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Can’t See It? Then Tweet It!

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.

Hidden References: Why You Must Expand Your List

Everyone knows that in a lot of ways this is a small business. But many journalists today think that likely means you just need a few peers and a boss, maybe two, to root for you or serve as references. This is simply not true.

What “this is a small business” really means is there is a high probability if you decide to chew out that producer who you thought was clueless, or cuss out the “snooty” anchor or just walk out because you have a new job and are sick of these (insert expletive); that will be the person the hiring manager for your dream job calls because they are buds. Don’t believe me? Wait and see.

Most companies ask for a reference list. But those references are not the people they actually call. They call their pal from back in the day. Or they call a friend of their pal from back in the day. Why? Well, your references think you are great, right? Hiring managers know this. The more important question is: What did most of the newsroom think about you? Or maybe that hiring manager thinks the ND on your list sucks. “I’m not calling (insert name). I used to kick that person’s &** when we competed in (market) X years ago.”

So, with all this in mind, you need to expand your list of references. How? First, don’t act vindictive when you leave a station, even if you feel totally justified. I promise, at some point, it will come back to bite you. It can happen YEARS after the fact. But memories are long. Next, do your job and don’t whine. Seriously. You just have to save the griping sessions for your mom, spouse or friend outside of the business. And understand that the best reputation you can have is that of a team player. It’s your best shot at preventing a bad reference.

When to add “breaking” information into a newscast.

Let’s face it, journalists are airing and/or publishing more mistakes than they used to. So it is a good time to reiterate some tried and true guidelines to determine when information is safe to tell the world.

Breaking News Guidelines

Two sources minimum have confirmed the information
You know the names or groups confirming the fact(s)
Another journalist looked over your information

Veteran journalists are looking at this list and rolling their eyes. Yes, I know, the old standard was really three sources. In this day and age of “WE MUST BE FIRST” three is not always going to happen. Hell, I think it’s questionable if some news organizations actually require more than one source before going with breaking news. That’s especially if we define a source. Which we need to do now. A source is NOT another journalist you overheard talking to the boss about the story, or the assignment desk repeating information while on the phone and writing notes in the assignment file. I say this because I guarantee this is a daily issue in most newsrooms. Also a source is not what the reporter or assignment editor said a story was in a summary during an editorial meeting. You have to treat those pitches as unconfirmed even if they cite a phone call or email stating the facts. You must still verify because the information more than likely was not vetted yet. Think about it. The majority of stories in a newscast rundown actually end up with key differences than during the original pitch in the editorial meeting. I am saying this so that tease writers, promotions departments and general managers remember, editorial meetings are to pitch ideas. They are not vetted stories, and a statement of absolute facts. You must verify the truth of the information later. That starts with asking who are the minimum TWO sources of information. A valid source is someone directly involved in the story, with expertise. A police officer on the scene. An accountant who saw and worked on the budget. A teacher who actually created lesson plans on the curriculum. PIO’s do qualify as sources because they speak on behalf of the agency. They are considered official. So when they screw up, it’s on them. Also, they are essentially the PR person for whomever they represent. So, the facts will often have a slant. A good journalist will double check a PIO with their own source first, just to make sure.

Producers in particular, before you go to the booth or into the IFB of an anchor with new information, know who the information you have came from. Ask the desk or EP or whomever is calling to give you a name. This seems redundant, but I cannot tell you how often asking this simple question led to some “Um Ah, let me double check this” responses from the information provider. Having to name names, means you must have solid notes, and double checked information before sharing. And sometimes asking for the name leads to expanded information like “Well I heard reporter x tell reporter y about it while they were at their desks making calls.” That could mean anything. One asking the other’s opinion on whether the fact sounds realistic. Wondering if the source seems to actually be dodging sharing some information. Or simply talking about what they hope the story will be. None of that is confirmed enough to air the information to the world. Yet this happens all the time. A producer in a hurry to write an anchor intro or a tease, overhears a story description and writes based on that eavesdropping. Especially when it’s a breaker.

Finally, you must let another journalist look over the information first. My go to was usually my anchors. Frankly, they need to look over the information before reading it anyway to make sure they understand the story and can explain it, ad lib about it, or even read the copy in a convincing manner. Having a manager read over the information first is ideal, because most anchors will do so as well and you will quickly get two sets of critical eyes. If neither questions the validity of the facts, they are even more likely to be trustworthy. In a breaking news situation there is always a certain degree of educated guesswork. The story is ever changing. But anchors and managers need to have good BS meters. Most do and if they stop and ask, “Where is that information from,” you need to have solid, clear answers. That means checks and balances happened, and you are far less likely to end up making a huge mistake. There needs to be less embarrassing screw up reels out there for the world to see.

For more on handling breaking news check out how Survive defines breakers in the first place.

How To Self Critique A Newscast

More and more news managers require newscast critiques for anyone going for editorial positions. This is great because it helps the managers “see how you think” on many levels. The trouble is many producers have no idea how to do newscast critiques. Part of this is because many never get their shows critiqued by management. They may hear “The A-Block did not work.” or “Those teases did not hit well.” But that’s not a true critique.

So let’s talk about how to practice newscast critiques with your own or your station’s work. The best part is that it will help you grow as a content manager.

When self critiquing you need to consider the following items:

Does The Subject Flow Make Sense?
Did Production Values Work?
Is Branding Clear?

Obviously, this is a broad overview to get you started. True critiques are works of art unto themselves. But everything begins with the flow of the newscast. By this we mean more than the obvious did you put a sad story next to a cheery story. That often happens especially when having to kill stories for time. For more on how to avoid those issues read Emotional Toll. We are going super basic here. Did each story make sense? Did the order you picked make sense? When you sit and watch the show afterwards are you left with a lot of lingering questions about the stories, or did the viewer truly get the information needed? Subject flow involves correct order of stories, related content themes (crime/crime or economy/economy) and some showcasing. Did the breakout you added make sense for the story after all? Was there too much crime mentioned in a row? Sometimes what looks good in outline form, doesn’t look right on the air.

Which leads to the next big item to consider. Did the production values put in place work? With so many new fancy sets, and emphasis on incorporating more graphics, more social media references and more spots for anchors to stand/sit and present information, newscasts can look very disjointed very quickly. Then, even if your subject flow is on the mark, viewers can still come away from a show saying “Huh?” So you need to grab a newscast every so often, then sit and watch it with a critical eye. Did each production element you used, from that cool monitor graphic to that map to the pan/zoom in the middle of the A-block, make sense? (If you are working on how to even do these things in the first place check out our article Produce It Up.) When I work with producers on building their skill sets, one of the things I see time and again are periods where the producer goes from too little production value to too much. There is too much when you watch the newscast and are left thinking about all the cool looks in the newscast, but can barely remember what the content was that day. Also, when you watch, if you find yourself pulling back in your chair or whipping your neck around to keep up, that’s too much movement.

Finally, we have to talk about branding. Frankly, if TV journalists are savvy at all they realize much of their job now is selling the content. We can argue if this is right or wrong. But truthfully, most stations focus on what content makes air based on brand. So you need to know your brand and you need to watch newscasts to see if the way you presented the content is true to the brand. If you are an “Asking the Tough Questions” station, then an A-block with more than thirty quick 15-second vo’s is not true to brand. That’s the simple truth. Your brand requires more breakouts and more phrases like: “So we went to the (expert) and got you more (facts/information/answers).”

In summary, when you self critique you need to sit down, no distractions and watch the newscast as an informed viewer would. Obviously you cannot look at things just like your Mom or friend who’s not in the biz does. But you are skilled enough to watch and notice if you are missing the mark in one or more of these areas. You should be able to say “That didn’t make sense.” or “I can’t remember half of what the anchor just said.” If you do this weekly, you will quickly figure out your strengths and weaknesses so you can work on both. (If you want to get even more nitty gritty when self critiquing read Humble Pie.) So here’s to self critiques!