Know Your Newsroom – Page 9 – Survive Your Job In Television News

What Does “Taking Ownership Of Your Newscast” Mean?

TV news is full of expressions that can be confusing or thrown around lightly. The term “taking ownership of your newscast” is not a term to be taken lightly but can be confusing to producers and anchors. So let’s delve in to what this term means to management and your reputation in the industry.

Let’s start with what it means for producers. “Taking ownership,” is essentially making it clear “the buck stops here” with decisions made for the newscast. In truth, the buck usually stops with an EP or other manager. But the expectation is that the producer will fall on the sword and take full responsibility for decisions made. This is confusing, and frankly at times unfair. It is expected though. So when the ND calls the booth during or after the newscast and asks why the heck such and such story did or did not make air, the last answer the boss wants to hear is “the EP told me to do it.” It doesn’t matter if that’s the reality. The ND wants a reason. He/she wants to know there was some thought put into the rundown. So tell them the reason:

“We thought it was significant because of where it happened.”

“We wanted to add more new stories.”

“We were not able to confirm key facts, but I am happy to help do that now, so the next newscast can air the story.”

These are the phrases the ND wants to hear. Now a little secret to make you feel better: The EP will get the same question, and will then get the litany of reasons why the thinking needs to change. You, the producer, may or may not get that list of reasons. But be sure, the EP will also be questioned.

Taking ownership also means doing all you can to prevent messes and come up with quick solutions when a mistake happens. This is more than factual issues. If your anchor always stumbles on the scripts in the back half of the newscast, you are expected to implement possible solutions to stop the issue. Yes, you the producer. No, you are not the one stumbling. It is still partly your responsibility as the show boss. If master control never gets live shots tuned in on time, it is partly your responsibility to come up with plans to change that pattern. Taking ownership means being the leader of the show, the show boss, the one who takes responsibility when things go wrong. Consider this a chance to get a taste of what upper management is like. Yes, you will have to have a thick skin. Yes, sometimes what you are being lectured about you probably cannot really change. However, you should offer solutions and try them. This will earn you high praise and respect.

Now anchors. Taking ownership of your newscast means sitting down with the EP and newscast producers, regularly, and hearing what issues there are with the newscasat. Do you need to get more men watching the newscast? Help brainstorm ideas. Are the EP and producer at their wits end trying to make sure master control tunes in live shots on time? Perhaps mention to the ND, the next time you are talking, that your EP and producer are busting it trying to fix the problem, but could use some backup. Is a certain reporter killing the meters by constantly fudging the total running time for their package or going SUPER long every live shot? Pull them aside, compliment what you like about their work and ask a favor: Could they trim those live intros next time or call in the actual total running time. Taking ownership means showing support and providing public backing for the producer and EP. If you have philosophy differences, take those issues up behind closed doors. And when there is breaking news, sometimes skip dinner break and sit down and help the assignment desk make phone calls or help the producer write copy. You are the leader of morale for the newscast whether you like the role or not. As the face of the show, you are the image leader. So the more involved you become by partnering with the show boss, the more you will be respected as a natural leader. That reputation can really send your career skyrocketing

Taking ownership of your newscast means you are showing the bosses and your peers that you are ready to take on key responsibilities. You are a leader, not a trouble maker. You believe in the product and the people executing it each day. A reputation for being a team player and someone who is not afraid to make a decision will quickly earn you respect in the industry. This is one of the best ways to ensure your future success and increase your job stability. Even if there are layoffs, the people who take ownership are the ones who have managers working behind the scenes to get them placed in even bigger and better jobs instead of just shown the door. Time and again, these simple efforts will reap large rewards for you. The biggest of which is loyalty. Something that is increasingly hard to come by in the world today. So go ahead, take ownership of that newscast. You owe it to yourself and the team around you.

How To Showcase: Think Chapter Book

News managers keep looking for show doctors. They keep asking for producers who showcase in their newscasts. But what does that mean? Recently I asked that on the Survive Twitter line, and got interesting comments like “owning the lead”, “big treatment off the top with little treatments throughout the show”, and “eye catching informative way of telling the story in the first 100 seconds.”

All of these are accurate to a point. But my favorite description was “finding that little something- that makes the story more relatable to the viewer.” When managers ask for showcasing, that is what they really want. And you execute this in the ways listed above: Owning the lead, big treatments off the top with little treatments throughout the show and eye catching elements to tell the story.

When I teach a producer how to showcase, I often describe it as creating mini chapter books. There are several techniques used to showcase, but you need to have the mindset in play first. So let’s begin with this concept when constructing your lead. Chapter books have a table of contents, then each chapter has a title, and information that leads to a conclusion. The biggest thing I see producers forget to do at when showcasing, is spelling out why. That is when we begin to think about how we are making the story relatable to the viewer. So, when talking the government shutdown, or Syria or that standoff that lead to a crash, you have to come right out, with the table of contents, showing what the viewer will learn with your coverage.

Let’s take Syria as an example. You can create an extra element right out of the gate, with a split box showing video of people hugging and crying in Syria, side by side with American’s protesting. This sets up the hook of why you are covering the story. People need help, American’s worry it could cause pain and loss for fellow American’s as well. That is the message the video sends, boldly. The line: These are the images the President must look at while considering whether to take military action in Syria.

Then you set up your table of contents with some brief summary of the days events. This can be a graphic, or a few simple directly referenced video elements. But never forget to catch the viewer up on the basics, so they are ready to go in depth with you.

You say those brief lines, “Tonight inspectors looked for chemical weapons and your neighbors (assuming you had local protests) protested the idea of military action in Syria. Now the President has made an announcement about US involvement many expected, and a requirement most did not.” (Congressional approval)

Next you title each element with a super, over the shoulder, monitor graphic, double box for team coverage, or whatever your station uses to brand. As you go to each element, use some sort of graphic element to “label the title” of each chapter so the viewer understands each element has something new for them.

Once your coverage is done, you need a conclusion. Many consultants call this a “button up”. It can be a summary graphic with bullet points. It can be a what’s next graphic, it can be an image that sums up the day’s events. Many times it is simply a push to the station’s web page for more information. (Just offer a nugget of what kind of extras will be on the web page, just saying for the latest go to our webpage is throwaway. Twitter is an easier way to check for random information on a subject.)

So how does the mini chapter book idea relate to those “little treatments throughout the show”? Well, whether you are dedicating 10 minutes or 45 seconds to a story, if you are showcasing you still need to clearly define “that little something that makes the story more relatable to the viewer.” That means you are not going to just go into the story with the phrase “and now…” Say you take a court case, like Jodi Arias, and want to show how different she looked between the verdict and today’s sentencing phase. You can show a split screen image of her, but you must explain why. That is a table of contents. Then you break each part down, and have a conclusion line at the end of the vo/s or vo/vo/sot or however you cover the story. See the pattern? While condensed the chapter book idea still helps you clearly spell out each element so the showcasing makes sense.

This idea even works on memorable moments, which are a very important way to showcase, in a newscast that deserves a mention. Remember even with these moments, you are showcasing a “little something that makes the story more relatable to the viewer.” So you need to look for chances to have your anchor connect with the viewers. A fancy graphics package and use of sound, and several reporters covering the lead is great, but if the anchor comes off as just reading, and not involved the viewer will not accept your showcasing.

So when you look for things your anchor can expand on, think table of contents. Here’s an example using recent video of a snow skier that was coming down a mountain, crashed and was rescued by an avalanche rescue airbag. Have a still image of the skier in a monitor graphic next to the anchor. The anchor says, “We are about to show you how a skier escaped an avalanche burying him. Take a look, see anything special on him? Because something he is carrying will save his life.” Take video full. (In this case there was no nat sound only cheesy music) Have the anchor talk the viewer through each frame. Then when the skier is up on his feet again, say.. “did you see the special equipment? You may not because it is quite small.” Then show a graphic of some types of avalanche airbags. “Here’s what they look like, easy to carry and easy to find. These are all images from online stores that sell them.” Then 2 shot reaction for button up.. There is a set up, a chapter of information, then a conclusion. A mini book.

A final point, by showing you different times to use this concept for showcasing, the goal is to encourage you to think beyond the lead story to showcase. A true show doctor adds little extras throughout the newscast, so the viewer is constantly reeled back in with information he/she can relate to and talk about with others. Afterall, a compelling book always creates good conversation after you’ve finished it.

What Managers Really Want To See On A Producer’s Reel.

We recently talked about what hiring managers want to see on a reporter’s reel, and since then producers have reached out asking: “What do I show?”

Last week I put that question up for debate on Twitter and was surprised to see so many people say “A-Blocks.” Simple answer: NO. That is not good enough at all. Here’s why: A blocks in most shops are truly a group effort. Anyone can end up with one or two sizzling A-blocks to show off.

When I screen producer reels, I take a very close look at how you start each and every block, what the flow is like throughout the newscast, and your TEASES. Often I see a great A-block tease then, as of the end of the B-block, the teases STINK. That is a clear indicator the producer gets help at the end of the A.

Managers want to see a very solid newscast, with great flow from start to finish. They want consistent use of graphic elements, and natural sound. They are looking for movement of the anchors with purpose (and that is proving harder to pull off than you might realize for many producers) and conversational flow. Here’s another element they are looking for: How you utilize social media in your newscast and with your own accounts. This is getting to be as important as your reel. If you act childish on your Twitter handle, they will not look at your reel.

Now let’s address the second most common misconception, that producer reels should always have heavy breaking news. Not necessarily. News managers know that to a large degree how breaking news is presented has as much to do with how the staff is guided by management, as it does how well the producer puts it all together. This does not mean that managers do not want to see a killer breaking news/continuous coverage newscast. But that should not be the only newscast on your reel. Your “everyday” work should actually sell you more.

So to answer the “What should my reel have?” question, you need two things: A very well put together “regular news day” show and one that showcases how you handle breaking news. Yep, two newscasts. Oh and, by the way, do not leave all of the WX hits and sports in there, show the transition, then cut to the end of the segment. We newscast reviewers don’t need to see what the high temperature was or who won the game and we get tired of constantly having to fast forward. You’ll get brownie points for showing that courtesy!

When to use two shots.

This seemingly simple technique is misused all the time. Too often you watch a story about a difficult situation like a murder or serious health issue and when the story ends, the next image is a two shot. Then the, visibly, uncomfortable anchors try and transition to WX, teases or a story about puppies!

Two shots are not throwaways used just to get to WX or sports or to make sure you do not have disappearing anchors. Two shots have a specific, and key, purpose in a newscast: Building your team.

Two shots are best used as transitions between subjects that have a similar emotional appeal. In other words: Use them when discussing a serious subject (when you have team coverage for example) or a break out on a story. You can tag out on a two shot, when discussing a story about a bank robbery and have second anchor say a line about another crime story. This type of handoff is fine, and at times quite effective.

Too often two shots are used in the same spots in a newscast every day: At the top of a block, then just before teases. If you do not consider whether the subjects you are discussing are related, you are setting your anchors up for a lot of uncomfortable transitions. No good team building there.

So when planning two shots in a rundown, you really need to think of your anchors as having a conversation and look for places where one anchor can say something, and the other can add a little extra. Let’s go back to the bank robbery example. Let’s say Joe, reads a vo about the robbery. The last line is a two shot, Joe: “Police are hoping someone will call in a tip about that surveillance video.” Then Jane can say, in the two shot: “Police wish they had more tips on this case… (car crash, fire, a burglarly..etc..). If you base two shots on transitions, instead of setting up face time, the number of uncomfortable moments will go way down.

A final thought: Two shots do not require that both anchors speak on camera. You can have just one actually speak. This is especially true if you are wanting to quickly re-establish team during continuing coverage, breaking news or in the middle of a news block. Two shots can get uncomfortable if one has to read a line, then the other sits and waits their turn. This is especially true if the sentences are long, or the first person actually is reading more than one line. Keep two shots tight. Keep the emotional pulse the same. Let it seem like one anchor finishes a thought, and the other picks up the idea to add more. That’s how people talk. It will create natural flow and your anchors will thank you for it.