How To Showcase: Think Chapter Book

News managers keep looking for show doctors. They keep asking for producers who showcase in their newscasts. But what does that mean? Recently I asked that on the Survive Twitter line, and got interesting comments like “owning the lead”, “big treatment off the top with little treatments throughout the show”, and “eye catching informative way of telling the story in the first 100 seconds.”

All of these are accurate to a point. But my favorite description was “finding that little something- that makes the story more relatable to the viewer.”  When managers ask for showcasing, that is what they really want. And you execute this in the ways listed above: Owning the lead, big treatments off the top with little treatments throughout the show and eye catching elements to tell the story.

When I teach a producer how to showcase, I often describe it as creating mini chapter books. There are several techniques used to showcase, but you need to have the mindset in play first.  So let’s begin with this concept when constructing your lead.  Chapter books have a table of contents, then each chapter has a title, and information that leads to a conclusion.  The biggest thing I see producers forget to do at when showcasing, is spelling out why. That is when we begin to think about how we are making the story relatable to the viewer.  So, when talking the government shutdown, or Syria or that standoff that lead to a crash, you have to come right out, with the table of contents, showing what the viewer will learn with your coverage.

Let’s take Syria as an example. You can create an extra element right out of the gate, with a split box showing video of people hugging and crying in Syria, side by side with American’s protesting. This sets up the hook of why you are covering the story.  People need help, American’s worry it could cause pain and loss for fellow American’s as well.  That is the message the video sends, boldly.  The line: These are the images the President must look at while considering whether to take military action in Syria.

Then you set up your table of contents with some brief summary of the days events. This can be a graphic, or a few simple directly referenced video elements. But never forget to catch the viewer up on the basics, so they are ready to go in depth with you.

You say those brief lines, “Tonight inspectors looked for chemical weapons and your neighbors (assuming you had local protests) protested the idea of military action in Syria.  Now the President has made an announcement about US involvement many expected, and a requirement most did not.” (Congressional approval)

Next you title each element with a super, over the shoulder, monitor graphic, double box for team coverage, or whatever your station uses to brand. As you go to each element, use some sort of graphic element to “label the title” of each chapter so the viewer understands each element has something new for them.

Once your coverage is done, you need a conclusion. Many consultants call this a “button up”. It can be a summary graphic with bullet points. It can be a what’s next graphic, it can be an image that sums up the day’s events.  Many times it is simply a push to the station’s web page for more information. (Just offer a nugget of what kind of extras will be on the web page, just saying for the latest go to our webpage is throwaway. Twitter is an easier way to check for random information on a subject.)

So how does the mini chapter book idea relate to those “little treatments throughout the show”? Well, whether you are dedicating 10 minutes or 45 seconds to a story, if you are showcasing you still need  to clearly define “that little something that makes the story more relatable to the viewer.”  That means you are not going  to just go into the story with  the phrase “and now…”  Say you take a court case, like Jodi Arias, and want to show how different she looked between the verdict and today’s sentencing phase. You can show a split screen image of her, but you must explain why.  That is a table of contents.  Then you break each part down, and have a conclusion line at the end of the vo/s or vo/vo/sot or however you cover the story.  See the pattern? While condensed the chapter book idea still helps you clearly spell out each element so the showcasing makes sense.

This idea even works on memorable moments, which are a very important way to showcase, in a newscast that deserves a mention. Remember even with these moments, you are showcasing a “little something that makes the story more relatable to the viewer.”  So you need to look for chances to have your anchor connect with the viewers.  A fancy graphics package and use of sound, and several reporters covering the lead is great, but if the anchor comes off as just reading, and not involved the viewer will not accept your showcasing.

So when you look for things your anchor can expand on, think table of contents.  Here’s an example using recent video of a  snow skier that was coming down a mountain, crashed and was rescued by an avalanche rescue airbag.  Have a still image of the skier in a monitor graphic next to the anchor. The anchor says, “We are about to show you how a skier escaped an avalanche burying him.  Take a look, see anything special on him?  Because something he is carrying will save his life.”  Take video full. (In this case there was no nat sound only cheesy music) Have the anchor talk the viewer through each frame. Then when the skier is up on his feet again, say.. “did you see the special equipment? You may not because it is quite small.”  Then show a graphic of some types of avalanche airbags.  “Here’s what they look like, easy to carry and easy to find.  These are all images from online stores that sell them.”  Then 2 shot reaction for button up.. There is a set up, a chapter of information, then a conclusion. A mini book.

A final point, by showing you different times to use this concept for showcasing, the goal is to encourage you to think beyond the lead story to showcase.  A true show doctor adds little extras throughout the newscast, so the viewer is constantly reeled back in with information he/she can relate to and talk about with others.  Afterall, a compelling book always creates good conversation after you’ve finished it.

 

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What Managers Really Want To See On A Producer’s Reel.

We recently talked about what hiring managers want to see on a reporter’s reel, and since then producers have reached out asking:  “What do I show?”

Last week I put that question up for debate on Twitter and was surprised to see so many people say “A-Blocks.”  Simple answer:  NO. That is not good enough at all.  Here’s why:  A blocks in most shops are truly a group effort.  Anyone can end up with one or two sizzling A-blocks to show off.

When I screen producer reels, I take a very close look at how you start each and every block, what the flow is like throughout the newscast, and your TEASES.  Often I see a great A-block tease then, as of the end of the B-block, the teases STINK.  That is a clear indicator the producer gets help at the end of the A.

Managers want to see a very solid newscast, with great flow from start to finish. They want consistent use of graphic elements, and natural sound.  They are looking for movement of the anchors with purpose (and that is proving harder to pull off than you might realize for many producers) and conversational flow.  Here’s another element they are looking for:  How you utilize social media in your newscast and with your own accounts.  This is getting to be as important as your reel.  If you act childish on your Twitter handle, they will not look at your reel.

Now let’s address the second most common misconception, that producer reels should always have heavy breaking news.  Not necessarily.  News managers know that to a large degree how breaking news is presented has as much to do with how the staff is guided by management, as it does how well the producer puts it all together.  This does not mean that managers do not want to see a killer breaking news/continuous coverage newscast.  But that should not be the only newscast on your reel.  Your “everyday” work should actually sell you more.

So to answer the “What should my reel have?” question, you need two things:  A very well put together “regular news day” show and one that showcases how you handle breaking news.  Yep, two newscasts.  Oh and, by the way, do not leave all of the WX hits and sports in there, show the transition, then cut to the end of the segment.  We newscast reviewers don’t need to see what the high temperature was or who won the game and we get tired of constantly having to fast forward.  You’ll get brownie points for showing that courtesy!

 

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The Interns Are Uprising! But Is It Their Loss?

The interns are staging an uprising. And many big media executives are sweating. Charlie Rose has already settled a lawsuit against his production company. FOX Searchlight lost a case and is appealing. Now MSNBC and “Saturday Night Live” may have to go to court. Each is accused of working interns to the bone, having them perform menial tasks that regular employees should perform, and not paying them a dime.

Whoa, Millennials! Way to stick it to Old Media!

Except… I think I’m going to have to side with Old Media on this one.

As TheWrap points-out in a nice piece which puts a face on Hollywood interns, the unpaid internship is the way to get your foot in the door in television, film, and journalism. The real threat of these lawsuits isn’t to the big media companies’ bank accounts. The real threat is to next year’s crop of interns and the ones who would be applying the year after that. You see, in this age of “we make billions but we still only buy that stiff, generic toilet paper for the company’s restrooms because it saves us ten-cents a roll,” we may not see paid internships as a result of these lawsuits. We may just see internships go away. And that would be a shame.

I did it. I should say my mother, father, and I did it. I don’t know how we scraped together enough money for me to intern at Dispatch Broadcast Group’s DC bureau the summer before my senior year in college. But we found nearly $1,000 each month — from somewhere — to pay the rent on an apartment in Silver Spring, Maryland. It was within walking distance of the Metro’s Red Line, which I would take downtown to Dispatch’s suite in the National Press Building.

I held the reflector above the correspondent’s head, my arms aching, as she sweated through standup after standup in the stifling heat that just seems to lay on Washington in the summertime as if trying to literally smother it. I grabbed the camera and tripod and began shooting a news conference one morning when our staff photojournalist got stuck on a Metro train because of some delay in Northern Virginia. Thank goodness he showed-up in the middle of it because I was a horrible photog. I wrote packages and VO/SOTs out the wazoo. Some days I didn’t even get a thank you from the correspondent. But, boy, what a thrill that my words were being read by her or the big time anchors at WTHR in Indianapolis and WBNS in Columbus!

I wasn’t getting paid with money. But that news organization was giving me something I would’ve been willing to buy. Their correspondent and photographer were showing me literally how you get around Capitol Hill as a journalist (this was pre-9/11 but security was already tight and the word “labyrinthine” is never so apt as when it’s used to describe the Hill’s hallways, tunnels, special subway system, and liveshot/news conference locations — each with their own quirky nicknames. You’ve got your “Swamp” and “Triangle.” Plus, there’s no telling who you’ll spot in the Ohio Clock Corridor.)

Just to give you a feel for how big a financial struggle this was for my family, there were many days when I’d wander down to an ATM outside the National Press Building and there would be no money. And I was a college kid, super hungry all the time. I’d call my mom pleading for another 20 or 30 bucks. She’d say she couldn’t believe how expensive Washington was because she’d just given me $100 a few days before. And I’d say, “I know. It’s unbelievable.” And she’d say, “Well, I’ll try.” And somehow she’d scrounge-up some money, run it to a teller at Bank of America in our hometown, and within 24-hours it would be in my account. I must have used credit cards, too, to survive. They practically hand them out as welcome gifts at colleges, after all.

But that wasn’t the end of the scrounging. In the fall, I began my training as a student at the Washington Center for Politics and Journalism, which came with a small stipend but more importantly included an internship at CNN’s Washington bureau.

Talk about doing the job of regular staffers! I was quite literally former CNN economics/political correspondent Brooks Jackson’s researcher, field producer, and tape logger — a job I particularly despise to this day and still have to do. But demand payment? Are you kidding? Brooks was like my father-away-from-home offering me advice about the biz and life in general. He is still a wonderful mentor and friend. Plus, it was through him that I met Treasury Secretary Larry Summers, when Brooks interviewed him in a majestic room inside the Treasury Building. On other days, Brooks would introduce me to some of the smartest people in the world studying this issue or that at the Heritage Foundation, Brookings Institution, Cato Institute, or Congressional Budget Office.

Believe me, 90% of it wasn’t glamorous, though. There were hours spent transcribing long interviews and adding asterisks around soundbites that I thought might work for Brooks’ next piece. I would get dizzy searching for b-roll in the bureau’s cavernous video library, where the numbering system never seemed to make sense. Plus, there were lots of long days. When I worked for him, Brooks was reporting for Wolf Blitzer’s show, which at that time didn’t air until 8 p.m.

Keep in mind, Brooks was working even harder than I was. He was logging, researching, and corralling interview subjects before I got to his office in the morning and was staying much later than I was at night. He also always wrote his own package scripts. So maybe some of this passion for a good ol’ fight against The Man comes from interns who worked for network divas who expect producers and interns to do everything for them.

However, to sue Old Media or New Media because you weren’t paid for the time you toiled away preparing interview materials for Charlie Rose or because you were asked to help book guests for MSNBC seems to me to be the height of ungratefulness.

Do you realize what a chance these broadcasters are taking even letting someone as unqualified as a college student, like I was, in the door? Do you realize the damage you could do to a world class news organization with one screw-up that gets on-air? But even without having had any qualifications — and even with all the real world education you got and the contacts you made through that opportunity — you’re going to turn around later and demand that they pay you?

Excuse me, but unless there was some egregious treatment by these media companies that I’m not aware of, the former interns behind these lawsuits will not be receiving any sympathy from me.

And to current and future interns: If you’re not getting anything out of your internship, quit. Otherwise, suck it up and take in all you can take in. At the end of it, if you didn’t have the time of your life, it’s not an attorney you need to consult. You need to go see your college’s career counselor because apparently this one’s not for you.

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For more information on the federal rules governing internships and whether your station/network might be at risk of a lawsuit alleging that interns should’ve been paid, the U.S. Dept. of Labor has created this fact sheet. In addition, you’ll want to consult your company’s attorneys to make sure your current and future internship programs meet the guidelines.

Matthew Nordin is an investigative reporter at WXIX-TV in Cincinnati. Join him on LinkedIn and follow him on Twitter @FOX19Matthew.

 

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When to use two shots.

This seemingly simple technique is misused all the time.  Too often you watch a story about a difficult situation like a murder or serious health issue and when the story ends, the next image is a two shot.  Then the, visibly, uncomfortable anchors try and transition to WX, teases or a story about puppies! 

Two shots are not throwaways used just to get to WX or sports or to make sure you do not have disappearing anchors.  Two shots have a specific, and key, purpose in a newscast:  Building your team. 

Two shots are best used as transitions between subjects that have a similar emotional appeal.  In other words:  Use them when discussing a serious subject (when you have team coverage for example) or a break out on a story.  You can tag out on a two shot, when discussing a story about a bank robbery and have second anchor say a line about another crime story.  This type of handoff is fine, and at times quite effective. 

Too often two shots are used in the same spots in a newscast every day:  At the top of a block, then just before teases.  If you do not consider whether the subjects you are discussing are related, you are setting your anchors up for a lot of uncomfortable transitions.  No good team building there.

So when planning two shots in a rundown, you really need to think of your anchors as having a conversation and look for places where one anchor can say something, and the other can add a little extra.  Let’s go back to the bank robbery example.  Let’s say Joe, reads a vo about the robbery.  The last line is a two shot, Joe:  “Police are hoping someone will call in a tip about that surveillance video.”  Then Jane can say, in the two shot:  “Police wish they had more tips on this case… (car crash, fire, a burglarly..etc..). If you base two shots on transitions, instead of setting up face time, the number of uncomfortable moments will go way down. 

A final thought:  Two shots do not require that both anchors speak on camera.  You can have just one actually speak.  This is especially true if you are wanting to quickly re-establish team during continuing coverage, breaking news or in the middle of a news block.  Two shots can get uncomfortable if one has to read a line, then the other sits and waits their turn. This is especially true if the sentences are long, or the first person actually is reading more than one line.  Keep two shots tight.  Keep the emotional pulse the same.  Let it seem like one anchor finishes a thought, and the other picks up the idea to add more.  That’s how people talk.  It will create natural flow and your anchors will thank you for it.

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