies.  I say that because when you watch an a-block in most newsrooms around the country, you hear “suspect” being used, in a way it should not, constantly.

Here’s a common example, when describing a convenience store robbery with surveillance video. “Here you see the masked suspects approaching the counter with guns and demanding cash from the register.” Um, no.  “Here you see the robbers pointing guns at the cashier.”  The people with the guns, who then take handfuls of cash from the register are not “suspects.” They are the people who did it.  Police may not know their names yet but, you can see in the video, they are the “robbers.” The people in the video are guilty, the video shows proof. You see them committing the criminal act.

Now here’s what to do, if the person is not wearing a mask.  As we explained in “Getting around allegedly” if you see the person doing it and police confirm that’s what happened, simply attribute it.  “Police say you are watching a man rob this store.”  “Suspect” is not going to help you here. The man is seen holding the gun.  State the facts.  Attribute to police.

Inexperienced writers, if you are unsure, exercise caution.  These concepts take a while to grasp.  Remember, you must attribute.  Words like “suspect” do not really protect you.  Saying for example, “Police call Joe Schmo a suspect.” can still create problems.  You can say police have identified a suspect and not show a face or say a name.  Remember, unless the person is a public figure, the name is less important to viewers than the fact investigators are moving forward and possibly solving the crime.  The safest bet, is to wait to say a name until there are charges.  Once a person is arrested, they are no longer simply a suspect.  So saying “Suspect Joe Schmo is charged with.” is not a protection.  The term suspect, has to be used clearly, not as a crutch phrase.

Suck them in: How to start off teases.

Producing, Survival Kit, Tease Writing Comments Off
Dec 102012

How often have you watched a newscast and the teases at the end of a block made you have to watch a little longer?  Be honest.  Chances are you really have to rack your brain to remember a time and a tease.  The reason:  Most teases are horribly written.  They immediately start out on a two shot, with the anchors saying “coming up” or “next on.” Let’s not mince words, that’s an instant fail and a viewer turn off.  Viewers will not stick around.  The viewer thinks, “Cue commercial! Let’s see what the other channel has.” or just turns off the TV altogether.

So how do you suck them in?  First of all, get rid of two shots at the top of teases.  You can use a two shot other places, like the story before the tease.  Next, ban the terms “coming up” and “next on.”  You can time reference other ways, and later in the tease.  Instead, think of why you picked the story to tease in the first place.  Is the video jaw dropping?  Is the nat sound awesome?  Is there a surprising twist to the story?  Start there.  Hammer the sell, head on, right away.

Now take some of the compelling video and show it off right away.  Think, VO off the top or NATS VO,  right away.  Play the image twice if it is quick.  Showcase, showcase, showcase!  Just don’t explain every bit of what the viewer sees.  Let’s say a plane makes an incredible emergency landing and you have video of it happening.  You can show the landing, and tease an interesting element, like “What the pilot almost hit going down.” or “Why he/she had to land.” I recently saw a tease about a tattoo parlor.  The producer wove nats of the tattoo needle buzzing throughout.  The needle sound was up full at the start, then lower while the anchor read, and finally up full again at the end.  That alone sucked me in.  The sound is captivating and makes you more excited to see the story.

What if the story is interesting, but you don’t have any good sound or video?  Again, avoid the two shot and play on the human element right away.  If the story is about a family’s brave battle with an illness, show the family and hit on how “Their story may make you want to hug your own children.”  Show a close up of a child doing an amazing thing and say, “You are about to meet Sally, and she is going to teach you a thing or two.”

Now let’s address why so many teases start off with “coming up” or “next on.”  You do need to time reference that the story will appear later, just don’t do it off the top of the tease.  If you work in a shop with graphics that say coming up, either pop them in after the tease is underway, or don’t reference the animation with your copy.  You have to impress the viewer right away.  That is more important than referencing an animation.

A final thought:  Treat the start of your teases the way you would the beginning of an actual story.  Do not put “giveaways” that a tease is coming, like two shots or use old, cliché, phrases.  That alone will help you suck viewers in.

Not enough time to get it all done. Why producers chronically fall behind.

Know Your Newsroom, Producing Comments Off
Nov 132012

When I went to J school, two lessons were ingrained in my head.  Never miss slot.  Never walk into the booth without getting your newscast done in time.  As we all know, these can be easier said than done. But they are crucial lessons.

I hear a lot of complaints about producers not finishing their shows in time.  I constantly used to watch producers struggle to finish writing the newscast before heading to the booth.  So why does this happen?

Time management

Sorry, but I have to ding chronically late producers on this one.  You’ve likely heard the mantra, set mini deadlines all day long, and make EACH ONE.  But then you adjust the deadline times to fit your needs.  Not good.  I used to watch producers watch morning talk shows, and visit with other people at the station. I watched them make phone calls to set up hair appointments.  Yes, you deserve a minute to set up appointments.  But do it when you have the rundown in place, and have written at least the first two blocks.

Wishy washy boss

Some bosses are decisive.  Some are not.  If you have a boss that changes his or her mind a million times a day about the lead story, the b-block lead and whether to move “story x” higher up in the rundown, there are work arounds.  First, crank out your pacers.  Second, write teases in a floater script at the top or bottom of rundown, then move the elements into place when the boss finally makes up his/her mind.  If you have a great idea to build up the “lead story” that might get dumped, do it anyway.  You can always move that segment around and have another kick butt, unique, element later in your show.  (Remember: Make your mark).  The one thing you don’t do?  Sit around and wait for the boss to decide how the rundown will look.  That is a killer.  You pay for it, not the boss.

Waiting on facts or elements

If you ask for a fact check and the assignment desk doesn’t get back to you for two hours, pick up the phone and verify it yourself.  (Or ask your anchor to do it)  If you want a pkg from a sister station, have the script emailed to you or hop into their rundown (if you‘re company allows access) and grab it.  Don’t wait for the assignment desk to call the other desk and ask pretty please.  Take control.  Take ownership.  Keep from falling behind.

Not “feeling it”

Some days there are not clear transitions.  No story makes you particularly eager to write.  You are sick of pulling natural sound.  I get it.  But don’t give in and wander around the newsroom or break room hoping the problem will go away.  Suck it up and crank the elements out.  News doesn’t wait for you to be in the mood.

Constant meetings

It drives me crazy to constantly be thrown into meetings on “slow” news days.  Let me look for elements.  Let reporters work sources.  Let the producer get what he/she needs done so there is time to be flexible later.  Then came sweeps meetings, and election meetings, and ratings meetings, all before my newscast.  I used to sit in those meetings and handwrite copy, tease ideas, OTS titles, banner information on my notepad.  I participated as needed, but if the bosses droned on, I got things done.  I had to.  The clock was ticking, and I knew the big rule:  Never walk into the booth without the show written.

So take a hard look at your day.  Figure out what puts you behind, then alter the behavior.  Your credibility is at stake.  Producers, produce.  That means being prepared and ready to go!

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