Writing Help – Page 10 – Survive Your Job In Television News

Game on: Secrets to raising the roof during sports.

No doubt being a sports anchor isn’t what it used to be. You can’t just put up highlights and scoreboards and survive. Many are being asked to one man band. Some stations are getting rid of sports departments and many others have already done it. Yet sports still dominates many conversations among regular people, daily. We all know that ESPN has changed the playing field. So what does a sportscaster do, to not only stand out but possibly keep his/her job at all? One phrase (and it’s one we at survivetvnewsjobs.com love) storytelling.

Often when I would tell sports anchors to do more of this, I would get puzzled looks and the sports anchor would walk away shaking his/her head. So let me spell it out. Playing and watching sports are commonplace among many of your viewers. Leisure activities involving sports are an integral part of many people’s lives. You just have to think of sports as more than the latest college or pro game on the weekend. And when you do cover those weekend games, you need to make them have impact. Before you shake your head in confusion and disgust, look at these key ways to provide that impact.

Storytelling During Sportscasting

Let’s hear it
Memorable moments
Character build
Make it real

First let’s hear it. Use a lot of natural sound throughout your sportscast. Think about it, what are the latest techniques you are seeing when watching national games? The networks are taking you into the event with mic’s in places they’ve never been before. The commentators stop talking and take those special mics so you hear the cars screeching around the track in NASCAR, you listen to the quarterback call plays in mic’d up segments during games. You hear players talking on the sidelines for a few seconds. No you cannot do the exact same thing, but take the general idea and run with it. This is a type of storytelling using natural sound. You can ask to mic up a player during practice. You can set a lav mic up when you do stories to catch ambient sound, you can use natural sound in vo’s and vosots and packages throughout your sportscast so viewers are engaged. Going to cover a sports event, be it a practice, newsconference, or game and thinking about the natural sound will help you look at the event in a different way. You will become more engaged and notice things you may not have caught onto before. This could help you find interesting elements the other sports anchors and reporters in town aren’t doing.

Which leads to our next point: Creating memorable moments. You will hear a skilled EP tell his or her producers this all the time. Photojournalists really get this concept as well. Memorable moments are partially visual, but the key is that they play out emotions. Sports are full of emotion. They are utterly human. You see incredible joyous moments, incredible pain, anger, angst, fear, intense drive, painful defeats and wondrous victories. Looking for memorable moments each day in sports should be like the old saying… “shooting fish in a barrel.” Even news conferences have emotion behind them. Play it out. Search for the emotion in the sound bites, and the backstories to what lead up to the news conferences. You follow players’ tweets, you monitor sport blogs. The emotions are all there, easy pickings. Use them.

Again, I remember the head shaking, followed by “I only get 2 minutes and I have to get these highlights in.” If the ratings fall off during your sportscast then, no, you do not have to show the highlights like you traditionally would. You can take one key element, let it play with nat sound to create a memorable moment, then throw up a score board if you need. Take the viewer into the event. Don’t just cram a million factoids into a 2 minute segment. Fans watched the game, saw highlights on ESPN, got onto the internet to check out their favorite blogs, are signed up on Twitter to check out what their favorite players say etc. Think about what makes you love covering sports. That’s why fans love watching sports. The memorable moments are the draw. The emotion of it all.

Early in my career there was a sportscaster at a competing station, who won Emmy’s for his sportscasts all the time, often beating veteran sports journalists in much larger markets. I started watching his sportscasts to see why. The answer: memorable moments. He made each sportscast interesting. They did not look like all the others in town. And this sports journalist was making a big name for himself. He also would turn in packages every year and beat out reporters for Emmy’s. He was a storyteller that just loved covering sports. Believe me, this guy never worried about his sports time getting cut. He became a real draw in a small community that didn’t have any professional teams to follow. What did he even have to talk about? Plenty. He also did pieces on local sporting events, by character building.

So what is character building exactly? It is centering a story on someone who can really help you explain the issue or to simplify even more: someone that spells out the point of your package. (see storytelling on a dime.) It also means branching out. Sit your assistant news director or executive producer down and ask them what the trends are in town for recreation. Chances are they have seen research and know what topics (i.e. – sports) people in town love to do. Let’s take biking for example. Many places have incredible trails families explore each day. Hit the trail on a Monday or Tuesday when you only have retread elements on the professional or college games and start looking for characters. Ask people why they ride. Ask the history of the trail. Listen to what people are talking about. You will find stories. Contact the local Y and ask about inspiring athletes on and/or coaches for their different teams. Check out the intramural leagues in the area. You will find amazing slice of life stories with cool characters doing a sport. Before you know it, you will have compelling packages to air on those hum drum Mondays and Tuesdays. Your sportscast might just be a package those days. And they might get a bump in numbers when viewers catch on.

Then carry the character building into your coverage leading up to the “big games.” It’s like watching the incredible pieces about athletes before Olympic events. These stories about particular athletes or coaches or fans, make viewers care more about the event itself and what you will have to say about it. Finding the characters will take you into the sports you cover, not just make you a seemingly detached sideliner. This will help you make connections with coaches as well. Maybe more exclusives will come your way.

Finally make your sportscasts real. When you sit on the set, talk to the viewer. Don’t just throw a million one liners and stats and quick highlights at people. And please, don’t yell at the viewers for two straight minutes! Making the sportscast real means using the statistics to add color to the story, instead of making the stats the story. Think Dan Patrick. He always makes sports issues really conversational and boils controversies down in ways even a casual fan can easily follow. You can do this visually by taking the viewer into the event with nat sound and characters and memorable moments. That will help the viewer connect with your content and you. This should help make your sportscast raise the roof each night.

Shooting Sizzling Standups

I recently got a chuckle out of the “Gary Vosot Vain TV News Reporter Reel” on You Tube. The cadence, type of voicing, and formatting are dead on. You watch and laugh because he does a great job of poking fun. But you should also realize that many actual TV news standups really do sound like Gary Vosot’s parodies to viewers. Standups are a big seller for reporters and stations. So I want to let you in on a few easy techniques so you don’t get a chuckle, unless you really want one.

You probably already know the basic rules of “why” you use a standup in a story. But, it’s always worth hearing again. We all need reminders from time to time to keep our awareness and skills sharp. So, here are a few of the basic rules to keep in mind for when you include a standup in a story:

As a bridge from one distinct thought to another
As a bridge from one location to another
To impart information for which you do not have video or sound
To flow into or out of a particular sound bite
To show that you were actually there during an important news event (i.e. – you travel to a distant location to cover a big event or breaking news)

Are there other reasons for which you sometimes include a standup? Yes. Should you always include a standup? No. Sometimes a standup can actually distract from good storytelling. Remember, the story is not about YOU, it’s about the subjects you are covering. However, the reality on this last one is that many stations essentially require you to include a standup. Many of us hate this kind of rule. But there really is some sound logic to it. First, your station is paying you to be on TV, so they want to see you. Also, there is a LOT of research that shows TV news viewers tend to gravitate to the stations with talent they like and identify with. Therefore, a big part of your job is actually being seen on TV and doing your part to build these kind of “relationships” with your station’s viewers. Don’t forget, the more visible you are the, more well-known (and hopefully liked) you will become with your station’s viewers and in your community. This helps build job security. So, if your station requires standups, just do them. But, make them sizzle. Make them memorable. Make them work for your stories, your viewers and your career!

The tendency of most reporters is to just pop in front of the camera, stand there, and talk for 5-10 seconds to satisfy the need for a standup. We all do it from time-to-time. But that does not mean that it’s the best thing. I think we would all agree that the better the visuals and sound in a story, the better and more memorable the story, right? So, why should the same thinking not apply to standups? Try to make them as visual and memorable as possible.

How do you do this? My first rule when I want to jazz up a standup is to shoot it in multiple parts. But make sure there is a reason. For instance, if you’re going to do cut with a camera turn, try to make it reveal something. Here’s an example:

“The robbers then took off running down this sidewalk… they made it to about this spot

(TURN/CUT) before they ducked through the door of this old boarded up storefront. (TIGHT

SHOT OF PULLING DOOR KNOB) (COMING THROUGH DOOR TO INSIDE) But when they got

inside… the place was not empty like it probably looked.”

Just like you and the photog should be thinking visually about the b-roll in your piece, you should also be thinking about the visuals of your standups. Look for different angles. Look for nat sound to put in the middle of your standups. (Nat sound grabs/keeps viewers attention.) Heck, you can even look for VERY quick sound bites to put in the middle of your multi-part standups.

Don’t forget when you are trying to come up with an interesting standup that you have a visual expert as a partner in the process. Brainstorm with the photographer you are working with to come up with visual and creative approaches. When I ask a photog for ideas, I often get a common question in response: “What are going to say in your standup?” I like to think of things in a different way. The visuals and sound are what drive great stories. So, again, why shouldn’t they drive great standups? I usually come up with a general idea of what I want to do with my standup as we’re working a story. But I wait to “write” it until we have come up with a good idea for the visuals. Let your visual standup drive the verbage you use. Learn to do standups this way and your stories will be better.

Another of my personal rules: Don’t shoot a standup until you know where and how it’s gonna be used in your story. This is very important. Write a shell of your story, either in your head, on paper or your laptop/smartphone. At the very least write up until the point where you want/need your standup. Ever seen (or shot and used) a standup that in hindsight just did not seem to make sense in the piece or seemed like it was put in just to be put in? The technique I’m laying out here is how you get around that. Do it and your standups will always have a reason to be where they are in your stories and they will never seem meaningless.

Finally, have fun! Now, I don’t mean put a goofy, smiling standup in the middle of a serious story. (Remember Gary Vosot!) What I mean is that you should have fun with the creative side of standups. Make it a challenge to outdo yourself. If you are in a newsroom that values good photography, editing and storytelling, then have some friendly competition with your fellow reporters. And again, when your story airs and it has a finished standup that you are proud of, find your photog and tell them how much you appreciate their efforts to make it that way. It’s your face on TV but it’s the team that creates standups that truly sizzle!

Bottoms up! Making sure your newscast is ready, no matter what.

It’s is one of the hardest things to pull off as a producer: Making it to air, clean and polished, despite managers constantly changing your rundown and getting slammed with breaking news.

One time I had a news director reworking my rundown so much, I ended up having just two hours to turn an hour long newscast. I made it with help from associate producers and my anchors, but vowed never to be in that horrible position again. Many of us know producers who write during the newscast, printing scripts a block before they air. This is preventable. Here’s how.

You produce bottom’s up. No you don’t take a flask to work for your top drawer (as tempting as that can be). You literally produce from the bottom of your rundown to the top. It works for all newscasts. Here’s how to do it, using an hour long newscast as an example. Usually the final two blocks of your rundown are segmented and similar day to day. Format, assign the anchor reads & graphics and write these blocks first. Have these stories edited first as well. Next, work on the c-block and :45 block. Put these to bed. Then, do the :30 block and the b-block, except the block leads. Again, finesse what you write, and have the stories edited quickly. Now, in the last two hours, you can concentrate on the a-block as well as the b-block and :30 leads. This way when all hell breaks loose you can slam out any breakers that pop. You will have segments finished that look polished and are complete. So if a breaker doesn’t make it in time you have lots of finished content.

Now let’s talk about backups. Have plenty on hand, stashed throughout your rundown. These backup stories should vary in length to fit different timing needs. This will help make sure you can hit meters nearly to the second. You assign these backup stories to your associate producer (AP) early in the day, and whenever interesting stories develop. Some producers even make AP’s rework package scripts into vo/sot backups in case the reporter moves to breaking news and the newscast gets heavy on time. Again, you want these assigned as early in your shift as possible. That way you can spend the back half of your shift rolling with management decisions and breaking news.

Wait to assign which stories you tease in which spots in the rundown, until one hour before printing. You do this because if the bosses make you blow up your rundown, changing the teases can eat a lot of your precious time. Write those teases in separate scripts at the bottom of the rundown, so editors can put them together. Then move the individual tease scripts up into the rundown and assign anchor reads an hour before printing.

A final trick, put dummy scripts in your rundown that have basic formatting (i.e.- “take vo” cues etc.). If your shop allows it, you can even have these built into the rundown format so you don’t have to create them every day. Also, throw in anchor reads for the block leads the night before.

Here’s a summary:

How to produce it quick!

Bottom’s up!
AP writes backup scripts of differing lengths.
Write entire blocks early.
Assign teases to their spots 1 hour before printing.
Format dummy scripts.
Assign some anchor reads the night before.

So Cliché! How to avoid overused phrases

We all have news wording that makes our skin crawl: “area residents,” “alleged” and “budget woes” to name a few. Recently on Twitter a group of us started listing phrases that make us cringe. Then one producer tweeted, “What do you use instead?” Great question and we’re going to give you some answers.

First we need to discuss why these phrases come up so you can better understand how to avoid them. In seminars you are taught that these phrases are formal language and not written for the ear. That’s often true. It can be hard to write on a computer screen and imagine the words actually coming out of someone’s mouth. There’s more behind writers using these so called “crutch phrases” though. Because they are used so often, they have become a sort of news slang. They seem dependable when you write. In fact it almost becomes expected that you will write this way. Take music for example. Thanks, in part, to tons of country and rock songs the term “ain’t” is now in the dictionary. Think about it. If you start singing songs in your head, it won’t take long to come across one with “ain’t” in the lyrics. Many of the songs have amazing phrases, cadence and messages. Yet the lyricist throws in “ain’t?” It seems likes “ain’t” is expected in a song. Now consider news copy. The clichés we’re talking about are news writers versions of “ain’t.” They are slang terms that some writers use as crutches because they hear them all the time. Where? In newsrooms, all day long. Ask a reporter for a headline as he/she runs to a fire. Chances are you will be told fire is at such and such address and “completely destroyed” the building. We simply use these terms all the time. But that does not mean they should end up in our news copy.

Writers (and by that we mean everyone who writes: anchors, producers, associate producers, reporters even assignment editors) also use these phrases because they are writing in a hurry. When you are slamming information into the assignment file or into a script just to get the show done, you are going to use terms you are most familiar with. That’s how the mind works. You might call it: “News slang under duress.” Then a writer comes along for the next retread and ends up not comfortable with the story. He/she clings to the news slang already in the script to avoid possibly changing the meaning of the copy. Now you see how the cycle repeats over and over.

So how do you break the cycle of “news slang under duress?” Discipline. It begins with you printing out the news copy you write once every week and reading it over at home when you are more relaxed. Have your highlighter ready and mark your “crutch phrases.” Then work to eliminate them one at a time from all of your writing. Write the “crutch phrase” on a notecard, then write three alternate types of wording. Post the notecard somewhere on your desk at work. That way, when you are slamming, you have quick options to avoid the clichés.

Many of the worst news clichés are easily avoided when deleting one word: “completely destroyed” becomes “destroyed.” “Clouds of uncertainty” becomes uncertain. “Brutal murder” is “murder.” Most of this “news speak” is used while trying to provide an image. “Clouds of uncertainty,” “brandishing a firearm,” “budget ax,” “hanging in the balance,” even “hit the nail on the head,” all put pictures in your mind. These terms are not how you provide images in TV news. You have video to provide the images. Moving pictures are what separate us from newspapers and radio. Remember when “writing for the ear” as consultants say, you are also writing to, or complimenting, the video. (We explain how to write to video more in depth in Can you picture it article.) Your words do not need to put images in a person’s mind. Again, this is not radio or the newspaper. Your words need to get someone to look at the TV screen to see the images you are showing. Your words also provide perspective.

Providing perspective means you need to understand what you are writing about. I saw this repeatedly as a producer and an EP. If the writer, be it a reporter, assignment editor, anchor, producer or associate producer did not understand the content, the copy became cliché. When we are uncomfortable, we cling to crutches. If you are unclear in understanding the story, you must ask for information before writing it.

Now let’s address the comment from the producer on Twitter asking what alternates to use for the crutch phrases. Since writing for television news is always under duress, we at survivetvnewsjobs.com has posted alternatives in an extensive list. (Cliché list) Here’s to making sure all of our copy isn’t “so cliché!”