interview – Page 2 – Survive Your Job In Television News

Is bigger better? The truth about market sizes

I get a lot of tweets about what it takes to get into larger markets. That’s always the goal right? The bigger you go, the better the money and the easier the job because you will have experienced co-workers around you. You have to aim high. Or do you?

When I graduated college, I quickly had an opportunity in a good station in what was market 28 at the time. I was intimidated but a professor of mine said, “Newsrooms are all the same, just go for it.” Guess what? They are not all the same. I have worked in small, mid and large markets. Small markets have a high novice factor usually. Large markets have some novices, incredible rising stars, people burning out and veterans enjoying the professional success they have. There is definitely more of a cut throat feeling (at least in my experience) in large markets. However, I learned the most from them because of that diversity of people.

Mid markets are often little gems many people overlook. Nowadays many mid markets pay more than large markets. Yes. You read that correctly. The mid markets appreciate their talent and try to encourage them to stay, so the newsrooms are often more stable. Small markets know they are largely revolving doors, training grounds for reporters and producers. Large markets know everyone wants to come work there. Competition is fierce getting there, and doesn’t let up once you arrive. It can be thrilling, until you want to settle down and have a family. Mid markets realize this and tend to offer very talented journalists nice contracts and more stability. You get to live in a place that’s great for raising kids and you get respect for who you are as a journalist. That can be harder to come by in small and large markets, though not impossible.

So when considering a market, focus less on the ADI size and more on whether the place will fit well with your lifestyle and, if applicable, whether it’s a good place to raise children. You may end up a lot happier that way.

Not as advertised: what to do when the job isn’t what you were promised.

I’m guessing the title of this article got a few sarcastic chuckles. If you have had at least one job in TV news, it has probably has happened to you. First you move and give up everything familiar. Then you get to the station and boom! “Oh you thought we hired you to do the 5pm? No, you are actually producing the noon.” “We’ve made a few changes since you interviewed. You won’t be on our special projects unit, you will be dayside reporting.” “Yes, we hired you to anchor the weekend shows, but so and so is leaving so you will be on mornings.” I can honestly say, a third of the time in my career, I arrived at stations my first day and was given a new, unexpected assignment. When asked what happened to the plan that I would produce XY or Z, the answer was always the same, “Well we just need you here now.” It sucks and makes you hate the boss right away. Thankfully, there was a silver lining for me. Every time, I ended up with the show I came there to produce. I would sit down with management and ask what it would take to get the newscast I wanted. Then I would deliver what they said. Sometimes it took a few months, sometimes a year. The key is saying, “I am here to help. I will do what you ask and give my all, but I came for a specific reason. At some point, I want that addressed.”

Request specific parameters you must meet to get the gig you were promised. This is going to be easier to pull off for producers and reporters. Write those parameters down in front of the boss, then repeat them back and date it. That way you have documented the conversation. I know that sounds silly and technically would not hold up in court. But it is not a document most managers want sent to human resources in a few months, along with a letter explaining how you were promised XY or Z. It can sometimes help you leave early if you end up in pure hell. In one case I saw a producer that was promised a weekend shift and ended up on mornings, turn in a document like this and get the weekend gig. Another producer I knew used a document like this to get a gig I was promised. We were both told we would get the same show! We were hired within a week of each other. Each of us were put on different newscasts than what we were promised. She had several conversations with management about it, turned in documentation to human resources and got the newscast first. It took me several months of bouncing around newscasts and raising ratings to demand I get a turn. It worked out and I got the gig. But if her ratings had been higher, I would not have, because she documented right away. I also knew of reporter who was able to leave a station before his contract came up because he was placed on a different shift. He did not have an agent by the way. But he did have documentation.

Don’t sit and complain everyday about the screw over. It will alienate you from the staff. Besides you moved there and you are probably stuck for a while. Sometimes the new shift actually works out better. Try and keep an open mind. Again, I speak from personal experience. It can be hard to let go of the initial screw over. Instead of dwelling on the situation, set goals for yourself of what you want out of this job. Then do all you can to get more out the place than it gets from you. What I mean is that if you focus on improving your skills one of two things will happen. Either the station will see your growth and promote you, or you will gain a new or improved skill set and leave for greener pastures. You will end up the winner in the end. Remember that. Also remember that many journalists come to newsrooms for a certain job, get the gig then, lose it. There are no givens in the news business. At least if another shift change is presented to you that you don’t want to do you can try and say, “Hey I already took one for the team.” It might provide more long term stability.

How the Trayvon Martin case can help define your news career.

By now you have read plenty about this case. You may have even written and/or voiced over stories about it. There are a lot of compelling articles that explain what we TV journalists have done right and especially wrong while covering the Martin shooting. I am not going there. Instead I am going to explain why this case can and more than likely will end up defining your career in some way.

This is the type of story and event that truly tests the limits of journalism. It tests the ability to be objective. It tests news philosophies. It tests personal ethics while on the job. For this reason, I strongly encourage you to keep a file of everything you read, watch and write about the case. Just file it all away. Write notes about any conflicts within you and add these thoughts to your file. Keep copies of your favorite stories you watched, and the ones you liked the least. Write notes on what you like and do not like about the coverage. The reason: As this case plays out, your views on ethics and philosophy will likely change a lot. So will the critics. We will talk about how this case was covered for years to come. Professors worth their salt are already beginning to track and possibly discuss it with future journalists.

The Martin case will become a litmus test for many news companies and news managers as they continue trying to shape what television news is becoming. There are too many hot button issues in it for the case not to become more than a story that simply comes and goes. Those issues will come up as managers consider newsroom policies on everything from fact checking affiliate copy to social media policy. For this reason, it will serve as the perfect talking point when feeling out the news philosophy at a station where you are interviewing. This case is so big, every news management team has likely had to make some sort of ethical call on it already. It will not be the last time either. Asking pointed questions about the Martin case to a news director or AND when you are job interviewing will be a good way to feel out their personal journalistic integrity also. Are you both in sync?

The Martin case is also a good litmus test for you to gauge your own value system and journalistic work. As you go into difficult scenarios in the future, draw on what you thought was done correctly in the Martin case. Remind yourself of the ethical issues that arose when coverage was less than thorough. It is a good reminder to us all that we cannot ever get too comfortable or too numb while covering stories. There are often many layers. Do we get to them, or leave them buried? Do we jump to conclusions? Have you? Really asking yourself and current and future news bosses these questions will help you define yourself as a journalist. It will help you brand yourself. It will help you weed out stations that may vary too much from your news philosophy. With examination, personally and as a professional group, the Martin case could help us define what TV News should be, and will become.

Developing your interviewing skills on the beat.

It can make or break a story if it isn’t done correctly. It can also capture the essence of what you’re trying to convey and draw your audience in like the earth’s gravitational pull. Interviews are the foundation of good reporting. They are the best way of understanding a situation and seeing the story from someone else’s perspective. Most importantly, a successful interview requires strong people skills and technical ability.

As reporters, you’re constantly working under deadline pressure and the first thing you think about is, “Who should I interview for this story.” As you know, finding someone to talk on camera is half the battle. So when you do find them, and get ready to push record, make sure you don’t waste time by asking meaningless questions. Those questions are anything you know you’re not going to use to get your story on air. This is usually the small talk or chit chat that helps warm up your subject. Take it from me; this can really slow down the logging process when you’re under deadline.

Even though you’re getting to the point, don’t forget to be conversational. What I mean by this is, don’t ask one question, and then immediately think about the next question we’re going to ask. At this point you’ve lost. Your subject may say something that could lead to a much better story. Listening closely and intently will help you uncover any possible hidden details of the story you’re trying to cover. My advice is to have just a couple of questions you really need to ask, but “play” off the conversation. I find this will help you write into, out of, and around your sound bites.

Depending on the rapport you’ve established with the person you’re interviewing, many times you can ask your most poignant questions first and get to the heart of the matter. Time is money, (well for you it’s precious seconds so you don’t miss slot.) Remember, it’s most important to ask questions which are relevant and revealing about the participant’s character and opinion.

You never know what you’re going to get when you interview someone. Hopefully, you’re getting raw emotion like anger, sadness, enthusiasm, excitement…etc. Whatever you’re getting, don’t be afraid to let that raw emotion breathe. The toughest thing to do for reporters and anchors is to be silent and let the interviewee say what they have to say. Don’t cut someone off in mid-thought or sentence. Let them stay in the zone until it’s appropriate to ask the next question. This is the hardest to judge and will take time to develop. All I can say here is…it’s about feel.

When you’re done getting that great interview, don’t forget to tell your producers. They can really help setup your story and help you hit the story out of the park.

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Kennan Oliphant is a morning Executive Producer at WMBF News in Myrtle Beach, SC. He started his career as a anchor/reporter. He’s won numerous awards and loves to connect with people over social media. Follow him on Twitter: @TVNewsGuru or facebook: https://www.facebook.com/pages/Kennan-Oliphant/313726945344980