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How To Execute the 15 Minute Lead Concept

A successful newscast not only retains the lead-in audience, it continues building audience all the way to the end. That is winning. Make no mistake, if you can do this you will keep your job even if you are the 4th place station. Once viewers tune in and stay, a producer and anchor’s job is more secure. If viewers feel the need to “check in” halfway through, you have even more job stability.

Successful veteran producers know that this is done by “spreading the wealth.” Hence, the 15 minute lead concept. The name of this concept is a little misleading though. For less experienced journalists lead means first. That usually becomes, the first story in the news block. Too many times I have seen this lead to a strange design of newscast blocks, that tried to manipulate meters, but actually set producers up for failure.

So let’s redefine the term “lead” for this concept. When you think lead, think “must see”, “can’t miss” and “gotcha!” This is an important distinction for many reasons. First, it helps you “build up” sections of your newscast for the “big moment.” Remember, great newscasts come across as conversations. There are natural lulls and high points in conversation. One producer I know explains it like this: “Watching my shows is like hopping on a roller coaster. You will get moments to catch your breath, but you will also get plenty of stomach churning action.”

Let’s build on that idea. When you get on a roller coaster half the fun is the ride up that first hill, knowing that a big thrill is just over the crest. When you think of it that way those “pacer” stories have a lot more meaning don’t they? You have to keep building up to the big moment. Teases are a lot more important also.

Too often when consultants and news managers preach about the ”quarter leads” they only want to know what those chunks are. They miss a big part of the concept. Some of these chunks can happen at the end of a block. They cannot all be the same type of big moment. You want a thrill ride to be a stomach tickling, heart pounding, close your eyes and take your breath away experience! Each one has a different feel. Same idea when applying the concept to producing. You can’t just take 4 big stories of the day and throw them in at those meter points. You must remember you are having a conversation. Distinct types of topics make a difference. Viewers expect different types of stories at different points in their interaction with the anchors.

Case in point, where these “quarter hour leads” play in rundowns and definitions:

• Top of newscast: The first lead is biggest impact story of the day.

• 15 minutes in: Depends largely on your station’s news philosophy. This might actually fall closer to 20 depending on day part and if you have a weak spot in viewer retention.

• 30 minutes in: Depends on your day part but the story needs to have “today” relevance.

• 45 minutes in: Again depends on your station’s news philosophy and it’s pledge to viewers. Depending on day part, that “big moment” may actually happen closer to 50.

You cannot take throwaway vo’s and slap them in, leading up to that final “15 minute lead.” The viewer cannot sense he/she is on that hill, click-clacking up to the top of a final hill and a final thrill. This is the area I see mis-designed most often in rundowns that follow the 15 minute lead model. The viewer stuck with you for a long time. You need to reward that loyalty. Therefore, each story has to count. This conversation needs to end on a high note. By this I do not mean a water skiing squirrel! I mean something really worth hanging around to see. Something that will make a difference in that viewer’s day. Perhaps it’s a great consumer story, way to save time or maybe a smart phone app that’s going to make their life a little easier. You can also “go human.” Introduce them to someone in your community that will make them proud they live there.

Because of the extra importance of that last quarter hour, how you tease throughout the newscast has to be looked at closely. Too often producers executing a 15 minute lead concept, focus on the next 15 only in their tease structure. You are designing a rundown with a ton of compelling content. So your teases need to scream: “Hang on, we have a ton of great stuff to talk about!” Do not be afraid to tease more than two things. But, your teases need to rock, every line, every time. You are building up a great conversation, full of high notes. Teases cannot be the lulls in conversation. (The “lulls” are occasionally more information-type, perspective moments, where viewers can gain more insight, without emotion tied to it.) A truly well executed 15 minute lead concept, focuses heavily on tease structure. In fact that structure is as important as the design of each lead itself.

Which brings us to one final point. These leads are not just long packages you tease a few times. Showcasing counts! These are areas where you need to think “3 screens.” These are areas where you add extra information so viewers can walk away with valuable nuggets of knowledge. And I’m not just talking about inside the package. You build up the lead, let viewers experience the thrill ride, then reward them for watching. This has to happen 4 times, effectively, to win the 15 minute lead concept. In a sense you are creating sidebar topics, each quarter hour as part of a great hour long conversation viewers won’t soon forget. If that doesn’t smack of “Gotcha!” and also lead to ratings gains, nothing will.

What is a producer’s newsroom? The answer could redefine TV news.

An EP recently asked me to write an article on this subject. So what makes up a producer’s newsroom? There’s a traditional answer and a more big picture answer. Let’s start with the traditional answer. In a producer’s newsroom, producers have the most control over content.

Often in these newsrooms, producers come into editorial meetings with a defined idea of what the top stories are and assign crews. That’s not to say that reporters do not pitch stories, but often producers are required to pitch stories and have a rough outline right away. Reporters are often brought into editorial meetings to be told what their story is. Furthermore, when judgement calls are made about how to handle situations, producers get final say.

But let’s think bigger picture. Why would newsrooms call themselves producer shops? Let’s break down what the goal is for newsrooms that call themselves this. They usually have ambitious mission statements or news philosophies. Some examples: On Your Side, Holding the Powerful Accountable, Coverage You Can Count On and (call letters) Investigates. By the nature of these slogans, these stations MUST source build. If they do not break new content or at least new angles, then they do not live up to the philosophy. Can producers source build? Sure, but frankly you have to get out and mingle with people to really get deep sources. This means reporters and anchors are every bit as important in driving content. The emphasis on “producer” is as the creator of original content. So a “producer’s newsroom” is a newsroom where all the journalists collaborate to produce compelling content, that is original and/or emphasizes community impact. This also involves a lot of showcasing, so you will find very strong line producers in these newsrooms. You also will find great storyteller reporters.

A true “producer’s newsroom” needs to have a heavy emphasis on showcasing the information in compelling ways, so that the viewer is well served. It should have an ambitious slogan and truly live up to it. The managers should create a truly collaborative environment where every journalist, whether a producer, reporter, photojournalist, video or assignment editor has a say in what the stories will be and how they will be presented. This will make the newsroom more representative of the community and help better serve the viewer. In these newsrooms, when calls are made about how to handle situations, there often is a clearer answer because of the defined slogan. If not, management tends to make the call on a case by case basis.

One of the most read articles on “Survive” was “Producer Driven Does Not Mean Absolute Power.” Many newsrooms call themselves “producer’s newsrooms” or “producer driven” simply because they give producers more power and their opinions more weight. But the emphasis on producer needs to be broader scale than the person who puts together the newscasts. For newsrooms to remain relevant in the community, they need to have a variety of journalists weighing in on the stories and the impact they can have.

In a time when many question whether television news will remain relevant or if social media will take over as the top news source, the definition of “producer’s newsroom” needs to be taken seriously. The term producer really needs to be looked at. If defined as “creator of compelling relevant content” the newsroom will change dramatically. Newsrooms that de-emphasize the role of reporters and anchors really tend to struggle with relevance and original content. Showcasing also suffers if the reporters and anchors are not invested in the information. A true “producer’s newsroom” needs to be a place with a well defined slogan, rooted in watchdog journalism with an emphasis on investigative and showcasing. This will create relevant stories, with characters, powerful images and crucial information viewers need to know each day. The reporters will come across as genuine and invested in the community they serve. The line producers will go home gratified because the information they helped generate actually impacted people each day as well. By redefining “producer’s newsroom” TV stations across the nation can reinvent themselves and reconnect with the communities they serve. May the title no longer reference a power struggle in newsrooms, but instead focus more on the collaborative efforts a newsroom puts forth each day to best serve it’s community. I truly hope all TV newsrooms become this kind of “producer’s newsroom.”

Job Hunting Etiquette 101

I could not help but utter out loud “Can I get an Amen?” when I read a recent DM from a managing editor I love talking with on Twitter. She requested an article on job hunting etiquette in 2014. Then she gave examples like bailing on job interview plans with an email or phone message. Can you imagine booking a plane flight for someone then getting a reply email with the itinerary saying “never mind?” It happens. Another example: Turning down job offers by email or phone message. Recently an AND mentioned to me how casual job candidates are becoming on email. An example he gave was emailing a job candidate about when the person could talk the next week. The reply, 1 line “I’m busy.” No, “Thanks for reaching out.” No, “Dear (name and title). Just the 1 line. “I’m busy.” Believe me when I tell you that AND got too busy to talk to that candidate real quick. Another candidate made fun of the station he was heading to on social media and the hiring managers saw the rude comment as they were waiting for the candidate to arrive at the station. I really could go on and on with more examples. But this one really covers a lot of the issue. Another hiring manager told me that a recent candidate told her to call back, because the candidate was at the gym and too busy to talk. It’s not about what’s convenient for you. It’s about whether you are good enough and responsible enough to do the job. Saying you would rather go to the gym sends a pretty clear message about your priorities.

Look, we dinosaurs get it that the world is more casual now because of email and text messages. We get it that etiquette is not as much of a given. But there are some guidelines that simply must be followed if you ever want to be taken seriously in this business. And you must understand, just avoiding these difficult but necessary conversations will give you a bad label and fast. You do not want to be known as difficult, righteous, clueless and just plain rude. There’s no way to sugar coat this. If you think the news biz is small (and you should) understand that the pool of hiring managers is even smaller. And they compare notes and dish on names. So if you ignore the job offer emailed to you, or make fun of a station on Facebook or bail on a job interview with a phone message, you are not just turning that one potential job down. Those managers have buddies in the biz and they will know what you did as well.

So let’s outline some expectations hiring managers have for potential candidates.

Job Hunting Etiquette Expectations

Use salutations
Spell names correctly
Be available for calls
Call and talk to hiring manager about job interviews and offers
If job hunting in the company, tell your boss
Do not trash stations or towns on social media
Say thank you

When you get an email from a station, respond back with some sort of salutation. Let’s use the name Joe Smith for example. When you reply, start off with “Dear Mr Smith”, “Dear Joe”, “Mr. Smith”, “Joe”, “Hi Joe”, or “Hi Mr Smith”. Something other than just the reply itself, with no salutation. This person could be your next boss, show some respect.

Also, spell their name correctly. I cannot tell you how often this does not happen. You are a journalist, who supposedly cares about the facts. If your potential boss’s name is not important enough to double check, will those facts in your story be important to you? Hiring managers are not going to say, “Well, typos happen to everyone.” They will hit delete, and you are done.

Be available for calls. I understand that sometimes hiring managers can leave you hanging. I understand that sometimes they say they will call at 2 and don’t call until 4 or even the next day. Truthfully, most will send you an email or text apologizing for getting caught up in an emergency. They are handling big issues. The fact you like to go to the gym at 3PM every day is not a good enough reason to miss a call or cause scheduling difficulties. If you work overnights, it is okay to tell the hiring manager when you are awake and even to set an appointment time to call. If you work dayside, hiring managers understand they may need to wait to talk to you until after your live hit or newscast. But you do need to make yourself available. You need to give several options and possibly skip the gym for a day to talk.

If a station is flying you in or inviting you for a visit, or making an offer and you are turning it down, you need to talk about it with that hiring manager. This does not mean leaving a “bail out” message on VM. You need to show respect. Talk about it. If you got another offer, say so. If you decided the station is just too far from home, apologize and say so. Again, if you cannot have this kind of conversation how will you handle tough interviews as a reporter, and difficult situations as a show boss? These hiring managers are people too. They can relate a lot better than you might expect. Think of how you feel when you are just bold face rejected. Stations can feel the same way. Candidates have to take the high road, fair or not. You have more at stake.

The same applies if you want to check out a job in the same company at which you currently work. You cannot just go for it and not let your boss know. Companies have policies where the new station will call the station where you are and make sure it can afford to lose you. You do not want your boss to get a “surprise” call like this. It makes your boss look bad.

When you are on a job interview, do not trash the station if you did not like it. Do not trash the town you are checking out. Do not try and make witty jokes about these locations to seem clever. They can be taken the wrong way. Expect your potential new bosses to be monitoring your social media accounts. Obviously they do not mind the city the station is located in, or they would not live there! Picking on the place, is just not smart. It will not be taken as funny or witty or clever. You will be labeled low class and they will tell others.

Lastly, say thank you for a phone call, job interview and/or offer. It is surprising how often a station will fly out a candidate and then never hear anything back. Yes, I know stations can sometimes be low class and blow you off inappropriately. Once again, you have more at stake. You need to be professional and appreciative at all times. That ND may not have impressed you but likely has a lot of ties in the industry that could kill your chances at your dream job later. Do not burn a bridge. Be classy and AT LEAST email a thank you.

Remember, the more respect you show potential bosses and stations, the more likely you will get the same respect back. It is not uncommon for a station to pass on a person, but then give your name to another station looking to hire. And frankly, with so many mergers and more emphasis on collaboration, that manager you blew off, could end up at your station or broadcast group one day. Memories are long, when you lack etiquette during the job interview process. You simply cannot risk getting a bad reputation. So mind your manners, even now in the age of email, VM’s, DM’s and text messages. Hiring managers will thank you for it, one way or another.

One crew, and breaking news. How to save your content, when chasing what’s new.

Managers want to know the decision producers fear most? It’s pulling their only crew off a clear lead, and sending them on a breaker, that might just turn out to be nothing. In newsrooms today the mantra is “New, now!”… “New, now!” You cannot miss a breaker without getting a tongue lashing.

Managers forget they get the benefit of hindsight. Being in the moment, with things less than clear, can lead to decisions that later make you think “How on earth?” Especially since, most of the time the producer with 1 crew is the least experienced producer and who usually, if we are all truly honest, cannot get the on-call manager on the phone to talk through the scenario.

So let’s give these some guidelines to these producers who are bravely trying to serve two masters (owning breaking news and also owning the lead) with one crew:

Get your work done early

Have a backup lead plan

Location, location, location

Know it’s 50/50

First and foremost, if you only have one crew, you HAVE to get your newscast put to bed early. You need to be the “second crew” option in order to send the first crew chasing breaking news. By this I mean, if you need to send your crew on a breaker, you might have to be the one who takes the elements the crew had for the lead and puts them together in a compelling way, as a potential backup lead. To spell this out very clearly: You need to set aside time not long before your newscast to be able to write a last minute, lead level, package. And you will need time for that to be edited. So the writing up until you get to the booth style, has to stop! (See time management). If it means getting to work earlier, suck it up and do it. Managers hint at this. Some cannot legally say it. But the truth is you have to do this if you want to keep your job and prove that you are worthy of moving up to newscasts that have more than one crew.

While you are cranking your newscast out early, you need to be creating a backup lead of some sort. You need to have a lead option in case you have to pull your crew off of the main lead right before air. The biggest reason producers panic about moving that 1 crew is that they will be yelled at for not having a live shot and/or owning the lead. First, owning the lead does not just mean putting your one crew on the story and telling them to go live. You can pick a story with a lot of impact for your audience and showcase it. You can do this early in your shift, so that if you have to pull the crew to chase a breaker, you can move this story up to take the place of the lead.

Really good producers also have a backup plan in place for the main story their one crew is assigned to at the start of their shift. The plan makes sure the story is protected no matter what. Maybe that is pulling all the information for the reporter story, so your anchor can write a quick package if necessary. Maybe it’s building elements around the live shot, so if the crew gets moved and their part of the story is busted down to a vo/sot, it still feels like a big story. Bottom line is that a story important enough to put your only crew on, needs to be protected even if the crew “goes away.” Your job as a producer is to have a backup plan for that story mapped out early in your shift because it is obviously worthy of making air.

When deciding whether to pull that crew for breaking news, a huge factor in your decision making should be location. If the breaker is 45 minutes or more away from the heart of your DMA, you need to think hard about pulling the crew for the story. You may need to chase that breaker another way, be it stringer video, calling in a photographer or dedicating your AP to working with the desk to get all the information you can and then setting up a phoner with a map graphic. Do not get stuck in “molds” when considering how to cover breaking news. Look at what you can realistically do. Get the information on the air, the best way you can.

By the way, location should also play a role in what story you plan to send your crew out on in the first place. When you only have one crew, you really need to be strategic. You cannot prevent your ability to cover the “new, now” stories in your DMA by sending a crew one or two hours away from the heart of your DMA. Let’s go back to the stuck in a “mold” idea. All leads do not have to be live vo/sots or packages. All leads do not have to be large chunks. Sometimes the best story is just coming in as a map, and you need to do it off the top and add elements as they come available throughout the newscast. That is owning the lead. That is owning breaking news. That is serving those two masters. If you have a killer story, that would make a great lead but is too far away for the only crew to cover, showcase it another way, even lead with it if you want. Put your reporter on another compelling story, that has a reason to be live. You get two wins! You are also ready to jump on it and own it if a breaker happens. Be selfish. Demand that you get all of the good stuff. Just be creative about how to do it. Your viewers deserve that. This is especially true if you are doing a weekend newscast. You do not have to share. Embrace that, do not focus on what you don’t have. Just creatively get what you want. All of it.

Finally, do not fear making a decisive decision. Know you will likely be 50/50 when it comes to chasing breakers. You have a high probability of getting a nasty call from the ND if you chase a breaker that turns into nothing, or don’t chase what looks like an iffy breaker that turns into something good. You do not have a crystal ball. You will have to trust your gut and go for it. If you follow the other guidelines just listed, you will have solid reasons to justify your decision. Best part, you will not be as afraid to go for the breaker because the newscast is protected by your backup planning. Producing is all about anticipating the changes and executing flawlessly. Do that and you will not sacrifice content, only enhance it!