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The anchors don’t have any chemistry, can a producer fix it?

This can be a complex problem, that everyone involved needs to help fix. Truthfully, the bulk of the repair is often placed on the shoulders of the producer. When you watch a newscast and the anchors just don’t seem to relate to each other, there are ways around to ease the tension.

Creating chemistry

One anchor begins, where the other leaves off
Talk through chat opportunities
Play on anchor’s interests

Again, this article is from a producing perspective. Anchors, we will talk about how you can build camaraderie later. Let’s begin by helping anchors play off of each other, through scripting. These are tried and true techniques to showcase the anchors together in a way that you can control. The techniques incorporate two shots. Traditionally producers are taught to use two shots at the beginning of blocks, to start off teases, and to pitch to weather and sports. The use of a two shot is so much more important though. It provides a conversational bridge when subjects are related. To really boil it down, you can use a two shot to build your team when switching from the tag of one story, to the intro of the next. It shows the anchors working together. This requires conversational writing. (read “So Cliché” and “Rule the Word” to make sure you are doing all you can to write like people talk) Here’s a scenario with anchors “JOHN” and “BETTY” to make it clear:

(JOHN/1 SHOT-TAG)

YOU HAVE UNTIL DECEMBER 2013 TO APPLY FOR THE NEW GOVERNMENT REFINANCE PROGRAM.

(JOHN/TURN TO TWO SHOT)

WE ASKED AROUND TODAY AND A LOT OF HOMEOWNERS ARE REALLY CONF– USED ABOUT HOW TO APPLY.

(BETTY/STILL ON TWO SHOT)

AND WHO TO APPLY WITH.

AFTER ALL… THE GOVERNMENT DOESN’T HAVE A SET OFFICE FOR REFINANCING YOUR HO– USE.

(BETTY/TURN TO DOUBLE BOX)

SO TODAY JOE SCHMO CHECKED… TO MAKE SURE YOU WOULD KNOW WHERE TO GO AND WHAT TO BRING.

JOE IS IT A CONFUSING PROCESS?

This copy provides a mini, controlled conversation between the anchors. The anchors quickly transition to the next part of the story, there is an opportunity for limited ad lib (when the anchor says government doesn’t have a set office for refinancing your house, the other anchor’s mic can be up so he/she could say, on the fly, something like ”it sure doesn’t”) and the anchors are working together to get the answers viewers want. I often used two shot transitions like this to build team. Then, I single anchor pitched to weather or sports more often. Those two anchor pitches to weather and sports almost always appear forced. You have to do one token 3 shot pitch to build team somewhere. But that doesn’t mean do it every time you take weather, especially in an hour long newscast.

When you do have opportunities to chat to build team (like the pitch to weather) ask the anchors to plan it out for you. Have whomever actually pitches to weather go to the meteorologist to ask about what’s first in the forecast. Yes, it is easier for you to just throw a line in, since you talk with the weather person anyway. But the point is to help the anchors build relationships. The hope is that going in to ask that question before the newscast will lead to a conversation so the anchors continue to find ways to relate to each other.

Here’s another technique to help with chat: I used to write only the words “ad lib” in at least one tag per newscast (usually on a lighter story) to force the anchors to talk to each other and come up with a plan for chat somewhere in the show, other than weather and sports. I made sure the anchors looked at that script well before the show. The rest was up to the anchors to hash out. If I had awesome video, I would take a two shot coming out, with at most a factoid in there, so the two anchors would have to talk to each other. This often helped break the ice a bit.

It can be also very effective to have one anchor read a story about a subject the other anchor really likes. Then you go to a two shot at the very end of the tag. It can make for a great ad lib opportunity. I had an anchor that loved Halle Berry. (Anytime he said her name he would actually blush!) So sometimes I had the other anchor read the story about Halle Berry, then say the last line of the tag on a two shot. I did that just so we could catch the other anchor blushing a bit. Even if they didn’t ad lib, the look between them was priceless! His co-anchor would smile and roll her eyes as he blushed. It was a very human, relatable moment. This is another reason why it is important to learn about your anchors and their personal interests (see “How to get inside your anchors heads and write in their voices”).

The most important thing to keep in mind when trying to create chemistry, is keeping the moments of interaction brief. Again, that doesn’t mean avoiding two shots. It means using two shots more as a transition in the middle of news blocks, and less as a way to chat and possibly fill time in places like weather and sports. As the anchors get used to playing off each other, the chemistry often starts to jell. You just have to give it time and some gentle nudges.

One thing you need to require of your agent regularly.

Whether to hire an agent is an age old debate in the TV News biz. People have strong feelings about agents and their role in the business. As the industry trends toward turning more content with less people, agents are becoming more essential in my eyes. The reason may surprise you. It is not because there are less jobs. Bottom line if you have talent, you will find work. So why are agents becoming more essential? They are advocates for you, not only when looking for work but also while you work the job the agent helped you find.

Here’s what I mean. Of course, agents keep tabs on where the jobs are and what type of skill sets managers want. But they also keep tabs on trends in the industry. So a good agent should be able to look at your skill sets and let you know what elements you need to focus on to grow and become even more marketable. This is a mutually beneficial relationship. The agent should want to help you not only get a good job, but grow in that job so you can eventually move to another, bigger, job. Both of you win. Both of you make more money. Both of you make names for yourselves in the industry.

This is why when you vet an agent you need to make sure that this person will regularly critique your work, and that news managers think this person has a clue about identifying and training talent. Yes, I said training. Over the years, the pitfalls I found with agents were that many had connections to get you a job, but were not respected in the industry as able to help journalists grow. If you want a headhunter to place you, hire a head hunting type service. If you want someone to just look over a contract, hire an attorney. If you want a good agent, hire someone who regularly provides insight into the news business and will regularly critique your work to help hone your skills.

That, my friends, is the one thing you should require of your agent. You want regular critiques of your work. Make your requirement clear before you hire your agent and hold them accountable. There are agents that already do this as a general rule and truly feel they are an advocate for you throughout your career. This is the kind of agent you want. Ask for this upfront, and demand a clear explanation of how you will get these critiques.

So what does requiring regular critiques of your work really mean? It means more than an occasional newsletter listing industry trends and an article or two about things like what to and not to wear on air. It means the agent actually reviews some of your recent work, then sends back thoughts on what you did. It means setting up regular conversations where you decide together what skill sets you want to improve on in the next six months, the next year, by the end of your contract, etc. This person will then review your work and let you know how you are doing at improving those skills. The agent and you should also have conversations about what job you want to have in two years and/or five years. What will you do and what will the agent do to try and make those goals reality? An agent cannot promise to get you to the network in five years. But an agent can help you identify what makes your writing and presentation skills unique so you can build on your assets to increase your chances.

Remember, making sure an agent will provide regular critiques and work with you toward your goals is your responsibility to set up. Agents offer different things. You need to make sure you are getting what you want, when you want it. You need to research and make sure the agent you are thinking of hiring can deliver on your expectations. Then requiring critiques should be a simple matter of scheduling when you will talk next.

Why photojournalists should put together photo essays even if your station doesn’t often air them.

Okay, I can hear you talking to your computer screens now, calling this idea (and me) crazy. Photojournalists hoof it all day, bust their butts, are exhausted at the end of it and don’t need more work with no reward. Hear me out though. This is meant to help you keep perspective.

Perspective on what? Why you hoof it all day, bust your butt and work yourself to the bone. There is an art to your craft. Artists need time to just create. I am not saying turn a piece every week or month. But when a story really gnaws at you and you shot the heck out of it and only a small part of your great video was used, save the video and turn a photo essay. Even if you will probably get a “No” answer, give it to an EP and ask where it could air. Put the piece on YouTube. Show it to your spouse or your favorite reporter. Send a link to the photojournalist that inspired you to become one yourself. Post a link on the SurviveTVNewsJobs Facebook page. Experiment and take ownership in having a piece that is just yours.

Too often nowadays TV news is a grind. You churn and burn and it feels hollow. You end your day wondering, “Did I make a difference at all?” Great pieces can and do come along that keep the fire alive, but sometimes you get in a rut. This is a way to keep you focused. It is a way to remind you, and the reporters you work with, that TV is worthless without your video and audio. It helps you push yourself to improve your storytelling. It can also lead to other opportunities. I know a great photographer with many Emmys who was able to prove he could also write and associate produce, in part, by putting together well thought out photo essay pieces. It also feeds the artist in you. We fellow TV journalists need to see your perspective in this way sometimes. It helps us remember the true power of this medium too. So please, turn an occasional photo essay, for all of us.

Need story ideas? The solution could be right in the newsroom.

It’s a new year. You’re feeling all refreshed. And you’re ready to again dig for some great stories.

But what if you don’t know where to start?

Maybe you’re dreading the morning meeting lately because it seems like not much is happening in your market.

Here’s what I suggest: Reconnect with sources you’ve “neglected” a bit over the last six months or so. You’re asking literally everyone you interview for business cards or other contact information, right? You’re keeping that info in a desk drawer or in a file on your computer, right?

Well, spend an hour digging through there looking for the great contacts who may have slipped your mind as you moved on to other pressing news stories.

Give them a call. Tell them you want to catch-up and you’re sorry it’s been so long since he or she has heard from you. Be genuine. Be relaxed with them. Don’t have your crazy I-am-a-news-reporter-and-I-need-a-package-idea-NOW voice on!

Sometimes, enduring the equivalent of writer’s block, I’ll literally flip through business cards trying to come up with the inspiration for a story — or to remind myself about a story I should follow-up on.

I’m kind of old school. I still like business cards. There’s something about seeing that logo next to the name that really refreshes my memory. (Yes, I’m horrible with names if I’ve only interviewed someone once.)

Here’s another tip: As you’re putting those award entries together this month (why must so many of them be due so close to the beginning of the year anyway?) think about follow-ups to these stories that you could be doing.

Every time someone does research on TV news audiences, it seems they find news consumers complaining that we don’t do enough follow-ups. Whatever happened to…? They want to know.

That company that promised 50 new jobs back in November? Have they hired everyone they need? How far along are they before they open-up shop?

Remember that congressman in your district who announced he’s retiring rather than running for re-election? Is he still showing-up for votes in Washington? Or is he out golfing on taxpayer time?

And don’t forget all of those families you focused on over the holidays who are barely scraping by because the mother and father have both lost their jobs. How are they making it now that it’s not the “season of giving” anymore? How are charities in your market doing?

As we were putting this article to bed, Poynter’s Al Tompkins wrote a nice blog post pointing to another great source of story ideas: the people you work with. He shows two examples where tips from colleagues led reporters to win 2012 Alfred duPont Awards.

“The lesson here is clear,” writes Tompkins, “listen to everyone.”

Lastly, you can also get a lot of inspiration from Twitter. As a courtesy to your audience, I recommend following back every person in your viewing area who follows you. It’s the nice thing to do. After all, you make money because they watch you. (Or you get fired if they don’t.)

So scroll through your “all friends” feed on Tweetdeck and see what people in your area are talking about. If they’re talking about it is — at least by one definition — news.

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Matthew Nordin is a morning anchor/investigative reporter at Raycom Media’s NBC affiliate in Myrtle Beach, WMBF News. Feel free to chat with him on Twitter @MatthewNordin.