producing – Page 16 – Survive Your Job In Television News

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.

What is hard news?

Let’s begin with this statement: This article is meant to start conversation. It is meant to stretch your comfort zone a little. TV news has to keep growing and reaching audiences differently for us to stay employed.

There is a conflict in television news that many managers, consultants and journalists themselves are not sure what to do with. The conflict: Defining solid television news stories. We call it hard news. We whine about it every day in story meetings. You know the mantra: “We need more hard news.” So what is hard news really? If you get a few moments Google “hard news, definition.” The definitions are fascinating. Here’s a sampling:

“news that deals with serious topics or events” from www.wordnetweb.princeton.edu/perl/webwn

“News, as in a newspaper or television report, that deals with formal or serious topics and events.” www.thefreedictionary.com/hard-news

“Serious news of widespread import, concerning politics, foreign affairs, or the like, as distinguished from routine news items, feature stories, or human-interest stories.” www.dictionary.reference.com/browse/hard+news

“Hard news is the kind of fast-paced news that usually appears on the front page of newspapers. Stories that fall under the umbrella of hard news often deal with topics like business, politics and international news. What defines hard news isn’t always about subject matter. Some might call a news story that’s heavily reported, on a subject matter considered softer (like entertainment), hard news because of the way it was approached. Hard news is also a term most often used by journalists and others who work in the media industry, though you will hear others outside the industry use it.” http://mediacareers.about.com/od/glossary/g/HardNews.htm

I purposely did not pull many definitions from TV news websites and reference books, because we need to see how the definitions we create impact what viewers think they will get. See how broad the definitions are? All describe ongoing types of topics: Political battles, stories about business in town, foreign affairs. Yet, most TV news veterans have seen a lot of these topics, especially business stories and foreign affairs, fail in the ratings. Even political news can be difficult to get people to watch unless it is a key election year or a very controversial subject. So what is hard news for TV journalist’s day in and out? Are we defining it incorrectly or executing wrong?

This is where the conversation comes in. Some talking points: First, what does serious news mean? Almost all of the definitions above reference serious news. Defining serious news, often explains a station’s news philosophy, understanding of its community and credibility with viewers. For the sake of argument, let’s define serious news as facts, events and people that have a direct impact on people’s lives. Events and topics that make people stop and think about their own lives and surroundings in a different way. So let’s try and put some tangibles with this idea. Let’s delve into a serious topic that often is covered horribly, if at all on TV: Education. This is a huge topic for your viewers. Your key demographic is raising children. I have worked at several stations that heralded a calendar year, as the year of education coverage. In all cases but one, the station dumped the idea within 6 months. The biggest problem is that education stories are often very video poor. Many schools do not allow you to shoot any video inside. But there are other ways to cover education besides sending a reporter to do a pkg. The biggest opportunity: Debates with local experts on hot topics in the area. Issues like, whether standardized testing is fair, teacher pay, new educational standards and school closings. All evoke a lot of emotion. They do not need b-roll. They need sound to play out. Remember the wild success of the cable network talk shows. You can turn mini-segments that will really get people talking.

Now, the next level of coverage: Show me the people in the schools grinding every day to make a difference. Make some of that coverage positive, because frankly most coverage of teachers involves one screaming at, smacking or diddling a kid. Yes, these stories are important. But we also want to showcase that there are teachers and supervisors that have very positive influences on students and families. Many managers over the years called this too soft, or said we don’t have time for “features.” Remember, hard news needs impact. It showcases events and topics that make people stop and think about their own lives and surroundings differently. (Yes, I am repeating that line, it is important!!) People love to watch stories about other people. Never underestimate the viewer’s fascination with their neighbors. It is basic human nature. Oprah made a gazillion bucks because she understood that. To truly cover a serious issue, like education, you need to showcase all sides. You need to show the human connections. This proves to the viewer you an informed witness, not just another group with an agenda. Remember, viewers are extremely media savvy in this day and age. If you come up with an advocacy campaign and ram it down people’s throats without another counterbalance kind of coverage, you eventually lose some respect. So called “feature” stories about the cool chemistry teacher who reaches students in a unique way, are as important to the viewer as live coverage during hearings about school closures or new testing policies. You have to showcase all elements of impact. That teacher also impacts a lot of lives and seeing a story about the teaching approach helps teach parents ways they can educate their child differently. That has a serious edge. Therefore, it is “hard news” coverage.

Which leads to my next talking point about hard news: It does not always need conflict. Sometimes you just need to relay the facts in a situation so that viewers can learn information and draw conclusions for themselves. A perfect example is health news. If you think health news is all feature fluff, you are very out of touch with the average human being. Everyone thinks about their health. They worry about family members or friends. Everyone has questions. Everyone has concerns. Health news should never be a feature that’s simply considered “fill” for a section of a newscast just to get viewers to weather. It is a type of hard news and should be treated as such. Health news has almost as broad an impact as weather. It’s just usually treated as a throwaway, and therefore comes across that way to the viewer. Next time an interesting health and/or fitness story pops on the wires, sit down and brainstorm on ways you could make it a lead story. I am not saying you really must lead with it, but treat the story like you would hard news. (Remember the definition above that references some things like entertainment news becoming hard news because of the coverage approach?). Look at it critically. Ask a lot of WIFM questions (if that confuses you read What is the viewer benefit really? ) and see if you end up with a fascinating edgy pkg idea or segment for your newscast.

My final and most crucial point is hard news should directly influence people’s lives. Again the word impact. Let’s replace the word serious in the above definitions, with the word impact. Let’s consider how most stations cover several topics, starting with crime. There’s a home invasion in a crime ridden neighborhood and police think it is drug related. If hard news is about serious issues that directly affect your viewers lives, is a live shot outside the house with a banner saying home invasion fair and/or enough? Are you giving the viewer, who counts on you to be the experts in your community, an accurate representation of where they live? Or are you in lust for a 40 second quickie that allows you to type in home invasion on a live super because it’s “sexy?”

Studies by The Pew Research Center consistently show that people are interested and looking for news about the economy, and aren’t getting the coverage. Slapping up a 20 second reader with an over the shoulder that says “unemployment down” is not the kind of economic news they want though. People are confused. Concerns over their job security, the worth of their house, if they will ever have enough money to retire, and if more of their neighbors are going hungry are daily topics. I can honestly tell you that not a week has gone by in three years that I have not overheard or been involved in a conversation with “viewers” about concerns over the economy. It is a constant. I hear it in grocery store checkout lines, picking kids up from school, having friends over for dinner, taking a walk in the neighborhood, and in exercise classes. People are worried. They feel at a loss for information. They need help. That is hard news. It has impact.

So remember, when considering if a story idea is hard news, consider the likelihood people are talking about that story and have lingering questions. Is there a new set of facts people need to know about, but don’t have the information? Is there something going on they should care about, but may not know yet? Think about the stories that just stick with you. A lot of those emotional connections you make with a story, involve coverage and techniques many journalists would call soft. There is a character. There is emotion. You feel differently for having watched the story. You remember those stories. But chances are most of the so called hard news you pushed for in a rundown or agonized over turning because you could not find impact… are a blur as of you drive home from work. Guess what? It’s a blur to viewers also, because they turn off the TV. They say to themselves: “This story doesn’t affect me and my friends. I cannot relate to this. Why should I bother to watch.” Believe me, they really do. I get bombarded with these comments and questions constantly. Truthfully, you probably do also from your non-news friends. Make sure the people make it into the coverage so the viewer can truly feel connected to the topic or event. Don’t fear lack of video, you can always showcase interesting sound to make your points. Do not push for or create conflict when there is none. Sometimes a story is hard just because it has great information. Finally, stop labeling types of news, like health and education as “features.” Try and show these broad appeal topics respect. Journalists are feeling more pressure these days to market and brand themselves. Taking these impact topics and delivering interesting stories with a “hard edge” is a great way to quickly make a name for yourself. Remember to focus on impact and people. The hard edge will come out in your coverage, because your viewers will be impacted by the information. You will become popular with viewers because you get what they need. You will brand yourself as “real” and “trustworthy.” Most importantly, delving into these topics can and will be journalistically gratifying. These topics can provide opportunities to empower people to change lives. Isn’t that why you got into broadcast news? What is a harder or a more serious type of news than that?

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.

It’s news time and everyone’s yawning: How to energize the newscast at air time.

I could not help but smile recently when a producer tweeted and asked for ideas to keep energy levels up during newscasts. I immediately thought of all the late night football and baseball games I sat through, praying it would just end and wondering if I would fall asleep driving home. I also thought of my first gig as a morning show producer, where I had to pace around the station just before the newscast so I would be somewhat functional in the booth.

Keeping energy levels up during these newscasts is the burden of both the anchors and producers. Heck, the reporters and photojournalists have to stay awake also. It’s brutal at times, I know. But there are ways to energize even when your body is screaming, “Must sleep now!!!”

Energizing newscasts

Write how anchors talk
Have anchors write some stories
Trade reads
Add stories, even if there are not any breakers
Jokes and music blasts
Get up, stand up

In “How to get inside your anchors heads” we list quite a few techniques to help write how your anchor talks. This is important for anchors to keep their energy levels up. Sometimes when it all feels forced, and you are tired, it is easy to sort of give up and just muddle through the copy. Using phrases the anchor likes helps the anchor own it and raises energy levels.

It works even better if you have the anchors write some of the stories they will read. Producers, look at that line again. Have anchors write stories they will read. Sure once in a while you will have to change reads, and the writing won’t work out. I usually asked my anchors to write stories lower in the newscast where energy levels dipped, and the chance of read changes went way down. The point is your anchor will deliver the copy better if it is truly “theirs.” It provides a level of ownership that helps the anchor be more engaged throughout the newscast. Producers, this can make your job a little easier also. No, not just because it can ease up the writing load. This is one of the first techniques I used to raise meter numbers in weak spots. Often there is a correlation with anchor energy levels and newscast ratings dipping. Sometimes the answer really is simple. Get the anchors more involved in that section of your newscast.

Another trick is to mix things up a bit and trade reads if you see the anchors energy levels dipping. Hit the commercial break, then tell the anchors and crew you are switching reads for the block. The first few times you might get some complaints, but often doing this hypes up everyone’s energy levels a bit and you get a tighter, more energetic block. I would not use this technique every day. But if you have had several slow newscasts, try this technique on and off to keep everyone guessing a little bit.

A producer tweeted that she adds stories throughout her morning show, even if there are no breakers, just to keep everyone sharp. I have used this technique also. This is easy to do if you have an AP. If you don’t have one, write a few extra vo’s or vo/sots before the show and have the editors prepare them. Throw them in the bottom of the rundown after the end break so they don’t whack your timing. The editors can have these stories cut and ready just in case. This is also a great way to protect yourself in case a live crew has technical issues. If your anchors ad lib well, give them a story once in a while on the fly. This helps keep them in practice for when you get slammed with breakers.

I used to joke with live crews and anchors, when appropriate during newscasts. Usually I joked around with crews in the commercial break before the block that contained their live hit. It broke the ice a bit and would perk them up. Just be tasteful and don’t drag it out. One liners are great! A quick blast of a guitar solo in the ifb also perked everyone up. Again, not a good idea to do to anchors or live crews during the news block. But many times your crews, you and your audio person have a few seconds during commercial breaks.

When all else fails tell everyone to get up and jump or twist or walk during commercial breaks. That little bit of movement really does help. When the lead-in was a sports event I liked scripting more anchor pitches in standing positions if possible. I used to demand more walk and talks from live reporters as well. It just helps when you move around.

So next time everyone’s wiped out and its airtime, try some of these tricks. It might wake everyone up, just in time!