Smart Alliances – Page 2 – Survive Your Job In Television News

How to carve a niche, even when stations do not showcase talent wisely.

Die hard journalists hate when you suggest anchors are performers and newscasts are shows. Truth is there are some lessons we can learn from these “entertainment” terms about making the most of talent, both on camera and behind the scenes. I am constantly shocked at how little thought often goes into which reporter is selected to turn what story on a given day. Same goes for assigning producers to newscasts. Managers need to take the time to get to know the people in their newsroom well enough to understand what makes them tick. You need to know their interests. The reason is simple logic: If the person is interested in particular subjects he/she will turn better work related to them. Yet most newsrooms where I have worked not only don’t bother to get to know the people in the newsroom, they purposely place people in uncomfortable positions. When asked why, the common answer is “It’s their job. They need to suck it up and do what we say.” Look, no one is going to get to cover the stories they want all the time. Not every producer gets to be in charge of the bread and butter newscast. But there’s a difference in looking for great fits, and just filling slots with warm bodies.

So how do you work around it, when you are miscast in the newsroom? We are going to focus on reporters and producers in this article. First reporters: If you have subjects that really interest you (we are talking more than loving sports, think about issues like education, consumer and politics etc. You get my drift) or an area that you like covering in your DMA then start source building there. The number one way to recast yourself is to start getting exclusives or at least interesting developments on subjects you really like researching. The more you pitch these ideas, the more likely your bosses will eventually get that allowing you to focus on this area is in everyone’s best interest. Be patient. This could take time. Don’t give up. Don’t pitch a fit when you get assigned to something else. Just keep throwing out interesting ideas and you usually will carve a niche.

If you are still not getting anywhere with your story pitches, sit down with a producer on your shift (or the EP) and ask what kind of stories they want to see. They may have decided that type of news doesn’t hit their particular audience. If so, you will need to look for another interest. If you are flexible, find out what kind of coverage the producer and/or EP wants to showcase in their newscast. If you find the subject interesting start looking for stories and help out. This makes you become a team player who eventually will be able to ask for and get the stories you want to cover more often.

Now producers: It is harder to control your destiny, unless you can show you are great at raising the ratings no matter where you end up. I loved producing 5pm newscasts. I loved the thrill of the constant breaking news. I had to show I could handle that by owning breaking news no matter what newscast I was assigned. Several times I was placed on noon newscasts and told to “prove I deserved” a 5pm. The two are not that different to produce, so I jumped in full gusto and earned my 5’s. The key to getting the newscast you want is to show you are a team player who gets results. Do not whine that you deserve something. You will not get the show you want if you do. Becoming the “go to” producer that can take any newscast and raise ratings (even in one section of a show) will help. You will get moved around a bit at first, but often you will end up being given the choice of what newscast you want to produce. It is a thrilling moment when the ND or AND calls you in, and says “We are moving producers around, do you want the 11 or the 6 (or the 5!! J)?”

If there is a newscast you really want, look at what the current producer does on that shift and build on it. Yes, this is competitive. That’s the producing world. Chances are high the producer in the newscast you want will get promoted, demoted or move into management at some point. You are there showcasing your depth, ready to take over. You are a manager’s dream. Just be consistent in your product and subtle about where you want to end up, until the opening comes.

Finally, use your reviews to talk with managers about your goals. This can help them understand where you want to be “cast” and provide constructive criticism to get you there. That is an appropriate time to say, “5pm’s are my favorite to produce.” Or “ I love political coverage, is there a part of the DMA where you would want to beef up that type of coverage?” Sometimes you need to explain to management what you want and that you are willing to work for it. Remember, managers sometimes don’t just pick warm bodies to fill the newscast slots and cover the stories. They may feel they have no choice because the reporting staff seems disinterested in everything. Your review is an appropriate time to showcase your interests and request “casting,” if not immediately, then in your near future.

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.

How to select an agent.

I have to admit, I have been surprised by the amount of questions Survivetvnewsjobs.com gets about agents. The most common being, who do you recommend? By asking a few follow up questions, it is clear that finding out about and hiring agents seems intimidating. It should because these reps take a significant amount of your salary (sometimes up to 10%) and can have a profound effect on your career. Often journalists looking for an agent worry it the agent will be willing to take them. But let’s turn the tables a little bit. The question should actually be: Can this agent really help me advance my career? This isn’t an ego thing. This relationship should benefit both parties. When you hire an agent just because you are glad the person is willing to take you on, you are selling yourself short. You need to clearly see how your career will benefit. Otherwise you will be writing checks for years, to someone you don’t believe in. That’s too costly a mistake!

So how do you select an agent? It takes more than finding out what agent represents the main anchor at your station or another reporter in the ranks. Those personal endorsements are great and important, but a small part of the picture. There are several other things to consider.

When selecting an agent consider his/her:

Reputation
Ability to work with ND’s and GM’s
Understanding of industry trends and traditions
Ability to coach
Solid legal support

Getting those ringing endorsements from other reporters, producers and anchors is a great start toward figuring out an agent’s reputation. I would suggest cold calling clients listed on the agent’s website and asking what this agent has done to help that person in the last year, 6months, 3 months etc. There are different types of agents. Some excel at placement. Some shine as coaches. Some offer more individualized attention. Some agents are known as serious advocates for their clients if a problem arises. You need to know the agent’s reputation so you have an idea of what type of representation you will get.

A key to reputation, is how the agent handles ND’s and GM’s. The last thing you want is to hire an agent that MANY ND’s and GM’s have blacklisted. This does happen. Bridges can be burned and you don’t want to be caught in the flames too. This is especially crucial if you have a dream market in mind. You don’t want to get a call from your dream station, only to find out the ND will not work with your agent. So how do you check this out? Talk with your former NDs. If you are first starting out, ask a professor if he/she knows of any ND’s or GM’s you could call. If you have a dream market in mind, you might want to call the AND, and see if he/she has a minute to talk. Tell him/her your goal is to get to that station one day and could that person recommend any good feeder stations and agents that the station works with. You might be surprised how much information the AND will provide. (For more on why making connections with the AND is so crucial read “When the interview really counts”) Now this is going to sound strange at first, but you don’t necessarily want an agent the ND or AND just loves and gushes over. That agent may not be very aggressive at getting great deals for clients. You want an agent the ND or GM says is fair, and decent to work with. That means the agent probably has good insight into how much positions in the market and within that station group pay. You want an agent who isn’t a hothead, but is persistent and will fight for the best deal with business savvy. Also, remember agents and ND’s will not always get along. If you hear from one ND that the agent is awful, check with at least two other ND’s before making a decision. Personality conflicts happen to all of us. The only exception being if you are absolutely 100 percent sold on a particular station. If that ND says he/she refuses to work with an agent you have some thinking to do. Not just about the agent, also the ND.

I feel so passionately about vetting an agent’s understanding of industry trends and coaching, I dedicated a whole article to these topics called “The one thing you need to require from your agent regularly.” Read it please if you are considering hiring an agent. This is the payoff for the up to 10 percent of your salary you are giving up. If you want an agent to be an advocate for you, the person must grasp what industry leaders are looking for and be able to see what’s coming next. This is particularly huge with the eruption of social media’s influence on television news. There is even less focus on training in newsrooms. Managers are more concerned with how to compliment newscasts on television with web based elements. The economic downturn means less money to pay for training sessions and in some cases less money for more seasoned talent that can mentor in newsrooms. You need someone in your corner that can give you constructive criticism so you can grow in your job. Agents are becoming the go to people you need more and more. Make sure your agent can actually provide advice about producing newscasts, writing packages and being a backpack journalist to name just a few things.

You also want an agent that has solid legal support. Why? Contracts are getting more and more complicated, especially when it comes to social media clauses. That non-compete you signed could become an issue too. What about sections demanding you stay a certain weight? You want an agent that has a direct line to an attorney so you can get answers fast if a problem arises. These are issues that an agent should be able to advise you on. I have known of agents that say, “You will have to hire an attorney for that,” while negotiating contracts. Seriously? What is the 10 percent you are paying for if you cannot get any advice on legal elements of your contract? When interviewing agents ask what legal support is provided.

One last thing to keep in mind, make sure you feel comfortable speaking with the agent. You may need to have very frank discussions. Agent contracts often last longer than station contracts. You will be probably “stuck” with this person a long time for better or worse. Make sure you can get along with them! Remember agents have a lot to gain retaining you, so don’t sell yourself short. Look for the kind of representation you really need to advance your career.

Newsflash, your EP doesn’t have ESP! How to clue them in and form an alliance.

Being an EP is a weird little world. You are a manager for sure, with a lot of responsibility. But you sit in the newsroom all day long and work in the trenches. You have this element in common with another prominent figure on your shift, the anchor, but often the two don’t connect. It fascinated me as a producer for years. The EP and the anchor would rarely speak. I, the producer, was caught in the middle all the time, newsroom after newsroom. Then I became an EP and tried to change this relationship. What I found was fascinating. Time and again, my anchors assumed I knew everything going on in their world and they would actually avoid telling me about any issues. They even became frustrated if I regularly tried to check in to make sure I was aware of any needs they had.

I am guessing that being a manager made me seem a little untrustworthy. Understandable since EP’s do weigh in on annual reviews. But the anchors that did sit down with me and clue me into their expectations succeeded better at their jobs. The reason: I could fix problems for them. I was able to make my expectations crystal clear as well. To me, having both sides understand the other is only beneficial. So, anchors, here’s how to forge a relationship with an EP, since we unfortunately don’t have ESP and always know what you need:

Set up regular check in sessions to make sure you’re on same page
Compliment and critique
Be the key backup

First of all set up regular check in sessions to make sure you are on the same page with your EP. This is a two way street, but you have to ask for it. I used to try and sit down once a month and just ask my anchors how everything was going. Did they have any segments they liked? How was the writing? Were they getting enough time to ad lib? Were they getting enough guidance when given breaking news on set? Sometimes my anchors would candidly provide answers, which I appreciated immensely. Other times my anchor would say everything’s fine, then go off and bad mouth situations. Often they would do this just a few hours later and in the hallway where I could easily walk up and hear it (and often did). If you are given an opportunity to spell out your likes and dislikes, do it. Otherwise keep your mouth shut in the building! Not openly talking about what you need, and instead trashing the situation in the hallway makes you look immature. That means the EP will develop concerns over your ability to lead. When it’s time to get a new higher level show, that EP will not endorse you.

During check in sessions, you should complement and critique. It is very beneficial to know what’s working for you as well as what isn’t. Remember even EP’s need to know if something they are doing or their producers are doing is going great. Compliments are rare in most newsrooms. They help boost morale and help the EP figure out what your likes/needs are so they can pass the information down to appropriate staffers. As for critiques, I know what it is like to have a manager call you in and ask for a critique when you know they actually don’t want to hear it. These check in sessions should be clearly defined so your criticisms are understood to be constructive. Also, the EP has final say in whether some of the issues you bring up are addressed, how and when. Frankly, some things you bring up, the EP may deem not that important. Be professional enough to see that perspective as well.

Finally, EP’s need people to back them up sometimes, especially if they are making major changes to a newscast. Back the EP up. Tell the staff that change can be good. Be a cheerleader (see Smart Alliances). This will go a long way toward winning major loyalty from the EP. Remember, when you’re trashing major formatting changes, most of the time they already went up through higher channels than you and the EP. To rip them, especially in a group setting, is not in your best interest. This is where your leadership role really comes in for the newscast. Often if the anchor says an idea is worth a try, the staff supports attempting the plan. Your support will go a long way toward winning a major ally, your EP.