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How to select an agent.

I have to admit, I have been surprised by the amount of questions Survivetvnewsjobs.com gets about agents. The most common being, who do you recommend? By asking a few follow up questions, it is clear that finding out about and hiring agents seems intimidating. It should because these reps take a significant amount of your salary (sometimes up to 10%) and can have a profound effect on your career. Often journalists looking for an agent worry it the agent will be willing to take them. But let’s turn the tables a little bit. The question should actually be: Can this agent really help me advance my career? This isn’t an ego thing. This relationship should benefit both parties. When you hire an agent just because you are glad the person is willing to take you on, you are selling yourself short. You need to clearly see how your career will benefit. Otherwise you will be writing checks for years, to someone you don’t believe in. That’s too costly a mistake!

So how do you select an agent? It takes more than finding out what agent represents the main anchor at your station or another reporter in the ranks. Those personal endorsements are great and important, but a small part of the picture. There are several other things to consider.

When selecting an agent consider his/her:

Reputation
Ability to work with ND’s and GM’s
Understanding of industry trends and traditions
Ability to coach
Solid legal support

Getting those ringing endorsements from other reporters, producers and anchors is a great start toward figuring out an agent’s reputation. I would suggest cold calling clients listed on the agent’s website and asking what this agent has done to help that person in the last year, 6months, 3 months etc. There are different types of agents. Some excel at placement. Some shine as coaches. Some offer more individualized attention. Some agents are known as serious advocates for their clients if a problem arises. You need to know the agent’s reputation so you have an idea of what type of representation you will get.

A key to reputation, is how the agent handles ND’s and GM’s. The last thing you want is to hire an agent that MANY ND’s and GM’s have blacklisted. This does happen. Bridges can be burned and you don’t want to be caught in the flames too. This is especially crucial if you have a dream market in mind. You don’t want to get a call from your dream station, only to find out the ND will not work with your agent. So how do you check this out? Talk with your former NDs. If you are first starting out, ask a professor if he/she knows of any ND’s or GM’s you could call. If you have a dream market in mind, you might want to call the AND, and see if he/she has a minute to talk. Tell him/her your goal is to get to that station one day and could that person recommend any good feeder stations and agents that the station works with. You might be surprised how much information the AND will provide. (For more on why making connections with the AND is so crucial read “When the interview really counts”) Now this is going to sound strange at first, but you don’t necessarily want an agent the ND or AND just loves and gushes over. That agent may not be very aggressive at getting great deals for clients. You want an agent the ND or GM says is fair, and decent to work with. That means the agent probably has good insight into how much positions in the market and within that station group pay. You want an agent who isn’t a hothead, but is persistent and will fight for the best deal with business savvy. Also, remember agents and ND’s will not always get along. If you hear from one ND that the agent is awful, check with at least two other ND’s before making a decision. Personality conflicts happen to all of us. The only exception being if you are absolutely 100 percent sold on a particular station. If that ND says he/she refuses to work with an agent you have some thinking to do. Not just about the agent, also the ND.

I feel so passionately about vetting an agent’s understanding of industry trends and coaching, I dedicated a whole article to these topics called “The one thing you need to require from your agent regularly.” Read it please if you are considering hiring an agent. This is the payoff for the up to 10 percent of your salary you are giving up. If you want an agent to be an advocate for you, the person must grasp what industry leaders are looking for and be able to see what’s coming next. This is particularly huge with the eruption of social media’s influence on television news. There is even less focus on training in newsrooms. Managers are more concerned with how to compliment newscasts on television with web based elements. The economic downturn means less money to pay for training sessions and in some cases less money for more seasoned talent that can mentor in newsrooms. You need someone in your corner that can give you constructive criticism so you can grow in your job. Agents are becoming the go to people you need more and more. Make sure your agent can actually provide advice about producing newscasts, writing packages and being a backpack journalist to name just a few things.

You also want an agent that has solid legal support. Why? Contracts are getting more and more complicated, especially when it comes to social media clauses. That non-compete you signed could become an issue too. What about sections demanding you stay a certain weight? You want an agent that has a direct line to an attorney so you can get answers fast if a problem arises. These are issues that an agent should be able to advise you on. I have known of agents that say, “You will have to hire an attorney for that,” while negotiating contracts. Seriously? What is the 10 percent you are paying for if you cannot get any advice on legal elements of your contract? When interviewing agents ask what legal support is provided.

One last thing to keep in mind, make sure you feel comfortable speaking with the agent. You may need to have very frank discussions. Agent contracts often last longer than station contracts. You will be probably “stuck” with this person a long time for better or worse. Make sure you can get along with them! Remember agents have a lot to gain retaining you, so don’t sell yourself short. Look for the kind of representation you really need to advance your career.

On the Spot! When anchors put reporters in uncomfortable positions on live TV.

I recently got a message posing this question: “Why do anchors so often make strange comments at the end of live shots that are nearly impossible for a reporter to gracefully respond to.” Examples you ask? Okay, see if these sound familiar. A live shot ends about something very sad, like a murder and the anchor says: “Great job, Joe Schmo, reporting live downtown.” What’s great? Someone died! Another common scenario: The reporter tags out with a fact like a vote scheduled in council tomorrow and the anchor parrots the very same fact like this: “You know Joe Schmo, the vote is tomorrow.” Joe the reporter is stuck thinking: “Yeah, idiot, I just said that.” and stares at the screen with a look of confusion. The final example, Joe the reporter explains an element of the story in the live intro or within the package, wraps up, then on the two shot out the anchor asks about that same element, like it was never addressed. The reporter is thinking: “Didn’t you listen to what I just said?” Usually that quizzical look is on his face, on live TV.

So let’s look at why this happens, then try and keep it from happening again. The “why” is usually tied to one of two things:

The need for the last word, to tie things up and transition.
Questions required in tags, by management, for interaction.

Let’s make it clear, in my experience, the need for the last word is not always an ego thing. The anchor may not be trying to act all knowing. Anchors often feel compelled to compliment reporters or reinforce team. They sometimes just don’t have very good timing. Hence the “Great job Joe Schmo” comments after a story about a murder. Instead of focusing on the story, the anchor is complimenting the reporter and it just comes off as weird. The intentions are good, but it doesn’t make the reporter feel complimented at all and leaves the viewers wondering what just happened.

Often anchors are ordered to make say something out of live shots, while in a double box. This can be mandated by management or producers who are taught to start and end live shots on double boxes, period. Sometimes this leads to the anchor getting stuck with nothing relevant to say while trying to transition. The end result is a weird comment parroting back facts the reporter just said and hoping it sounds different enough that it passes for a real reaction.

While we are on the subject of double box live tag outs, producers take note, scripting “Thanks Joe Schmo” is not always the best route. It sets up the inane comment scenario. Suggestion: Tell the anchor to call the reporter and ask for a factoid they can bring up in the double box.

Notice, I did not say ask for a question. That call should vary depending on the story and what the reporter knows about the subject. Often the most uncomfortable moments between an anchor and reporter are during a q and a in a live tag. Over time, I saw these q and a’s go awry most often when management required a question coming out of every live shot. I could (and probably will) go on and on about why scripting tag questions every time is bad in a future article. For now a summary: Sometimes it makes sense to ask a question, sometimes it is better to share a factoid the anchor can state quickly for emphasis. Both the reporter and anchor should not be blindsided. These double box interactions work best if the reporter and anchor can work them out together. Also, don’t be afraid to end a live shot, then do a two shot transition to a new subject. You can create team interactions other ways. Something like this:

((Joe Bob – 2 shot))

Thanks Joe Schmo, Suzie, there’s a similar situation in Atlanta tonight.

((Suzie Q -2 shot))

There is Joe… and it’s causing problems for a lot of people.

((Suzie turns to 1 shot))

See Anchor’s don’t have chemistry for more on how to work these two shot transitions.

Now, let’s look at more solutions to prevent these “on the spot” moments. Anchors, it is human nature to want to tie up a conversation with a thank you or a compliment. Just be cognizant of what the subject is about. Think about talking with a friend about a tragedy in his/her life, the end of the conversation might be silence. It might also be a shake of the head. That is appropriate at the end of a live shot as long as you are really feeling the emotion. If you are just plain uncomfortable, ask the producer not to script a two shot for that particular tag and explain that you are uncomfortable. Just remember, if the subject is heavy, that is not the time to tell the reporter “Great job.” Send a text after the show instead. Reporters, if the anchor does say great job, nodding your head and saying nothing else is fine. Reporters also do not have to have the last word. Let the emotion ride a second in the silence. It may seem counterintuitive in a business where you are paid to talk, but it is more natural to the way we communicate in the real world.

If the anchor asks about something the reporter just said, it is best for the reporter to briefly summarize with an added tidbit. You might say, “Yes Suzie, that council vote I referenced earlier will be at 7, and they’re expecting a big crowd, so you might want to come early if you want a seat.” This lessens the “Huh, he already said that!” blow. If you cannot add anything when you summarize, just say “That’s right.” and wrap.

Finally, if the anchor says something really out there and you don’t know what to do, just sig out. Viewers are used to seeing reporters not react to things anchors say and will likely assume you couldn’t hear the anchor or there was a technical difficulty. That assumption, and slightly tense moment is better than fumbling through a response that just doesn’t make sense and/or being visibly uncomfortable. Then make sure the producer knows what happened, so everyone can trouble shoot in the future. Bottom line, there needs to be communication between anchors, producers and reporters to avoid putting a reporter “on the spot” the next night.

Producer driven, doesn’t mean absolute power.

The trend in the TV industry keeps moving more toward the concept that “content is king.” In fact in the “2011 State of the News Media Annual Report,” trends show that in many markets managers consider newscasts appeal to be the brand more than the anchors. This means more newsrooms are turning into so called producer driven shops. Producers are becoming more of a commodity. With that comes more power. I even know of newsrooms in recent years where on air personalities took double digit pay cuts, while producers only had pay freezes. You can hear grumblings, “Yep it’s good to be the producer.” I also have seen some of those producers develop diva tendencies.

As a former producer it is nice to see producers get some long deserved respect for all the hard work. The job is a grind with a high burnout rate. Producers should be rewarded and compensated for taking on such an intense job. That said, you still need to form smart alliances with your coworkers. Especially reporters. In “Hey she got more time,” we explain to reporters how to think more like a producer. Now it’s time for producers to think more like reporters. Here’s why: When news managers decide “content is king” this ups the ante on producers to provide fresh elements in newscasts. In other words, with more attention placed on what you put into a newscast comes a price. You, the show producer, need to break news. You need to have fresh angles while on the line churning shows. You need to story tell even when the content is not presented in a reporter package form. (see “Produce it up.”)

Producers, the point is without your reporters solidly behind you, your newscast and you will fail. The crews provide the great nat sound for your local vo/sots. Reporters and assignment editors provide insight on how to source build if you are clueless. And don’t think that you won’t be expected to break news because you sit in the newsroom all day grinding a rundown. I worked in many producer driven shops and, in one of them, I was required to break 3 stories a week as a producer. Yes, that was on top of putting together my newscast and being unable to leave the newsroom to have lunches and shake hands with potential sources. How did I pull it off? I learned from some great reporters and assignment editors.

When content becomes a larger focus than showcasing anchor personalities, producers lose leeway for making mistakes. Mistiming a show and blowing a meter point can become a fire-able offense. I worked for one management team that did not allow us to go 15 seconds past a meter point. 15 seconds leeway is not easy to pull off, even when you are a seasoned producer. This means you cannot afford to have reporters miss slot. You cannot afford to have reporters turn in packages under or over time without your knowledge. The weather person cannot go long. Seeing my point here, yet? Producer driven shops actually make producers more dependent on other positions in the newsroom performing at a high level, for producers to also keep their jobs.

This leads to a big revelation for us control freak producers. Life doesn’t flow like a rundown. Commit that one to memory. Life doesn’t flow like a rundown. Time and again I witnessed producers that just could not roll well with change, especially late in their shift. Reporters were berated. Anchors were screamed at. The assignment desk was attacked mercilessly. You are paid to execute plans. You are told to make sure certain types of content runs at certain points. You hold your breath and hope to make the meter point to the second. On any given day the reality is, you will get about half of what you need to make your newscast sing.

You are paid to make it work even when you are handed a pile of crap. Lashing out at reporters and assignment editors that are not giving you the content you hoped for is a quick way to guarantee they will not go the extra mile to give you content the next day. If you want a newscast with killer content, and you don’t want to find all of it yourself each day, you need to cut your reporters SOME slack and hear them out when you are told certain angles just aren’t there. Sure there are some reporters you can count on more than others. Remember to not burn your stars that try to never leave you hanging. Those reporters are smart enough to know they are a big asset to you and can start pitching their ideas for other newscasts. This is especially true in mid to large sized markets.

So how do you think like a reporter? First have a frame of reference that stories don’t just appear in an hour. Be cognizant of drive time for field crews for example. If you want to tease a story that takes 2 hours for the crew to drive to, late in the day, then get creative about the tease and leave the crew largely alone. Don’t start calling to make sure the angle you want on a story is really happening, two hours after the crew walked out the door. That is, unless it is a late breaker and you have no choice because you are about to go to air. Be prepared to be flexible and move reporter pkgs around in the rundown if you must. Design a backup lead in case yours falls through. Field crews must be flexible all day long. Producers need to do the same, as much as possible. No, this doesn’t mean you have to lower your standards for content for your newscast. But it may mean you have to turn more of it yourself on a given day, if the crews are struggling. Do not berate the assignment desk or field crews over story ideas people come in with and belittle them by calling them “stupid” etc. If you do, expect major backlash! The thinking is “If you’re so great think of the ideas yourself.” I have been in plenty of editorial meetings and watched many reporters say, “I have story ideas but you won’t like them so tell me what I am turning today.” Suddenly you are in a very uncomfortable position.

Lastly, think about what it’s like to be left out to dry as a reporter. Do not leave field crews hanging, waiting to go live, without any clue when this will actually happen. Give crews time cues. If you must float them say “floating you.” There is little worse than standing in front of a camera, ready to go, and just hanging there wondering when you are actually going to be on. It is excruciating! I knew producers that would routinely get breaking news, then leave field crews sitting in ready position, for 20 minutes or more, without a word spoken to them. Then suddenly they would hear, “You’re up!” and the anchor is pitching.” IFB is going in and out. The field crew is thoroughly confused and caught off guard on camera! When quizzed about these tight spots the producers would say, “You should just be ready for when I say ‘Go!’” This is so unprofessional. It takes no time to say, “floating” or “stand down, need a few minutes.” Making your field crew hang in the balance feels like the heart pumping wait you endure when a package feeds at the last second before it is supposed to air. You hold your breath. You take a chance and you pray you don’t screw up and pitch to a story that isn’t cued up yet. Your adrenaline is gushing and it just plain stinks! You know how that feels don’t you? No reporter wants to be taken live looking like he/she is clueless to their surroundings. Just before air, even the most seasoned reporter has his/her adrenaline pumping, ready to go. Be respectful of what it takes to stand motionless and stare straight into the camera to cleanly go live. Give updates. Make sure the crew knows you are ready to go. Always remember, you don’t have absolute power. The best leaders respect and build up the people around them.

“To be or not to be” The ultimate writing challenge.

When I ask journalists what they want to improve on most, I am usually told writing. Yet the more newscasts I watch, the more I am struck by the sheer number of basic mistakes that make it on air. (Don’t feel badly, this even happens on the network level) One cannot help but wonder if people are either that clueless about grammar and basic rules for writing to the ear, or if journalists are so overwhelmed they simply write anything and put it on air just to make deadline.

I understand no one is perfect (I’m not). That’s why so many of us have goals to write better. But how do you actually improve your writing, especially when it’s obvious from watching newscasts, that there is next to no feedback on your work? We will continue to provide ways to help improve writing. (Here’s a link to other writing tips in case you missed them.) Now let’s focus on “to be” and all of its forms.

Next time you have a few minutes print out several recent scripts you wrote and grab a highlighter. Take that highlighter and mark off every time you use a version of “to be.” Chances are your scripts will have a bunch of highlights. Here are some examples: “He was hit by a car.” “Protestors are being heard inside council chambers.” “He is facing murder charges.” “She was being given a plea deal.” When writing conversationally, using “was,” “being” and “are” becomes a real crutch.

Now take a look at those sentences with a form of “to be” in them. When you read those sentences out loud to yourself, do many of them seem exaggerated or just silly? How do you face a murder charge? Be active. He is charged. A car hit the man. Protestors spoke during the council meeting. Prosecutors offered her a plea deal. Hear the difference? Here’s another common example to explain what I mean. Usually you will hear this phrase in news copy, “The investigation is continuing.” Either it is, or it is not. You should say, “the investigation continues.” The “is –ing” combination is among the worst you can do. It is sloppy, wishy washy, and passive. Anchors and reporters do not need to come across that way. Period.

An assistant news director I worked with years ago, would put together amazing writing seminars. He would get you pumped to go write, then lay down this law: “From now on, you cannot use any form of “to be” in your copy. No exceptions.” Think about that for a minute. Look at your news copy. Could you pull that demand off every day under intense deadline pressure? That’s what my co-workers and I had to do. Yes, it was extreme and very challenging! But it made us all much stronger writers. Eventually he did ease the mandate. But by that time you were used to avoiding “to be.”

By doing this he forced us to use active voice. He forced us to take a stand in our news copy. No room for winging it. You had to know the facts. Think about it, you cannot really “couch it” much without using “to be.” Our scripts were clear, concise and consistent.

So if you want to challenge yourself as a writer try to avoid or even drop all forms of “to be” even if it’s for one or two news blocks a day. Reporters, try it once or twice a week when you are less slammed to ease into it if you must. If going “cold turkey” scares you, at least dump the “is –ing” combination. See what an impact it really makes.