Reporting – Page 11 – Survive Your Job In Television News

Reporting Alliance : Your Key to the desk.

Reporters often feel left on their own. There is some truth to that feeling since you are out and about, and your bosses are not there to really watch you work. Assumptions are made about what you do and don’t do by managers and producers. Often you are not given the benefit of the doubt.

That’s why it is crucial to form good relationships with a group “on the inside.” In your case that group should be assignment desk editors. The assignment desk is the 411 of newsrooms. Editors on the desk can be intense and bark orders. But remember, they are under the kind of pressure you face the last two hours of your shift, all day long. There is little to no down time. I had friends on the assignment desk constantly get bladder infections because they could not break away from the desk long enough to go to the bathroom regularly. I am telling you this, because having the knowledge of what the assignment desk goes through helps you know how to build a smart alliance.

Reporters (like producers in our Producing Alliance article) will get priority day-to-day based on how they treat the assignment editor. Sure, if you are on a breaker, you will get more attention and help. But when it’s just day-to-day, run of the mill news you can bet the reporters that are respectful to the assignment desk get more support.

So what can you do to build a smart alliance with assignment editors? First, don’t call the desk for simple phone numbers. With technology today, there are plenty of ways to get numbers without calling the desk. Remember, the assignment desk is looking for fresh news all day long in addition to planning segments and stories for managers, making beat calls and answering the phone all day long. As someone who sat next to the assignment desk for more than a decade I can attest, just answering the phone can be a full time job. It doesn’t let up until about 9 at night. Respect the fact the assignment editor is busy and is not your personal receptionist. I never got over how many crews in the field really thought assignment editors just existed to be glorified receptionists for the newsroom. Not the case.

When you do have the luck to be done with your package early in your shift, occasionally sit on the assignment desk and help out for a little while. This is a huge sign of respect. Sit up there, and answer the phone. It can also be a great place to drum up story ideas and source build a bit. The assignment editor knows who talks on what shift and who is good to call on the down low when you need to fact check. This is smart to do, especially when you first move to an area. Sitting on the desk to help out a little here and there will help you build sources quickly. (See How to generate story ideas when you are swamped for more help on that) Assignment editors also help do futures planning, so sitting up there gives you a chance to express interest in an upcoming story or special that the assignment editor is researching. They will often let managers know, if you expressed interest, to try and help you get the assignment.

Check in regularly with the desk. A lot of crews resent this and consider it a sinister plot to spy on you and track how hard you work. You don’t have to give a full report if you happen to be done with your package early and are working sources for future stories. Just call with a location and how long you think you will be there. Assignment editors love when crews do this. It takes 10 seconds and speaks volumes for your respect for the role of the assignment desk. No the assignment editors are not plotting what to send you on next to work you into the ground. They are constantly being hounded by management and producers over where crews are and how viable the stories assigned to them really are. Just calling and saying: “Hey we are in such and such city and will be here approximately 1 hour” helps the assignment editor show management that he/she is in touch with the crews. It also makes you look very responsible and a team player. Yes, you might occasionally get sent to something else because of this. I did notice that most of the time the assignment editors fought for the crews that called in. They could tell management this reporter has an hour left on their package so let’s pull someone else. Knowledge is power and the assignment desk goes out of its way to protect content. That is a key element of the position.

Finally, if you are done with your story and are sent to breaking news, don’t gripe to the desk if you and the assignment editor know the story is probably bullshit. The assignment editor more than likely has management breathing down his/her neck and often will report if you are being difficult. If you say okay and suck it up and go, the assignment editor appreciates one less fight in the day and will likely try to prevent sending you on the next wild goose chase. The point, in case you missed it: If you gripe, you will get the crap job more. The assignment desk controls a lot of your destiny including which photographer is assigned to you most days. If you want less hassle, give the assignment desk less hassle. You both will appreciate each other more.

You exist to hold my tripod: How to make peace with the photographer that hates reporters.

Throughout my career I heard this phrase uttered by photographers when discussing reporters: “You exist to hold my tripod.” It was followed by a laugh and shaking of the head. There is a lot behind this phrase that many reporters and news managers don’t stop to think about. It’s especially true now, with more stations turning to one man band and backpack journalists. Without photojournalists, there would be no TV news. The video, together with sound, is what separates us from other news mediums. Yet many take for granted the photojournalist that is putting a lot of physical effort and artistic ability into his/her work. In many shops photojournalists do not get much recognition from management. It all goes to the reporters and anchors.

Being the reporter thought of as only good enough to hold the tripod is frustrating. But a good journalist can consider many perspectives, right? Whether you like it or not, you are going to be assigned to work with photojournalists who have this attitude from time to time. They exist in every shop. Murphy’s Law dictates you will be assigned to this angry photojournalist whenever you have a great story that you hope will be good enough to keep for your resume.

So in the interest of peace and understanding, let’s look a little more at why some photojournalists feel this way. In truth, there are many reporters that think photogs are their servants. They refuse to help carry gear. They boss the photojournalist around and tell them to get specific shots, rather than gently asking. And they often do this in front of someone being interviewed. This treatment is humiliating. Think about the time when a ND calls you in and asks how you could ever have written something so dumb? You know how it feels. We’ve all been there. Showing respect is crucial. Also, because there is a lack of training in newsrooms, often a seasoned photojournalist gets stuck working with newbie reporters. All of us are clueless when we first take news jobs. We are a pain in the butt and a potential liability as we get our TV legs. Add in a know it all, “I can conquer the world” attitude and a seasoned photojournalist legitimately wants to not only hand you a tripod to carry, but shove it where the sun doesn’t shine!

So enough psychology of why, let’s talk survival skills. The tried and true way to develop a positive working relationship with these seemingly impossible photographers is to show them some respect. Yes, you will often want specific shots taken in the field. So, let the photog know what you are thinking and ask them to help you out, rather than tell them to get a shot. Then ask for input and tell them you would love a few more shots or more natural sound to go with the shots you need if the photojournalist sees a good opportunity. Ask the photojournalist’s opinion, often. This person is a huge asset for you, even when it can be a bitter pill. These articles spell out why and what to do if the photog is really hazing you. (see Photog is a reporter’s best friend and Thank you sir, how to handle newsroom hazing)

Do whatever you can to get the photojournalist involved in the story. Again, at end of each interview ask if the photojournalist has any questions for the subject. Some of the best perspective on a story can come from the true observer. (There is no truer “observer” than a photog watching the story play out through the lens of a camera!) When you shoot your standup talk to the photographer about what you are thinking of doing and ask for help making it work visually.

Most of all, don’t give up. Keep showing respect even if you think you are only getting insults in return. Remember the psychology of why. These photographers often care, passionately, about the video and sound they are gathering. They want their hard work appreciated by someone, but they have been burned, often. Be patient, compliment when appropriate, and show respect. With time that photographer will turn into an asset and you will be glad to hold the tripod for him/her!

Road trip! You can cover us, right?

No way around it. This is an uncomfortable trend in many newsrooms right now. In fact, some companies are making it written policy. The good part: You get a sweet out of town assignment! The bad part: You have to pay the travel costs upfront, fill out an expense report when you get back, then wait for reimbursement that can take up to 6 weeks. And, by the way, your credit card bill will come due before that 6 weeks is up and you get your money back. It’s a problem a lot of news employees are wrestling with these days. I recently read a forum entry on b-roll.net from a photojournalist asking how to approach this subject during salary negotiations. Here are some ideas to deal with this road trip trend.

So what if you are asked to go out of town and just cannot front the money? You need to tell management flat out. Yes, it could mean losing out on a primo assignment. Better that than not paying your bills though. In many cases, if management really wants you on the story, there is a work around. Sometimes the boss pays the hotel, or perhaps the business manager ponies up some petty cash. It really depends on the station and the individual managers. Does saying you cannot pay upfront make you look bad to the bosses? That depends on the manager. But even if they seem upset, they usually understand. Most often it’s more a case of managers being frustrated because they know asking you to pay upfront is unreasonable and the boss is stuck with a policy that stinks.

If you decide to front the money, get a description of any limits for certain expenses ahead of time in writing. (i.e. – How much per meal? How much for parking etc.?) Be firm on this. Trouble is, some of these policies are so rigid, the limits can be highly unreasonable. For example, some companies have a maximum amount to be reimbursed for hotel stays. Depending on where you are going and what you are covering, hotel costs can vary greatly. This can put a crew in a really rough spot especially if the limits were not checked ahead of time. The last thing you want is to pay $150 for a room only to find out the company policy is a maximum of $100. That’s your credit card and, therefore, your financial worth on the line. If no one can provide you with written limits, think hard before agreeing to the assignment.

If you are headed out of town on a last minute assignment you need to ask about clothing and equipment reimbursement limits. You never know what’s going to happen, and you want to be prepared. Also, in an open ended return kind of scenario, set a limit as to how much you are willing to pay out of pocket before you go. Make sure management and the business office are clear you will not front a single dollar more and there needs to be a backup plan everyone is aware of in case you have to stay longer than your money will pay for.

Also ask how far out of your market qualifies a trip as “out of town.” You don’t want a scenario where you decide to push it driving home, then stop for dinner somewhere too close to your ADI to count for reimbursement. Yes, you were miles and miles away on assignment, but the button pushers will only look at the location of the purchase if there are ADI restrictions. You will either get stuck covering the meal or have to go several rounds with the boss to make your receipt an exception. If that happens it could be held against you later. Remember, a case like this makes the boss look disorganized. Even if the boss is sloppy, you don’t want to be the one who makes it obvious to the world. Asking for those policies ahead of time will avoid the mess.

What if your contract requires you to front the money ahead of time? The only practical advice we can offer is to keep a credit card that can “cover you” until you are reimbursed. A contract is a contract and if you signed it, you’re going to have to live up to its terms.

This is a complicated and emerging issue in TV newsrooms. There may be more ways to deal with it than we’ve listed here. So, please, if you have other ideas let us know. You can leave comments below. Many of us are facing this type of situation for the first time in our careers and need to bounce ideas around about covering that sweet road trip upfront.

Step out of the box, will you?

It’s a phrase that makes many journalists cringe and roll their eyes: “People, we need to think out of the box.” What does that mean?

Well, it means don’t pitch the same story ideas over and over. It means the station wants more than police blotter stories. It also often means news management is getting creative to attract specific audiences. This is an opportunity to have fun at work again if you know a key secret. The best TV stories focus on three things: Real people with compelling video and audio.

When management starts talking about thinking “out of the box,” you need to start presenting ideas in a visual way. Describe your story idea by explaining your first shot in it. Another way to pitch is with the “character” you will showcase. Thinking “out of the box” is a catch phrase for asking journalists to put a human element into a story.

Here’s how to execute “out of the box” for different news philosophies: If you work in an “action news” shop, managers want to see reporters and anchors interacting with the news in a more visual way. Add more sequences and nat sound. Look for a person or interesting business to focus on for a different twist to a news of the day story. Producers should include more interesting anchor tags with information from the anchor to make them appear more of an expert rather than just a reader. Add cool opens to blocks with video and nat sound. Replay cool video in slow motion.

If you work in a “big J” type shop, do what you can to showcase how news headlines impact real people. Write in a more conversational way. Look for interesting characters.

If you work in a headline news type shop where you normally just chase breaking news, play up any interesting video. Let some emotional sound bites “breathe” more than you usually would.

“Out of the box” also means thinking beyond putting stories only on television screens. More and more shops want to see you pitching ideas that also have life in social media or at the very least the station web page. It really is just another way to establish human connections. The only difference is making the story more accessible for people to react. That doesn’t just mean creating a blog for people to sound off. This can be an opportunity to empower with links to associated groups and content. It just depends on the station’s philosophy how far you will go online.

The best part about being told to step “out of the box” is that your news management team is thinking beyond old fashioned TV journalism. It is looking for ways to integrate technology with storytelling and to redefine news coverage. This is an opportunity for you to get really creative and carve a niche for yourself not only within the station, but in the industry. So go ahead, think “out of the box.”