Political Hotbed – Page 8 – Survive Your Job In Television News

New manager, new rules

We are coming up on the “season of change” for managers. Changes are often made after May sweeps, so there’s time to get a new person in place before the fall. A new manager means new opportunity and possibly a new pitfall. Often people only worry about an ND change. An AND or EP change can make as much of a difference in your future. Do not underestimate their say in having you on a particular shift or having a job at all. You need to make a good first impression.

So what does an assistant news director consider when coming to a new newsroom? This person wants to make a mark. Understand that AND’s run the day-to-day operations. They are looking for people who will work with them to make changes. This is a delicate dance, because you don’t want to alienate the ND if the AND decides to buck the current system too much. You don’t want to end up in the middle of a political mess. Focus on working hard and avoiding answering questions about why the place runs the way it does. You do not know the AND’s agenda yet. You do not want the AND to walk into a meeting and say these changes will happen and you told him/her the changes are justified because the place is poorly run. Yes, this can and does actually happen. I’ve seen it more than once. Be agreeable. Read “The 3 B’s to win over your ND” and keep those points in mind when dealing with a new AND as well.

Now let’s talk about EP changes. Again, these people are trying to make a mark. You want to be agreeable and willing to work hard. Do yourself a favor and stay away from the group that tries to haze the new EP. This especially happens in mid to large markets. I watched it time and again. Hazing the new EP is not smart. I don’t care if you feel the person is clueless. Remember, this person still has a say in your reviews. This person can still move up in the company and blacklist you. (Yes, that really happens too.) Stay out of the politics. On the other hand, you also do not want to be the EP’s doormat. Say no to the EP sometimes so you don’t end up getting extra piles of work when the EP becomes swamped. Again, look over “ The 3 B’s” and follow a lot of that advice. You want to be a go getter and eager to do your job. But stay out of the politics.

Final thoughts on these new managers: Once they have time to settle down, sit down with them fairly regularly and pick their brains on the news biz as a whole. You can gain great insight on what they’ve seen and done. Both AND’s and EP’s do more training and critiquing of your work than the ND usually does. Asking for an occasional critique is a great way to continue to advance your skills. It also is a great way to form an alliance while keeping yourself out of the politics in your newsroom. View these new managers as a new opportunity to broaden your skills. Work hard for them and, you never know, they may take you along when they rise higher in the biz.

“Yes, that’s your assignment. Now do it and like it! “ Assignment Editors: Behind the gruffness.

Take a moment and think about the most colorful characters in the newsroom. For me there are two groups, photographers and assignment editors. We’ve decoded some photographer behaviors in “You exist to hold my tripod.” Bottom line, photojournalists are incredible information gatherers and because they see the facts in a visual way, they make TV news what it is today.

The hardest job inside newsrooms, that all of us love to take for granted is assignment editor. The people who do it are the “whipping posts” for managing editors, assistant news directors, producers and reporters. Photographers usually get their assignments this way and love to grumble as well. Yet, as I look back on my career, I see that the strength of an assignment desk makes or breaks a newsroom. It truly is the tie that binds.

So why are assignment editors so, well, intimidating (or even irritating)? Being everyone’s whipping post is one start. They also tend to really have a grasp on the market and the stations strengths and weaknesses. Heck, when you think about it, that’s their primary job. Yet assignment editors are often not really given a voice in crucial decisions. They actually understand drive times to various places. They understand that the PIO in city A really hates the station UNLESS you call and say XYZ. And they also understand that live truck 13 really does suck! In many cases they try and warn us know it all producer and manager types. They try and give reporters gentle nudges on how to handle a particularly ornery mayor. Do we listen? If the answer is no, then we have a very irritable assignment editor on our hands. Chances are you are going to be yelled at, have papers thrown around the newsroom and hear curse words in interesting sequences you never would have thought possible! Think about it. If you were told to make the ship run smoothly, then saw the iceberg, warned and begged everyone to listen, then watched the boat slam into the iceberg, you would be a tad pissy as well.

A few secrets about assignment editors for you: If you stink at or just don’t get how to source build yet, befriend a veteran assignment editor. They source build as well as most investigative reporters. And they don’t get to leave the station. Heck, most barely get potty breaks. Also, be clear reporters, assignment editors are not your personal secretaries. You need to make the calls to get the information. If you are behind or overwhelmed talk with an EP first about whether an associate producer can help you out. And, yes, I am serious. The assignment editor has you, all the other reporters on your shift, the planning producers, the reporters on the next shift and usually at least one manager asking them to make phone calls. That’s in addition to calling their contacts and listening to scanners and reading 5 million news releases to make sure the station isn’t missing something important. And, if the station misses a big story, it is usually the assignment editor that gets reamed for it.

Producers, your assignment editor can help protect your show from technical disasters as well or better than the production team. He/she knows intimate details about the live trucks, signal strengths, how to get around a lazy person in master control, when to humor an ENG engineer and lots of other very useful stuff. Beyond that, they know which crews are great at cranking out work and which ones need a constant swift kick. If you have a story that must make slot, period, make sure the assignment editor is well aware ASAP. If you see the assignment editor is in the weeds, answer the newsroom phone. Help out. There is nothing more excruciating than trying to take down information while hearing phones ringing all around you. Think about the times when every reporter feels the need to call in for script approval all at once. All of them need it “RIGHT NOW!” to make slot and you can only read/listen to so much at a time and actually comprehend what’s going on. That’s what it’s like being an assignment editor for at least half of every workday. Cut ‘em some slack!

Managers, when an assignment editor walks into your office and shuts the door to discuss a potential issue, stop what you are doing and listen. Most of the time, this person is saving you from potential disaster. If they do, throw them a bone once in a while. Have a favorite meal dropped off for lunch. Buy them a latte. Write a thank you note for all he/she does and throw it into his/her mailbox. Everyone should remember to say thank you once in a while. The strength of the assignment desk plays a huge role in whether your station is #1, #3 or worse. It can set the tone for morale in the whole newsroom because the desk has direct contact with all the key players every day.

So, when you get an assignment that just plain sucks, don’t kill the messenger. The assignment editor is following orders. When you are told do it and like it, remember that’s the mantra these guys/gals live under every day. They often take more crap than the rest of us, and then turn it into gold.

How to repair producer/director relationship

A frazzled producer recently asked for advice dealing with his director. Their relationship was strained. The director was starting to question this producer’s calls in the booth, and at times making calls instead of checking with the producer to see if they were on the same page. This is not uncommon. Directors are in charge of making sure the show looks clean and at times will make quick decisions while live. Your director “taking over and calling the shots” is not all bad, if you have established protocols you both agree on for certain situations. (See Right hand/left for more on how the two of you can compliment each other, by showing mutual respect.) If the director is taking over to the point where you are unable to make key decisions that could impact content making air and/or it’s affecting you timing your show, then you have a problem.

The key is to nip that kind of issue in the bud right away by sitting down and talking about it. I would usually ask the director when we could meet and discuss how the newscast is going in general terms. I wanted the chance to talk before a show aired, not right after when tensions are high. You need to be clear headed so you can both listen and figure out what needs to be done. Also, go into this type of meeting knowing the director will have criticisms and hopefully suggestions to help things run more smoothly. Keep an open mind and really listen. Relationships require some compromise. You need to be aware that directors have a lot of pressure on them as well and share your desire for a clean show. The way you two define “clean” and make decisions can vary. You need to explain where you are coming from in a non-argumentative way.

Another crucial thing to set up is a nightly discrep. meeting with your director. This used to be required in most newsrooms, but with cuts in OT pay and longer working hours, many shifts now blow off these meetings. This is a big mistake! Ideally you want the entire staff to weigh in on these meetings. If you cannot because of OT issues etc., then meet with just your director. But make sure you meet. You need the daily dialog, face-to-face, to actually talk about what went right and wrong in the newscast. And, by the way, email does not cut it. You need to look each other in the eye and talk. This helps you learn how the other person thinks so you can find common ground and set up protocols. I cannot emphasize enough how crucial it really is to have a daily meeting. Find a way, period. Make sure the meetings are short and sweet. Suggest you each come to the meeting with one thing you liked and one you didn’t. If there was an issue during the newscast, talk solutions for the next time it comes up. You can do all of this in 10 to 15 minutes. You really can. That is a small sacrifice of time to really create a solid working relationship. Tell your director that. Most will not only agree, but be happy to meet.

Finally, make sure even when you are really ticked about a call the director made you remain respectful. Your director is a professional and likely extremely passionate about his/her job too. Openly respect that level of dedication. It will only help you both grow and your newscast get better.

How to pitch, and pull off, stories in producer driven shops.

I got a huge response to our article about decoding producer driven shops. (If you missed it, check out “Producer driven doesn’t mean absolute power”). So now let’s talk about what kind of stories managers want to showcase in producer driven shops. First let’s summarize what makes a newsroom “producer driven.” It means a heavy emphasis on content. Anchors are considered advocates for viewers. Reporters are educated witnesses. Producers must have a deep understanding of the audience, its wants and needs. Producers tend to have more say in choosing content and set the tone for the “feel” of a newscast. In some ways anchors are showcased more in producer driven shops than in more spot news type of newsrooms, because they are given a more interactive role with content. They ask more questions and are often required to turn franchise pieces with hard edges. Because content is king, reporters actually play a huge role when showcasing coverage. But for some reporters it can seem like you have little say in what you do, because producers and managers often “map out” the coverage each day. So let’s decode how those decisions are made.

First and foremost, producers and managers are looking for segments and themes to weave throughout the day part. This showcases advocacy and emphasizes community involvement. From the time you pitch your story, you need to be thinking about the big picture. Reporters, this means not holding back any interesting elements when you pitch the story in the editorial meeting. It is important to explain how the anchor can pitch to your story with some sort of interesting information and/or visuals. Do you know someone who could do a studio interview after your package that would provide interesting perspective? This means you really have to understand the story you are asking to cover. You cannot just scan a headline and hope you “get a pass” in the meeting. You have to be able to take the story beyond a newspaper headline. Producers in content driven shops tend to read multiple newspapers. Managers also try to be very in tune with what’s happening. They will be familiar with most content you bring up. Showcase how your package will advance the story. You need to explain why a viewer would watch your story rather than the other stations in town. And don’t forget, this also means you cannot save all the “good stuff” for your live and package scripts when you actually produce the story later in the day.

Before you think you must come in with an Emmy award winning “big get” each day, understand, there are many ways to think big picture beyond finding daily exclusives. Exclusive elements don’t happen every day on every story. Try and relate the content you are pitching to the key audience the station wants. Will it appeal to 25-54 year olds? How? That might be your spin. Can you make the story relatable to even larger audience groups with a clear character you can put in your package? If so, explain that right away. Can you add “a slice of life” element into the story you want to turn? Any way you can make the story feel real, to a broad group of people, will make you and your story ideas very appealing. This also means you must have a good idea of the kinds of visuals you will provide in your package and for teases and set ups. (See “Make your sell” for more on how to effectively pitch stories.) You don’t have to have great flames, dramatic car chases or screaming people to sell your story. You do have to help the producers and managers visualize how the story will play out. Remember, they are not just looking to fill 1:30 that day. The more they can really delve into content in a compelling way, the more appealing your story idea becomes. You have to help them see and feel the story.

If you really want to stand out in a producer driven shop, pitch stories in areas of the market where the station wants to grow audience. Source build there and look for stories you can turn in that part of the DMA that people living nearby would also find interesting. You have a key advantage over the producers and managers that are driving content. You leave the newsroom each day and get access to more people. The faster you source build and can provide information on developing stories, the more the “powers that be” will trust your instincts and trust your story pitches. By focusing on areas where the station wants to grow audience, you show you are savvy to the “big picture” which is a huge draw.

When it’s a slow news day don’t be afraid to pitch consumer stories and interesting new developments from stories you have covered in the past. Remember, a key part of producer driven shops is showcasing community involvement. That means follow ups are very important, as long as they have substance to them. Consumer stories usually have broad appeal. Viewers in nearly all income brackets are looking for ways to make the most of their money right now. That opens the door to a lot of interesting stories that can naturally be broken into several elements. Keep a list on hand, with good contacts for slow days.

Lastly, story tell, story tell, story tell! If you make a name for yourself as a versatile reporter who can weave interesting stories out of many types of content, you will be well respected in producer driven shops. You will get more leeway when pitching stories because managers know you will find something compelling to turn.