I can’t believe that aired again! Why anchors complain on the set.

This makes many producers blood boil. You toil over a newscast for hours, then during the show, the anchors start complaining about and/or making fun of the copy you worked so hard on.  Complaining on set during the newscasts about the show, is the number one way to create a huge divide between anchors and producers. It creates the “us vs them” mentality that causes so much friction.   But there are two sides to this, and we are going to really delve into both.

That said, many of those anchors are really not trying to just be jerks.  I PROMISE YOU. There are reasons behind the decision, (and it often is a decision) to complain about copy on the set during the newscast.  The biggest reason, FRUSTRATION.  When anchors reach the point of complaining on set, most are usually at their wits end.  From their point of view, they have tried to “talk things through” and the producer/management has ignored the issue.  Many veteran anchors are just tired and frustrated that they constantly have to “train newbies.”  If you step back and really think about it, you can see how this can happen.  One anchor I consulted with on this article says, “Even if you are not normally a complainer, when you get an anchor sitting next to you who is a little immature and starts going off, it can be very difficult not to give into the temptation and complain also.  It is human nature.”  Another anchor mentioned, “I worked so hard to get to this point, I don’t want to come across as clueless or even just plain stupid. Why aren’t we (anchors) protected?”

A key thing to remember, is when the anchors “mess up” and read copy that is factually incorrect or just doesn’t make sense, it isn’t just the anchor that looks stupid.  The entire news operation loses credibility.  Anchors are very aware that they are the poster children for the entire organization.  They understand that if they come across as not credible, their job is on the line, because that lack of credibility undermines the entire station’s standing in the community.  When you separate yourself from the insults, and really think about that, you can see why anchors sometimes “go off.”  It is a lot of responsibility, and yet they give up control of the newscasts to producers.  It is how the system works, except in rare cases.  Anchors are depending on you to get the facts right, so they look credible.  Yes anchors can, and most will, get into the newscast and fact check and rewrite if they notice a potential issue.  But in the morning, and during breaking news that is not always possible.  The anchors need the information to be correct, or at least quickly fixed if there is a problem.

Which leads to the second reason, anchors find themselves complaining on the set over a mistake.  It is absolutely maddening, when they see an issue, raise the issue to the producer and then it is not corrected and airs incorrectly two and three times.  Many anchors say they try to help and bring up an issue with a super, or a misspelled item on the ticker, and then it isn’t changed.  The anchor doesn’t have access, and can only watch the mistake happen again and again.  Remember, credibility for the entire news organization is on the line, anchors are the final gate keepers.

There also are issues in many shops where veteran anchors are told, to just read whatever is there, and let the producers do all the gate keeping.  Anchors are told to stay out of the decision making and that producers rule (see Producer Driven) the roost.  Problem is, often the producers are much less experienced than the anchors.  No matter how smart you are, experience brings a lot of knowledge.  So veteran anchors sit, wishing they could just bang their heads against the wall and watch something they could have prevented play out on the air.  Excruciating!

That said, giving in to human nature and complaining on the set, diminishes respect toward you if you are one of those anchors.  It sends a message that you think you are superior and fed up with the underlings.  And that’s even if what you say is absolutely true.  So this is where things get hard for the frustrated anchor.  You need to find a different forum to vent.  Maybe that’s after the show, on the phone with your co-anchor.  Maybe it is at the gym working out your frustrations.  Maybe it is in a meeting with the EP or AND.  Just make sure you keep the conversation pro-active.  Producers and managers, put ointment on the sting, and look to see if the anchor really does have a good point.  If the anchor feels they have a forum to address concerns, the on set rants will eventually stop.  Chances the quality of the newscast will improve as well.

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

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.

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Why generic video is a killer for TV news.

Yes, the title of this article is a strong statement. TV news is up against some large hurdles, the largest being making sure your newscasts and stories actually have impact for the viewer.  If they don’t, viewers leave.  Generic video creates an instant disconnect.  That’s why I defined it and talked about ways around in Show it, explain it, and that’s why I am dedicating a second article.  It is important to understand that this common crutch really kills credibility.

If viewers watch a story, and the video doesn’t make sense with the words two things happen:  The viewer gets confused and misses half of the story, and the viewer starts wondering if the person reading the story knows what he/she is even talking about.  Think about it, would you do a presentation for a group of people and not use the correct power point diagrams?  Would you notice if the graphics don’t make sense and become angry that the speaker keeps flashing them up anyway, just so there is something on a screen?  This is how generic video comes off to TV news viewers.  It is confusing, and frustrating.

Viewers want to grasp what you are saying and showing to them.  Video and sound help imprint it in their busy minds, so they actually remember what was said, who said it and what it meant.  That is too powerful a tool, to just write a story, and hope the video makes sense.  You must know what your images are, and relate the facts to the video.  Otherwise you are telling viewers to go elsewhere, because your station is clueless.

So if you want to stand out on the job, and as a journalist period, show video, use sound, and explain it.  Vow to never put a piece of video into your package or your newscast that you don’t reference in some way.  It’s time to say goodbye to generic video.

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Own the night. Finding and executing stories night side.

This article idea came from a reporter on Facebook who recently moved to night side.  If you have ever worked this shift, you already know what he asked.  How do you find stories, much less break news, night side when everyone you’re calling wants to just go home for dinner and offices are closed?

No doubt generating solid content can be challenging on a night where there is not a big event planned, a huge story that easily carries through or breaking news.  The biggest key to “owning the night” is recognizing you will need to give up a little of your off time to build sources and set up stories.  When you first begin as a night sider this will be a little time consuming, unless you’ve already worked in the same city for a while and have sources.  But, once you build up some sources (read “Cultivating Sources” if you need help building up sources), it will not take that much time to call and make your checks.  In fact, in some ways, it can be easier to see if a story you are hearing about really is sound, than it is for dayside reporters.  Remember, day siders have to try and figure out if a story is legit when people are eating breakfast, getting the kids to school and running late.  You can make calls as they come back from lunch and are often tying up loose ends and actually have some time to talk.  So, eventually, it will be easier to get the info verified quickly.  You just need to figure out who to call on your beat.

Speaking of beats, act like you have one, even if there is no formal defined beat system in your shop.  By that I mean, figure out what types of stories management bites on at night, and source build around those topics.  (see “How to Pitch and Pull Off Stories in Producer Driven Shops” for more on how to do that)  You just don’t have the time to source build in every section of the DMA on every subject.  Pick a couple of subjects and areas of the DMA and stick to that at first.  It will help you.  Just make sure the veteran night sider hasn’t already built up a rapport with the same agencies and sources, so you are not double calling and confusing the agencies.

Try and work a day ahead if you can.  Forward looking stories about an upcoming hot button issue in town, or a major event, you will probably cover in a day or two can be great “fall backs” on a slow news night.  You can informally set those types of stories up ahead of time.

When I managed PM newscasts, my go to night side reporters, usually called the desk around lunchtime to see if an assignment editor had heard of anything that might pop that night.  Then the reporter would make a few calls and come in with a solid story idea.  I often got calls on my way into work from reporters who had checked with sources to feel out interest on potential stories they could pitch when we got to work.  This was a great help as well.  I could say, “Set it up.” or “Look for something else.” early in the process.  It took all of us just a few minutes, and often paid off in the end.

This may sound obvious, but another station in town used to routinely “break” interesting crime stories a day ahead of us.  We eventually figured out that one of their night side reporters would stop and pick up police reports (now you can usually just check them online) on their way into work.  That person then knew anything that happened after a typical 9 a.m. check by a dayside reporter.  The other stations didn’t check until the next morning either.  So this station ended up with constant “exclusives,” “first on’s” etc. until we figured out the trick.  It’s proof that simple moves can pay off big time for night side content.

My final suggestion is to buddy up with a dayside reporter.  That person may know of three people you can begin to call in the early afternoon to build sources.  Sometimes day siders get tips as they are coming off of their shift.  If that reporter knows you are willing to get calls before you come into work, you might get the tip call instead of it just going to the assignment desk.  But make sure you pay it forward.  If you hear rumblings of something good that might pop in the morning, shoot off a text to that day sider.  Having each other’s back only helps.

Those are some tricks to “own the night.”  If you have more suggestions, please send ‘em so we can all learn.

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