Survive Your Job In Television News – Page 60 – An Honest Guide To Journalism Jobs

Storytelling on a dime.

You hear it all the time. Reporters and photographers say something to the effect of: “Storytelling is great and all, but I’ve got too much to do and I don’t have time for that stuff.” And while I understand where those comments come from, I don’t buy it. TV news today is filled with more deadlines and “side work” than ever before. Often your day starts with: “Welcome to work, now get out the door we have a story we need you live on at noon.” You knock that out and then it’s on to your “real” one or two stories for the evening shows. Then there are the standup teases, vo/sot’s and versions of your story(ies) for your station’s website. Most of us also, blog, tweet, and possibly take some still shots for the website. No doubt it’s a LOT of work! But I promise you, storytelling does not have to add extra work to that pile. It really is easy to pump out good storytelling “on a dime!” It’s just a matter of shifting your way of thinking.

Typically, the toughest stories to get your storytelling mindset right, are the so-called “boring newspaper” stories. These are the stories where you have to interview some sort of “official” and, because of deadline demands, no one else. So, how do you “tell a story” when all you have is an official and their boring “officialese?” First off, while the photog is setting up for the interview, talk with the interviewee about anything but the story you are covering. Take a look around the office if that’s where you are talking. Often, you can find some great tips into who this person really is in “real life.” When you find something, chat him/her up about it. I remember one recent interview where I thought I was dead in this respect. The guy was nice enough but not the most personable and clearly not comfortable about being interviewed on camera. Then I noticed a photo of him with one of the most well-known politicians of the last quarter century. It turns out that he once did security work at a very high level. I asked him about it and it eventually led to some common ground between us. That little nugget helped immensely. First, it loosened him up for the interview and allowed me to pull some bites out of him that had a little personality. Secondly, it gave me a way to make this “official” more of a “real person.” I started the piece by talking about how this man had once protected some of the powerful people in the country, but now helps offer a different kind of protection for this small town. His past really did not have squat to do with the story of the day, but it gave me a way to turn this guy into a “character” in our story. When you can do that, you give viewers a reason to see that person as more than just some “official.” You have them interested in watching. Remember, good stories have characters. Turn your subjects into characters, not just officials who give you sound bites.

Nat sound is another area where you CAN add to your story without a ton of extra effort. It comes down to this: Shoot (and use) just about anything that makes sound to give your stories some life. Seriously use just about anything. Nat sound that is integral and directly related to your story (the power saws in a story about construction or crackling flames in a spot news fire story) are always the best. But that kind of sound is not always there. If it’s not, look around and try to find something else. The idea behind nat sound is getting people engaged in your story. Read any study or talk to any consultant about what people are doing when the news is on their TV. They are normally doing everything but “watching.” In the morning they are making breakfast, getting dressed for work or getting the kids ready for school. The TV is on, but it may as well be video wallpaper. So, your job is to give them a reason to stop what they’re doing, turn around and watch. Nat sound is a way to do that. Say you’re on that story about construction. But, in the time you’ve been given to shoot it, the crew is on a lunch break. You are stuck right? Nope, you can overcome. Look around, are there people getting in and out of cars (car door sound)? Maybe there’s a fire truck or ambulance going by with a siren on. Sometimes using seemingly unrelated nat sound is just the trick. Think about it. You’re at home with the news on but aren’t sitting and watching. You know the reporter is talking about construction and all of a sudden you hear a siren! What the…? You are probably going to turn around to see why. This is why you shoot and try to use any nat sound you can get. You want to make viewers turn around and pay close attention. Again, it’s really not any extra work. But it will add immeasurably to the quality of your stories.

When it comes to writing, try to use a piece of that nat sound off the top. Failing that, make sure you start by establishing the character you’ve easily uncovered using the tips above. Fill in the middle with the meat of the story you’ve been assigned. Then end it with another tidbit that makes your subject a “real person.”

All stories have a few basic things in common. They have a beginning, a middle and an end. They also have characters. Shoot and write with these things in mind and you cannot go wrong. Turn these things into habits and suddenly your “reports” turn into “stories” and your work begins to stand out from all the “Just the facts, Jack!”, boring, information presenters. Quickly you will establish yourself as a “storyteller.” Your producers, EP’s and News Director will appreciate you more and your resume reel will become stronger and more marketable. Suddenly the next chapter in your personal, career story becomes much more interesting with minimal investment from a little storytelling on a dime!

“Thank you sir, may I have another”: How to handle newsroom hazing.

Newsrooms are notorious for hazing. It happens often in larger markets, but we’ve seen it in small markets too. You have to prove to coworkers that you deserve the job. You don’t truly have friends in the workplace. Everyone is out for themselves. Why? Because so many people are quitting the biz, less experienced people are being hired. Some veterans in the newsroom, find this tiring and insulting. I started in a large market right away and quickly wound up in another big city. The hazing was awful. I was asked if I slept with the news director to get my job. I had reporters and anchors purposely rewrite copy to insert factual and grammatical errors to try and get rid of me. One anchor even told me and several other producers it was his “God given right” to torture and make me cry. He had the cry test and graded you on how long it took before you broke down. People hide your gear, steal your rolodex, sit on the set during commercials and laugh at your news copy. Coworkers don’t want to carry dead weight. Many times fellow journalists will decide you are a moron unless you prove your worth, and quickly. So do it. Here’s how.

The number 1 rule: Don’t involve management. Management doesn’t care. Period. There are too many other things they have to take care of.

However, you should take the reigns and show the hazers you are not the patsy they think you are. That starts with exposing dirty tricks. The best place to start is befriending the IT person in the newsroom. You know, the person who knows all the ins and outs of the computer system you use each day. This person can save you. News programs like AP Newscenter, ENPS and iNews have ways to call up past scripts and show who wrote each and every version. This will give you a chance to document and show proof if an anchor or associate producer is rewriting copy and putting in fact errors which they blame on you. In some systems you even can lock a script so no one else can rewrite and put in fact errors or change the context of the story once your executive producer copy edits it. Ask for this ability and you may receive. Chances are your executive producer will play ball because you will then have documentation the EP can use to get some staffers to shape up.

You can also often find instant messages from all the computers every day. Yep, all those annoying, petty and smarmy comments binging and dinging around you can be a click or two away. Print them and hand them over to management. This can get tricky because management won’t like you digging through the system. But if it is in a forum where everyone could potentially have access they can yell at you and send a fiery memo saying don’t go there, but you won’t be fired. Once the nasty top lines are exposed many newsroom bullies shut up or at least save it for the parking lot after work. How’s that for investigative journalism? Even more fun: dump copies of the nasty top lines under the news director’s door anonymously so even he/she has to wonder who’s watching.

Also remember, many staffers who bully love to dish in the studio. They think it’s a secret hideout. Newsflash: Mics are everywhere. It’s easy to “accidentally” turn one on, hear and record the petty comments. The studio is the one place where there truly should never be any expectation of privacy. That’s not what the room is for. The picked on should wander through the studio to “plot out a section of the rundown” right when a gossip session is underway. Then, smile as if you are going to dish it all. Another move is to “accidentally” have the mics kept live during a commercial break when there’s an anchor who loves to trash everyone in those breaks. Normally, when the nasty hazers get caught once or twice, they’ll back off.

What if the hazer likes to get in your face and yell at you in the middle of the newsroom? This one is easy. Just ignore the person. Sit back in your chair, with your hands behind your head, gaze up at the lunatic putting on the show and wait until they either explode into pieces before your eyes or finally shut up. Then as the hazer stares at you indignantly, simply ask: “Are you done?” Then just go back to work like nothing happened. This will drive the bully nuts. If that hazer really pushes it, follow up with, “You can say what you want about me because bottom line, I’m not the one who just had an unholy hissy fit in the middle of the newsroom. You can’t expect your actions to prove you have anything worthy to say to anyone.” Then get back to your work.

Lastly, sometimes you just have to fight fire with fire and stand up to the hazer. I once told an anchor who said I was “too young to write for her” that it’s not my fault she couldn’t handle that someone so much younger was just as capable of working in the same city and on the same shift as her. She told me she’d have me fired. I told her I had proof that she was purposely rewriting copy with errors and printing them to try and prove me incompetent. I asked her if she would like to come with me to turn those documents into the news director so she could try and explain it, or would she prefer the news director to mull the evidence over before calling her in for a chat. She backed off. Hopefully, these tips and tricks will help you stand up to a hazer as well.

Newsflash! This opportunity is too good to pass up.

We told you how to interview the station. Now let’s lay out how to identify a truly cool shop. Here are some clear ways to discover if the place you’re considering is a place where you would want to work.

Sit in the newsroom and watch how the staff interacts with each other. Are people smiling? Do you see some good natured joking around? You should look for a management team that encourages staffers to work together instead of competing against each other. Another way to tell if everyone’s there to work together is to attend a debrief after a show. Do people take ownership of any mistakes and work through the issues together?

Most good shops give you a writing test or quiz you on ethical situations in a conversational way. Then the manager lays out situations for you to problem solve together.

The best shop we ever worked in had a system in place to train and help everyone get better. When we say “train”, we’re not talking about about giving newbies a chance to sit with a veteran reporter, photog, or producer for a day. Mentoring systems were in place for all skill levels. Veterans were sent to workshops to build skills for future jobs, like management. There also was a review system that was used more than 1 time a year to help you goal set, both short and long term, so the job was not monotonous. There also tends to be a certain progression. Staffers start on weekend or morning shifts but move up to other day parts. Find out if this is the case in the shop you’re checking out.

A huge sign that this is an awesome shop: the same management team has been in place for years and at least one of those managers worked up from a regular staff position. Again, this shows teamwork is fostered and that people can grow as much as they want without having to move to a new city every few years for another opportunity. Usually, in awesome newsrooms, you will meet a staffer that left the station and then came back. That person will talk about how he/she learned that there were more opportunities at the shop and then returned there.

During your interview managers will ask you what you think of the place. What would you like to do to be part of the staff? How can management help you get wins at your job each day? These are signs the managers get it and will do what they can to help you succeed and grow. Happy employees who grow in their jobs are a key part of a successful newsroom.

Awesome shops often set up lunches with staff members on the shift on which you would work. This shows that the station strongly believes in teamwork and is looking to see if your personality fits the group. Often staffers are then called in to give their opinion of you. You want this situation. It increases your chances of finding that great fit we all dream about.

Often, really good shops are known regionally and sometimes even nationally for being coveted places to work. Others in the business will know of these stations. If you get a call from one of these stations, jump on it even if the work hours are not ideal. Others will be eager to take your place and it could be worth making the sacrifice and working your way up.

Another interesting trend we found, one of the star anchors at the station will at least seem very down to earth and do some mentoring. That person really leads by example and sets the tone for the newsroom even when management does have to come down hard.

Lastly, most of these stations are long time, powerhouse number ones in the ratings. Notice we said most of the time. With the introduction of people meters this is changing a bit. So, if the station has a long standing good reputation, but numbers have fallen a bit in recent years, still give the place a chance to impress you in an interview. This could be a small hiccup and the place is still worth your time.

The Station called. The job’s yours. Now what?

So you got the big call. The news director throws a few compliments, says he/she needed you there yesterday, then offers so-so money. How do you react? Be polite. Don’t sound excited. Say you have to think about it. In other words make the news director sweat just a little bit. Why? You want to eek out as much money as you can and this is your last chance to see if there is any wiggle room. Remember if you don’t get the money when you first walk in the door, the odds are about as good as playing the lottery that you will ever “see the money” in that shop. Eek out as much as you can immediately. The other reason to not jump for joy is to see how the news director acts towards you. Remember, be polite. Say you feel complimented. Just don’t say yes right away. Play a little hard to get. If the news director starts firing off that 10 other people are dying to be in your shoes right now and you better make up your mind fast, you know this person is will be hard to deal with and you should probably turn the job down. If the news director says take some time and think about it (usually that’s a day, maybe two) he/she knows this is a big decision, the odds are higher you really will be working for someone reasonable.

Then, before you decide to take the job, research two things: The management team and the cost of living where you might move.

Do Google searches and find out where this news director worked before. You want to find out as much as possible about the news director and assistant news director. Cold call old TV stations if you must and ask for people who worked under these managers. If you are told the person is amazing, demand to know the bad things. You need to figure out if you can handle this person’s quirks. News directors and A.N.D.’s can quickly make or break you. Don’t trust that they checked you out and know you will click. He/she is overworked, overstressed and mostly interested in getting through each day without being eaten alive. Your personality means little to nothing. Filling the job means one less headache for management.

Next, if you haven’t already, research the heck out of the cost of living in this particular city. Check out various cost of living calculators online, like the one at Monster.com (http://monster.salary.com/costoflivingwizard/layoutscripts/coll_start.asp). Better yet, get online and read the local newspaper. Find out the average cost of renting an apartment by looking at the classifieds and take a look at the grocery store flyers to try and gauge the cost of food. It can vary wildly and may make a huge difference to your bottom line. Also, call your car insurance company and find out what rates would be like in that city. You need to make sure that raise you think you are getting will really be there once you factor in these things. If you live in the south and are considering heading north, check out tax rates. One place we lived had state income taxes, county income taxes and city income taxes. A nearly 30 thousand dollar jump didn’t look so glamorous after that was factored in. You can use this information to try and eek out more money. Even if you end up getting only a little more, every bit helps.