A A Complete Guide to Television, Field, and Digital Producing [1 ed.] 0367480387, 9780367480387

Table of contents :
Cover
Half Title
Title Page
Copyright Page
Table of Contents
List of Illustrations
Acknowledgments
PART ONE: Television news producing
1 Day in the life of a news producer
Chapter Break: meet a journalist – profile of a news producer
2 Stacking is a dirty word: news judgment and the rundown
3 Produce moments and develop stories
4 Writing headlines and teases
5 Using graphics: the good, the bad, and the ugly
6 The producer as a leader, manager, and coach
7 Breaking news and live shots
8 Commanding the control room
Chapter Break: a conversation with an anchor about news producers
Part Break: self care for journalists
PART TWO: Field producing
9 The ins and outs of field producing
Chapter Break: meet a journalist – profile of a special projects producer
10 Before you leave the newsroom
11 Remote location live shows
12 Social media from the scene
13 Diversity, equity, and inclusion matters: creating a complete story for your audience
14 Taking ownership of stories and shows
15 Inside and outside the newsroom: laws and ethics
Part Break: getting a job as a producer
PART THREE: Digital producing
16 What does a digital producer do?
Chapter Break: meet a journalist – profile of a digital producer
17 Get Googled: SEO best practices
18 Creating eye-catching infographics and data visualization
19 Producing video inside the newsroom
20 Digital producers and social media
21 Measuring your audience through metrics
22 Behind the paywall
Resources
Glossary
Index

Citation preview

“This book fills a crucial niche for teaching all aspects of producing. The sections on field and digital producing are a welcome addition for producing instruction. I highly recommend this book for students and beginning professionals alike.” Lee Hood, Associate Professor in Broadcast Journalism, Loyola University Chicago

A Complete Guide to Television, Field, and Digital Producing

This book provides an extensive overview of producing in the ever-changing field of journalism for all types of newsrooms. Featuring interviews with renowned journalism professionals, A Complete Guide to Television, Field, and Digital Producing offers an in-depth look at the broadcast, field, and digital producing practices of newsrooms today. The book is divided into three parts: television news producing, field producing, and digital producing. Each part provides a clear explanation of the producing role before going into more detail on important skills such as developing stories, writing copy, creating graphics, producing live on location, audience engagement, and using social media. Each chapter includes a variety of supplemental material, including discussion questions, keyword definitions, classroom activities, and graded assignments, including rubrics. Written with a combined 64 years of journalism and journalism education experience, the book will prepare students to produce whatever their job requires. Taking an integrated approach to journalism education, this is a vital text for journalism and media students studying digital media, broadcast journalism, social media, and reporting. Sally Ann Cruikshank is an associate professor in the School of Journalism and Strategic Media at Middle Tennessee State University. She received her PhD from the E.W. Scripps School of Journalism at Ohio University, following an award-winning career as a television news producer. Her expertise is in digital media. She teaches a variety of journalism courses, and has conducted workshops on journalism around the world for students and working journalists. Cruikshank has traveled to several countries, including Rwanda and Ethiopia, to research press freedom. She has also conducted extensive research on mobile technology and social media. She lives in Nashville with her extremely patient and supportive husband Spencer and their two spoiled cats. When she isn’t teaching, researching, and writing, she enjoys traveling and knitting, often at the same time. Christine C. Eschenfelder is an associate professor in the School of Journalism and Strategic Media at Middle Tennessee State University. She earned her PhD in Mass Communication from the University of Florida. Before joining the faculty at MTSU, Eschenfelder worked in television news as a reporter, anchor, and producer. She is the recipient of several broadcast industry awards including the Edward R. Murrow Award. The courses Eschenfelder teaches include Media Ethics, Television News Producing, and Video Reporting. She also leads Study Abroad journalism classes to

various international locations. She is a recipient of the MTSU Outstanding Teaching Award. Her research focuses on broadcast journalism education, newsroom diversity, and women in broadcasting. She is the proud mother of two amazing children and is married to a creative and energetic videographer. Keonte Coleman is an assistant professor in the School of Journalism and Strategic Media at Middle Tennessee State University. Coleman loves sharing his passion for media and helping students find their voices as storytellers. He previously served as an academic administrator and assistant professor at Bennett College, and was an award-winning television news producer before transitioning to the classroom. The Tupelo, Mississippi, native earned his PhD in Higher Education Administration from the University of North Carolina at Greensboro, his MS in Broadcast Journalism from the Newhouse School of Communications at Syracuse University, and a BS in Mass Communications from Jackson State University. Coleman’s research focuses on diversity, journalism, leadership, media, and higher education. He’s married to the love of his life and is the proud father of three beautiful children.

A Complete Guide to Television, Field, and Digital Producing Sally Ann Cruikshank, Christine C. Eschenfelder, Keonte Coleman

First published 2022 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 605 Third Avenue, New York, NY 10158 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2022 Sally Ann Cruikshank, Christine C. Eschenfelder, and Keonte Coleman The right of Sally Ann Cruikshank, Christine C. Eschenfelder, and Keonte Coleman to be identified as authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Cruikshank, Sally Ann, author. | Eschenfelder, Christine C., author. | Coleman, Keonte, author. Title: A complete guide to television, field and digital producing / Sally Ann Cruikshank, Christine C. Eschenfelder, Keonte Coleman. Description: London; New York: Routledge, 2021. | Includes bibliographical references and index. | Identifiers: LCCN 2021006660 | ISBN 9780367480394 (hardback) | ISBN 9780367480387 (paperback) | ISBN 9781003037729 (ebook) Subjects: LCSH: Television broadcasting of news. | Television—Production and direction. | Television journalists. | Television producers and directors. | Television—Vocational guidance. Classification: LCC PN4784.T4 C78 2021 | DDC 070.1/95—dc23 LC record available at https://lccn.loc.gov/2021006660 ISBN: 9780367480394 (hbk) ISBN: 9780367480387 (pbk) ISBN: 9781003037729 (ebk) DOI: 10.4324/9781003037729 Typeset in Bembo by codeMantra Access the Support Material: www.routledge.com/9780367480387

Contents

List of illustrations Acknowledgments

x xiii

PART ONE

Television news producing 1 Day in the life of a news producer

1 3

K EON TE COLEM A N

Chapter Break: meet a journalist – profile of a news producer

9

G R AC E W H I TA K E R

2 Stacking is a dirty word: news judgment and the rundown

11

K EON TE COLEM A N

3 Produce moments and develop stories

19

K EON TE COLEM A N

4 Writing headlines and teases

36

CH R ISTIN E C. ESCH EN F ELDER

5 Using graphics: the good, the bad, and the ugly

48

C H R I S T I N E C . E S C H E N F E L D E R A N D S A L LY A N N C RU I K S H A N K

6 The producer as a leader, manager, and coach

55

CH R ISTIN E C. ESCH EN F ELDER A N D K EON T E COLE M A N

7 Breaking news and live shots

60

K EON TE COLEM A N

8 Commanding the control room K EON TE COLEM A N

65

viii

Contents

Chapter Break: a conversation with an anchor about news producers

77

K EON TE COLEM A N

Part Break: self care for journalists

81

CH R ISTIN E C. ESCH EN F ELDER

PART TWO

Field producing 9 The ins and outs of field producing

87 89

S A L LY A N N C RU I K S H A N K

Chapter Break: meet a journalist – profile of a special projects producer

97

CA ITLIN COFFEY

10 Before you leave the newsroom

99

S A L LY A N N C RU I K S H A N K

11 Remote location live shows

104

CH R ISTIN E C. ESCH EN F ELDER

12 Social media from the scene

109

S A L LY A N N C RU I K S H A N K

13 Diversity, equity, and inclusion matters: creating a complete story for your audience

116

K EON TE COLEM A N

14 Taking ownership of stories and shows

124

K EON TE COLEM A N

15 Inside and outside the newsroom: laws and ethics

131

CH R ISTIN E C. ESCH EN F ELDER

Part Break: getting a job as a producer

143

C H R I S T I N E C . E S C H E N F E L D E R A N D S A L LY A N N C RU I K S H A N K

PART THREE

Digital producing

147

16 What does a digital producer do?

149

S A L LY A N N C RU I K S H A N K

Contents ix

Chapter Break: meet a journalist – profile of a digital producer

155

SPENCE R ELLIOT T

17 Get Googled: SEO best practices

157

S A L LY A N N C RU I K S H A N K

18 Creating eye-catching infographics and data visualization

167

CH R ISTIN E C. ESCH EN F ELDER

19 Producing video inside the newsroom

173

S A L LY A N N C RU I K S H A N K

20 Digital producers and social media

178

S A L LY A N N C RU I K S H A N K

21 Measuring your audience through metrics

191

S A L LY A N N C RU I K S H A N K

2 2 Behind the paywall

196

S A L LY A N N C RU I K S H A N K , C H R I S T I N E C . E S C H E N F E L D E R , A N D K EON TE COLEM A N

Resources Glossary Index

203 204 212

Illustrations

Figures 1.1

Middle TN News is a student-run newscast at Middle Tennessee State University. The news team is meeting for the last time before their Vote 2020 election night coverage while adhering to COVID-19 safety restrictions 1.2 A Middle TN News producer prepares for news coverage in the producer’s booth CB1.1 Grace Whitaker, WAPT-TV Producer 3.1 Middle TN News co-anchors delivering a reader while standing in front of a virtual wall monitor graphic 3.2 This is a VO of a house for sale with a banner reinforcing the real estate story 3.3 A full-screen graphic was created to compare voting percentages of college students from different years 3.4 Here’s an example of a SOT with a super showing the interview subject’s name and title 3.5 This is the opening animation used for Middle TN News 3.6 Middle TN News airs live traffic cameras from the TN Department of Transportation 3.7 The Blue Raider Extra Point Show with three co-anchors 3.8 Middle TN News anchor fronting 2020 election night coverage outside of the news studio while adhering to COVID-19 restrictions 3.9 Middle TN News reporter interviewing a candidate live on-air for 2020 election night coverage 5.1 Example of a lower-third super for a reporter 5.2 Example of a lower-third super for an interview 5.3 Graphics mistakes: wrong woman 5.4 Graphics mistakes 5.5 Graphics mistakes 5.6 Graphics mistakes 5.7 Graphics mistakes 6.1 Chris Peralta, Executive Producer 7.1 This phoner graphic shows the interview subject’s picture and identifiable information. There is also a banner at the bottom of the screen highlighting the topic of the interview

5 8 9 23 25 25 26 28 30 30 31 32 49 49 51 52 52 53 53 58 63

Illustrations xi

8.1

The Middle TN News director (right) and technical director (left) switching a live broadcast on election night 2020. You can see the switcher hardware and software on the desktop 8.2 The programming box on the top right shows the live shot interview. The preview monitor on the top left shows the anchor that will appear after the live interview. The remaining boxes show other active cameras and inputs for the newscast 8.3 Director discussing the rundown with audio operators before a newscast 8.4 Producer getting the anchors to do an audio check before the newscast 8.5 The programming clock displays military time, and it’s showing that the next election night cut-in will happen in less than 5 minutes at 20:00 hours or 8 PM CB2.1 Ben Senger, WSAV-TV Evening Anchor SB1.1 Dr. Kortni Alston, Happiness Scholar 9.1 Ayrika Whitney with a visitor to the newsroom 9.2 Bryan Orr, photographer and editor, KDKA-TV CB3.1 Caitlin Coffey, WKRN-TV Special Projects Producer 11.1 Student sports anchors getting ready for a live remote sports show 11.2 Production crew setting up for a live remote sports show 11.3 Student sports anchors on the set of a live remote sports show 11.4 Student anchor looking over scripts in the field 11.5 Dan Eschenfelder, Videographer and News Director 12.1 CNN incorrectly reported in this tweet that the individual mandate of the Affordable Healthcare Act has been struck down 12.2 Example of a breaking news graphic in a tweet 12.3 The New York Times received criticism for using passive voice when referring to police violence in this tweet 13.1 KTVU-TV issues an on-air apology after using a racially insensitive phrase connected to Indigenous groups while reporting that the Atlanta Braves lost a playoff series 13.2 The Philadelphia Inquirer issues an apology the day after publishing a controversial headline and opinion article, “Buildings Matter, Too.” The title was adapted from the Black Lives Matter movement, which brings awareness to social injustices with a focus on the deaths of Black people at the hands of police officers 14.1 Producer Texting Reporter 14.2 Anchors Crosstalk 16.1 The New York Times investigation into President Donald Trump’s taxes in 2018 required extra printers, the printed story was so long CB4.1 Spencer Elliott, Lead Digital Producer, USA Today Network – Tennessee 17.1 This shows the popularity of different travel search terms over time on Google Trends 17.2 Long tail SEO can help you target a smaller, niche audience

66

66 67 72 73 77 84 90 94 97 105 105 106 106 107 111 112 113 121

122 126 130 151 155 158 161

xii

Illustrations

17.3 18.1 18.2 19.1 20.1

20.2 20.3

20.4 20.5 20.6 22.1 22.2

Here’s an example of a catchy social headline. Vengeful grannies always get clicks Sample of an infographic Dr. Ken Blake, Middle Tennessee State University This video from The Tennessean used a push alert graphic to introduce a story about controversial text messages from a politician This USA Today tweet features a poor stock photo choice. Not only is the man in the forefront Sikh instead of Muslim, he and several others are easily identifiable in the photo. The text of the tweet could insinuate they are Islamic terrorists Kenny Smith, multimedia producer, digital production manager, and IUSTV advisor, The Media School at Indiana University CBS News tweeted this quote from President Donald Trump. No evidence exists that millions voted illegally in the 2016 election. That context should be provided in the tweet, in order to not mislead the audience Here is a better way to treat the illegal voter quote from President Trump. The Los Angeles Times essentially fact checks the quote in the tweet This Chicago Tribune tweet received widespread criticism for not including Corey Cogdell-Unrein’s name, instead calling her “wife of ” One of the humorous tweets that used #AskJameis Ken Paulson, Director of the Free Speech Center, Middle Tennessee State University, former editor-in-chief of USA Today An example of a “For Subscribers” story on The Tennessean’s website

165 168 171 175

182 183

184 185 186 187 197 200

Tables 1.1 Newscast Dayparts and Times Can Vary by Markets 1.2 News Rundowns Are Spreadsheets, So They Can Be Created Within a Word Processing Document or Spreadsheet Software System 2.1 Partial News Rundown Template 2.2 Newsroom Rundown and Script Commands 7.1 Keep the Breaking News Rundown Simple to Streamline Newsroom Communication During a Frantic Time 8.1 The Programming Clock Is Your Friend in the Booth, so Make Sure to Reference it Throughout the Newscast to Ensure that You Hit Your End Time 13.1 It Would Be a Good Practice to Search These Journalism DEI Style Guides Periodically Because They Are Often Updated 14.1 Padding Is a Producer’s Secret, So Keep This Little Tip to Yourself!

3 6 13 14 61 74 123 129

Acknowledgments

Saying thank you to my co-authors, Drs. Eschenfelder and Coleman, really doesn’t cover the scope of my gratitude to both of them. Christine and Keonte, I don’t know how you did it, but you made this an exciting and entertaining adventure, despite the stress of writing a book during a pandemic. I’d also like to thank my colleagues in the School of Journalism and Strategic Media at Middle Tennessee State for their support and encouragement. I feel so fortunate to work with such truly fantastic people. Thank you to everyone who took the time to talk to me for this book (or listened to me talk at them about it). Thank you to Ayrika Whitney and Bryan Orr for giving me great insight into the incredibly difficult jobs they do every day. I’d also like to thank Kenny (not the Jet) Smith for writing a piece on a little corner of Twitter that brings me a lot of joy. I’d be remiss if I didn’t acknowledge my incredibly supportive friends, who were really good about sending cute animal photos in times of need. I’d also like to thank my family, of course, and the Knitting Council for their sage advice and Friday venting sessions. Finally, to my favorite editor, Spencer, thank you for making my life so beautiful. Cheers, my love. Sally Ann Cruikshank, PhD Associate Professor School of Journalism and Strategic Media Middle Tennessee State University My sincere thanks to those who so kindly agreed to share their wisdom and experiences with the students who will enjoy this textbook. These wonderful and talented people include Ken Paulson, Dr. Kortni Alston, Dr. Ken Blake, Caitlin Coffee, Chris Peralta, Grace Whitaker, and my favorite videographer Dan Eschenfelder. Special thanks to the wonderful Dr. Larry Burriss for his excellent editing assistance. Thanks also to all my amazing colleagues in the School of Journalism and Strategic Media at Middle Tennessee State University (MTSU). I am so grateful for your support, encouragement, and good humor. I am fortunate and honored to have amazing co-authors Drs. Sally Ann Cruikshank and Keonte Coleman. Writing with two such warm and witty people made this endeavor most enjoyable. You make Zoom meetings fun. You made this possible.

xiv Acknowledgments

Finally, to my dear friends and family, especially Dan, Anna, and Cam. Thank you as always for your love, support, and encouragement. I cherish you. Christine C. Eschenfelder, Ph.D. Associate Professor School of Journalism and Strategic Media Middle Tennessee State University I would like to thank my co-authors, Drs. Cruikshank and Eschenfelder, for allowing me to work on this great project with them. Sally Ann and Christine, you both made this writing journey so much fun. I must thank my wife, Terra, for all of her help and support throughout this process. I couldn’t have done this without you. I would also like to thank my mass communications family at Jackson State University for nurturing my dreams of becoming a journalist. The Newhouse School of Communications at Syracuse University was influential in putting me on the track to become a news producer, so I am grateful for the training that I received there. The Hearst Television company entrusted me with several of their newscasts and promoted me numerous times, so I will always be thankful for those opportunities. Bennett College opened up a door for me to become a professor when that was not on my radar. I’m thankful to the college and students for allowing me to grow as a faculty member and administrator. I am grateful for the time and space that Middle Tennessee State University has provided me to grow as a researcher. I would also like to thank all of my family and friends who have offered words of encouragement when they learned about this project. Those thoughts of appreciation always acted as fuel to keep me going, especially when the COVID-19 pandemic hit. Keonte Coleman, PhD Assistant Professor School of Journalism and Strategic Media Middle Tennessee State University

Part One

Television news producing

1

Day in the life of a news producer Keonte Coleman

News producers perform multiple tasks for a newscast such as creating the rundown, writing or overseeing the scripts, copy editing all the content for accuracy, and making decisions during the newscast to ensure the newscast ends at the scheduled time. If that definition didn’t scare you away, you are in the right place to learn about a key role in broadcast and digital journalism. If it did scare you, you’re also in the right place! This textbook should help ease your fears by giving you the tools to produce your own newscast. The newscast is the overall broadcast created by journalists to convey the news of the day to their given audience. The newscast contains news content produced by the newsroom and, in some instances, commercial content created by the business/creative marketing teams.

Newscast dayparts and broadcast times You could work various shifts depending on the daypart of your newscast(s). A daypart is a reference to how broadcasters divide up the hours in a day to help categorize and define the viewing audience. You’re probably familiar with some daypart names (morning, midday, evening, and late evening/night) because many stations use those terms when branding their newscasts. A television station can broadcast multiple newscasts during a daypart, with each newscast normally filling a time slot of 30 minutes to an hour. Newscasts can start on the hour, the half-hour, and even the quarter-hour. Newscasts can also be broadcast via websites and social media platforms. The air times and durations on those platforms can vary widely.

News shifts Broadcast stations are open all day and night even when they don’t produce 24-hour news programming. It takes a lot of time and coordination to gather news and place it in a newscast, so producers are always in the station working various shifts. A news Table 1.1 Newscast Dayparts and Times Can Vary by Markets Daypart

Newscast Broadcast Times

Typical Newscast Timesa

Morning Midday Evening Late evening/night

4 AM–9 AM 10 AM–1 PM 4 PM–7 PM 9 PM–12 AM

4 AM, 5 AM, 6 AM 11 AM, 12 PM, 1 PM 4 PM, 5 PM, 6 PM 9 PM, 10 PM, 11 PM

a

Newscasts can begin at the half-hour mark (e.g., 5:30 PM) and at the quarter-hour mark (e.g., 11:15 PM).

DOI: 10.4324/9781003037729-2

4  Keonte Coleman

shift is the official time employees spend working on a newscast. Morning show producers might begin their shifts before midnight for a newscast that airs as early as 4 AM. Evening producers start their workdays around 9 AM for a newscast that could begin at 4 PM. Nightside producers arrive at the station during the early afternoon hours to produce the late evening newscasts. News shifts generally end about 30 minutes after the newscast ends. You might not have the same sleep schedule as other producers, but your duties in the newsroom will be similar in many ways.

Become a newshound off-the-clock As a news producer, you should strive to be well-rounded and informed about the world around you, especially the communities in your designated market area (DMA). A DMA is the coverage area that television and radio broadcasters reach with their broadcast signals. You should learn as much as possible about your DMA to get a better understanding of the kinds of stories that will resonate with your audience. It is crucial to cultivate news consumption habits that allow you to learn firsthand information about the diversity in your community and stay abreast of regional, national, and international news that can affect your DMA. You will learn more about creating newscasts for your entire viewing audience in Chapter 13: Diversity, Equity, and Inclusion Matters: Creating a Complete Story for Your Audience. Explore your local community Get involved with the local community as soon as you settle into a new media market. You can learn about the market by conducting research online and following various social media accounts, but you should also make it a practice to physically visit the main tourist attractions, shop in different areas, visit established and new communities, attend civic gatherings, and participate in events hosted by various organizations. These actions allow you to gain your own perspective on the community that you will be serving. You will also begin to cultivate your own sources that could help you in the future when you are trying to cover a news story. Driving around the area during the work week and on the weekends will give you a better perspective on the time it takes for your news crew to navigate the DMA for their news assignments. Expand your news consumption Your DMA cares about more than just the news happening in its communities, so it is important that you consume local, regional, national, and international news from many sources. You should begin your workday already aware of the major news that has happened in the world since your last shift. This requires carving out some of your personal time away from work to read and watch news from numerous media outlets including your competition. You’ll want to make sure that you didn’t miss any important news in your market. It is normal to have preferences toward news genres (e.g., business, entertainment, politics, or sports), which can make you focus too much on some genres or too little on others. However, you must be well-rounded with your news consumption habits because your audience has diverse interests.

Day in the life of a news producer  5

QUICK TIP: WATCH OTHERS FOR PRODUCING IDEAS You can watch broadcast news for the information, but you should also be paying attention to the way other news outlets present information to their audiences. This can help you build a repertoire of ideas to use in your newscasts.

Figure out what you don’t know Once you arrive at the newsroom you should be on a fact-finding mission to learn what news crews have done since your last newscast. This information will help you start shaping your rundown before your newsroom meeting. Producers should check their emails, communication system messages, voicemails, and the most recent newscast rundowns as an initial step. This allows you to gain a sense of what is happening in the newsroom without bothering others with questions that you can find answers to on your own. Once you’ve taken notes on what you have learned you can now take your questions to some of the newsroom leaders (assignment manager, other producers, executive producers, assistant news directors, or news directors). Once you have spoken to the newsroom leaders, you should then try to get a sense of the latest that is happening with your newsgathering team (anchors, meteorologists, reporters, sports directors, and videographers). After finishing this process, you should have enough time to check the news wires to find potential items for your news rundown.

Hold news meetings and create the rundown News crews gather together near the beginning of their shift to conduct an editorial meeting. The newsroom leadership team usually leads these meetings to present and

Figure 1.1 Middle TN News is a student-run newscast at Middle Tennessee State University. The news team is meeting for the last time before their Vote 2020 election night coverage while adhering to COVID-19 safety restrictions.

6  Keonte Coleman

discuss the best news stories for each newscast. This official meeting sets the tone and direction for what the news team will work on for the day. The producer also conducts one-on-one meetings with different members of the news crew to address updates and issues that will affect the newscast. One of the biggest duties you’ll face as a producer is creating, completing, and communicating the news rundown. A news rundown is a spreadsheet-style document that explains the news content that will appear in a newscast and other pertinent information about the content (e.g., the order of the content, duration of content, style of content, and those responsible for creating the content). The importance of this document can’t be overstated because everyone working on the newscast will use it to figure out what is expected of them. Many newsrooms use software to create their rundowns. The software allows your scripts to seamlessly connect to your rundown. If you don’t have access to rundown software, you can create a chart like the one in Table 1.2 using a word processing document or spreadsheet software. You’ll need to write your scripts in a word processing document that can be easily shared with the rest of your news team via shareable folders or other online document software. Be sure to coordinate the rundown page numbers and story names to the script page numbers and story names to keep everything organized. You’ll find more details about the news meeting and rundowns in upcoming chapters. Table 1.2 News Rundowns Are Spreadsheets, So They Can Be Created Within a Word Processing Document or Spreadsheet Software System Page Story Slug

Segment

A1

SOT

Headline teases: A5+B2+C1 A2 Show open A3 Introductions A4 Story 1 A5 Story 2 A6 Story 3 A7 Story 4 A8 Story 5 A9 Story 5 A10 Tease 1: B2+C2 B0 Break 1 B1 Rejoin open B2 Story 1 B3 Story 2 B4 Full weather B5 Tease 2: C1+D1 C0 Break 2

News Rundown Template Anc Start Time: End Time: Total Run Time: 00:16:00 6:00:00 PM 6:16:00 PM Shot Writer Est. Actual Back Front Duration KC :15 :15 6:00:00 PM 6:00:00 PM

ANM OnCam VO PKG GFX Reader NatsVO SOTVO VOTOP

K&C C K K C C C C&K

2 1 Monitor Monitor 1 1

ANM VO/SOT VO WX Wall NATSVO

C&K C S C&K

2 1

1

2

TC TC DE DE SC SC TC SC

DE SC SC TC

:10 :10 :30 1:25 :10 :20 :25 :25 :10 2:00 :10 :45 :20 1:35 :10 2:30

:10 :10 :20 1:45 :05 :20 :25 :25 :10 2:00 :10 :40 :20 2:00 :10 2:20

There are also software companies that specialize in creating rundowns for newscasts.

6:00:15 PM 6:00:25 PM 6:00:35 PM 6:00:55 PM 6:02:40 PM 6:02:45 PM 6:03:05 PM 6:03:30 PM 6:03:55 PM 6:04:05 PM 6:06:05 PM 6:06:15 PM 6:06:55 PM 6:07:15 PM 6:09:15 PM 6:09:25 PM

6:00:15 PM 6:00:25 PM 6:00:35 PM 6:00:55 PM 6:02:40 PM 6:02:45 PM 6:03:05 PM 6:03:30 PM 6:03:55 PM 6:04:05 PM 6:06:05 PM 6:06:15 PM 6:06:55 PM 6:07:15 PM 6:09:15 PM 6:09:25 PM

Day in the life of a news producer  7

Write scripts You should aim to get the broadcast news scripts (news content that is written in a conversational style to be read on-air) written for the newscast as quickly as possible so there is more time to monitor the various elements needed for the newscast. Finishing the scripts early helps your anchors by giving them ample time to read the scripts and get comfortable with their reads. The anchors may want to discuss the script, and if you finish writing it promptly that gives you more time to collaborate. It is a good practice to allow your anchors to offer their suggestions on how they would like to say certain things. Over time this practice will help you learn their voices and stylistic preferences for delivering the news. Remember, as the producer you’re controlling the content to make sure it’s accurate and timely. As long as the anchors are not changing the context or duration of the story, it should be fine for them to adjust the script. The producer must still approve any changes made to the script. You will find tips on how to write broadcast-style scripts in Chapter 3: Produce Moments and Develop Stories.

Create and edit content Finishing the scripts quickly also allows you more time to create and edit content. Advancements in technology and the streamlining of newsroom staffs have given news producers more hands-on responsibility in the creation of graphics and videos for their newscasts. You want to give whoever creates your graphics and edits your video plenty of time to match the created content to the script. Newsrooms may have designated video editors who edit the bulk of the newscast not edited by your news reporting crews. However, desktop editing programs have made it possible for news producers to edit video. Producers may also create graphics for their newscasts using software with user-friendly templates. Stations might have an in-house or regional graphics creation office for more specialized graphics.

Review the newscast There are many moving parts when producing a newscast, which means there’s a lot of room for mistakes. One of the main jobs you will have is to thoroughly review all of the content placed into the news rundown before airtime. The main goal is to catch any errors, omissions, duplications, and inconsistencies in the rundown and scripts. Generally speaking, the producer shouldn’t be surprised by anything that appears when the show airs. The more comfortable you are with the content before the newscast, the better the chance of you producing a newscast without errors.

Booth-produce the newscast You’ll switch from your newsroom desk to the control room for the newscast. You’ll sit at the producer’s booth and guide the newscast with the director and/or technical director while the show airs. Newscasts are live events, so you’ll be monitoring everything about the newscast to make sure it starts and ends at the scheduled time. Boothing a newscast involves many tasks, so make sure to read Chapter 8: Commanding the Control Room to gain more insight into how to properly prepare for this important duty.

8  Keonte Coleman

Figure 1.2 A Middle TN News producer prepares for news coverage in the producer’s booth.

Newscast debriefing After the newscast, you still have a few items left on your daily checklist before the workday ends. The news producer leads a final newsroom meeting called a debriefing or postmortem. The debriefing addresses the positives and negatives of the newscast including events leading up to it. All members of the news team are asked to share their perspectives on any issues that might have happened, and the group discusses ways to better handle similar circumstances in the future. You should make sure to let the team know where they did well and where improvement was needed. Following that meeting, you will write a report about the newscast to send to the newsroom leaders. You will also send a report to other producers about any issues encountered during your show that might affect theirs. This information can be condensed into one report that goes to the leaders and the producers, but sometimes they are separate if personnel issues are included in the initial report. Once you’ve sent the report(s), your workday is officially over…unless there is breaking news. You will learn more about breaking news in Chapter 7: Breaking News and Live Shots.

The news producer’s day bottom line As a news producer, you play a pivotal role in creating local newscasts. Stay aware of what’s happening in your communities and the world to appeal to a diverse audience. You should be well prepared for your news meetings to help guide your news team. Be organized and ready to tackle all the duties required from creating the rundown to editing videos, remembering to leave time to review the news content before the broadcast. You’ll guide the newscast from the booth while it is on-air ensuring that it starts and ends at the proper time. Finally, you’ll conduct a debriefing with the news crew and write a report about the show for the news leaders and other news producers.

Chapter Break Meet a journalist – profile of a news producer Grace Whitaker news producer, wapt-tv jackson, mississippi

Figure CB1.1 Grace Whitaker, WAPT-TV Producer.

I am currently a morning producer, and have been for about a month. However, I’ve been producing shows for around six months now. I’m responsible for writing my halfhour show, creating the graphics, and occasionally helping with fact-checking and information-gathering. I have a lot to balance, but that’s part of the fun. I have a Bachelor’s degree in Journalism, underwent an internship in a Top-30 media market, and then had a three-month fellowship right out of college in a Top-50 media market. During college, I participated as much as I could in after-school programs. It was a lot of work, but I earned a lot of experience from it all. I love being able to write as my job. I have a passion for words, so this is the perfect fit for me. I also love sharing the stories people tell, and feeling like I’m a part of something bigger.

DOI: 10.4324/9781003037729-3

10  Grace Whitaker

A dislike of mine would be the learning curve. I don’t like making mistakes, but it’s important to learn and improve. It helps me to know that everyone is always learning, no matter how long they’ve been in the business. If someone has the drive and passion for news, writing, and organization, I would highly recommend being a producer. It can be a tough job, but it’s worth it. There’s nothing like sitting in the booth and watching your plans come to life. You live for that moment something crazy happens, and it’s up to you to handle it and get things back on track. Another important thing to remember is that every station does some things differently. Communicating with everyone in the newsroom is vital.

Only in the newsroom When I was interning during my fellowship, people would call at least once a week and tell us our station’s clock was wrong. The clock was never wrong; at some point, the caller had paused their TV and hadn’t caught up with the live broadcast. I started keeping a tally of how often it happened!

2

Stacking is a dirty word News judgment and the rundown Keonte Coleman

Let’s get started with how you will select, arrange, and prioritize the news content that goes into your rundown. Stacking a newscast is the act of placing news content into a rundown, usually by placing similar news stories together. Most news producers learn to produce this way because it simplifies the process of putting a rundown together and allows the producer to build confidence with all the other duties required in this role. However, this basic form of producing can make your newscast lack depth, creativity, and pace. This can get you labeled as a show stacker. News producers don’t see this term as a badge of honor, so let’s speed up your learning curve for producing compelling award-winning newscasts.

You’re a news gatekeeper You play a pivotal role as a news gatekeeper for your audience. News gatekeepers decide what news items will or won’t be placed in the newscast and how the content will be featured. You and your team will use news judgment factors to determine newsworthiness. It should be noted that everyone who works in the newsgathering and news reporting business enters it with all their past experiences, which helps shape their perspectives on which news items to pursue. As a journalist, you’re asked to follow journalistic standards and media ethics guidelines to approach news stories without allowing your biases to affect the content. Ideally, this allows the audience to view the information without being influenced by the journalists or news organizations delivering the news. Understanding this can help you avoid interjecting your personal feelings into the news stories you cover.

News judgment for story selection You should use the eight news judgment categories to help you determine the newsworthiness of content for your newscast. Please know that a given news item can fall squarely in one category or overlap multiple categories. The news judgment categories can help you justify whether to include or omit items from the newscast. Prioritizing news stories is a subjective process, so the more evidence you can give to support your decisions, the better. News judgment categories So what? Who cares? These questions may seem crass, but they get to the heart of which members of your audience you think will watch, read, share, and engage with DOI: 10.4324/9781003037729-4

12  Keonte Coleman

each story selected. Most newsroom decision-makers will ask some form of these questions to gauge how you plan to deliver the story and to determine its impact across the audience demographics. Timeliness dictates much of newsroom coverage because broadcast and digital media strive to be the first and best source of news content for their audiences. Timeliness can refer to the physical time news occurs, or it can be a little more abstract when referring to a given moment or period. •

•

Physical Timeliness: A political figure’s late morning announcement that they will run for office might lead a noon newscast and/or an early evening newscast with updated details. This story might not have the same timeliness to be the lead for the late-night newscast. Abstract Timeliness: Seasonal story ideas work perfectly during their given season but could be seen as misguided or a waste of time if aired during the wrong season. Pitching a news story during the summer about protecting outdoor pets from freezing weather wouldn’t stand a chance of getting approved.

Proximity refers to the location of a news story as it relates to the designated market area (DMA) of your station. News content that happens within the coverage area generally gets higher priority. News outlets will also attempt to localize content from outside the DMA by finding information within the story that directly resonates with their DMA. For example, if there’s a highly contagious disease aboard an international cruise ship, your station could localize the story by interviewing a family from your DMA that is vacationing on the ship. The story takes place thousands of miles away, but now your audience likely cares more because someone local is on the ship. Impact considers the number of people influenced by the news content. A story concerning an infectious virus that can easily spread from one person to the next can have a huge impact on your audience, while a story of someone diagnosed with an extremely rare condition might be worth sharing, but it wouldn’t be as impactful as the virus story. Human interest stories resonate with your audience by tapping into the human emotions expressed by the subject(s) of a story. In the previous example, a person diagnosed with a rare condition could become a human interest story if the individual or those close to them are willing to share their story of facing the various challenges. These stories can inspire others to take action even if they aren’t facing the same challenges. Conflict showcases the division between individuals or groups over issues. These stories can spur your audience into action because they feel a connection to a certain side of an issue. Not in my backyard stories reveal conflict and show how perspectives can divide your viewers. For example, one group might object to a proposed factory being built near their neighborhood because of the issues the factory would create. Those within the neighborhood might fight the city and developers to keep the factory away, but others within the city and region might side with the factory because it will bring jobs or opportunities to the region without upsetting their personal lives. Celebrity/Prominence speaks mainly to well-known individuals who garner attention because of their position within the community or world. Entertainers like actors, athletes, and musicians easily fall into the celebrity category. Politicians and dignitaries would be considered prominent figures. Individuals in these categories can make content newsworthy because so many people care about what they’re doing or thinking. Relatively unknown individuals can gain prominence or celebrity when unexpected occurrences place them in the spotlight.

Stacking is a dirty word  13

News of the weird represents bizarre circumstances that many would find hard to believe. Editing technology is increasingly able to make doctored videos look realistic, so more safeguards should be placed around this category to prevent the airing of manufactured or doctored videos. Again, since everyone comes to the newsroom from various vantage points, they will also rank these categories differently and sometimes even place news content into different categories. News producers should be very clear about why they have selected the content for their rundown, and using the news judgment categories can help decide which stories are included in the newscast and how much time they are given, and which stories don’t make the cut.

QUICK TIP: NEWS JUDGMENT TIEBREAKERS The tiebreaker for deciding if news content is worthy usually falls back to the mission of the company, individual newscast goals, media ethics, legal guidelines, and the newsroom decision-making chain of command.

Dissecting the newscast A newscast consists of many moving parts, so it is important to understand exactly what you’re responsible for when producing a newscast. You can dissect the newscast into two Table 2.1 Partial News Rundown Template Page

A1

Story Slug

Headline teases: A5+B2+C1 A2 Show open A3 Introductions A4 Story 1 A5 Story 2 A6 Story 3 A7 Story 4 A8 Story 5 A9 Story 5 A10 Tease 1: B2+C2 B0 Break 1 B1 Rejoin open B2 Story 1 B3 Story 2 B4 Full weather B5 Tease 2: C1+D1 C0 Break 2

Segment

Anc

SOT OPEN ONCAM VO LIVE PKG GFX READER NATSVO SOTVO VOTOP

K&C C K K C C C C&K

ANM VO/SOT VO WX WALL NATSVO

C&K C S C&K

Start Time: End Time: 6:16:00 Total Run 6:00:00 PM PM Time: 00:16:00 Shot Writer Est. Actual Back Front Duration KC :15 :15 6:00:00 PM 6:00:00 PM :10 :10 6:00:15 PM 6:00:15 PM 2 TC :10 :10 6:00:25 PM 6:00:25 PM 1 TC :30 :20 6:00:35 PM 6:00:35 PM Monitor DE 1:25 1:45 6:00:55 PM 6:00:55 PM Monitor DE :10 :05 6:02:40 PM 6:02:40 PM 1 SC :20 :20 6:02:45 PM 6:02:45 PM 1 SC :25 :25 6:03:05 PM 6:03:05 PM TC :25 :25 6:03:30 PM 6:03:30 PM 1 SC :10 :10 6:03:55 PM 6:03:55 PM 2:00 2:00 6:04:05 PM 6:04:05 PM :10 :10 6:06:05 PM 6:06:05 PM 2 DE :45 :40 6:06:15 PM 6:06:15 PM 1 SC :20 :20 6:06:55 PM 6:06:55 PM SC 1:35 2:00 6:07:15 PM 6:07:15 PM 2 TC :10 :10 6:09:15 PM 6:09:15 PM 2:30 2:20 6:09:25 PM 6:09:25 PM

The columns can also be adjusted based on your preferences. The number of pages in each news block can be increased or decreased based on your needs. The columns can also be adjusted based on your preferences.

14  Keonte Coleman

main portions: news content and commercial space. Producers control the news content and work around the time sold for commercial space. It should be noted that not all newscasts have commercial space (e.g., newscasts airing on PBS and BBC). The newscast rundown is broken into news blocks, which are segments of news content separated by commercials. The news blocks are given letter designations in alphabetical order (A-block, B-block, C-block, etc.). Each line in the rundown is considered a page, and it houses the production commands (cues informing the production crew of what’s needed for each news story) and the corresponding news script. Pages are designated by a combination of the letter of the block and the sequential number of the news elements in the block (e.g., A1, B2, or C3). News elements are the various ways broadcasts present content to the audience using audio, camera shots, graphics, video, etc. You’ll either create, edit, or offer feedback on all the news content in your show. Now it’s time for you to fill the news hole. The news hole is made up of daily news events that occur locally, regionally, nationally, or internationally that you deem worthy to present to your viewers. You’ll give each story a slug, which is a shortened label given to news content in a rundown using keywords or a phrase. For example, a story about air travel during the holidays could be slugged “Holiday Travel.” News staples and franchise segments make up the remaining content in the newscast and might be produced with minimal input from the news producer. Sometimes these elements have their own producers. News staples are those items that appear daily within a newscast, typically sports, traffic, and weather. They usually appear at specific times in the show. Franchise segments (e.g., consumer tips, health segments, or legal advice) are news items that appear regularly, usually in a designated newscast or news block, and often on the same day(s) of the week. Franchise segments can be produced by in-house crews or provided by company or network affiliates. Table 2.2 Newsroom Rundown and Script Commands Production Commands

Explanation

ACTUAL ANC ANM or TITLE +ANM BACK BANNER BIZ BOXES

Column that shows the actual time Column listing the anchor(s) who will read the script Stinger animation (e.g., BREAKING NEWS ANM) Column showing backtime Lower third graphic Business Window frame boxes that can show two or more live or recorded events simultaneously on the same screen (e.g., 2-BOX) Row that shows the commercial breaks Lower third graphic Cross-talk with anchors Lower third graphic News ticker To take a news element out of the rundown Official end time of the newscast; also called out time Column showing the estimated duration of a news element To hide a news element within the rundown Column showing the front time Anchors changing locations to introduce different elements Full-screen graphic Full-screen graphic reveals

BREAK CG CHAT CHYRON CRAWL DROP END TIME EST. DURATION FLOAT FRONT FRONTING/FRONT FS or GFX FS RVL or GFX RVL

Stacking is a dirty word  15 Production Commands

Explanation

HEADLINE TEASE INTRODUCTIONS KICKER LIVE BUG LIVE + TITLE NATS or NAT SOUND NATS + ELEMENT OC OPEN or TITLE + OPEN OTS OUT CUE PAGE

Tease at the beginning of the newscast Anchors greeting the audience at the beginning of the newscast Lighthearted story to end a block or newscast Indicates something is taking place in real time Live plus a news element (e.g., LIVE CAM) Natural sound Natural sound plus news element (e.g., NATSVO or NATS PKG) On-Camera Show Open and Rejoin Open (e.g., 5 PM OPEN)

RAW RDR SAT or SAT WINDOW SEGMENT SHOT SIDEBAR SIG OUT SLUG SOT SOTVO SOTGFX SPTS START TIME SUPER TAKE TC TEASE TOP TRT VO or V/O WALL WIPE WRITER WX

Over the shoulder Final words of a PKG or SOT Column connecting the news block and news element number in the rundown to the script Raw or unedited video Reader Satellite window for a news feed Column where news element abbreviations are placed Column showing the number of individuals appearing on camera Graphic covering half the screen while the anchor is visible on the other half of the screen Sign off or reporter giving name and location at end of a report News story title Sound on tape or soundbite Soundbite with voice over video attached to the end Soundbite with full-screen graphic attached to the end Sports Starting time for the newscast Lower third graphic To place a news element into the newscast Timecode Row placed before the commercial break to highlight upcoming elements Taking an element from the top without seeing the anchor (e.g., VOTOP) Total run time Voice over video Virtual background or chroma key wall Animated transition effect from video to video (e.g., WIPEVO) Column showing the initials of the script writer Weather

QUICK TIP: NEWS HOLE TIME Producers are normally responsible for finding content that will fill 12–15 minutes of a half-hour newscast, with the remaining time being allotted to commercials, news staples, and news franchises.

16  Keonte Coleman

Stacking news Your early research and staying aware of what’s going on in the world has allowed you to find all the content needed to fill your news hole. Now it’s time to put it together in a way that makes sense to you and your audience. As a new producer, you’ll likely begin your career stacking your content, which again means placing similar stories together. Stacking the news usually follows a hierarchical style of reporting where news stories are told in order of importance until you get to the end of a section of like items or the end of a news block. Stacking pros Using the stacking method will help you quickly organize the newscast rundown. You’ll identify various genres of news (e.g., business, crime, and education) and place similar items together. You’ll rank the news stories by importance within each genre. Once you’ve placed similar genres together, it’s time to figure out where they fit in the rundown. Much of this depends on the placement and duration of the top news story or stories of the day, news staples, and franchises. Writing becomes a little easier and quicker with stacking because you aren’t having to think about as many transitions to get you from one news story to the next. Transitions aid in helping your audience understand that one story ended, and another has begun. When news stories are similar, or from the same genre, it is easier for your audience to follow. When you switch from one genre grouping to the next, you can write a transition that allows you to highlight the next section of stories. For example, the script might have the anchor say, “Now to the latest in business news.” Overall, the stacking method is a quicker way to organize and write the newscast. Any process that saves valuable minutes is worth using, especially while you are still learning how to produce a newscast and manage a news team. Stacking cons Stacking can be an efficient way to put a newscast together, but the grouping approach can create inflexible habits, hamper the pacing of the newscast, and cause your audience to get a skewed perception of the world around them. Stacking by genres can lead you to unintentionally create the same newscast each day. The actual stories might change, but the formula will be the same. For instance, you could set aside one minute for business stories, two minutes for crime stories, and 40 seconds for education stories. You could start placing too much value on the orderliness of a set number of stories at a specified time and might be less willing to change the structure in order to highlight a news element that should be given more attention. This rigid structure also creates another downside: when the big news stories are mainly placed in the first news block, or A-block, there isn’t much left to tease for the remaining blocks. Not being willing to change the structure of the genre sections can also affect the pacing of your newscast, which is the perceived rate at which the news is provided to the audience. You could get so attached to having a rapid or slow-paced segment that you overlook the instances where you should change your pace so that the audience better understands or relates to the news items. Let’s continue with the example where you’ve allotted one minute to business stories, two minutes to crime stories, and

Stacking is a dirty word  17

40 seconds to education stories. You could use that three minutes and 40 seconds to report 14 different news items lasting about 15 seconds each to create fast-paced segments, or you could report only one news item per genre to produce a slower-paced segment. Story duration isn’t the only factor that can contribute to the pace of a newscast, but you’ll learn more about other factors that affect pacing in Chapter 3: Produce Moments and Develop Stories. Develop stories Stacking can also cause your audience to get a false sense of what is happening or not happening in their community because of the consistent content shown in a given news genre on a daily basis. The practice of stacking crime-related stories and giving them considerable time in each newscast can create a false reality for viewers that their community isn’t safe. Viewers don’t always retain where incidents happen, even if the location names are spoken and appear on the screen, so it becomes easy for viewers to lump all the crime stories together and believe they all occurred in one area. Downside to stacking a newscast would be that the big news stories are told mainly in the A-block, and now there isn’t a lot of content left to tease for the remaining blocks. Stacking a newscast helps news producers by providing some simple guideposts to make putting the newscast together a little easier. This method can create some habits that will make it harder for producers to be seen as legitimate newsroom decisionmakers, so as soon as you feel comfortable with completing all of your tasks in a timely manner, you should begin to break away from the stacking process. Stacking alternative: tentpole method The tentpole method gives you more flexibility to place your big news items throughout the newscast. The tentpoles are your big or tease-worthy news stories. This method requires you to analyze all the content and create a hierarchy for the top three to five stories and split them between the first three news blocks. It is still possible to group similar genre stories together using this method, but it wouldn’t be as systematic as in the stacking method. Tentpole pros The tentpole method offers more flexibility with the pace of the newscast and story selection, placement, and duration, while also providing more ways to keep the audience viewing longer. It is easier to vary the pacing using this method because you aren’t beholden to a specific duration of time to talk about a genre. The big and/or tease-worthy stories will change genres each day so their placement in your newscast will change. The lack of continuity from day to day will allow you to be more flexible with inserting new content into the newscast and giving the content the appropriate amount of time, regardless of a preset structure. The tentpole method allows you to entice your audience to watch more of your newscast. Your audience will see teases featuring your big news stories while watching other programs on your channel. If those teases captivate them to watch your newscast, don’t allow them to leave your show after the first block. You should spread your

18  Keonte Coleman

tentpoles apart from each other throughout the first three news blocks in a 30-minute newscast. Make sure that you also tease the stories during your newscast, and that’ll help keep your audience from changing the channel. Tentpole cons The tentpole method will require the producer to write and create more transitions throughout the newscast, which is more time-consuming. This method also runs the risk of having some of your more important news stories pulled from the newscast in the case of breaking news or severe weather that happens during the early part of the broadcast. This can also affect information that is teased outside of the newscast. The tentpole method usually requires alternating anchor reads throughout the newscast, so that gives you fewer opportunities to communicate changes to each anchor during a news block. The tentpole method will take a little longer to master, but once you become accustomed to this method it will be difficult to go back to the simpler process of stacking a newscast.

The rundown bottom line Your job helps your community understand the world around them so you must be mindful of the decisions you make as news gatekeeper. Be sure to incorporate the eight news judgment categories into your decision-making process to help minimize the personal biases that you bring into the newsroom. The show-stacking model gives you an organized and simplified method to create your rundown as you’re learning to manage your newscast. Once you feel comfortable with producing and you’re putting together consistently clean shows, you should begin to experiment with the tentpole method. The flexibility and creativity it offers will allow you to create unique and compelling newscasts for your audience.

3

Produce moments and develop stories Keonte Coleman

You’ve conducted the research, communicated with your crew, and organized your rundown with the news items for your newscast. Now it’s time to write your scripts and build in layers that will help make your newscast memorable for your audience. It’s important to know that your audience will consume your newscast in numerous ways, so you have to create a dynamic product filled with moments that will grab and hold their attention.

Broadcast script writing tips Writing broadcast scripts might be the most awkward thing you’ll do as a professional writer because it’s counter to most of what you’ve been expected to do in the education system. A common phrase associated with broadcast writing is “writing for the ear.” Your audience should be able to hear your story while doing other tasks, like driving or doing household chores and still understand the content being delivered. Broadcast writing universally applies to radio and television news, but this style also proves to be effective in delivering news content via online and social media platforms. You must get into the habit of reading all your news scripts aloud to catch potential issues with the conversational nature of the script. A sentence could be grammatically correct, but if it does not flow well when read aloud, anchors could stumble while trying to deliver the sentence on-air. Those same grammatically correct – but not conversational – sentences can also be difficult for your audience to understand if they are not paying close attention. Six C’s of broadcast writing Broadcast writing is guided by six C’s: be clear, concise, conversational, complete, current, and correct. Mastering this will take time, but it only takes repetition to learn this writing style. Clear writing Broadcast writing needs to be easily understood by a diverse audience. Use simple words to make your point. Avoid writing clichés (overused phrases), jargon (words or phrases related to a particular industry), and slang (words or phrases that are not part of standard language) in your scripts. Assume that most of your audience does not understand the cliché, jargon, or slang, but if you must use these forms of speech, you DOI: 10.4324/9781003037729-5

20  Keonte Coleman

also need to spend additional time explaining the word or phrase to your audience. This will add time to your script and likely force you to lose additional content that could have better explained the news item. There are normally more straightforward ways of presenting information without alienating portions of your audience. Examine the examples below and notice how the various phrases can lead to confusion for members of your audience. •

•

•

Cliché examples: • Only time will tell – The answer will be clear in the future. • Read between the lines – Find the meaning in the information that was not given. • Diamond in the rough – Someone or something special that was overlooked. Jargon examples: Varies by industry • Legal example • Bar – group of attorneys • Bench – judges or the court. • Medical example • BP – blood pressure • OD – once daily. • Political example • Left-wing – progressive • Right-wing – conservative. Slang: Varies regionally and changes throughout time • Throw shade – insult someone in a sly manner • Woke – highly aware of social injustice issues.

Concise writing Broadcast writing uses simple sentences. Audiences consume simple and active sentences more easily. You should strive to write one fact or thought per sentence. This tactic helps your audience recall the information. Active sentences include a subject, an action verb, and a direct object. The subject performs an action on the direct object. The subject appears at the beginning of the sentence. The action verb follows the subject in the middle of the sentence. The direct object follows the action verb at the end of the sentence. •

Active sentence example: • The girl kicked the ball. • (Subject = girl; Action Verb = kicked; Direct Object = ball).

You can also keep sentences concise by eliminating or severely limiting the use of adjectives. Adjectives can be subjective, and you want to avoid biasing your scripts. Adjectives can also be easily challenged based on viewers’ perspectives. For example, let’s say you write a script labeling a crowd at a game as massive. What is your context for using massive? How does your audience view massive? Is it 50 people, 500 people, or 50,000 people? Those answers can vary depending on your viewers’ experiences attending and watching games. It would be more accurate to use information like ticket sales, the capacity of the venue, or estimates given by authorities using descriptive language that quantifies the crowd (e.g., dozens, hundreds, or thousands).

Produce moments and develop stories  21

If you have a keen eye, then you noticed that the first paragraph of the “Concise Writing” section is written entirely with active sentences. Here are examples of how to change a passive sentence into an active sentence. • • • •

The primary race has lost a candidate. (Passive) The candidate quit the primary race. (Active) The candidate has given their endorsement to a political rival. (Passive) The candidate endorsed a political rival. (Active)

Broadcast writers strive to eliminate needless phrases in their sentences. This usually occurs in passive sentences, which are common in most forms of writing. When a writer uses the passive voice, they’re placing the focus on the action and the object of the sentence and not the subject. This style requires your broadcast audience to rearrange sentences in their minds to figure out the subject of the sentence, which can stop them from paying attention to the remainder of the news story. Passive sentences tend to be longer as well, as you will see in the following examples. • • • •

The staffers for the candidate that quit were saddened by the announcement. (Passive) The announcement saddened the candidate’s staffers. (Active) Supporters for the candidate that dropped out of the race were angered once they heard the news. (Passive) The supporters expressed anger once the candidate quit the race. (Active)

Conversational writing Broadcast writers must strive to simplify news content so that members of the audience from different generations and cultures can easily understand the message being shared on the air. Anchors and reporters must be comfortable with sharing the information, so it is important for news producers and writers to talk to them about the scripts. You should strive to have your anchors and reporters sound like they are having a casual conversation with a friend. Clear and concise writing will help you achieve a conversational writing style. Make sure to use “you” in your writing to make your audience feel like the news anchor is speaking directly to each one of them. “You” language also allows anchors to give suggestions that can move your audience to action as you will see in the examples. • • •

You should cover your plants tonight because the temperature will drop below freezing. Stick around to see what you can do to win a new house. Local charities need your help feeding the hungry.

Complete information Broadcast writing needs to be concise because of the time constraints placed on a newscast; however, each news story presented should have complete information for your audience. Your news stories should always aim to answer the who, what, when, where, why, and how questions. If you do not have enough details to fully inform your audience, you probably need to hold off on sharing the story. However, there will be news

22  Keonte Coleman

stories that require you to air them without much information. These are situations where you and your station are prioritizing timeliness over having all the details. This happens often when there is breaking news. Whenever you are not able to provide a complete story you should try to make it clear to your audience why you do not have all the information and that you are pursuing more details. Current information Broadcast news writing is delivered in the present tense to facilitate a conversation with the audience and provide a sense of timeliness to the news stories. You should always strive to introduce news stories in a timely fashion with the most current information leading or near the top of the story. Anchors and reporters are speaking to the audience in real time so have them lead their stories with the very latest details. Producers can give anchors and reporters updates during the newscast to ensure they have the latest details. Please note that it doesn’t matter when the news was gathered. Present tense writing should be used whenever possible. For example, if a reporter attended a press conference three hours before the newscast, they would still share the information using present tense writing: “The candidate vows to campaign on behalf of the party’s top candidate.” In other forms of writing you might use the verb vowed because the press conference happened in the past, but in broadcast writing the present tense is preferred. Correct information Journalism requires that the information provided to news consumers is correct and not misleading. Broadcast journalists must make sure they are accurately relaying their information and properly attributing the sources of their information. You must carefully analyze all scripts to make sure information can be verified and all details are properly sourced. You’re also responsible for making sure that names and words are spelled and pronounced correctly for the audience. Check all text that will appear on the screen to make sure the information is accurate and matches the content in the news story. You’ll want to include the phonetic spelling of difficult names and words to help anchors and reporters pronounce them correctly. Incorrect or misleading information that airs must be corrected as soon as possible. You must alert the audience to the updated information along with apologies for airing the mistake. Leave time for teases Once the scripts are written you should spend time writing the newscast teases. A tease is a short version of an upcoming news story that highlights an intriguing element within it, ideally to entice the audience to watch, or continue watching, the newscast. Pre-newscast promotional teases appear during commercial breaks of regularly scheduled programs and encourage viewers to choose your news station. Pre-show teases appear before your news program begins during the final commercials of the lead-in programming. You may or may not be responsible for creating the teases outside of the newscast depending on your news station. Those teases could be handled by your news station’s creative services department. That department also creates promotional videos highlighting the television station and commercials for local businesses.

Produce moments and develop stories  23

You’ll definitely be responsible for producing headline teases (intriguing snippets of news items that appear at the very beginning of the newscast, either before or after the news station’s opening animation, and before the news anchors introduce themselves) and commercial break teases (intriguing snippets of news that are placed at the end of news blocks before going to a commercial break, which are designed to stop viewers from changing the channel during the commercial break). You’ll find tease writing tips later in this text in Chapter 4: Writing Headlines and Teases. Formatting guide Broadcast news writing typically appears in a two-column format. The left column contains production commands for the production crew. The right column contains the copy (same as the script) and production commands for the anchors and directors. You’ll find that newsroom rundown software converts documents to two-column forms when printed, but the actual document you’ll be working in will appear like a typical word processing document. Your newsroom will decide if you write your scripts in a standard sentence format with upper and lowercase letters or if you’ll write everything in all capital letters (all caps). Anchors’ scripts are in all caps in the teleprompter to make it easier to read the scripts. The rundown and teleprompter software can convert the regular text to all caps, so the decision usually defaults to the newsroom’s standard practice.

Layering news elements to build a sophisticated newscast Okay, you now need to start thinking visually about how you want to tell the stories written for the newscast. Visually, your goal should be to reinforce the words that your anchor(s) are delivering in a compelling yet non-distracting way. You should aim to layer the news elements to build a sophisticated newscast. It’s possible to use the elements separately or mix them in numerous ways. Think of these layers while writing because different elements might inform the way you tell the story.

Figure 3.1 Middle TN News co-anchors delivering a reader while standing in front of a virtual wall monitor graphic.

24  Keonte Coleman

The most basic and foundational producing element is the reader, a news script read by your anchor(s) without visual aids to help your audience follow along with the broadcast. The simplest newscast that you can create would consist of your anchor(s) only doing readers. They are commonly used but should be done so sparingly because it’s not visually appealing to only see the anchors reading without other content to break up the monotony. Readers also limit your opportunity to communicate with anchor(s) during the news block because they’re on-camera reading. Readers make for good contingency plans, however, if you must share some news but do not have visuals at the time. Layer one: on-screen graphics If readers represent your foundational news element for delivering the news, then on-screen graphics represent the first layer to help you increase the engagement between your viewers and the content. On-screen graphics are texts and images that relate to a news story and appear on the screen while the anchor is on-camera reading scripts. On-screen graphics can take the form of lower third graphics, over-theshoulder (OTS) boxes, or monitor graphics. Lower third graphics are horizontal textboxes that hover over the bottom third portion of the screen and include the main point(s) being spoken by the anchor. You’ll also hear them referred to as character generators (CGs), chyrons, supers, or banners. An OTS appears to float next to an anchor’s head in a single-camera shot, and it typically contains a photograph and a small amount of text describing the news item being delivered by the anchor. The monitor graphic plays the same role as an OTS, but it is larger and is displayed inside of a monitor that can be placed behind or beside your anchor(s). These tools bring extra elements to the screen that can help keep your viewers’ attention or allow them to quickly connect to the content by reading the text and/or looking at the images. These elements are also very common, and they present the same issue as readers when too many of them are placed together because your anchors remain on-camera the entire time. Layer two: b-roll and full-screen graphics Now we will add another layer with elements that can cover your anchors and bring more of your news content to life for your audience. You should try to include b-roll (recorded video footage of news content) and full-screen graphics for as many news stories as possible because they allow viewers to connect with the content instantly. Raw b-roll is edited to match the news script, which creates a news element called a VO (voice over) video. The VO can transport viewers to the location and even the time that a news event took place. News anchors read the VO scripts live while the edited video plays content that matches the script. For example, if a news anchor reads a story about holiday shopping, the VO could showcase images of festive retail stores and shoppers paying for items and walking out of the stores with shopping bags. Full-screen graphics (GFX) will cover the entire screen showcasing images and text that reinforce the content being delivered by the anchor. Full-screen graphics should be easy to read and understand. Resist the urge to clutter a graphic with a lot of information. It would be better to create multiple graphics and change them during the broadcast.

Produce moments and develop stories  25

Figure 3.2 This is a VO of a house for sale with a banner reinforcing the real estate story.

Figure 3.3 A f ull-screen graphic was created to compare voting percentages of college students from different years.

VOs and full-screen graphics hide your anchors from the viewers, so they give you a little more time to communicate with them during the news block. Anchors learn to listen to the news producer while reading, but if they are on-camera listening while they read, they could make an awkward face that might confuse viewers. It’s up to you to decide when you’d like the elements to be shown on the screen, so your production commands have to be made clear in the script about where you want the director to take (insert) the news element. Directors will drop (remove) the news element once they see a new take command in the script. VO Explanation: The following is a VO script where a single anchor starts on-camera with an OTS beside their head containing the keywords “Holiday Shopping” and an image that represents holiday shopping. After the anchor says “…

26  Keonte Coleman

discounts today,” the director will take the VO and insert a two-line banner that says “Holiday Shopping Bargains” on the top line and the shopping location on the bottom line. The audience no longer sees the anchor, but they still hear the anchor reading the script. The audience sees video of people shopping in cold weather clothing, a couple with a big-screen TV in a shopping cart, and other video of shoppers purchasing items and walking with shopping bags. The story ends when the anchor says, “…they desired.” The director would then move to the next item in the rundown. VO Script: [TAKE OTS: Holiday Shopping] [ANCHOR 1] RETAIL OUTLETS REWARD HOLIDAY SHOPPERS WITH DEEP DISCOUNTS TODAY. [TAKE VO] [TAKE BANNER (3 sec.): HOLIDAY SHOPPING BARGAINS/ Shopping Location] SHOPPERS BRAVE THE FREEZING TEMPERATURES TO TAKE ADVANTAGE OF DOOR BUSTER SALES. THIS COUPLE STAYED UP ALL NIGHT TO LAND A BIG SCREEN T.V. FOR 60 PERCENT OFF THE NORMAL PRICE. OTHER SHOPPERS ARE GRABBING GIFTS FOR THEIR LOVED ONES. MANY SAY THE TEMPERATURES DIDN’T BOTHER THEM ONCE THEY FOUND THEIR DESIRED ITEMS. Layer three: audio and soundbites The next layer to incorporate into your newscast focuses on audio and soundbites. Audio and soundbites can take on many forms. Most times the audio is layered with your VO or connected to it. You can introduce natural sound (nat sound/NATS), which

Figure 3.4 Here’s an example of a SOT with a super showing the interview subject’s name and title.

Produce moments and develop stories  27

is the ambient noise captured while recording b-roll that gives the audience another connection point to the broadcast information. You’ll mainly see NATSVO where there will be several seconds of raised natural sound before the anchor begins to read the VO script. Newscasts should also be filled with sound on tape (SOT), which are edited or condensed soundbites recorded during interviews. Soundbites give viewers an added way to connect to the news content, and they allow you to break up the monotony of hearing from just the on-air news team. A common element paring is a VO/SOT, which means you add a soundbite after a VO to personalize the content with someone who can speak to the information in the VO. After a SOT ends you can immediately come back on-camera, or you can add other elements to cover the tag. Common commands used with a SOT would be SOTVO or SOTGFX where those elements would be edited to the end of the soundbite to cover the tag information read by the anchor. VO/SOT Explanation: We’re continuing the previous news script example by adding a SOT immediately after the VO. The VO ends when the anchor says, “… they desired.” The director immediately takes the SOT and the banner with the interview subject’s name and inserts it. The SOT plays for 10 seconds and ends with the shopper saying, “…holiday shopping today.” The anchor will come back on-camera with a different OTS referencing the holiday shopping hours and read the tag (ending) for the story. VO/SOT Script: [TAKE OTS: Holiday Shopping] [ANCHOR 1] RETAIL OUTLETS REWARD HOLIDAY SHOPPERS WITH DEEP DISCOUNTS TODAY. [TAKE VO] [TAKE BANNER (3 sec.): HOLIDAY SHOPPING BARGAINS/ Shopping Location] SHOPPERS BRAVE THE FREEZING TEMPERATURES TO TAKE ADVANTAGE OF DOOR BUSTER SALES. THIS COUPLE STAYED UP ALL NIGHT TO LAND A BIG SCREEN T.V. FOR 60 PERCENT OFF THE NORMAL PRICE. OTHER SHOPPERS ARE GRABBING GIFTS FOR THEIR LOVED ONES. MANY SAY THE TEMPERATURES DIDN’T BOTHER THEM ONCE THEY FOUND THEIR DESIRED ITEMS. [TAKE SOT: TRT 10 seconds; Outcue: holiday shopping today.] [TAKE BANNER (3 seconds): Full name Shopper / Holiday Shopping / District Location] “We weren’t going to allow these freezing temperatures to stop us from shopping today. We put on some warmer clothes and were able to nearly finish all of our holiday shopping.” [TAKE OTS: Holiday Shopping Hours] [ANCHOR 1] YOU CAN STILL CATCH SOME DEALS TODAY BECAUSE RETAILERS EXTENDED THEIR SHOPPING HOURS.

28  Keonte Coleman

QUICK TIP: ELEMENT EXAMPLES AREN’T UNBREAKABLE RULES Please use the element examples as guides, and not as rules that can’t be broken. The VO/SOT example ends with the anchor coming back on-camera with an OTS, but it could’ve ended without an OTS, or with a VO, or with a GFX. It all depends on what you think will best relay the information to your audience.

You will also find sound effects used in newscasts with stinger animations (ANM), which are visual motion effects used to quickly signal an abrupt change in the newscast. You will see these items introduce news segments like sports and weather. They’re also used for transitions to items like breaking news or in-show teases. Embedded music, with or without lyrics, also appears in newscasts. You’ll typically find these audio tracks playing during the opening and closing of the newscast, or when returning after a commercial break. This music is usually associated with the branding of the newscast and includes the station name, logo, and often the on-air news team. You don’t generally play a role in this content except to override the playing of it to gain more time for the newscast in the event of breaking news. There are news organizations that add music to their actual news content. This practice can be viewed skeptically because music has the power to skew the feelings and reactions of viewers. The neutrality of the newscast and news content can be called into question when the mood of the music and/or lyrics are viewed as persuasive or manipulative. Detailed standards should be followed by the news team on the use and the selection of the music that will be attached to news content.

Figure 3.5 This is the opening animation used for Middle TN News.

Produce moments and develop stories  29

Layer four: news package A television news package (PKG) allows you to combine video, soundbites, natural sound, and normally a voice track to tell stories with some depth. The voice track will come from the news reporter or anchor working on the story. They’ll weave together the facts they’ve gathered from researching the story and information gained from the sources interviewed. A news package will generally contain soundbites from different perspectives. Everyone interviewed for a news package does not need to be seen in the news package, and individuals in the news package can be used multiple times. The creativity allowed with telling news stories means there are countless ways to create a PKG. Your job when you’re offering feedback on PKGs is to make sure that the content is being delivered clearly, the best elements are used, and the story stays within the time duration you provided. There’s another version of the PKG known as a natural sound package (NATS PKG), which is a package filled with video, natural sound, and soundbites but does not have a voice track. A NATS PKG is a great way to showcase stories that are rich with sounds such as festivals and sporting events. Layer five: news boxes You can use news boxes as a creative layer to showcase multiple elements on the screen at one time. News boxes are animated graphic window frames that can contain anchors/reporters, live or recorded sources, b-roll, or full-screen graphics. An anchor and live news reporter two-box is probably the most recognizable example of news boxes. The individual boxes can be the same size or vary in size depending on what you would like to feature. Newsrooms normally have standard backgrounds for their news boxes and will update the text to fit the situation; however, specialized graphics can be created to emphasize the uniqueness of some news content (e.g., election coverage or natural disasters). Layer six: live camera views Including live camera views adds a sense of urgency or timeliness to your newscast. You can bring your viewers to various scenes by tapping into your station’s network of cameras. You might also have access to live camera feeds from other news organizations or local and state governments. These cameras can provide timely information about traffic, weather, and other news events. Viewers might like a behind-the-scenes glimpse of your television station, so give them some candid shots of your newsroom. Layer seven: studio camera movement Studio camera movements can bring a layer of intrigue to your newscast instead of the use of only static camera shots. While it’s possible to have an anchor look straight at one camera the entire newscast, you should aim to have your anchor turn to different cameras on the set, and use different camera movement techniques to add some visual appeal. Studio camera movements can occur by manipulating the camera through automated systems or with studio camera operators. There are six camera movements (zoom, pan, tilt, dolly, truck, and pedestal) you can use normally when introducing

30  Keonte Coleman

Figure 3.6 Middle TN News airs live traffic cameras from the TN Department of Transportation.

Figure 3.7 The Blue Raider Extra Point Show with three co-anchors.

anchors, establishing anchors in new locations, going to commercial break, or ending the newscast. When you have multiple anchors, it is important to allow them to be on-camera together as well as have their single-camera shots. The dual-camera shot allows the anchors a chance to show their personalities and camaraderie with their co-anchor(s). The single-shot allows the anchor to speak directly to the viewer and form a stronger connection with the audience. A common tactic is to begin a few of your big or unique stories with dual anchors doing a split-read where they both read a sentence on-camera together, and then one anchor turns to another camera and finishes reading the news script.

Produce moments and develop stories  31

Layer eight: move anchors off the news set Stations are creating more locations within their newsrooms to deliver the news. This gives you another way to separate your newscast from the competition. Anchors and reporters can get off the news desk and front stories all over the station while sitting or standing in front of different backdrops (e.g., newsroom monitors, assignment desk, control room, outside patio, or editing suites). Anchor movement should be discussed and walked through before the newscast to ensure the viability of the shot. You should work closely with your production crew to plan effortless moves, so that your anchor remains composed while delivering the news. Layer nine: conduct live interviews and live shots Live interviews, both in-studio and on-location, present additional news elements to layer into your newscast. Live interviews are typically reserved for big news events and newsmakers except for the situations where a newscast has standing interview segments. Live interviews present a high degree of risk and reward because you don’t have any control over what interview subjects will say or how your anchor or reporter will respond. It is always a good practice to have backup plans ready for when the interviews are too short, too long, or if something unexpected is revealed. Live shots happen when your news anchors or reporters are on-camera reporting live from a location. News crews can take your viewers to the scene of where events are happening and give real-time updates. It’s important for those conducting live shots to find active ways to make their live shots memorable. Live shots aid in connecting your news station to local communities because viewers see your news crew in their neighborhoods. Live shots are great tools, but there are some downsides. There are higher risks of technical issues happening when delivering news through this method. When going live in highly populated areas there will be individuals who may try to say or do

Figure 3.8 Middle TN News anchor fronting 2020 election night coverage outside of the news studio while adhering to COVID-19 restrictions.

32  Keonte Coleman

Figure 3.9 Middle TN News reporter interviewing a candidate live on-air for 2020 election night coverage.

something obscene on-camera, so you’ll need plans to handle these situations. You’ll find more details about going live in Chapter 11: Remote Location Live Shows. Each of the items listed in this section can and should be layered with other items to make your newscast stand out from the competition. You shouldn’t look at the layers as items that need to be followed in a certain order, but items that can be mixed to present information clearly and compellingly.

Building out news stories To create memorable newscast moments, you must identify the items that lend themselves to expanding beyond the initial news report. This is known as building out a news story. It’s possible to expand most news stories, but you must be selective about what receives this attention because of the finite amount of time in a newscast. Buildouts can appear before and/or after a news story has been delivered. Build-outs can be used in countless ways (e.g., giving historical context, introducing varying sides of a contested issue, identifying key figures/terms, or highlighting updates). This technique can be used to make a big story told by a team of reporters even bigger by adding more information that couldn’t fit into the reporters’ news elements. Build-outs can also be used on news content when you have only small developments in an ongoing news story, but you have historical content to share that will bolster the updated information. Build-outs work well with all news genre categories, so you can use them on business, crime, education, sports, weather, etc. Use cold opens selectively There is a special build-out that is typically used to introduce big stories, and it’s called a cold open. A newscast cold open presents powerful information quickly before a major news story. Cold opens are typically composed of some combination of great video, natural sound, and soundbites. The information must be ultra-clear so that none of the details are mistaken, since it will be the first introduction to the story. The information that is given must stand on its own, with everything within the scene providing all the

Produce moments and develop stories  33

needed context. If any of these elements do not exist, you should refrain from using a cold open. Examples: • •

NATSVO of crowds chanting slogans to combat social injustices while marching in the street carrying signs to match the chants. SOTVO of an emotional athlete discussing how it feels to win a championship as the scene behind the athlete shows the team celebrating.

Flow You must be mindful of the flow of the newscast. Flow involves the logical progression from one news story to another. You should aim to seamlessly stitch a newscast together, so the audience understands the beginning and end of different news items, but are not jarred or offended by certain news stories being next to each other. Transitions work – use them You must pay attention to transitions (elements used to direct the audience’s attention to new topics within a news story, between stories, or between news blocks). It is possible to place a tragic news story next to the most inspiring and uplifting news story, but without a well-crafted transition, you could confuse and even upset your audience. There are several ways to help your audience clearly understand new points within a news story or to indicate that you are beginning a different news story. You can create transitions through your writing, by switching anchors, or by using audio and visual cues (animations, b-roll, camera shots, or natural sound). It’s a good practice to include transitional words or phrases at the beginning of the new section or story as opposed to at the end of the previous news story. A newscast can be very fluid, so if the order changes, it is a lot easier to catch and edit a transition at the top of a news story. Pacing It’s your responsibility to create the pace within the newscast except for, in most cases, sports and weather segments. There are two basic strategies used for pacing, with many producers choosing to use a hybrid of the two strategies. Pacing strategy one: create a newscast with as many news stories as possible in the allotted time but only provide a few key details for each story. This model is normally reserved for shorter newsbreaks and updates. Pacing strategy two: create a newscast with a few news stories of the day, but provide more depth to the chosen news items. This model can normally be seen on news magazine-style broadcasts. Hybrid pacing strategy: combine strategies one and two to create a hybrid model that has a mixture of news items with a few details and those that are more in-depth. This model is typical of most local newscasts but there can still be a lot of variation with this model. Obvious pacing strategies There are obvious and subtle ways to dictate the pace, but some factors that influence the pace will be out of your control. The obvious elements that dictate pace are story count, story duration, story element type, and anchor read rates. The story count is the

34  Keonte Coleman

total number of different news elements that appear in the newscast. A newscast with a high story count will likely be faster paced than a newscast with a low story count. The story duration, or total run time (TRT), is the amount of time it takes to deliver an individual news item, and it also affects the pace. The number of facts and details will directly correlate with the amount of time given to a news item. The news elements chosen and the order in which they appear can play a role in making your newscast feel fast or slow. A series of 20-second readers and VOs can appear to be fast and captivating if done with two news anchors sharing the reads. However, if one anchor reads the same number of stories in the same amount of time, the audience could find the presentation slow and monotonous. Breaking up your elements with different sounds and voices, be it your anchors or soundbites, helps move the pace of the newscast along because new sounds and voices can urge your viewers to refocus on the newscast if they are multi-tasking. Your news anchors have a calculated read rate, which is the amount of time it takes them to read the news script clearly to the audience. The read rate is placed into the rundown software system, so you can place the correct read rate into each script with the corresponding anchor or reporter. Anchors can have slow, medium, or fast read rates, which will directly impact how long it takes them to finish telling a news story. It’s important to get accurate read rates to prevent your newscast from getting off schedule because your anchor(s) are reading slower or faster than planned. Subtle pacing strategies Subtle ways to dictate the pacing of the newscast include creating movement in the newscast, varying news elements, introducing soundbites, and talking directly to the audience. You can create movement within the newscast by having anchors do camera turns where they physically start talking to one camera and then turn to another camera. You can also create movement by using the studio cameras. You will usually notice movements such as dolly, truck, and zoom at the beginning and end of news blocks, but you will also see those camera movements used to highlight the beginning of a big news story. You can also move anchors to different places in the newsroom to create a sense of pace. Pacing factors out of your control Two factors that can affect the pace of your newscast are out of your control: the media market and your company’s philosophy. The location of your media market may dictate the accepted pace for your newscast. There are media markets where you are expected to produce a high story count and rapidly move throughout the news of the day, and there are other markets that will devote more time and depth to the news stories, which will create a lower story count. The philosophy of your television station or station’s management group can also dictate the pace of your newscast. The philosophy can be a competitive strategy based on differentiating your newscast pace from the other stations in your market. Since these two elements are essentially out of your control depending on your news station or the market, it will be important for you to understand how to create newscasts along the pacing spectrum. You may grow to have a preference for one style, and if that’s the case you’ll want to identify news stations or station groups that align with your preference as you advance in your career.

Produce moments and develop stories  35

The producing moments bottom line You can produce great newscasts by following the broadcast news writing guidelines and being sure to layer your news elements throughout the newscast. Every news item can’t be built out, but you should make it a practice to identify a few news stories in each newscast that you can devote more news elements to in order to make the story feel special. You’re supervising the flow and pace of the newscast, so it’s important that you begin to notice what elements make your newscast feel slow and methodical or rapid and exciting.

4

Writing headlines and teases Christine C. Eschenfelder

“Right now…how to grab your audience and keep them.”

The basics of headlines and teases You have already started putting together the newscast. Your reporters have some interesting stories. You picked a great lead. You are such a good producer. Now you must make sure the audience watches. How do you get them interested and keep them interested in the newscast? Well-written headlines and teases. Producers write great headlines and teases. What are headlines and teases? They are basically promotional copy in the newscast. Headlines and teases get the viewers’ attention, make them interested in what the newscast has to offer, and let them know what is coming up in the newscast. They promise the viewer something useful or interesting is on the way. Headlines grab the viewers at the start of the newscast. Teases at the end of each block of the newscast keep the viewers coming back after the commercials by getting them excited about the interesting and useful stories still to come. So-called “deep teases” tease a strong story coming up later in the newscast but teased early, after the producer has assessed the audience will likely hold on to see it. There are many choices for news and information. Well-written, creative, and visual headlines and teases will help ensure that you get the audience interested in what your newscast has to offer and keep them watching until the credits roll. Placement of headlines and teases •

Headlines are the first chance the producer gets to entice the audience to watch their newscast. They usually appear right before the open of the newscast and often include several interesting stories that are coming up in the next half-hour.

Example of a headline: (Camera shot of two anchors on the news desk) Anchor 1: New tonight… (Take VO of plane crash scene) The latest on the deadly plane crash in south county. We’re live on the scene. DOI: 10.4324/9781003037729-6

Writing headlines and teases  37

(Wipe to VO of school building) Anchor 2: Plus…more on the virus that’s shutting down schools across the city. What parents need to know. (Wipe to VO of driveway) Anchor 1: And…a north county grandmother says she was ripped off by the contractor she hired to fix her driveway. (Take SOT of grandmother) “It’s the worst thing I’ve ever seen. Look at that. I paid a lot of money for that.” (Roll the news open)

Teases usually appear at the end of each news block. You’ll recall that a rundown is essentially an outline or map of the newscast broken down into blocks or segments. These blocks or segments are most often denoted by letters (A-block, B-block, etc.) or numbers (100, 200, etc.). Between each block is usually a break with commercials, promos, and public service announcements. Right before each break, the tease tells the viewer why they should stick around for more news. What is coming up in the remaining blocks? It’s likely that you still have a full block of weather coming up as well as a full block of sports. There is more news coming up in the B-block, and you may have a “kicker” story at the end of the newscast in the final block. If used, the kicker often serves as that last story you leave the audience with before the anchors say their goodbyes, wish the audience well, and invite them to return tomorrow. Kickers can give the anchors something nice to chat about before they say goodbye. Kickers are often short, soft, feature-type stories. They make for great teases because they are often visually interesting. So, let’s think about writing the tease at the end of the A-block, which is the first block of the newscast. Remember, we have more news, some weather and sports, and likely a nice little kicker still to come.

Example of a tease: (Both anchors on a two shot on the news set) Anchor 1: After hundreds of letters and thousands of dollars in donations…bark park is finally open…and living up to its name. (Take NATS VO (video with natural sound underneath) full of dogs barking at the park for 0:03) (Cont VO of dog park) Anchor 1: We’ll take you on a tour. (Wipe to VO of people in a long line) Anchor 2: Also…long lines outside the DMV today…some people were even turned away. New details on what caused it all. (Wipe to VO of rainy weather) Anchor 1: And…Tim says we can expect much more of this the rest of the week. Details on when you’ll need the umbrellas. (Roll the break)

38  Christine C. Eschenfelder

Let’s unpack that tease. The first story in the tease is the “bark park” story. It’s a kicker that will come at the end of the show in the final block. The tease incorporates video of dogs running around and a nice natural sound pop of dogs barking. While we have great video and sound, keep in mind that not everyone loves dogs or dog parks. This is why the tease was written in a way that indicates this park had a lot of public support. In Aim for the Heart, Al Tompkins cautions writers to avoid using the words “If you” when writing a lead. The concept also applies to teases. Tompkins made a funny example of a lead that might start by saying “If you like Jell-O….” Well, if you don’t like consuming jiggly gelatinous substances, how are you going to feel about that lead? What will the non-Jell-O loving audience members do? Perhaps change the channel, right? The same can be said about teases. The dog park tease was written with the “If you…” concept in mind. While many people do love dogs, think of those in your audience who do not. If the producer wrote “If you love dogs or dog parks” why should those who don’t love dogs care about your dog park kicker? The quick bit of information about lots of letters and donations tells the audience that this is more than just a story about a place for dogs to go play. For those in the audience who may like dogs even just a little, the producer uses video and natural sound of adorable dogs running around in the park. Dog lovers are sold. More to unpack. Remember, the first part of this tease comes from a story that is the last one in the show. There are several more blocks and stories still to come. Why would the producer want to tease the kicker at the end of the A-block considering there is much more to come before the kicker airs at the end of the show? Here’s something great producers do when writing effective headlines and teases that keep the viewer for the entire newscast: they tease deep and next. As noted earlier, to tease “deep” means to tease something later in the newscast. If your newscast has a kicker, and many do, remember that the kicker comes at the end of the newscast. If you are teasing deep, you might tease the kicker at the end of the A-block of the newscast. You may also tease it again at the end of the block right before the final block where the kicker will appear. If the audience is interested in the kicker, they will keep watching until the end so they finally see what you have been talking about for almost 30 minutes. If you do this, however, don’t tease something silly that is not worth their time. If you continuously tease nonsense, your audience will start watching the competition instead.

It’s a trap As a good producer, don’t fall into the trap of fill in the blank or template-style tease writing. Some producers write predictable phrases over and over such as “Coming up next,” “After the break,” “Still to come,” or “When we come back.” Those phrases aren’t forbidden but the problem with those overused phrases is that you’re giving your audience verbal clues that a commercial is coming up. Many viewers don’t love commercials, so they are now free to click around to the competition without even listening to what you have in store for them. Some producers write teases that, in the beginning, sound more like another story. The audience gets interested in the story and soon discovers that if they want more, they need to come back in two or three minutes.

Writing headlines and teases  39

Example of a tease that sounds like the next story: (Two shot of anchors on camera) Anchor 1: A year ago…Millie’s Diner in south county lost its license. Anchor 2: But loyal customers fought to get Millie back in business. (Take VO) And now the doors are about to open again. Next…we’ll tell you how Millie’s fans made it happen. (Roll the Break)

Do you notice that the first line of the tease, “A year ago…Millie’s Diner in south county lost its license,” sounds like a story about a diner is underway? But it’s actually the tease for that story which airs after the commercial break. Clever, right? If the producer had written, “Coming up after the break, we’ll tell you how loyal customers worked to get their favorite diner back in business,” viewers hear “coming up” and know it’s time for a break. They can leave now and maybe come back later. Again, it isn’t forbidden to write phrases such as “coming up” or “still to come.” We hear them all the time in newscasts. The point here is to not overuse them or to get into template-style tease writing.

QUICK TIP: EXCITING WORDS Peppering your teases here and there with exciting words such as “new” and “now” can create excitement and immediacy. Just don’t fall into the predictability trap.

Writing style for headlines and teases When you first start writing teases, you may hear one of your high school English teachers in your head scolding you for writing such short sentences. Writing copy that is to be read aloud by someone to an audience is a little different than what you are probably used to writing. It is conversational. You must master conversational writing in broadcast. In broadcast, we write like we talk. This type of writing is different from the type of writing for a research paper. Broadcast copy is written in a conversational style. The sentences are short and simple. The same goes for headlines and teases. Think of how you would get your mom or friend interested in a story you heard on the news or something that happened to you today. Perhaps you might say, “Mom, you won’t believe what my teacher did in class today!” Or, “Kortni, there was a beautiful dog on campus today. It was for a really cool pre-finals event.” You are setting up this happening, getting them interested in this story you have to tell. When writing teases, get the audience interested in the important and interesting stories your newscast has in store.

40  Christine C. Eschenfelder

QUICK TIP: WRITE LIKE YOU TALK Just as you would in news copy, for headlines and teases, use conversational writing that gets the audience excited, interested, or invested. Use short, clever sentences.

Don’t forget that in broadcast writing, contractions can be our friends. It is very conversational to write “it’s,” “don’t,” and “can’t.” One word of caution about contractions, however. You must be sure the audience understands that you mean “cannot” when you write “can’t.” If you are unsure that the “not” will not be obvious, write it out instead of using a contraction. The message is the most important thing to consider. We must make sure the message of the story is clear to the viewer.

Creativity counts Be creative. Headlines and teases are fun to write. Graeme Newell of 602 Communications says that when producers are writing teases, they are not writing news, they are selling news. Newell says, “In most shops, producers are bringing their journalism skills to teasing. But teasing isn’t journalism. Teasing is advertising.” Sell the audience on your story. What is the benefit for them to watch the next story? What do you have to offer that the other station does not? What about the story is unexpected? Also, don’t be so clever in your writing that the audience isn’t really sure what you are teasing. Television news moves quickly. Make sure you don’t confuse the viewers. Finally, when you are writing headlines and teases, just as you would with any broadcast copy, you must read it aloud to make sure it sounds right, that it sounds the way you intend it to be heard. Remember, we write broadcast news copy for the ear so let your ear tell you how it sounds. A lot of things look good on paper that don’t sound great on television. Listen to it.

QUICK TIP: READ IT ALOUD Read all your broadcast copy aloud after you write it. This includes headlines and teases. At first, you may feel a bit self-conscious reading copy aloud, but people in newsrooms across the country are reading their copy aloud to make sure the words they wrote sound right when they are spoken.

Words, video, and sound: the trifecta Writing to video and sound is also a strategy for good headlines and teases. Good producers communicate with reporters and videographers on what angle of their story to tease or what video and sound they have that would be great for a headline or tease. You as the producer must know what the story is about in order to tease it. If you haven’t seen the video or heard the sound, ask for a description or go look for yourself. Reporters and videographers can make great suggestions for teases. The newsroom is full of creative people. Don’t be afraid to tap into that creativity.

Writing headlines and teases  41

People working in television news have three powerful tools that can be used to craft teases that are works of art: video, audio, and words. Al Tompkins, senior faculty for broadcasting and online at The Poynter Institute in Florida, advises those writing headlines and teases to “Link the words, pictures, and sound. Before you write, look at the video you are teasing.” Tompkins also suggests that writers make teases a collaborative process in which video editors and videographers can make suggestions. They are very familiar with the shots. Ask them if there is a great shot they captured or saw while editing that would make a great tease. Ask the reporter on the story for tease ideas. They know the story better than anyone else. They know the “what’s in it for me,” aspect of the story, the great soundbites, the most powerful shots. As a producer, you also need to know if the reporter is planning to unfold surprises in the story. Do not ruin the surprise in your tease. Reporters work very hard on stories that have surprises. Save the surprise for when the package airs. However, if a story lacks focus, it will be hard for you as a producer to write a tease for it. If you don’t know what the story is about, how can you tell the audience what to expect? Tompkins thinks, tease writers have problems when “they don’t understand the story and the story is not focused enough yet.” If you as the tease writer don’t understand the story, you may well end up writing a tease for a story that isn’t really the story. The audience won’t be happy. Take the time to ask the questions necessary to get it right.

A good story makes a good tease Producers have great news judgment. They can sift through dozens of potential stories for their newscast on any given day and decide the best stories to include. There is a limited time available in the news hole of a newscast, so producers choose carefully. They make decisions based on several factors including viewer benefit. Producers look for stories that are important to their specific audience. Producers love breaking news. Enterprised stories (stories a reporter or producer came up with through their own research and not from a media release) and investigative stories also make for strong content in a newscast. Once a producer has selected the stories for a newscast, they think about which of those stories they will use for headlines and teases. How do you pick? Breaking news makes great tease material. If there is a story that everyone will be talking about on social media or at work the next day, that’s a good candidate for a tease. If a story has great video or great sound, it will make a good tease. If a lot of people in the community are affected by the story or need the information provided, that’s another tease. Similarly, consumer stories like recalls or health stories like a measles outbreak are also good stories to tease. Continuing coverage of a story is also a good tease, especially if there are interesting new developments. The lead story is always in headlines. A great story in the B-block may also be in headlines. Good producers don’t put all the good stories in the A-block.

QUICK TIP: LOOK FOR GREAT VIDEO AND SOUND When looking for ideas for headlines and teases, good producers talk to their reporters and videographers about the stories they are working on for the newscast. They ask about their best sound, best video, and anything that surprised them. Those are the elements that will make great headlines and teases.

42  Christine C. Eschenfelder

Producers often put health stories in a newscast. Most people are interested in topics like staying healthy and medical breakthroughs. Reporters often do stories about people battling an illness or condition. These can make good headline and tease material, but there is a trick to teasing health stories. Graeme Newell of 602 Communications advises producers to make sure they are teasing a health story that is useful to many in the audience instead of only a small portion of the audience. Newell suggests producers tease health stories that most everyone is interested in such as healthy foods and disease prevention. If weather is next, producers tease weather and often something else coming up after weather. If sports is next, producers tease sports and perhaps something else coming up after sports. Do you see a pattern? The ownership of the station for which you work may also have policies on what they want you to tease, specific language or slogans they want producers to write in teases, and segments or specials that must be teased.

Weather and sports “Coming up next, Sally Ann has the scores.” “Still to come, Keonte has the forecast.” Really? Do you think viewers are surprised that the sports anchor will have scores or that the meteorologist will have the forecast? Do not tease weather and sports by taking the lazy way out. Get up and go talk to the sports anchor. Get up and go talk to the weather person. What is interesting about sports today? What is different about weather today? Every day is different. Find a way to make your sports and weather teases different every day. What’s in it for the viewer today? Why should they care about sports and weather today? Everyone is affected by the weather. Everyone. During a morning newscast, everyone watching will want to know if they need an umbrella or a jacket. Morning newscasts dedicate a lot of time to weather. Give your viewers an idea of what’s coming up in the forecast so they will come back and watch. Newscasts later in the day and at night tell viewers what to anticipate the next day and often the next five to seven days. Think about your audience and its needs. Do you work in a market where the weather fluctuates or where you have a lot of tourists? Or an area where people enjoy outdoor activities? You may work in a market where the air quality is poor or where there is a good amount of pollen and allergens. In severe weather situations, your newscast will likely be a team effort including the meteorologist and at least one reporter if not more depending on the situation. In headlines, tell your audience you have them covered with information and details about the weather. Let them know you are on top of it. Tell them why it matters that they watch. You will use compelling video and quick excerpts from soundbites. You may pop up one or more of your live reporters from the scene telling the audience about where they are and showing them the rising flood waters or boarded up windows. You will put up a lower third with a few words communicating the urgency of this weather event. This is important for your audience. They need information that is sometimes a matter of life and death. Ask anyone in the news industry who has covered severe weather including hurricanes, floods, or tornadoes in which people lost their lives. Our viewers must have this information in order to protect themselves and their loved ones. Let them know you have what they need in the headlines and teases.

Writing headlines and teases  43

Not everyone cares about sports or even likes sports. Apologies to the sports reporters and producers reading this book, but in a local newscast sports is not likely the star of the newscast unless there is a big sports story. Depending on the market in which you work, sports may feel like life or death to some viewers. Markets with professional teams and college towns with high-profile athletic programs have a lot of ravenous fans awaiting the scores and highlights as do cities and towns with vigorous high school sports. Professional teams and bigger college programs get coverage from the major sports networks, social media, and websites but local news covers them as well. High school sports depend more on the local stations for getting the highlights and scores. As mentioned earlier, do not tease sports by telling the audience that Chris has scores and highlights coming up. They expect that Chris, the trusty sports anchor, has done her job and gathered together the scores and edited some highlights for them. Make the tease more compelling. As you just read a few paragraphs ago, get up and walk over to the sports department (which may be a couple of desks next to each other across the room or an entirely different room) and ask what’s cool and interesting today in sports. What are the best shots or great plays? Did an outstanding high school player get signed by the nearby university and there’s great sound from his mom who is so excited? This will be especially important if you the producer doesn’t follow sports. Remember, the best sports anchors and reporters can often make sports interesting to the non-sports fans. Support their creativity by writing good sports teases. A big sports story will likely appear in the A- or B-block. It is sometimes the lead. If everyone in your market is talking about the local team going to the World Series or the conference championship, you bet that’s a lead and probably team coverage. Tell your audience in headlines and teases that you are all over this exciting story. Tease the angles you’ll offer. There will be several angles such as the actual sporting event but also angles such as the economic impact, the traffic nightmares, and the local watch parties. When you have live shots from the locations of those angles, and you will, go to your anchors or reporters live from the scenes in headlines and teases. Or get a live shot with screaming fans for the tease. Use great sound and video. Unless it’s golf, sports are usually loud. And visual. Show me. Let me hear it. But save enough to make me want to come back for more.

Graphics Don’t forget the graphics. Use storytelling supers to get the viewer’s attention. A storytelling super is one that has a bit of description instead of just a name, a location, or a generic line such as “Coming Up.” A storytelling super might read “Surfing Dog” over video of a dog on a surf board instead of “Los Angeles, CA,” which is the location of the video. Why do this instead? Have you ever had your television turned on, but you weren’t really listening or paying attention? It was just on as a secondary medium while you were cooking or getting ready for work or class. Then you walked by and something caught your eye. If a viewer isn’t really watching or listening but glances at the screen, graphics and good video will get their attention. They may stop and take notice. There is an entire chapter in this book dedicated to an in-depth exploration of graphics. In this

44  Christine C. Eschenfelder

chapter on headlines and teases, the focus is on the lower third supers used as a companion to the words and video. You will recall that supers are the text on the screen that tell the audience the name and title of someone speaking or the location of the video. This text is superimposed over the video. During a newscast, the names of the anchors and reporters are also superimposed on the screen. Supers are also referred to as Chyrons (which is the name of a company that creates supers), fonts, lower thirds, CG (which stands for character generator), and graphics. Individual stations may use different terms for supers, but they are all pretty much the same thing. Each newsroom will likely have a name they consistently call these but that it will differ from station to station. Instead of just writing a super for your tease video that reads “Coming up,” the producer has a better chance of getting the viewer’s interest by using a short super that conveys the most teasable component of the story. “Teen Killed,” “Strike Happening,” or “Last Christmas?” are short supers that give the viewer an idea of what the story coming up is about and piques their interest. This is especially important when people aren’t sitting down and watching the newscast but just having the television on as background noise as noted. If a viewer walks by the TV and sees “Summer Must-Haves,” they are likely to stick around to hear more about what they must have this summer.

Movie trailers What do movie trailers have to do with writing headlines and teases? Maybe you would rather be at the movies than doing your reading for class, but no, that’s not it (of course, dedicated journalism students would always rather be learning about their craft). Graeme Newell writes that Hollywood is the best at teases. Think of movie trailers. You’re at the theater waiting for the main attraction. You’ve already eaten half your popcorn. Then the previews come up. Movie trailers are like big budget teases for a newscast. The studios want you to get interested in the movie so they show you some of the best scenes featuring the big box office-drawing stars. Newell writes about Hollywood movie trailers: I’m continually amazed at the skill of movie trailer producers. They use great writing and laser-targeted emotional motivators to make even the most stupid fart-joke movies sound like Gone with the Wind. These word maestros understand that a great trailer makes us a participant in the story, not a spectator to the facts. If you aren’t familiar with the movie Gone with the Wind it’s a really long, dramatic movie that follows a Southern woman before, during, and after the U.S. Civil War. It was filmed in the 1930s and there are absolutely no jokes about bodily functions. But you get the point. Newell says that in contrast, news teases are usually “a long list of cold facts, and rarely transcend to the consummate art of storytelling.” He argues that many tease writers just pull a fact from a story and use that fact to write a tease instead of crafting the tease from the human element of the story. Good reporters are storytellers who come back with packages about how people are affected by issues or events. There is a narrative with flesh and blood characters. But the tease writer, he argues, “ignores the larger more interesting human components.” Newell concedes that headlines and teases are short. Movie trailers are not. But he offers

Writing headlines and teases  45

some lessons news producers can glean from movie trailer producers. Newell points out that trailers have very little if any voice track from an announcer; they feature clips from the movie with character dialog and action. How can a news producer emulate that style? Use quick clips from soundbites and natural sound. Headlines and teases are usually short. With a line or two, tell the audience about the human story they’re about to see. Maybe it’s an illness, tragedy, or crime. Maybe it’s an act of kindness or something downright adorable. Whatever it is, focus on the human element of the story.

QUICK TIP: YOU CAN TEASE THE SAME STORY SEVERAL TIMES If it’s a great story, tease away! If you do use a quick soundbite, make it a good one.

Caveat scriptor A warning about teases, especially the kicker tease: if you tease a story, you want the audience to see that story, right? What happens if you tease the kicker, get to the last commercial break before the end of the newscast which is right before the final block with the kicker, and you realize you are way over on time? Something must be cut so your newscast will end on time. Something like the kicker. But you have teased it for nearly half an hour now. If you tease a story you must run it unless there is a compelling reason to kill it such as breaking news. If that happens, please tell the audience that you will get that story to them at another time or on the website. You may think people won’t notice, but they will. A broadcast journalism student in a producing class shared a personal experience about killing a teased kicker. Peyton was anchoring a student newscast and read a tease about a cute kitten kicker. When they went away to commercial right after the tease, the student producer told Peyton in her earpiece that they had killed the kicker. Peyton hoped the audience wouldn’t notice. When the newscast was over, Peyton’s mother called asking what happened to the kitten story. People notice. Deliver on your promises to the audience. If you disappoint them too many times, they won’t be back for more. Delivering also means that the story you are getting them so excited about is worth the excitement. The story that has the “vital information” you promised actually has that vital information. Viewers do not appreciate it when you underdeliver. Even worse, don’t plant click bait style writing in your teases. The old bait and switch in a newscast is bad form. Tease the actual story. It is also unethical to withhold important information from the audience in order to get them to watch. For example, “Will it snow tomorrow? Stay tuned to find out.” Awful teasing that will just make the audience angry. Instead, “Snow flurries headed our way overnight. What to expect hour by hour in your neighborhood. Tim has details, next.” Journalists are ethical. Producers are journalists. Another warning for producers: do not wait until minutes before the newscast airs to write your headlines and teases. A good producer spends time writing great headlines

46  Christine C. Eschenfelder

and teases. Do not let this vital part of your newscast become an afterthought or something you try to knock out at the last minute.

Write, write, write some more The best way to develop your writing of good headlines and teases is to watch news and listen to how headlines and teases are written. When you watch newscasts, pay close attention to how they craft their promotional material. Watch and listen for strategies you like and don’t like. Did the headlines invite you to watch or move on? How? Did the teases make you want to stick around after the commercials? Practice writing headlines and teases by working on a college newscast, during an internship, and in news writing classes. Get feedback on your writing from people you know are good writers or know good writing when they read it. Some say that practice doesn’t make perfect; rather, practice makes permanent. If you keep practicing bad writing, chances are you may become a bad writer. Ask for critique and when you get it, use the feedback to improve your writing skills. Don’t be afraid of constructive criticism. It can be difficult to hear that your writing needs work, but it’s not personal. You are probably getting good advice from someone who wants you to succeed.

The headlines and teases bottom line Several times in this chapter, you have read the phrase “don’t be afraid.” Learning takes courage. Hard work, time, and courage. It’s not easy to put yourself out there in class, get critiques, and make mistakes. But we learn by making mistakes, trusting our teachers and mentors, and trusting ourselves. Journalism is a profession rich with people who are smart, passionate, and brave. We aren’t always rich people, but the intrinsic rewards are plentiful. Be a fearless learner. Now is the time to be a great student and develop the skills you need to become a great producer. When you are ready to apply for producing jobs, news directors will be impressed by your clever turn of a promotional phrase. And when you get that job, you’ll surely grab the viewers’ attention and keep them until the credits roll. Remember these tips for terrific teases: • • • • • • • • • • • •

Don’t write headlines and teases last. Work on them throughout the day. Tease stories people will talk about, the “did you see that?” stories. Show great video in your teases. Use great sound (natural and clips from interviews) in teases. Use attention-getting graphics. Tease stories that are important to your audience. Don’t tease weather by saying you will give your audience the forecast. Don’t tease sports by saying you will give your audience the scores. Don’t give away the entire story in the tease. If you tease a story, don’t kill it. The story must fulfill the tease. Be an ethical tease writer.

“The chapter’s not over yet. Questions and activities you’ll want to dive into…next.”

Writing headlines and teases  47

References Newell, Graeme, “What movie trailers can teach us about tease writing,” last modified October 20, 2008. https://www.rbr.com/what-movie-trailers-can-teach-us-about-tease-writing/ Tompkins, A. L., “12 tips for writing great teases,” last modified April 28, 2004. https://www. poynter.org/archive/2004/12-tips-for-writing-great-teases/ Tompkins, A. L., Aim for the Heart: Write, Shoot, Report and Produce for TV and Multimedia (Washington, DC: CQ Press, 2012). “Upgrade your teases, increase retention,” The Rundown. Last updated July, 2003. http://www. tvrundown.com/0328.htm

5

Using graphics The good, the bad, and the ugly Christine C. Eschenfelder and Sally Ann Cruikshank

Importance of graphics Depending on the newsroom, the producers’ involvement in graphics creation can run the gamut from simply ordering graphics from a different newsroom team to designing the graphics themselves. Graphics are an important part of a television newscast and a website. Graphics provide the media consumer with everything from the name of a person talking to a breakdown of statistics accompanying a story about a pandemic. They can be very simple or elaborate. One of the most important functions of graphics is to help the viewer to better understand a story. Graphics can also get the viewers’ attention.

Types of graphics Lower-thirds If you watch television news, you are familiar with different types of graphics. You have seen them, but you probably are not aware of the terms used for the most common graphics. The type of graphic used the most in television news is often called a lower-third. A lower-third is a graphic that appears on the bottom third area of the screen, hence the name. A lower-third is used to provide information about the location of a video. The names of on-air talent are provided using lower-thirds. It is also used to provide the name and title of a person talking in an interview. It may also be used over headline or tease video as promotional copy to get viewers interested in what stories are coming up. In a newsroom, a lower-third is also referred to as a “super.” Super is short for “superimposed” as the graphic is superimposed over the video. Other expressions for supers include font, chyron, and cg. Font is what it sounds like; the expression comes from the collection of characters with a similar design such as “Times New Roman.” Chyron is the brand name of the ChyronHego Corporation, a company that specializes in broadcast graphics creation and real-time data visualization for live television, news, weather, and sports production. “CG” is short for “character generator” as lowerthirds are characters generated electronically and superimposed on a screen. At many stations, reporters are required to put supers into their packages and provide the time at which they should appear in the package. Producers handle most of the remaining graphics, not including weather or sports. Lower-thirds can be auto-loaded into the DOI: 10.4324/9781003037729-7

Using graphics  49

Figure 5.1 Example of a lower-third super for a reporter.

Figure 5.2 Example of a lower-third super for an interview.

content management system (such as The Associated Press’ (AP) news production system (ENPS) when writing scripts. Over-the-shoulder graphic Another graphic viewers recognize is the over-the-shoulder graphic. The over-theshoulder graphic consists of an image and a caption that is electronically positioned

50  Christine C. Eschenfelder and Sally Ann Cruikshank

over the shoulder of an anchor or reporter. The image in the box and the text give the audience a quick and easy way to process what the story is about. The producer decides when they want to use an over-the-shoulder graphic and how it will look. The director of the newscast must know if an over-the-shoulder graphic is being used for a specific story because the camera shot must be adjusted to accommodate the electronic box. The camera must be moved over slightly to make room for the box in the shot. The producer notes the use of the over-the-shoulder graphic in the rundown. One abbreviation for it on the rundown is “OTS.” Maps and full-screen graphics Maps are often used to help viewers visualize the location of stories. A map should be easy for the viewer to understand. Most viewers in local markets are familiar with major roads, highways, and interstates in their area; use those for the sake of clarity and simplicity. Full-screen graphics are a great addition to a story with a lot of numbers or statistics. A full-screen graphic can help communicate those numbers. Science or medical stories can be hard to explain, so the use of full-screen graphics may aid in the understanding of the story. A full-screen graphic is similar to a slide on a PowerPoint presentation. It has a small amount of text the anchor or reporter reads. Full-screens are also handy for giving phone numbers, websites, or lists. If you went to school in a part of the United States that had snow days, you may recall watching the news to see if your school was on the list of closures due to snow. Other graphics Other graphics used in television news include logos and bugs. These graphics usually appear in the upper or lower part of the screen. The station’s unique logo is superimposed on the screen to remind viewers of what channel they are watching. The bug may also provide time and temperature information. Banners, animations, and opens are also used by producers to keep viewers interested and to keep the pacing of the show stimulating. Viewers often use television as a secondary medium; they may turn on the news while getting ready for work or preparing dinner. If they catch a glimpse of a large banner reading “breaking news,” they are likely to pay attention. Animations are used in a similar way, but as the name implies, there is movement. Opens are brief animated videos that signal to the viewer information such as “breaking news” or “new developments.”

Best practices when using graphics More detailed tips for creating interesting graphics can be found in Chapter 18 of this textbook. The goal of this chapter is to help you create good graphics by following some best practices. Many unfortunate television news moments come from graphics mistakes. Most of these mistakes can be avoided by following some simple steps: • •

Always proofread graphics Check for spelling mistakes

Using graphics  51

• • • •

Look for bad abbreviations or abbreviations that don’t make sense Never make up abbreviations If you are using photos or images, make sure you have the correct image Keep it simple – not too much text

In the control room during the newscast, make sure graphics such as full-screens are on the screen long enough for the viewer to read them. Read the graphic aloud yourself at a reasonable pace. When you have processed the information, then you ask the director to take it off the screen. If a reporter has not provided super times before the newscast, make sure to get those times before you go to the control room or ask the reporter to come into the control room and tell the director when to put the supers on and when to take them off. A location or name and title super must be on the screen for at least three seconds. If a person being interviewed is not seen for at least three seconds, don’t super them until there is a shot of them on screen long enough.

Now time for the bad and the ugly This chapter so far has offered tips to help you use graphics the right away. However, failure is an excellent teacher. This portion of the chapter demonstrates that adage. Learn from the mistakes of others who were likely in a hurry, didn’t proofread or spellcheck, or just were not paying attention. Here is the first in a long list of examples to give you some food for thought. Several years ago, a political commentator from the middle Tennessee area had regularly appeared on a cable news network. She sued the network, alleging she had been sexually harassed by one of the network’s anchors. The commentator claimed she was blacklisted after reporting the sexual harassment. A TV station in the middle Tennessee area ran the story. They interviewed a local college professor who is an expert on media studies. The story ran on the newscast that evening. A producer teased the story using a video clip and a lower-third reading “Midstate woman sues Fox News.”

Figure 5.3 Graphics mistakes: wrong woman.

52  Christine C. Eschenfelder and Sally Ann Cruikshank

Sounds fine, right? The problem? The woman shown in the video is not the political commentator suing the cable network. It is a video clip of the college professor who was interviewed about the story. The professor was not suing anyone. While that was bad, the following examples are just plain ugly.

Figure 5.4 Graphics mistakes.

Can you guess the mistake here? Spell-checking would have fixed this problem. No one wants to drive on snot.

Figure 5.5 Graphics mistakes.

Notice here that the arrow is going down but the message is that the employment is going up. Confusing. Proofread your graphics for clarity.

Using graphics  53

Figure 5.6 Graphics mistakes.

Clearly, someone was not paying attention. This may not have been the producer’s fault, but the producer takes responsibility for the newscast. McDonald’s the restaurant chain is not Mr. McDonald.

Figure 5.7 Graphics mistakes.

The math here doesn’t add up. What do you think the problem was with this graphic? It’s less likely the producer has terrible math skills and more likely this graphic was not checked before it aired. Do the math before air time.

54  Christine C. Eschenfelder and Sally Ann Cruikshank

The graphics bottom line Follow the best practices for graphics and you won’t produce bad, or even worse, ugly TV news graphics. Newsrooms get very busy especially right before a newscast goes live. As a producer, take a few minutes to review the graphics for your newscast. Check spelling, abbreviations, and images. You don’t want to go viral for the wrong reason.

6

The producer as a leader, manager, and coach Christine C. Eschenfelder and Keonte Coleman

Leading your team It takes a dynamic team of people working together to create a television newscast. News producers play a vital role because they are actively participating with nearly everyone on the news team daily in order to create newscasts. Producers must accept the responsibility to lead the direction of their newscast, manage the individuals contributing content to the newscast, and coach everyone to play their role by adhering to the established policies. This chapter covers ways to effectively collaborate with content contributors and the newsroom team. The heart of the newsroom The newsroom is the core of the news operation. Every newsroom is a little different. The atmosphere in many newsrooms oscillates from the quiet hum of television monitors and the clicking of keyboards to a cacophony of hurried voices and staff dashing about to make deadline. Activity is at its peak right before a newscast and during breaking news or special coverage such as election night. At the figurative center of it all are the producers. The producer interacts with just about everyone in the newsroom and people working in other areas of the station as well: anchors, reporters, associate producers, digital content producers, videographers, editors, assignment editors, interns, weather, sports, managers, graphics, directors, other production staff, engineers, hair and make-up in larger stations, archivists, and sales and promotions staff. The producer is like the orchestra conductor, bringing everyone together for an exciting and engaging “performance.” Of course, news is not entertainment. Accurate information is vital in the lives of the audience. However, that does not mean news and information cannot be interesting and engaging. It should be. Good producers make sure it is by managing, leading, and coaching the team. The producer as a manager The producer makes decisions daily that impact his or her co-workers. They ask the assignment desk to send videographers out to a scene, call for reporter live shots, and tell editors what videos to cut. In preparation for the newscast producers make editorial

DOI: 10.4324/9781003037729-8

56  Christine C. Eschenfelder and Keonte Coleman

decisions. They often consult with reporters and videographers about whether or not to use certain shots or soundbites. Producers communicate with news crews in the field and the assignment desk frequently. The producer creates the rundown for the newscast and makes sure that every story is ready by deadline. This requires organization, good time management, and excellent communication skills. Good producers clearly communicate what they need for the newscast. Producers must be decisive. They often must make quick decisions on their own. This is especially the case in the control room during a live newscast. There is usually not time to consult with the news director when the newscast is live on the air. These control room decisions require the producer to clearly communicate changes with anchors, reporters if they are live in the newscast, and the director. The producer must be calm, clear, and confident when communicating changes during a live newscast. Confusion and hesitation lead to mistakes and frustration for everyone involved. The producer as a leader Leadership is about inspiring and motivating your team. The producer as a leader shares his or her vision with the team. They may offer ideas for live shots, graphics, and visuals in a newscast. Good leaders actively listen to their co-workers. They respect what each member of the team brings to the newscast, the station’s website, and the station’s social media accounts. Producers must lead by example. You will ask everyone in the newsroom to adhere to various deadlines, so you must make sure to hit your deadlines. You will not have a problem holding individuals accountable if you are doing everything in your power to complete your tasks to the best of your abilities. Allow your news team to take ownership of the entire newscast, and not just their single contribution. This can be fostered by encouraging creativity from your team. You should celebrate their successes publicly and respectfully address any shortcomings with the news team as succinctly as possible with the focus aimed at the issue and not the person. You should then pull the person(s) to the side to fully address the issues. If you can get a news crew to see the value in helping each other succeed, then you will have a great team that understands that someone will always be there to help them when they need it. In 2020, the COVID-19 pandemic changed the world. It also changed the way journalists went about covering news. Leaders had to find ways to adapt, manage their team, and still produce information vital to their audience. Jill Geisler, the Bill Plante Chair in Leadership & Media Integrity at Loyola University Chicago and Freedom Forum Fellow in Women’s Leadership suggested at the time that empathetic leaders would have happier staff. Geisler wrote, Their crews may be strained, scared, tired and getting testy with each other. But when their leaders ask, “Are you OK?” and show they care about the reply, bad times feel less daunting and the good times are far more rewarding. And people are more willing to slog through uncertainty while creating quality journalism. The producer as a coach The producer as a coach works with reporters and anchors to better engage with the audience. This is often achieved by creating or supporting a culture of storytelling.

Producer as a leader, manager, and coach  57

Viewers are more involved in stories they care about, stories that elicit empathy for the people involved in the issues or events. Storytelling, then, involves finding people affected by an issue or event and getting great interviews with them along with compelling video. Interacting with the audience through social media is another strategy for engagement. Live question-and-answer sessions and behind-the-scenes photos and videos can strengthen the para-personal relationship between anchors and viewers. Producers can offer suggestions and brainstorm ideas with the team on how to make the most of social media. Coaches praise good storytelling and also offer constructive feedback. Coaches notice when team members are challenged, personally and professionally. They start conversations about these challenges. They ask questions, carefully listen to the answers, and talk about solutions. Coaches are also mentors. Young journalists, women, and minorities especially benefit from having a caring mentor, a relationship that often lasts a lifetime. In News leadership at the head of the class: The journalist’s guide to teaching leadership and management skills and values, Geisler writes, Coaching, properly done, is immensely rewarding. The student or employee is excited about learning and has greater mastery of material and enhanced self-confidence. A workplace with a coaching culture can be a better place to work; more positive, more value and quality driven, more humane. There is no greater gift we can give to colleagues than the confidence we believe in them and they have earned it. Managing people Producers who are good coaches also know and understand their team. The newsroom is filled with creative, engaged, and busy people. These people have different personalities and work styles. Some of these people may be difficult co-workers. Good leaders and coaches try to understand the personalities of their team and work with them accordingly.

Working with anchors When it comes to leading the newsroom team, producers may have a complex dynamic with the anchors. Young producers may find themselves working at a television station where the anchors are established, older, and experienced. The anchors may have worked with a number of producers over the years. In smaller television markets, producers may be working at their first job in a newsroom. In that case, it can be hard to feel confident in the roles of manager, leader, and coach of veteran anchors. Your number one goal each day as a producer is to complete the rundown and get the news scripts written as soon as possible. These tasks allow everyone else in the newsroom to do their jobs to the best of their abilities. Anchors are the face of your newscast and they will be at their best if they feel comfortable with the news scripts. The more time you give them to review their scripts and ask questions about the content, the better their performance will be on the air. As a producer, you have to understand that the public will blame anchors for mistakes made during your newscast. That is an enormous amount of pressure for them to carry, so always keep that in mind when anchors bring their concerns about the newscast to you.

58  Christine C. Eschenfelder and Keonte Coleman

Producers can diffuse conflict with anchors by being sure to stay calm and listen to any concerns that they might have with the script or rundown. If the concerns are focused on preferences, attempt to accommodate them within reason as long as you are not compromising the integrity of the script or rundown. Clearly communicate your decisions promptly, and you should avoid major conflicts. It is also a good practice to get your anchors’ feedback on the rundown or script when you are having a difficult time because this allows them to have a larger stake in the process, and it can help you learn more about the anchors’ news judgment.

The bottom line is that producers play a vital role Having so much responsibility may sound a bit overwhelming. Producers are an integral part of the newsroom and the newscast. They work behind the scenes building the newscast, they communicate throughout the day with everyone involved in the newscast, and they command the control room during live newscasts. They also act as managers, leaders, and coaches in the newsroom which can be a very rewarding aspect of the job. Have confidence in your own abilities and respect the talent of those around you. The Producer as a Newsroom Leader Executive Producer Chris Peralta The news producer has a major and complex role in the newsroom. Charged with the production and execution of a daily newscast, he/she is responsible for all aspects of the

Figure 6.1 Chris Peralta, Executive Producer.

Producer as a leader, manager, and coach  59

show – from story selection, to writing, to timing, to reporter placement. Now, in this day and age, there are places where there are even more responsibilities – including updating the website, listening to scanners and dispatching crews, running the assignment desk, and answering phones. Then, there’s the people aspect. Producers don’t work in a vacuum. Producers work with reporters and photographers, assignment editors, directors, video editors, and anchors – all with their own priorities and thoughts on how the show needs to look. Needless to say, producers have a lot on their plate. And while some may be disappointed that their role is much more complicated and more complex than just building and timing a newscast, the workload and people management also poises them to become excellent leaders, coaches, and future managers. It’s no surprise that many news managers have a background in news producing. I worked as a morning news producer for several years – the infamous overnight shift. The morning shift is perhaps the one where the producer’s workload is heaviest, simply because the mornings aren’t as heavily staffed as dayside and nightside shifts. In my first job, we didn’t have an overnight assignment editor or overnight web producer – which meant that my fellow producer and I had to handle those responsibilities. We obviously had an executive producer, but that didn’t mean we weren’t making key decisions – when details about a possible shooting or a crash on the interstate came through at 1:00 in the morning before the executive producer came in, and after the nightside crew had left, it was on my fellow producer and me to make a decision on whether to dispatch our overnight photographer to the scene, or if we didn’t have one – to decide whether to WAKE the on-call photographer and send them to the scene (these calls alone are a great exercise in being able to have uncomfortable conversations – a skill useful not just professionally, but personally). That’s just the day-to-day. There are also many occasions when I’ve had to work “unsupervised” without an executive producer – weekends, holidays, or just random sick days. Those are days when ALL the decisions fall on the producer, and when there are questions about what direction we’re taking editorially, whether to use certain video, whether to say certain things in copy, the team is coming to the producer for the answers. And the producer has to make those decisions. In effect, the producer becomes the team’s de facto leader, whether they’ve only been on the job a few months, or 15 years. This may all seem daunting to the novice producer just getting started or the intern simply observing how news works, but nothing sharpens your leadership and management skills like this. Few other roles in the newsroom provide this kind of management and leadership building like the news producer’s role. Reporters and photographers learn to connect with viewers and story subjects. Assignment editors learn how to keep track of crews and the field and how to effectively cover many things efficiently. Producers learn how to lead and manage the team. Over time, these skills make them decisive decision-makers and strong leaders – skills and attributes that serve producers well the longer they’re producing shows, or once they decide to make the leap into newsroom management.

References Geisler, Jill. “News leadership at the head of the class the journalist’s guide to teaching leadership and management skills and values.” Last updated 2006. https://www.rtdna.org/uploads/files/ Updated_Revised_Leadership_Book_2nd.pdf Geisler, Jill. “‘Are you OK?’ Great bosses ask then act.” Last updated May 1, 2020. https://www. pressclubinstitute.org/are-you-ok-great-bosses-ask-then-act/

7

Breaking news and live shots Keonte Coleman

Boothing breaking news Get in the booth You’ll be put to a major test when breaking news (spontaneous news events deemed worthy enough to change established plans) happens during the newscast, or even outside of it, if the news station thinks the story is newsworthy enough to break into regularly scheduled network programming. You must get to the producer’s booth immediately and make that location the command station, letting the entire crew know you’ll be communicating from the booth. This sets an urgent tone for the rest of the crew. You should be mindful of your demeanor and tone. You should aim to exude calmness and confidence to your crew. If you’re belligerent and frantic you can panic your crew. You’ll find more details about the producer’s booth in Chapter 8: Commanding the Control Room. You must quickly gather as much information as possible from the newsroom and any additional sources to create an introductory breaking news script. The initial reporting of the breaking news can be very simple. Allow the anchor(s) to clearly explain what is known about the story at this time and explain that the news team will bring the audience more information when it becomes available. The anchor(s) should end with giving a specific promise about the next time that they’ll have information on the breaking news. Evaluate resources needed After the initial news hit (on-air mentioning of a news story or element), you should begin to assess the overall status of the resources being delegated toward the breaking news. Breaking news stories can become all-consuming news items for days and weeks, or they might need only a minor update for the next news hit without using many newsroom resources. If the situation is in line with the latter scenario, you’ll likely add a few elements to the established rundown and prioritize updating the new developments for the audience. It’s important to stress that the newsroom is still actively monitoring the situation. A common solution is for you to place the news item in multiple news blocks and try to update the story each time it appears in the newscast. The update should clearly point out new developments if any are available. You’ll typically see this type of treatment with accidents that cause long traffic delays during rush hour. DOI: 10.4324/9781003037729-9

Breaking news and live shots  61

However, if the breaking news story is more substantial you have the power to call upon everyone working in the station, and even news team members who are off the clock, to assist in covering the breaking news story. While in the booth, you’ll begin to build a special rundown that encapsulates all the potential elements and scenarios for the breaking news. Breaking news rundown The rundown is completely fluid during breaking news coverage, and especially at the beginning when you’re making educated guesses on potential story angles that the various crew members will be able to obtain. You must work closely with the assignment desk, reporters, and videographers to figure out exactly what will be gathered and when it’ll be ready to air. While the newsgathering is taking place, you’re also working to build graphics that display available information while you’re waiting to receive video footage from news crews. Table 7.1 illustrates a simplified breaking news rundown. Use institutional knowledge You also must make sure that the anchors are aware of what’s going on and possibly ask them to start making calls to their own contacts to get more information surrounding the breaking news story. Anchors, especially those who’ve been staples within the market for years, typically have a treasure trove of knowledge about similar events that could relate to the current situation. You can use this information to find archived material to place the breaking news story into proper context if it applies.

Table 7.1 Keep the Breaking News Rundown Simple to Streamline Newsroom Communication During a Frantic Time Page

Story Slug

Breaking News Rundown Template Segment Anc Start Time: Shot Writer

A1 A2 A3 A4 A5 A6 A7

Breaking news open Breaking news latest Breaking – walk and talk Breaking phoner with emergency responder Breaking recap Continuing coverage Toss to regular programming

Open ANM Reader K&C Live Boxes C & S

End Time: Est. Duration :10 :30 1:00

GFX MAP

K

1:00

GFX GFX On Cam

K C C&K

:30 :10 :10

Total Run Time: Actual Back Front

B0 Tell the audience what you know and show them what you can at the time. Remind them that you will provide more details when they become available.

62  Keonte Coleman

For example, if a neighborhood experienced flash flooding that damaged a lot of property, the anchor might recall that this exact same neighborhood experienced the same thing years ago. This can help with the overall coverage because now the reporters can ask the city, government, developers, and residents what has been done since the last event. A producer that knows what they don’t know and is willing to use all the resources around them can produce special newscasts. Anchors aren’t the only people on your team that know the community, so make sure to tap into everyone within the station who has a long history in the area or a special tie to certain communities. Get help While the rundown is being built and new details continue to come into the newsroom, it can get overwhelming. That’s when you must delegate various tasks and count on the team members to do what they’ve been assigned. You can lean on your other newscast producers for help if resources allow it. As the booth producer, you can delegate certain tasks like having one producer be the point person for getting information from the reporters in the field and properly placing the information into the scripts and rundowns. Another producer could be assigned to organizing the graphic elements that need to be created. Associate producers, writers, and interns can also be used to ensure that elements within the scripts are correct by, for example, checking through the lower third graphics for grammatical errors. They can also be responsible for ensuring that proper times are placed on soundbites and news packages sent into the newsroom. Someone can also help the assignment desk with making beat calls (contacting specific agencies, organizations, and businesses) to find out who is responding to the breaking news event. They can also help secure interviews for the anchors to conduct live on-air or organize those interviews for reporters in the field. This is an overall team effort, so individuals that normally aren’t part of the news team can also be pulled in to help with coverage. The sports anchors/reporters, traffic anchors/reporters, and meteorologists can be called upon to conduct interviews, record video, write scripts, and make and take phone calls because, unless the breaking news deals with their department, there’s a strong chance that their segments won’t be broadcast or their time will be reduced. A massive breaking news story requires everyone to make sacrifices for the newscast, and your rapport with everyone on the team will make asking these individuals to step outside of their comfort zones more palatable. Stay flexible and creative As the boothing producer, you must talk with the director and the production crew about all the possible tools that’ll be used during the newscast. The entire crew must be prepared to work with limited guidance from the news scripts. It’s highly likely there will be bullet-pointed information instead of full scripts for the anchors and crew to follow during the broadcast. The commands in the rundown can change quickly depending on various scenarios in the field, so over-communication is needed between the producer and the rest of the news crew. You should attempt to get the breaking news to the audience by any means necessary. A reporter’s live shot can be substituted with a phoner (phone interview where you can’t see the individual talking and a graphic that shows the individual and their name). You can also create a map of their location and full-screen graphics that detail the information.

Breaking news and live shots  63

Figure 7.1 This phoner graphic shows the interview subject’s picture and identifiable information. There is also a banner at the bottom of the screen highlighting the topic of the interview.

Go live Take your viewers to the scene of the breaking news as soon as possible. You should create live shots in the rundown for each of your reporters. You’ll want to create some live lower third graphics with information related to the breaking news and the information each will be providing. It is fine to allow the reporters to do walk-and-talks (when the live reporter showcases surroundings without recorded video) at the scene to share what is happening right now. Reporters can do live interviews, but this should be reserved for individuals they’ve already pre-interviewed about the breaking news to properly assess their accounts, motivations, and on-air abilities. There are times when your videographers will be tasked with becoming reporters, so in those cases keep it simple and allow them to just tell you what they see at the scene. You must maintain constant contact with the live crew through the communication system and telephone. They are your eyes and ears in the field and will be able to provide you new details quickly. It’s a good practice to establish key check-in times with the live news crew. This gives them intermittent deadlines while in the field and keeps you from interrupting them. While they are in the field they are trying to secure interviews with witnesses and talking to authority figures, so if you are constantly trying to call them for the latest information you could prevent them from actually getting new details. While the news is breaking encourage your news crew to bring the audience what’s happening now. Have the videographer set the scene with a wide shot and then zoom into the action if possible. It’s great if the crew can feed video and soundbites back, but don’t count on it happening right away. You want to be vigilant and patient at the same time, and by all means, keep calm and stay respectful. Verify before reporting and attribute most information You must make sure that everyone is verifying the information they are reporting through the appropriate officials. The reputation of your television station can be severely tarnished if everyone on your team doesn’t validate and cite their sources when reporting information. All producers, anchors, and reporters should cite virtually every sentence during breaking news because the information can and will change.

64  Keonte Coleman

The information changes because different agencies and people have access to different information, and new details can alter previously reported stories. Everyone wants to report numbers to help the audience understand the scope of a given story but depending on the source and how that source interprets the data, different individuals can report different numbers. Scenario in action The power company could say that a thousand homes were affected by the flooding, one insurance company could say 75 homes were affected by the flooding, and emergency crews could say that 15 homes required an emergency response because of the flooding. If the producer doesn’t place these numbers into the proper context and properly cite where the information comes from, it could be misleading to the viewers. This example shows that people can be affected by the same situation but to varying degrees, so it is important to spend a little more time deciphering the differences between the numbers and how they relate. It could be that the power grid spans a large swath of an area, so some people lost power, but they didn’t even see significant rainfall in their area. The insurance company that your news team spoke to might represent a large number of those who had damaged homes or a small number, but right now you don’t know. Emergency crews will tell you that not all rescues are equal, so you can’t extrapolate those numbers to assume that the 15 homes where the rescues happened were severely damaged.

QUICK TIP: ENCOURAGE YOUR TEAM Encourage your team and let them know that you have full confidence in them to perform under the added stress because some individuals don’t perform well under the intense pressure of breaking news.

The breaking news bottom line It’s important to stay calm and confident while managing your team through breaking news. You must assess the story content to determine if you’ll need to ask for more resources to properly cover the breaking news. Keep your reporting simple during breaking news and attribute all information to your sources to make it clear where all your details are coming from. Tell your audience what you know, show them what you can to place the story in context, and let them know that you’ll continue to bring them more details when they become available. Encourage your team and let them know that you appreciate them working under the increased pressure that breaking news can bring.

8

Commanding the control room Keonte Coleman

Boothing newscasts The most important thing you’ll do during the newscast is boothing the newscast. This is the act of sitting in the production control room at the producer’s booth (the area where a producer has access to the rundown, monitors, and communication devices to speak to the entire news team) during the newscast to make sure that all news-related items appear correctly. You must communicate changes clearly and concisely to the news crew both in front of and behind the cameras during the live broadcast. Ensuring that the newscast ends at its appointed out-time cleanly and professionally will allow you to build a career producing news for bigger and bigger audiences.

The anatomy of the production control room The newscast control room can vary depending on the financial resources allocated to the news division. Most television production control rooms require some standard equipment to broadcast their newscasts. Technological advancements have led to more automation in newsrooms that has streamlined equipment, cut jobs, and outsourced some roles to be operated remotely from centralized locations. The list of equipment and roles will differ by news outlets depending on various factors (e.g., market size, newsroom budget, newsroom philosophy, or corporate philosophy). Control room equipment Production switchers can be hardware devices or software and are used to perform digital video processing in real time. Production switchers can switch between live cameras, chroma key screens, recorded video, animations, graphics, and other production elements for live broadcasting and post-production purposes. Audio boards/consoles/mixers can be hardware devices or software and are used to control the audio heard during the broadcast. The audio board controls the volume from studio microphones, live shot microphones, audio embedded into video sources, and audio connected to graphics and animations by placing the various audio signals on different audio channels. Monitors (live and preview) are generally television screens located in the control room that allow the production crew to view any item that is appearing live on the broadcast or will eventually appear on the broadcast. Monitors can display live cameras, DOI: 10.4324/9781003037729-10

66  Keonte Coleman

Figure 8.1 The Middle TN News director (right) and technical director (left) switching a live broadcast on election night 2020. You can see the switcher hardware and software on the desktop.

Figure 8.2 The programming box on the top right shows the live shot interview. The preview monitor on the top left shows the anchor that will appear after the live interview. The remaining boxes show other active cameras and inputs for the newscast.

those not in use in the studio, and cameras on location outside the television station. They can also preview recorded video, graphics, lower third graphics, and animations. Communication systems allow the production crew to communicate directly with one another via an in-house system. Broadcast stations will have a mixture of intercom and two-way talking systems. On-air talent will wear a device in their ear called an IFB (interruptible feedback) that allows them to hear commands from the

Commanding the control room  67

news producer. The anchors and reporters will need to use their microphone to speak to the control room. Content management systems (CMS) allow the news crew to communicate with one another and have a central place to work on the elements for the newscast. The software system houses the rundown, script, commands, and codes needed for various other newsroom systems to analyze the material and operate the broadcast. The CMS becomes the central place that answers nearly everyone’s questions about the newscast. Control room team News producers perform multiple tasks for a newscast such as creating the rundown, writing or overseeing the scripts, copy editing all the content for accuracy, and making decisions during the newscast to ensure that it ends at the scheduled time. Directors/Technical directors command the production switcher and production crew during the newscast. The director controls the production switcher to change the news elements that appear on-air and coordinates when the production crew should complete their tasks for a given news element. A station that employs both will have the director make the commands while the technical director physically carries out the commands with the switchers. Master control operators control a station’s access to network programming, local programming, and commercial breaks. The master control operator switches control from the local newscast to national programming. They’ll also be the contact persons to get the most accurate times for the start of the newscast, internal commercial break duration times, and the end of the newscast. Audio operators control the audio board levels for microphones, video playback, and any other audio played during a newscast. They use the script and/or listen to the director to figure out which audio should be raised or turned down. Video playback operators organize and play video for the newscast when directed by the director or technical director.

Figure 8.3 Director discussing the rundown with audio operators before a newscast.

68  Keonte Coleman

Graphics operators place graphics into the newscast when directed by the director or technical director. Studio camera operators move and focus studio cameras during a newscast. The operators also cue anchors to the correct cameras and relay information to the anchors. Stations using robotic cameras will have individuals who program the camera movements for the newscast. Teleprompter operators scroll the news script in the teleprompter during the newscast for the studio on-air personnel. The teleprompter is connected to the CMS and placed over the camera lens so on-air broadcasters can read the scripts while facing the camera.

QUICK TIP: LEARN THE CAPABILITIES OF EQUIPMENT AND OPERATORS You should learn the full capabilities of both the equipment and the equipment operators to create the best product for the viewing audience. This understanding can be the determining factor for whether a newscast is rudimentary or advanced.

Understanding your role and power in the booth Now that you understand the technology and the roles associated with the production control room during a newscast, it’s important for you to understand the power and influence that you hold as the producer. Once you step inside the production control room and sit at the producer’s booth you become the final decision-maker for every event, both planned and unexpected, that occurs during the newscast. You take on a tremendous amount of responsibility by being the final arbiter for all content that is delivered to the public. You can’t take for granted that a live broadcast will go smoothly, so even the most perfectly planned newscast will likely call for you to make some adjustments during the show. You and the director will work together throughout the newscast using the script and rundown as your guides for executing the agreed-upon vision. The director is going step-by-step, calling for all the technical components of the newscast to be carried out by the production crew member responsible for each task according to the script and rundown. You’ll make adjustments as they are needed. Making decisions during the newscast Constantly review the preview monitors and graphics in order to catch and correct potential mistakes before they air. You have the right to stop items from airing if you feel the information or item isn’t correct, is unethical, breaks a law, or doesn’t meet the standards set forth by your news organization. Ideally, you’ll have the opportunity to review all the content that will appear in the newscast before it airs. You must set realistic goals and deadlines for the entire news crew to adhere to on a typical newsgathering day. You have the right to decline content that is scheduled to appear in the newscast if it appears that the content won’t make its slot. Making slot is a phrase used in newsrooms that signifies that news elements have been submitted before their deadlines into their designated location in the rundown.

Commanding the control room  69

A news element that doesn’t make it into the newscast by the recommended deadline can cause a snowball effect of calamities. You must use your best judgment in these situations to make sure that a missing or late item doesn’t cause confusion during the newscast. A late news item could be floated (hidden in the rundown and used later in the newscast) or saved for a different newscast. The final decision belongs to you.

QUICK TIP: YOU HAVE THE POWER You must be able to assess legal, ethical, and decency standards at a moment's notice and quickly advise your crew on the proper ways to proceed during the newscast. You have the power to add, remove, or maneuver content/elements within the newscast. Tactical communication during the newscast News anchors and reporters must communicate the news to their audience, and you have a similar responsibility aimed at the news team. However, your communication must be tactical in nature with everything you communicate having the end goal of creating a successful newscast. This starts with communicating instructions and changes to the entire crew in a clear, authoritative, and respectful manner. The producer’s booth is equipped with multiple modes of communication so you can contact anyone on the news team at any moment, or conversely be contacted by anyone on the team, to quickly handle the random occurrences that might affect a show during the broadcast. It’s key to ensure that individuals who’ll have direct responsibilities for making suggested changes completely understand what is needed of them. Once changes are made it’s your responsibility to alert the team to the changes and how you want them to proceed. Texting via mobile devices You’ll communicate with your crew via numerous devices to ensure messages concerning the newscast are received. News crews in the field (on assignment outside the television station) will often use mobile devices to text details about their news assignment before and during the newscast. Text messages can be sent and received when phone call signals and access to the internet will not allow for consistent communication. This method of communication allows for rapid responses as long as the sender and receiver have their notifications on. Establishing contact times can help you be more efficient with communicating with the crew, but always be available to respond to any of your crews’ concerns. It’s important to establish rules of professionalism when using these devices, especially when using personal devices for work purposes. You should encourage your crew to be diligent about separating their personal and professional messages to avoid potential problems. CMS text messages You can send and receive text messages or emails through the CMS during the newscast. This system can be a helpful way of communicating with multiple individuals about the newscast without disturbing others in the control room. This method also

70  Keonte Coleman

allows you to convey messages without interruption. The issue with this system is that it requires a strong internet signal for your crew in the field, so this system may not be as reliable for those outside the station. Another challenge for this system is that there isn’t always an instant guarantee that the message has been received, so it would be a good practice to establish some guidelines for responding to messages as soon as they are received, especially during a newscast. You would likely be using the CMS to relay messages to the assignment desk, editors, and maybe other members of the on-air studio news team that will appear later in the newscast. These messages are usually sent as reminders or updates about previously discussed items. If this message is urgent and has information that wasn’t previously discussed, then it would also be beneficial to text it to a mobile device and/or use the telephone to speak to the individual(s) to ensure that they read and understand the message. Telephones The producer’s booth should have a telephone that can be used to communicate with members of the news team in the station who aren’t on headsets such as editors, assignment editors, master control operators, and other producers. The telephone can also be used to speak to news crews in the field. The telephone allows for quick back-and-forth communication that can ensure both sides understand the message being given and received. Telephones and their systems can vary, so you should familiarize yourself with the producer’s booth telephone to figure out if there are any potential shortcuts or issues with calling inside or outside the television station. Telephone etiquette You should try to limit your telephone use in the control room because the calls will likely distract you from fully monitoring the newscast. Phone calls can also distract other members of the control room production team. Keeping the phone line clear ensures that you aren’t missing incoming calls. When a telephone call is needed you should keep your messages clear and concise. Try to be mindful of your tone so that you aren’t placing undue stress on the person on the other end of the call. It would also be a good practice to precede or follow up a phone call by sending a text message to the individual(s). Communication system The communication system in the newsroom that allows you to talk to the anchors, reporters, production team, and master control operators is probably the most widely used communication tool during the newscast. You’re able to press a series of buttons and talk to individuals who are wearing earpieces or headphones during the show. Those same individuals are also equipped with microphones, so they can talk back to you. The communication system also gives you the flexibility to talk to everyone at the same time over the system or to select various groups to hear a message.

Commanding the control room  71

QUICK TIP: GET FAMILIAR WITH EQUIPMENT You should take some time to learn how the various communication devices in the producer’s booth operate. It’s also beneficial to conduct test-runs to figure out how much time elapses when sending and receiving messages to various team members. Speak calmly and clearly at appropriate times It will take practice for you to get comfortable with relaying detailed and concise instructions during the newscast. Speak calmly, clearly, and preferably in a low tone because this helps keep your crew at ease and it won’t cause distractions. Take advantage of built-in commercial breaks during a newscast to relay messages, but also learn to use the times when anchors aren’t talking while SOTs and PKGs are playing. These news elements give you an opportunity to share potential changes that need to happen during a news block before a commercial break will be available. Take extra care when talking to the anchors because your voice can be unnerving and distracting to them while they are in the midst of communicating to the audience. You’ll use the CMS to speak to reporters, videographers, and live truck operators in the field before and during a newscast. Make sure the field crew understands when and where they’ll appear. You could be responsible for providing the audio cue for the field crew to conduct their live shots. Prepare anchors for backup plans It’s important to establish a rapport with the on-air broadcasters before newscasts so that they are aware of potential changes and various backup options. This helps them process what they are hearing during the show more quickly, and it allows them to make transitions a little more smoothly. Over-communicating about the newscast before the show begins can save your news team from mistakes and embarrassing situations on-camera. One practice that shouldn’t be deployed during a newscast, unless necessary, is using the all-call button to talk to everyone at the same time. This can be extremely distracting to the on-air talent because at any given moment they are either on-camera talking or about to be on-camera talking. You can talk to the anchors at the same time or individually, repeating the message to the other anchor when they are available. Everyone on the news team assumes everything will go as planned until they are told otherwise, and it’s up to you to make sure that when the plan changes, you communicate the new plan in a clear and timely manner so that everyone can respond accordingly to the adjustments.

QUICK TIP: DO NOT YELL You shouldn’t yell at any time over the mic system because that is distracting and can cause audio distortion that prevents the crew from hearing you clearly. Yelling can also make your crew feel belittled. Stay calm – your crew will appreciate it.

72  Keonte Coleman

Figure 8.4 Producer getting the anchors to do an audio check before the newscast.

Monitor newscast time You should go into a newscast having timed the show perfectly so that if everything goes as planned, each item in the newscast will begin and end as scheduled. Since you’re producing the news for a live broadcast, please understand that a perfectly timed newscast is a rare occurrence. You’ll place the estimated time in the rundown for each news item. The time allotted for a given news item is based on general standards that can be adjusted with a good rationale. The total amount of time for a newscast is finite, but how you divide the time is based on the content and the placement of the content in the newscast. You’ll find that news items that require only a few facts will typically take 5–20 seconds and will appear as readers, VOs, and GFXs. A news item that will use one or two soundbites and requires a few facts will take the form of a VO/SOT which can take 35 to 50 seconds. News packages can range from 1 minute 15 seconds to 1 minute 45 seconds, not including the various intros and outros by the anchors and reporters. This time allows the reporter to go more in-depth on a given topic. There are longer form packages that can take several minutes, but those are usually reserved for special reports. These guidelines may differ slightly from one station to the next and while the guidelines aren’t strict rules, it’s a good practice to make going outside of those parameters the exception and not the rule. There are several ways that the time can get heavy (news elements last longer than initially planned) or light (news elements finish more quickly than initially planned) in a newscast. You can overproduce the newscast (place too many elements into the newscast and likely start the newscast heavy), which means there is a high probability that you’ll have to omit some elements from the newscast. On-air journalists can go off script and ad-lib longer than the time allotted. Reporters in the field might not adhere to the allotted time for their news package, their live intros (on-camera live introductions of a report in the field), or live tags (on-camera live endings of reports in the field). A lack of time cues in scripts can lead to packages and soundbites being longer or shorter than planned. Those are just a few ways that the timing for a newscast can be off.

Commanding the control room  73

Backtiming your show Your main goal during the newscast is to make sure that the news of the day is broadcast to the audience within the time slot provided. You’re responsible for backtiming the newscast (a way of calculating the time in the newscast as it relates to the end of the show) to ensure that it ends at its allotted time before the next scheduled program takes control. Backtiming can seem confusing, so let’s start with a real-world example that uses the same scheduling principle. Let’s say you have an interview at 9 AM and you must arrive at least 15 minutes early to properly check in. It takes you 30 minutes to get to the location from your home, and it’ll take you at least 45 minutes after you wake up to eat and get dressed for the interview. You’d also like to give yourself at least 30 minutes to properly review before you leave your house. What time should you wake up to make it to the interview? To answer this question, total up the duration of your various tasks and you’ll find it will take you an estimated hour and 45 minutes to make it to the interview. You’ll then take the estimated duration of those tasks and backtrack from 8:45 AM. Note that you wouldn’t backtrack from 9 AM because you need to arrive at least 15 minutes early to the interview. This means that at the very least you would need to wake up at 7 AM, and that is with the caveat that absolutely everything you estimated goes according to plan. If you oversleep, spill something on your clothing, or learn that the most direct route to the interview will be closed for construction, you’ll have to make adjustments to your plans to successfully make it to your interview on time. Backtiming a newscast is just like backtiming your life. If there’s a program after your newscast that starts at the top of the hour, you have to time the end of your newscast to stop before the first commercial that airs between your show and the next program. Once you know your out-time, you fill in the estimated duration for each item in your rundown. You subtract the estimated duration of your given news items from the outtime to track whether your newscast is heavy, light, or going as planned.

Figure 8.5 The programming clock displays military time, and it’s showing that the next election night cut-in will happen in less than 5 minutes at 20:00 hours or 8 PM.

74  Keonte Coleman

Computer rundown systems will backtime the newscast for you, but like all technology, these systems aren’t infallible, so it’s always a good practice to do it manually. An easy way to manually backtime without having to do the math during the newscast is to note the start times of several key items in the backtime column. You can do this only after you’ve entered the accurate start- and out-times of the newscast and the estimated duration times in the rundown. Potential items to jot down would be your teased news items, when your teases begin, and at least one news item in each news block. Keep that list with you in the booth as you monitor the newscast and the programming clock (the clock that showcases the actual time of the on-air programming) to make sure you hit your out-time. Table 8.1 illustrates how a newscast can go heavy or light at different points during the show.

Table 8.1 The Programming Clock Is Your Friend in the Booth, so Make Sure to Reference it Throughout the Newscast to Ensure that You Hit Your End Time Page

A1

Story Slug

A2 A3 A4 A5 A6 A7 A8 A9

Headline teases: A5+B2+C1 Show open Introductions Story 1 Story 2 Story 3 Story 4 Story 5 Story 5

A10 B0 B1 B2 B3 B4 B5 C0 C1 C2 C3 C4 B0

Tease 1: B2+C2 Break 1 Rejoin open Story 1 Story 2 Full weather Tease 2: C1+D1 Break 2 Story 1 Story 2 Story 3 Tease 3: D1 Break 3

Segment

SOT

News Rundown Template Anc Start Time: End Time: Total Run Time: 6:00:00 PM 6:16:00 PM 00:16:00 Shot Writer Est. Actual Back Front Duration KC :15 :15 6:00:00 PM 6:00:00 PM

ANM OnCam VO Live PKG GFX Reader NatsVO SOTVO

K&C C K K C C C

2 1 Monitor Monitor 1 1

TC TC DE DE SC SC TC

VOTOP

C&K

1

SC

ANM VO/SOT VO WX Wall NATSVO

C&K C S C&K

2 1 2

DE SC SC TC

VO WipeVO WipeVO VO

K& C 2 C K K&C 2

KC CE KC TC

:10 :10 :30 1:25 :10 :20 :25 :25

:10 :10 :20 1:45 :05 :20 :25 :25

6:00:15 PM 6:00:25 PM 6:00:35 PM 6:00:55 PM 6:02:40 PM 6:02:45 PM 6:03:05 PM 6:03:30 PM

6:00:15 PM 6:00:25 PM 6:00:35 PM 6:00:55 PM 6:02:40 PM 6:02:45 PM 6:03:05 PM 6:03:30 PM

:10 2:00 :10 :45 :20 1:35 :10 2:30 :20 :15 :15 :10 2:30

:10 2:00 :10 :40 :20 2:00 :10 2:20 :20 :15 :15 :10 2:20

6:03:55 PM 6:04:05 PM 6:06:05 PM 6:06:15 PM 6:06:55 PM 6:07:15 PM 6:09:15 PM 6:09:25 PM 6:11:45 PM 6:12:05 PM 6:12:20 PM 6:12:35 PM 6:12:45 PM

6:03:55 PM 6:04:05 PM 6:06:05 PM 6:06:15 PM 6:06:55 PM 6:07:15 PM 6:09:15 PM 6:09:25 PM 6:11:45 PM 6:12:05 PM 6:12:20 PM 6:12:35 PM 6:12:45 PM

Commanding the control room  75 Page

D1 D2 D3

Story Slug

Story 1 Story 2 Goodbye and beauty shot EN D END SHOW Z1 Backup Story 1 Z2 Backup Story 2 Z3 Backup Story 3 Z4 Backup Story 4

News Rundown Template Anc Start Time: End Time: Total Run Time: 6:00:00 PM 6:16:00 PM 00:16:00 Shot Writer Est. Actual Back Front Duration NATS VO C&K 2 SC :20 :20 6:15:05 PM 6:15:05 PM WipeVO C CE :25 :20 6:15:25 PM 6:15:25 PM OnCam C&K 2 :15 :10 6:15:45 PM 6:15:45 PM Segment

6:16:00 PM 6:15:55 PM VO VO VO VO

:20 :20 :20 :20

Bold figures in the Estimated Duration and Actual columns show light scripts. Italicized figures in the Estimated Duration and Actual columns show heavy scripts.

Plenty to do in the booth While you booth the newscast, there will be plenty of tasks that you’re responsible for doing to ensure that you air a clean show (a newscast that was broadcast without any noticeable flaws or errors). You must check the audio for the crews in the field to make sure their mics and IFBs are working properly. You might have to write or update scripts during the newscast. You could have to change or update content in GFXs, OTSs, or lower third graphics. You might need to review video that was submitted late to make sure it’s appropriate to air or copy edit a script during the newscast. You’ll also have to answer questions from anchors, reporters, videographers, editors, directors, master control operators, or assignment editors. Also be prepared to answer viewer questions or concerns about content aired during the newscast. Even with all these potential occurrences, you can’t get so distracted that you lose focus of timing the newscast. To make this happen, you must keep track of all the elements going into the newscast before the show starts and while the newscast is airing. A major component of ensuring a clean show is to make the rundown and script perfectly align. Check after everyone who enters scripts and commands (instructions within scripts used by the production crew and on-air broadcasters to cue them when to perform various actions) into the CMS to make sure they’ve accurately matched the script to the rundown.

QUICK TIP: LOCK THE RUNDOWN AND SCRIPTS Lock (make unable to edit) your rundown and scripts at a consistent time each day, so you’ll have enough time to review all the content in the rundown. Everyone will know that any additional changes will require your approval once the scripts are locked.

76  Keonte Coleman

The control room bottom line The success that you have in the control room is largely dictated by your preparation before the newscast and your communication skills during the newscast. You must check to ensure that your newscast times are correct so that you can accurately time the show. Never lose sight of ending the newscast at the correct time, so that should guide your decision-making for adding, changing, or omitting content. Effectively communicate your decisions to your news crew calmly and authoritatively.

Chapter Break A conversation with an anchor about news producers Keonte Coleman

Figure CB2.1 Ben Senger, WSAV-TV Evening Anchor.

The working relationship between news producers and their anchors is vital to the success of a newscast. WSAV-TV evening anchor Ben Senger shares his perspective on what he expects of news producers before, during, and after the newscast. Senger’s journalism career spans 20 years of reporting and anchoring in small, medium, and major markets.

Q&A Describe the qualities that allow you to trust news producers I trust news producers who respect the burden that anchors bear on their behalf. To be sure, anchors unfairly get most of the credit for a good newscast from the viewing public, but we also get most of the blame for everyone’s mistakes – especially factual errors that make their way into scripts. I’m not trying to act like a victim of my choice to be in front of the camera, but I appreciate producers who understand the stakes are higher for the people who present their copy to the public. DOI: 10.4324/9781003037729-11

78  Keonte Coleman

Detail qualities that make it difficult to work with a news producer A producer who procrastinates is troublesome. Please complete the scripts where the information is already available as soon as you can. Your anchors need time with the copy to make sure they can execute your vision. You always have to assume that breaking news will happen and, when it does, you shouldn’t be wasting valuable minutes writing something that could have been completed hours before. What advice would you give to news producers to help them form a good working relationship with news anchors and reporters? We all make mistakes and we all need to own them because our relationships need to be built on mutual respect. We also need communication from the booth during a show when things are dropped, etc. How should news producers approach conflicts over newscast-related issues with news anchors and reporters? I think one of the most important things is to address conflicts while they are fresh, like in the post-show meeting. I think it’s very important not to scold an anchor during a show. Everyone I know has a negative reaction to criticism, even if it’s the truth, and you don’t want an anchor to get flustered during a show because our demeanor directly correlates with the successful execution of a newscast and really the success of a station as a whole. What are the ideal ways and times to communicate during the newscast? I think it depends on the circumstance. If the wrong video is rolling and I don’t catch it, please tell me immediately so I can make mention of that on-air. If my tie is crooked, wait until my co-anchor is reading or until a commercial break. What should producers be mindful of when handling changes before and during the newscast? Please tell the talent what’s going to change before you begin making changes to the rundown and let them know the moment new copy is ready for review. If there’s no time for that, tell the anchor in her ear to “follow the prompter” and that is a signal that there is a change that needs to be expedited in the show. What do you expect from the news producer during breaking news situations? We expect constant communication in quick short bursts. If you’re talking in our ear the whole time, we can’t hear the reporter on the scene and that inhibits us from asking meaningful follow-up questions. Also, work out in advance what silent cues you and the anchor will use to communicate. When I’m going to ask a reporter a question, I make a gesture with my hand to let the director and producer know to put up my microphone. Especially if a show is solo-anchor, please push the assignment desk to find phone interviews to fill the air time. You need to delegate to the newsroom to meet

A conversation with an anchor about news producers  79

the content needs in a breaking situation. I also expect you to curate content that is well-rounded. For example, we’ve had several wall-to-wall coverage situations in the Savannah/Hilton Head market for tropical storms and hurricanes. At times, we would go more than an hour without talking about one of our key cities and how they were being affected. You need to keep score about what we’ve talked about so we can give all of our viewers the information they need and want. Provide an anecdote describing a wonderful experience with a news producer without revealing any identifying details. One of my best experiences has been working with a producer who took the time to learn my manner of speaking and write to my preferences. She paid attention to words that tripped me up and phrases I frequently changed. She knew which lighthearted stories fit my personality the best. We were totally in sync and that led to some great newscasts. Provide any additional information that you feel would be helpful to news producers as it relates to their relationships with news anchors and news reporters. This relates to relationships in general: be humble. No one knows everything and learning is more than half the fun.

Part Break Self-care for journalists Christine C. Eschenfelder

Taking care of yourself Working in television news is exciting and rewarding. It can also be demanding in many ways. People working in high-stress careers like broadcast journalism may neglect the essential act of self-care. Self-care means just what the name implies: taking care of yourself. But self-care is multifaceted. Taking good care of yourself requires good personal hygiene, eating good foods, drinking water, and getting exercise but emotional, mental, and spiritual well-being are also part of self-care. Self-care is not self-indulgence. When you take good care of yourself, you will be a better journalist and a happy person. As the job title implies, field producers often work outside the newsroom while line producers work primarily in the newsroom. Even though some producers are not in the field witnessing events first hand, constant exposure to unsettling events can exact an emotional and psychological toll on everyone working in the newsroom. As journalists, on any given day we are covering crimes, tragic events, natural disasters, and social unrest for our audience. Producers may also work long and odd hours; news does not stop on nights, weekends, or holidays. Demanding shifts can complicate personal relations and make work-life balance very difficult to achieve. This can also lead to stress, burnout, and psychological distress. Self-care is an essential but often neglected consideration for journalists. To prepare for a career in broadcast journalism, you must be aware of the importance of your emotional and mental health, be able to recognize the warning signs of potential problems in yourself and others, and identify some resources that can help if you or co-workers need assistance. Being aware of the challenges will help you prepare for a long and fulfilling career in producing.

It comes with the territory William J. Drummond, a former reporter who became a journalism professor, is keenly aware of how covering traumatic events affects journalists. He wanted to create a class for aspiring journalists that would help them learn to achieve emotional balance. When suggesting the new course to colleagues, Drummond (2014) writes, “Some horse laughs were heard. One colleague believed that ‘emotional balance for journalists’ is an oxymoron. ‘Journalists are prone to living highly vulnerable lives that are basically unbalanced-emotionally, spiritually, psychologically,’ he said” (p. 80). The course was eventually approved. Drummond believes that learning self-care is an essential part of journalism education. In her study of work-life balance in broadcasting, Christine Eschenfelder interviewed male and female producers, news directors, anchors, and reporters working at several television news stations. Some of them shared very personal details about how their DOI: 10.4324/9781003037729-12

82  Christine C. Eschenfelder

work affects their well-being. One person admits dealing with the stress of working in television news through consumption of alcohol: Drinking fixes all news related problems. In seriousness I’ve had to make a system for how I handle the stress, and obviously drinking is a crutch used and often abused by media folk. I go out with other media friends frequently to drink, so in order to keep it manageable I don’t keep (much) beer or alcohol in the house. This way I only drink during the week, with friends around me. Others commented about how their work caused problems in their personal lives and the lives of co-workers; one interview subject said, “I think it’s terrible how many of my colleagues have been divorced over the years.” Some of those interviewed offered advice for students about the psychological demands of industry. “Students just need to be prepared for TV news to drain them, emotionally and physically… Be prepared for it to totally consume you, inside and out.” A broadcast journalist who, at the time, had been working for two years in television news said: Every veteran affiliate reporter tells you “it’s not too late to change your major” at your internship. You write it off, because you’re “so passionate” about it, and “they don’t have what it takes, like me.” 2 years later, and you can feel the life being sucked out of you.

Self-care strategies Before you run to your advisor and change your major, be assured that working as a producer is very rewarding and exciting. Everyone has good days and bad days no matter their occupation. It is also not a guarantee that everyone will suffer from extreme amounts of stress in the newsroom. Some will and some won’t. You may also experience more or less stress at different stages of your life cycle, such as marriage or parenthood. If you do get stressed or burned out, it does not make you weak or a bad person. It makes you mortal. A goal of this section break on self-care is simply to make you aware of the potential stress of the profession so you can be prepared and pro-active after you graduate. Another goal is to offer you some strategies and resources for self-care. At the end is a list of some excellent websites with information on self-care. There are a few things you can start doing right now to take care of yourself. After all, being a student can be pretty stressful, too. Some of these tips will sound obvious, but when we’re under a lot of stress, we may forget to do important things for ourselves. Your mother probably told you to do some of the following things. You probably want to call her and tell her she was right. So, what can you do to take care of yourself? Here are a few tips: • • • • • •

Drink plenty of water and stay hydrated Eat good food: that’s hard for journalists sometimes, but healthy food as often as possible Get enough sleep: eight hours is pretty much the standard Practice good, consistent personal hygiene (showering, brushing your teeth, etc.) Get moving: stretching, walking, running, playing a sport…anything that gives you some physical activity Take a break: a break from work, from social media, from all media…get out of the newsroom for a few minutes

Self-care for journalists  83

• • • •

Mindfulness meditation: lots of free how-to sites Catch up with friends and family: it is important to stay connected Enjoy the outdoors: even a few minutes in nature can be rejuvenating If you feel sad, anxious, depressed, overwhelmed, burned out, are self-medicating with drugs or alcohol, are having problems concentrating: talk to a trusted confidant or make an appointment with a professional…don’t go it alone

Unprecedented events In early 2020, the world changed remarkably as a result of the COVID-19 pandemic. Millions of people were quarantined at home, cut off from friends, loved ones, resources, work, and school. It had a profound effect on not only physical well-being but also mental health. Journalists were forced to completely change the way they gathered and reported news. They were balancing a challenging work situation with a stressful life situation. Journalism organizations immediately began offering video conferences and resources with self-care strategies for professionals and journalism professors. Covering the pandemic was as stressful as experiencing it. A recurring topic was the importance of self-care. Everything was different, strange, and tentative. Such abrupt and drastic changes in routine and lifestyle caused many people to neglect or be forced to live without their usual self-care routines. Some mental health experts voiced concern about the emotional and psychological effects of the COVID-19 pandemic.

An excellent resource on self-care for journalists The Dart Center for Journalism and Trauma is one of the best resources available. The Dart Center recognizes burnout as an occupational hazard for journalists, noting burnout “has been applied across helping professions, and refers to the cumulative psychological strain of working with many different stressors. It often manifests as a gradual wearing down over time” (Dart Center for Journalism and Trauma, 2013). The Dart Center includes depression, cynicism, boredom, loss of compassion, and discouragement as symptoms of burnout. They suggest those who think they are suffering from burnout “take steps toward self-care and lifestyle balance” (Dart Center for Journalism and Trauma, 2013, para. 9).

QUICK TIP: THE DART CENTER FOR JOURNALISM AND TRAUMA The Dart Center has an excellent online resource center. It is a project of Columbia University Graduate School of Journalism. The website offers many outstanding resources, tip sheets, and information about self-care for journalists as well as covering trauma. Bookmark it! dartcenter.org

Social media and online attacks While on-air personalities such as anchors and reporters are more likely to be the target of social media or online attacks, producers can also be on the receiving end of vitriol from hostile people in your audience. Trolls and cyberbullies will often hide their identities. They

84  Christine C. Eschenfelder

feel empowered sitting at the computer writing nasty, offensive, and humiliating comments. Some make vile comments about their target’s personal appearance, gender, or race. Others may write malicious comments about a journalist’s story. Remember, trolls and cyberbullies get pleasure out of annoying and offending others. The best way to steal their joy is by not responding. It is difficult to read such hateful or insulting comments directed at you, but don’t play their game. It is usually the best practice to ignore them. However, if you feel that you are being threatened or may be in danger, take a screen shot of the offensive communication and contact a manager or law enforcement immediately. Some journalists have outed or responded to trolls and cyberbullies in order to publicly shame them and call attention to a problem. In 2016, a female television anchor decided to clap back at a person who fat-shamed her on social media. Stacey Skrysak wanted to be a good role model for her daughter and to get the message across that women should not be judged by their physical appearance. She replied to the cyberbully and minutes later, hundreds of people in the community showed their support with messages of praise and encouragement (Skrysak, 2016).

QUICK TIP: TROLLBUSTERS The TrollBusters website offers an interesting infographic online that can help you think about online abuse. Go to troll-busters.com to check it out

Figure SB1.1 Dr. Kortni Alston, Happiness Scholar.

Thoughts from a Happiness Scholar, Dr. Kortni Alston, Ph.D., MBA. Founder of Kourting Happiness, and Assistant Professor at the Department of Journalism and Mass Communication at North Carolina A&T State University. Dr. Kortni Alston understands the importance of well-being in journalism. She is a former news director and television reporter turned happiness scholar, TEDx speaker, and transformational trainer. She trains journalists, news directors, and executives by providing evidence-based strategies on cultivating well-being at work and in their personal lives. Her area of research focuses on positive psychology, which is the scientific study of how individuals, communities, and organizations flourish.

Self-care for journalists  85

Dr. Alston said that it is critical that journalism students understand the value of well-being at work: “Journalism students are the next generation of reporters, anchors, producers, photographers, and everyone in the next generation from news managers to news directors to general managers. There must be a continuum in the ripple of effect of creating news cultures that focus on well-being.” “This positive continuum will help in recruiting and retaining talent, and it will serve as a way to combat burnout for veteran journalists too.” To develop these skills, Dr. Alston stresses how positive psychology can help. “We talk a lot about self-care, which comes down to well-being. Positive psychology provides evidence-based strategies that can serve students now and later as they enter into newsrooms.” How can you cultivate well-being in college that can be leveraged at work? Here are three simple strategies. “First, create a well-being plan. Begin to take inventory of positive activities that increase your positive emotions. Think of what you enjoy like art, dance, yoga, or even a day at the park with your family and friends,” said Dr. Alston. A well-being plan promotes relaxation. Dr. Alston says, “Ask yourself. What activities make me happy?” The second coping strategy focuses on the impact of compassion and self-kindness: Compassion is about alleviating suffering. We often can do that easily for others, but we must begin to practice it for ourselves. Self-compassion starts with you. Begin to treat yourself as your own bestie. This will allow you to be kinder to yourself when you experience failure or hardship. Forgiving yourself and understanding what your strengths are can be transformative. Lastly, relationships are key to one’s well-being, Alston said: “I believe in qualifying relationships. Focus on positive relationships. These are with individuals that increase your levels of happiness. They are empathetic, optimistic, and are active listeners. When you are going through hardships, there is so much comfort in having people around you that allow you to share, and are supportive.” Dr. Alston shares that having mentors in the industry can also provide information on your career path, best practices, and emotional support. She also adds, “Remember that your well-being is the most important job you have.” Learn more about positive psychology by visiting Dr. Alston’s website at www. DrKortniAlston.com

The bottom line of self-care: you are worth it At the end of this chapter break is a list of some great self-care resources. The importance of self-care cannot be overemphasized. You owe it to yourself and your loved ones to be happy and healthy. You also owe it to your audience; we all work better when we

86  Christine C. Eschenfelder

are feeling well, physically, mentally, and emotionally. Remember, there is no shame in asking for help or admitting that you feel sad, anxious, or overwhelmed. The stigma attached to mental health issues is slowly beginning to decrease in the United States as more people share their stories and support each other. Take good care of yourself. You are worth fighting for.

Online self-care resources dartcenter.org nami.org/About-Mental-Illness/Warning-Signs-and-Symptoms troll-busters.com mentalhealthjournalism.org centerforhealthjournalism.org poynter.org pressclubinstitute.org/self-care-tips-for-journalists iwmf.org (International Women’s Media Foundation) nabj.org (National Association of Black Journalists) DrKortniAlston.com

References Dart Center for Journalism and Trauma, 2013, Dartcenter.org Drummond, W. J., “Equipping journalists with tools for emotional balance,” Nieman Reports 58, no. 2 (2004): 79–81. Eschenfelder, C., “Still worth the balance: How women and men working in television news manage the demands of the industry and the implications of their success” (Doctoral dissertation, December 2014). Skrysak, S., “I was fat-shamed on Facebook, but now I’m getting the last laugh,” Today, October 17, 2016, https://www.today.com/series/love-your-body/i-was-fat-shamed-facebook-i-got-lastlaugh-t104023

Part Two

Field producing

9

The ins and outs of field producing Sally Ann Cruikshank

The ins and outs of field producing If you’re looking for the person in a newsroom who really can do it all, that’s most likely going to be the field producer. Field producers are often responsible for: • • • • • • • •

Researching a story Finding sources and interviews Conducting interviews Managing a team in the field Setup for live streaming events Overseeing breaking news coverage in the field Writing content Shooting and editing video

Field producers often have all the skills and duties of a reporter AND a producer. Increasingly, newsrooms may not even use the title of field producer. Instead, journalists with the title of producer, digital producer, or even photographer with the right set of skills may be sent out to field produce. Beyond the journalistic and technical abilities, field producers need to be flexible, critical thinkers who don’t crack under pressure when things go wrong. Which, they absolutely will.

“The most important things aren’t technical skills. Those are all things you can learn… Anyone can plug in this cable to that cable, when given instructions. The way you approach shoots is just a little more important. Because if you know how to do this elaborate setup, but you don’t know how to modify it, to make it work for the situation you’re in, then none of that matters.” –Ayrika Whitney, Regional Multimedia Producer – USA Today Network

DOI: 10.4324/9781003037729-14

90  Sally Ann Cruikshank

Figure 9.1 Ayrika Whitney with a visitor to the newsroom.

Finding and pitching stories Field producers are often responsible for finding and pitching stories to cover, especially ones that may require extended time to investigate. Discovering newsworthy stories that will have a true impact begins with a connection to your community. Be observant of what is happening around you. Read news beyond your own organization and other “traditional” outlets. Seek out alternative publications, weeklies, online community forums, Facebook groups, local organization newsletters, and other sources of information. Thinking beyond your own community can also help you find ways to cover it. Look for national stories that can be localized. Search through archives to see what historical issues might still be applicable today. Get reports from local and federal agencies and dig into the data to see what it tells you about your city or state. Really, though, your best sources for stories are people themselves. Cultivate sources around the community, from the people who frequent local coffee shops, all the way up to city management. Building these relationships when there isn’t a story will pay off handsomely when something big happens. Your goal is to be the first person they call when there’s an issue that deserves attention.

QUICK TIP: KEEP A STORY FILE When you observe something that interests you, or you hear a rumor about something you want to investigate further, write it down in a story file. Having a list of possible stories will come in handy when there’s a slow news day.

The ins and outs of field producing  91

Just as important as finding stories to cover is pitching them effectively to your editor or newsroom management. You may be asked to pitch your story a variety of ways, but generally, consider the following when developing your pitch: •

What is the focus of the story? Don’t pitch broad, general ideas. Try to summarize the importance and heart of the story in one sentence. Some reporters even write a killer headline for their pitch, to demonstrate its newsworthiness. Who could be your sources? Think beyond experts and officials here. Who are the stakeholders beyond the obvious players? Ask: who profits from the story? Most great investigations have, at their core, someone benefiting from power or money. Who is your audience? Who will care about this story? Why will they read or watch it? Why do the story now? Evergreen stories (ones that are not timely) don’t make for an urgent pitch. Why does this story need to be reported immediately? Consider story development and future follow-ups. If it’s a complicated, involved investigation, you may not want to try and cram it all into one story. Provide an initial sketch or outline of possible further reporting on the issue. Many stories, at the very least, have the possibility of an accountability check in the future.

• • • •

Before you pitch, it’s always a good practice to have done a little pre-reporting. Find few possible interviewees or sources for information. You might also consider writing up a reporting plan, to explain how long the story will take and what resources you may need. Also, don’t make your pitches too long. Keeping pitches short and succinct will work in your favor. Coordinating field coverage Perhaps the biggest responsibility often given to a field producer is coordinating coverage of stories, live events, and breaking news outside of the newsroom. Successful field producing hinges on the planning done before the story even happens.

QUICK TIP: CONTACT NUMBERS When news breaks, the last thing you have time for is tracking down who is in charge of what. Develop (and regularly update) a contact sheet for the following people, businesses, and offices: • • • • • • •

Police departments and/or sheriff’s office Fire departments Medical examiner’s office Jail director City leadership, including the mayor’s office, county clerk, city recorder, etc. Department of health Department of transportation and/or the closest airport

92  Sally Ann Cruikshank

• • • • • • • • • • • •

Federal agencies that have local branches or representatives, including Department of Homeland Security, ATF, Air Marshals, etc. National Weather Service Parks department and wildlife resources District attorney Local hospitals (and know which is the designated trauma center) Utilities, including gas, water, electricity, and internet providers Major local industries or companies, including universities, zoos, etc. Leaders of any major religious organizations and/or minority ethnic group in your community Local non-profits, including American Red Cross Lottery spokesperson Community organizations, including local NAACP chapters, Black Lives Matter, unions, etc. Spokespersons for local political parties, including third parties

It may seem impossible to plan for the unknown, but developing some communication strategies and resources is easier than you think. Field producers can work with newsroom management to develop one-sheet guides for various scenarios. One-sheet guides are short, explanatory documents that tell the newsroom everything from how to set up equipment in the field to how to prepare for and execute coverage of a specific type of news. The easiest way to get started with one-sheet guides is to think of breaking news events that are likely to happen in your area. Generally, extreme weather conditions affect most regions of the country, such as tornadoes, flooding, hurricanes, and/or wildfires. You should develop a one-sheet coverage guide for such events. Once those are finished, consider other possible scenarios. Examples of other breaking news plans you might want to develop at least a rudimentary plan for include an active shooter situation and a mass casualty event. Also, anytime you’re covering something where a large group of people are gathering, there should at least be a discussion of what you would do if the worst-case scenario happens. At the very least, there should be a list of who to contact for information if something goes wrong.

ONE-SHEET GUIDE EXAMPLE Tornado coverage When notified that extreme weather is possible, field producers/reporters/photographers should prepare by doing the following: • • • •

Fill up your gas tank Put food and water in the car Have boots, rain gear, and press credentials Pack all necessary equipment, including camera, extra batteries, laptop, notebooks, pens, business cards, paper map, etc.

The ins and outs of field producing  93

During the weather: • • • • •

Monitor weather reports and be ready to get to a safe place if a tornado forms. Do not put your safety at risk! Tweet basics first (what you’re seeing, pictures/videos of weather and/or damage) Send raw video back to the newsroom frequently, in case you lose service Field producers/reporters/photographers: check in with newsroom point person, digital producer Janie Smith (304-555-1313) every 30 minutes to assess needs, plan next steps, and continuing coverage Editor: designate someone to collect information from weather services, scanners, social media, etc. Contact Numbers:

• • • •

Weather Service: 615-555-1234 Power Company: 615-555-2345* Fire and Rescue: 615-555-3456* City Hospital: 615-555-4567

*Editor: designate someone to regularly contact power company and fire and rescue to minimize the number of inquiries they’re getting. Essential terminology: • •

Tornado watch: This means tornados are possible. Everyone should be prepared with your emergency plan. This typically covers a larger area. Tornado warning: This means take action immediately and get to a safe place. A tornado has been detected on radar or spotted. Warnings are usually for a much smaller area. Tips to remember:

• • • •

Record everything and take thorough notes Get a phone number for everyone you interview Check with the field producer for the hashtag to use Observe your surroundings and think: who, what, where, when, why, and how

The more preparation you do before breaking news, or really any event happens, the smoother the coverage will be. It also frees you up to problem-solve when things don’t go to plan. KDKA-TV photographer and editor Bryan Orr has spent 20 years working in the field. He said, “If you’re ready for things to go bad, you can recover a lot faster.”

“Be ready for things to go wrong would be my biggest advice, because things are going to go wrong. And you need to be able to recover, because it’s not about you. There’s other people who are relying on you, and you can’t let them down.” – Bryan Orr, KDKA-TV photographer/editor

94  Sally Ann Cruikshank

Figure 9.2 Bryan Orr, photographer and editor, KDKA-TV.

There are so many moving pieces involved in field producing, most of which are out of your control. It’s a certainty that things will go wrong at some point. That’s when strong communication skills, critical thinking, and the ability to act calmly under pressure become essential. You might make the wrong decision, but in some situations, you just need to be able to make a decision. When this happens, you need to think: what can I do to get any content from this moment, and try not to get too caught up in the carefully constructed plan that fell apart. Safety considerations When making field coverage plans, field producers also need to be mindful of safety precautions. Anyone working in the field needs to be equipped with the proper gear for the conditions. This might mean boots and rain gear for severe weather or even gas masks, goggles, and media identification vests for protest coverage. Be sure to throw in some food and water, too, as you never know how long an assignment might take. Beyond gear, when it comes to severe weather, a safety strategy also needs to be in place. At some point during hurricane coverage, everyone needs to be inside and out of the weather. If tornados are a possibility, no one should ever be far from shelter. There’s more in-depth information on how to cover protests and riots in Chapter 12, but it’s important to note that all plans for protest should involve a team of at least two people. Three people on a team is even better. This way, one person on the team can be absolutely aware of your surroundings while one person does interviews and the other works the camera. No one should ever work a protest or event where there will be a large gathering of people alone. Even if it looks like it will be a peaceful protest, any time a large number of people gather, there is the potential for something to go seriously wrong.

The ins and outs of field producing  95

Plans for covering protests should also include what to do if someone is injured on the job, and everyone should be aware of who they need to call if they are arrested. In recent years, most notably with the protests in Ferguson, Missouri in 2014 and the Black Lives Matter protests in the summer of 2020, press freedom watchdog groups noted an uptick in police violence against journalists. Make sure your team knows what their rights are in these situations, including what they should say and do if arrested or hurt. Lastly, as a field producer and leader, you should strive to foster a culture on your team and in your newsroom where people feel comfortable voicing their safety concerns. There are always risks associated with being a journalist, and those should be mitigated in any way possible. Most importantly, no journalist should ever feel like they have been forced into an unsafe situation, only because they fear they might lose their job if they don’t cover the story.

QUICK TIPS: STAY SECURE It’s not the most exciting part of being a field producer, or any journalist really, but securing your devices might be one of the most important tasks. It may be a hassle, but you should do two things regularly: change your passwords and update your apps. Make sure your passwords are complex, featuring numbers and special characters. (A password manager app can help you choose secure codes and keep track of them.) App updates often include patches to fix security concerns.

Essential “skills” Many practical skills you need to be a field producer, including work flow and specific equipment instructions, can be taught on the job. There are a few other “skills” you need to be a field producer that you should develop and refresh regularly. Good field producers have to be masters at time management. Orr recommends thinking about where you need to be by deadline and plan according. “Let the day keep you prioritized,” he said. “Know the expectations of what you’re working on and when it needs to be done.” Time management in the field also means being ready to hit the ground running when you get to a scene and knocking as many things off your to-do list as you can. Other strategies can be time savers and problem-solving techniques at the same time. For example, if you are shooting b-roll of a scene, try to shoot to edit. This means setting up your shot, hitting record, counting to about five (silently), then stop recording before you move the camera. Then repeat the steps for the next shot. This saves valuable editing time on the back end of production, as your b-roll will already be ready to go. You might also consider shooting look-lives at the scene. This means recording the reporter introducing and closing the story at the scene. Look-lives serve two purposes. One, this is a way to demonstrate to your audience that your news organization has a presence at the scene. The second reason to do a look-live is that if something goes wrong and you’re unable to do a planned live shot, you have a backup recorded already.

96  Sally Ann Cruikshank

LIVE STREAMING AND AUDIO Live streaming a planned event, whether it be a press conference or even the birth of a giraffe, has become a regular occurrence in newsrooms. Setting up and managing the live stream from the field is often delegated to field producers, unless a reporter is sent to write a broader story. Whitney has learned through her experience in the field that having clear audio is key to a successful live stream. “What I’ve learned is that people seem to be, particularly with live audiences, people seem to be forgiving of bad visuals, as long as they can hear,” she said. She recommends bringing at least one backup option for audio when live streaming. “Sometimes I’ll bring another backup to the backup,” she said. “If somebody logs into your stream and doesn’t hear clear, clean audio, they’re gone. The tolerance for bad audio is very low, it seems.”

Other skills to have in your repertoire include knowing how to shoot and edit video, take compelling photos, record clear audio, and understand how to make a quick, simple graphic. As a field producer, being proficient in editing video, photos, audio, and graphics on your phone is also a must. Perhaps more importantly, however, is the willingness to learn and keep those skills fresh. This includes keeping up to date with social media algorithms, which change frequently and can really influence who sees your content. Good field producers, and really good journalists, use time between assignments to refresh the skills they have, or learn new ones that will have an impact.

The field producing bottom line Field producers serve a vital role in the newsroom, coordinating everything from routine live events to disaster coverage. A successful field producer must be flexible – a quick thinker who can handle a variety of situations under pressure. It’s also essential to be a strong communicator who plans ahead for the unexpected. The more preparation you can do before you go into the field, the more likely you are to produce flawless coverage of any story that comes your way.

Chapter Break Meet a journalist – profile of a special projects producer Caitlin Coffey

Figure CB3.1 Caitlin Coffey, WKRN-TV Special Projects Producer.

I graduated with a Broadcast Journalism degree from Troy University in Alabama. For me in the special projects role I think my years of experience in the business helped me land the job. More and more these days newsrooms are looking for people who have a diverse skill set. For example, I have experience as a multimedia journalist, an editor, a photographer, a line producer, and an executive producer. Every newsroom does not have a special project producer. Every newsroom that does may have different duties for their special projects producer. At WKRN, I landed the role of special projects producer after working as the late news executive producer for DOI: 10.4324/9781003037729-15

98  Caitlin Coffey

two years – volunteering to put in extra hours to work on projects for the newsroom. An opportunity presented itself for me to pitch a special project producing roll to my news director. We were able to collaborate and establish the position. For me that included also producing the 6 PM newscast in addition to my special project’s duties. To sum up line producing: producers have a daily deadline – the show goes on no matter what. Line producers are in constant communication with field crews, assignment desk, editor, technical media operator and newsroom managers to research content, write compelling and informative stories as well as showcase content for a daily live newscast. When you compare that to special projects producing the deadline can vary. Depending on the project, the producer has a longer timeline to complete goals. The producer also must work with other departments like promotions, graphics, and production. That’s in addition to working with newsroom co-workers as well. Special projects producers have the luxury of spending more time on content to make it “special.” For me, my attention to detail and organization helps me excel in both roles, but especially, special projects. My duties include oversight of our station in-depth reporting on certain topics, specials, and town halls. I work with my news director on story assignments. Then, I follow up with the reporters assigned and stay in constant communication about their story to make sure it’s completed on time and meets the expectations laid out. Additionally, I stay in communication with other producers that air those stories in their shows. I let them know where to find the package, script, and lower third information. I provide suggestions to showcase those special stories (or produce them myself if time allows). I will also work with our web department to make sure each story has something extra to provide our audience when it comes to pushing to the website. My attention to detail comes in handy when collaborating with our graphics department on a certain look for special stories. I even brainstorm and give ideas and suggestions for the vision of the project. Quality control is also a large part of being a special project producer because I believe these projects help our station stand out from the rest. I also get to exercise a different side of my creative muscle with special projects because of the extra time usually allowed. I also stay very organized because many times I work on more than just one project at a time. For me that means calendars and priority lists are constantly updated. This is just a summary of what a special projects producer position may look like. Special projects producing pushes me to bring out more of my creative side. I have a passion for storytelling and showcasing. I truly enjoy even the tedious tasks that help make a project successful. My advice for students who want to become producers would be to find someone to job shadow and/or find a mentor that’s been in the business. It’s hard to know what you will be getting into if you’ve never been in a newsroom before. Being a successful producer is more than just being a good writer. A strong producer has people skills, time management skills, confidence in writing and can make quick decisions without consultation. Additionally, I strongly encourage anyone that wants to enter broadcasting to carefully consider the sacrifices that you may have to make in your personal life. The news business never stops. It’s on 24/7 – including holidays. I think it takes a strong commitment to be a producer. It’s one I don’t take lightly. There’s always a need for producers in this business. I personally have witnessed more people staying in the business as producers than like reporters or anchors. I believe producers have more opportunities for growth in an organization, and I believe the skills producers develop in a newsroom can be easily transferred to any other communication field.

10 Before you leave the newsroom Sally Ann Cruikshank

Successful field producing The key to successful field producing is to do as much prep work as possible before you leave the newsroom. This means researching your story thoroughly, making plans for the format of your story, arranging interviews, and having the right equipment. Have a plan… and a backup The only predictable thing about field producing is how unpredictable it really is. Ayrika Whitney, regional multimedia producer – USA Today Network, whom you met in the previous chapter, recommends having a plan A and a plan B before leaving the newsroom. “You could plan out every step of what you’re going to do once you get out into the field, and that can be immediately torn to bits,” she said. “Immediately. From step one of your perfectly laid-out plan.” The most important part of the plan is making sure the people back in the newsroom know what to expect. This means having a point person, usually a digital producer, who handles everything coming from the field in the newsroom. Whitney recommends meeting with the point person before you leave the newsroom to let them know what you think will happen at the scene and what their responsibilities will be. Besides handling any streams or videos that you send back to the newsroom, this person can also handle questions from editors or other people in the newsroom for you. This way, you can focus on what you’re doing in the field. Once you’re in the field, check in with the point person again. Tell them what you’re seeing and what you have control over. For example, if you’re covering a press conference at the mayor’s office, you might plug into the audio they’re providing. That means you won’t have control over the audio. This is something the point person needs to know, as they’ll be the one to check your levels before streaming or video transfers begin. When it comes to breaking news, it’s much harder to have any kind of a plan, much less a backup plan. The one-sheet guides discussed in the previous chapter are an excellent place to start, however. If you don’t have a guide prepared, designating a point person in the newsroom is the minimum you should do before walking out the door. You also want to think beyond just the story itself when planning field producing. A promotional plan is just as important. Check in with the team that runs social media, to talk about how the upcoming event can be teased. Depending on the size or topic of the event, you might even consider a push alert telling the audience when it will be streaming live. If it’s breaking news you’re covering, it’s always smart to let people know you have a team on the way. DOI: 10.4324/9781003037729-16

100  Sally Ann Cruikshank

Do your homework Besides planning what your coverage will look like on the ground and promotionally, you also want to consider the format and how to approach the content of the story. These days, all journalists need to think of stories from a multimedia perspective. Rarely does a story get produced with only one medium. A print story will need a photo to go with it. An audio story will need at the very least an introductory paragraph and an eye-catching headline or social media post. Before you leave the newsroom is a good time to at least find a good focus for the story if not going as far as outlining or storyboarding the subject. Doing this can help you determine who to talk to, what questions to ask, and what kind of video or sound you might need. This doesn’t mean you can’t be flexible with your approach, and chances are, your final story will look nothing like your original concept. But doing research and finding the most compelling parts of the story in advance increases your chances of being successful in the field. To start this process, ask yourself, who does this story impact? And don’t think just on the top level. As you will learn in Chapter 13, you should be considering diversity and inclusion in all of your stories. Think beyond policy makers and the loudest voices in the room and consider who is really impacted by the issue. This can point you toward the most impactful interviews. Take a deep dive into what is already known about the topic, story, or person you are producing a piece about. See if there are documents you can request, background information to search, and experts you can reach out to about the story. When you’re doing research, don’t just rely on a simple Google search. Scour social media, make phone calls, and check your own newsroom’s archives. This last step can help you in more ways than one. Looking in your archive can provide background information, along with file photos and video that might help create a multimedia package for the story.

QUICK TIP: FOIA AND PUBLIC INFORMATION The Freedom of Information Act (FOIA) allows you to file a request for documents from federal agencies. Those agencies are legally required to provide you with the information you request, with a few exceptions, including issues of national security. You can request the information by filling out a form online: foia. state.gov. Other sources of public information that could help shape a story include: • • • • • •

Tax records Vital statistics information, including birth and death records Zoning maps and building permits Financial disclosures from political candidates Court filings Business and organization annual reports

Before you leave the newsroom  101

Even when it’s breaking news you’re sent to field produce, there is research you can do to help yourself prepare for the scene. For example, if a restaurant catches fire, you might look up when the restaurant opened and find out the history of the building it’s in. You should check with the city code office to see if the restaurant had ever failed a code inspection and the health department to see if it ever had a health violation. Even checking the reviews of the restaurant online might give you something useful. Was it popular? Had people commented on the conditions inside the restaurant before? All of this can yield useful information, especially when you’re waiting for updates regarding the current situation.

QUICK TIP: KNOW YOUR EXPERTS When you start working in a new place, you should immediately compile a list of experts on different topics that you can contact when news breaks. This is especially important if you’re assigned to a beat! Cultivating these relationships can come in handy when you’re scrambling to find information about something. Your local university is a great place to start when making a list of experts.

Interview prep One of the most important plans you need to have in place before you leave the newsroom is how you plan to approach interviews. Interviews can make or break your producing, and preparing means identifying who you might talk to and devising a list of questions. Here are some tips for making sure your interviews go according to plan: • •

•

• •

Seek out diverse sources. Not just demographically, but also take into consideration experts vs. someone who will be directly impacted by the story. Make calls to set up interviews ahead of time. When doing this, be honest about the amount of time you need for the interview and think carefully about where you should meet. Sometimes, a person’s office might be fine. For some stories, neutral ground might work better. Be clear about the format. When you’re setting up the interview, tell the subject whether the audio will be recorded or if it’s on video. Also, make sure the subject understands how any recordings will be used. Don’t spring this on them at the scene. Consider the purpose of the interview. Is this about gathering facts or getting the emotional side of the story? This will impact the questions you’ll ask. Do some research. Read up on your interview subject and topic. Learn your interviewee’s biographical information and expertise. It’s also a good idea to learn something that can be used during small talk to put your subject at ease. (This also adds to your credibility during the interview.)

102  Sally Ann Cruikshank

•

Prepare some questions in advance. Make sure you know what you need to ask to get to the heart of the story. Also remember, your first question is always, “Say and spell your name.” Your last question is always some version of, “Is there anything else you’d like to add?” You’d be amazed what you’ll find out just by ending with this simple question. It often results in some of the best quotes of the interview.

QUICK TIP: SKIP THE COFFEE SHOP In the movies, everyone always meets for interviews in coffee shops. That’s actually one of the worst places to conduct an interview. Coffee shops are noisy places and often don’t allow for the privacy necessary for an interview, especially about sensitive issues. So, get that coffee to go! Go bag essentials The equipment you keep in your kit will vary depending on the type of news organization you work for and the type of field producing you do. For example, if you work for a television news station, you may have a high-end video camera, along with equipment to broadcast live over the air. If you work for an exclusively online news outlet, you may be able to just get by with a DSLR camera or your phone. If you have a more complicated setup, including a step-by-step setup guide and troubleshooting tips in your bag might be a good idea. Here’s a list of equipment and gadgets that might come in handy in the field: • • • • • • • • • • • •

A smartphone, laptop, and/or tablet. Headphones – An absolute must for checking audio levels. Tripod – This is a must if you’ll be shooting video. Lavalier or lav mic – These small microphones that clip onto someone’s shirt make for the best hands-free interviews. Make sure the cord is at least 6 feet long. A handheld and/or shotgun mic, along with a clamp to hold it. XLR cable – This allows you to plug into audio sources. A light. External battery – Get one that can charge your phone fully at least once and be sure to pack the charging cord. Extra batteries – Bring extra batteries for everything: the mic, the light, and the camera. Cell phone booster – This is especially helpful if you plan to stream live video and need to make your own hotspot. Live pack – These allow you to wirelessly stream high-quality video. Teradek and LiveU are two examples of live packs. Wide-angle lens – This can be for your camera or your phone.

It’s also a good idea to have a few staple apps downloaded and updated on your phone. Handy apps to have ready to go include: • •

An audio recorder A video editor

Before you leave the newsroom  103

• • •

An audio editor A photo editor A graphics maker

The updated part is especially important, as livestreaming can be disabled if you aren’t using the latest version. Even if you’re going to be putting together something more in-depth once you get back to the newsroom, you still want to be prepared to edit something quickly in the field for social media or an online update.

QUICK TIP: CREATE A SYSTEM Field producing often includes breaking news, which means you need to be ready to go at a moment’s notice. At home and at the office, it’s a great idea to create a station where everything you need to report in the field lives. Make this station part of your routine. When you return from a story, put your batteries on to charge. Put your camera and all its accessories in the same spot. Keep your external battery charged, too. When news breaks, the last thing you want is empty batteries or having to spend valuable time looking for a lens.

The before you leave bottom line When it comes to field producing, you need to be prepared for just about anything. Sometimes what seems like a simple assignment could turn into a whole day on the job. You might also be forced to get creative with solving problems with few resources. It’s a good idea to keep a small roll of duct tape in your bag, along with extra paper and a marker. Safety pins can also be used in a variety of emergencies, including a broken lav mic clip. Another problem-solver to keep around is different-sized Ziplock bags. These can fill a variety of roles, including keeping important items, such as your phone, dry if it rains.

Source Mark Briggs, Journalism Next (Thousand Oaks, CA: Sage, 2020).

11 Remote location live shows Christine C. Eschenfelder

Planning for a remote location live show Television stations and networks often produce remote location live shows for some special events, sports, or coverage of major local or national stories. U.S. news networks offer special live programming from presidential debates and town halls. Sports network ESPN airs the popular “Game Day” show during the U.S. college football season from a different university each Saturday. Many local TV stations produce live broadcasts from popular local events such as annual outdoor music festivals. Live remote shows take a lot of planning and effort. The producer is an integral part of the process. In most cases, the producer has more time to work on these shows than a line producer has to create a newscast. They provide a vision of the show and work with anchors, reporters, videographers, and other departments including production and promotions in advance. Preproduction meetings leading up to the show ensure everyone knows the details of the show and understand their roles and responsibilities. They are essential to a successful show. Strategic planning makes a big difference. The producer creates the rundown for the show and writes many of the scripts. He or she stays in communication with the anchors, reporters, and videographers who are contributing content to the show. Producers working on remote location live shows also collaborate with digital content producers to create special content for the website and the graphics department to brainstorm ideas for unique banners and opens for the live show.

Technical considerations It is important to discuss logistics and technical considerations with videographers, production crew members, and engineers. Power, audio, lighting, cell and internet service are vital elements in remote location live shows. The location of the show dictates what the crew in the field will need for set-up. They need to know if there are power outlets, what types of lights are required, and if the microwave, satellite, or internet signal is strong enough. Sometimes, no matter how well you and the crew have prepared, technical difficulties happen. A good producer always has a back-up plan. Anchors and guests will need chairs if they are sitting. They need microphones and anchors will need IFBs. Video monitors are preferred, required for a live sports show. Sports anchors must be able to see plays in order to talk about them. Some live shows have

DOI: 10.4324/9781003037729-17

Remote location live shows  105

Figure 11.1 Student sports anchors getting ready for a live remote sports show.

Figure 11.2 Production crew setting up for a live remote sports show.

teleprompters in the field, some do not. For the latter, the anchors rely on scripts. Hard copies of scripts can be more challenging to manage in the field, depending on how elaborate the set-up is or the weather conditions. A windy or rainy day can wreak havoc on paper scripts. Anchors may prefer to read their scripts from their cell phones or from a tablet.

106  Christine C. Eschenfelder

On location Setting up for a remote location live show takes time. Depending on how sophisticated the show is and the size of the crew, consider all the remote production equipment required: cameras, tripods, lights, light stands, monitors, microphones, audio mixers, and miles of cables. A set of chairs and monitors need to be put in place. It can take hours or even days to set up for the show. It also takes a long time to break everything down. The producer usually arrives at the location during set-up to ensure everything is in place and ready as planned.

Figure 11.3 Student sports anchors on the set of a live remote sports show.

Figure 11.4 Student anchor looking over scripts in the field.

Remote location live shows  107

Anchors should arrive at the location with plenty of time to prepare for the show. They need to settle in, take their seat, put on and test their microphone, check their IFBs, and make sure they have the hard copy of their scripts or a cell phone or tablet to access scripts. The producer makes sure that anchors understand the rundown and camera shots. During the show, the producer watches the clock. It is their job to get out of the show on time. The producer may also give time cues. As they did in preproduction, the producer keeps in constant communication with everyone involved in the live show. Producers often talk with anchors during the breaks to keep them updated on any changes.

Technical issues Anything can happen when you’re live, especially in the field. Cameras or microphones inexplicably die. IFB lines fail. Monitors stop working. Producers can manage some technical issues, but usually rely on the crew and engineers to handle major problems. This is one of the reasons why the producer must communicate with everyone involved in the planning and execution of a remote location live show. This includes not only the anchors but also the production crew.

The bottom line about remote location live shows The producer must supervise the show to make sure everything is ready to go and runs smoothly throughout. The producer must act quickly if a technical issue arises and must always have a backup plan. Remember: A good producer always has a backup plan. Anticipate what could go wrong and how the show will go on if it does. Talking with videographers, engineers, and directors can help the producer understand the pitfalls of live remote shoots. Experience is also a great teacher. The more you work in the field, the more confident you will be about live remotes. Videographer and News Director Dan Eschenfelder offers some advice for producers on working with the crew for remote location live shows.

Figure 11.5 Dan Eschenfelder, Videographer and News Director.

108  Christine C. Eschenfelder

The saying “preparation equals relaxation” is spot on. You need to anticipate everything that could go wrong. There are a lot of things you cannot control when you are doing a live remote. Think about the location itself. Every location is going to be different. For instance, you have to gauge what the noise in the background will be like at the time of your shoot as well as anticipate the lighting. There must also be power sources available. Lighting, audio, power, and cell service are essential considerations for a remote shoot. I encourage producers to scout out the location first at the same time as when your shoot will happen. If you’re going to shoot on a Wednesday night at a particular place, you need to go on a Wednesday night at that time to see what that environment is like. You have to look at certain things such as how many outlets are available because when setting up lights, only a couple of lights can run off each circuit. If you won’t be able to scout out the location in person, at least research it online or do what you can to learn important details. For example, if there are a lot of power lines or trees in the area you can’t put a 60-foot mast up in the air with your microwave truck. Does the area get cell service? Is it indoors or outdoors? If it is outside, natural lighting can be hard to predict. If it turns out to be a really bright day, you don’t want the talent squinting the entire time. In that case, the crew may have to fly in 12-foot by 12-foot scrims that block the sun over the tops of their heads. What’s a scrim? A scrim is a huge silk screen. Videographers don’t expect news producers to know all these things, which is why communication is so important. As a videographer, I appreciate when a field producer schedules a meeting with me and everyone involved ahead of time after having done their research about the location and the time we plan to shoot. Questions from the producer such as “What do I need to do to make this happen” or “What do you need as a video crew” are welcome. As much time as I have to prep as a videographer to deal with that type of shoot, the better. Remote location live shows can be very rewarding for the entire team if they go well. For students who think producing remotes sounds interesting, an internship is a great way to see what happens on location and will give you some hands-on experience.

12 Social media from the scene Sally Ann Cruikshank

Social media from the scene Whether it’s breaking news or a planned event, producing social media from the scene has become a routine task for journalists. Here are just a few reasons why you might choose to go live: • • • • •

Breaking news A tease from the scene of something you’re reporting on later Press conferences Live events, including everything from sporting events to animal births Interviews and audience question-and-answer sessions

QUICK TIPS: GET VERIFIED Contrary to what you might think, you don’t need thousands of followers to earn that blue check. Getting your social media account verified signals to your audience that you are who you say you are and can add credibility to your work. Before you apply for verification, do the following to increase your chances of being approved: • • • •

Have a photo of you as your profile picture Display a header photo on Facebook and Twitter Make your display name your actual name Put your organization and/or website in your bio

Going live Once reserved for television stations with expensive trucks, going live is now possible for anyone with a phone and stable connection. Being able to easily and cheaply go live from the scene has been one of the biggest game-changers for journalism in the last decade. Whether you’re going live on Facebook, YouTube, or Instagram, practice and a lot of prep work can make the difference between a great live shot and one that falls flat. Prior to going live, be sure to promote that you’ll be live on your personal social media, as well as your newsroom’s. It’s smart to touch base with the point person in

DOI: 10.4324/9781003037729-18

110  Sally Ann Cruikshank

the newsroom for a signal and audio check. You’ll also want to put your phone on “do not disturb” and check your surroundings for ambient noise and other potential distractions. Before you go live, practice what you’re going to say. After years of experience, some people are able to just wing it, but that’s rarely a good idea. When you’re live, it’s very easy to misspeak and not even realize it until later. During breaking news or sensitive stories, this can lead to misinformation being spread or an embarrassing correction later. Try to find a strategy that works for you. Some people like to write bullet points on a piece of paper and hold it or tape it under the camera. There are also free and cheap teleprompter apps you can get if you’d prefer to write a script.

QUICK TIP: LOOK AT THE LENS It’s pretty common to see a selfie where everyone in the picture is looking slightly off to the side. That’s because people instinctively look at themselves in the front-facing image. When going live, in order to connect with the audience, it’s important that you look at the lens. Check your framing before you start going live and then keep your gaze on the lens.

Of course, you don’t have to be responsible for the complete live report. Doing a live interview can be a great way to engage the audience, while also being transparent in your reporting. However, never go live without vetting the person you’re talking to and doing a practice interview first. If you sense that the person has a particular agenda or if they have the potential to be a loose cannon, don’t put them on camera live. Also, avoid doing live interview with someone who seems incredibly nervous or likely to freeze once it starts. Another great option when you’re going live is to solicit questions or information from the audience. This sort of interaction with your viewers helps build trust and creditability with the audience. However, be judicious about what types of stories you do this for. It’s probably not appropriate for controversial topics or sensitive issues. You don’t want to accidentally create a public relations nightmare for your newsroom. When you’re live, try to stay as aware of your surroundings as you can be, while also staying focused on the report. If you’re working in a team, make sure you have predetermined signals for if there is an issue and when you need to wrap up.

QUICK TIP: USE A PULL QUOTE Don’t have a graphic ready, but need a visual for social media? Pull a compelling quote from one of your interviews and use it to make a quick graphic in a mobile app. Attach it to the tweet or post it on Instagram, and you have an easy visual from the scene.

Social media from the scene  111

Breaking news On June 28, 2012, the U.S. Supreme Court handed down its decision on President Barack Obama’s health care legislation, the Patient Protection and Affordable Care Act. Shortly after, CNN’s breaking news Twitter account, @cnnbrk, tweeted, along with a link to a story, “Supreme Court strikes down individual mandate portion of health care law.” Someone, however, had either misread the ruling or was working from bad information. Either way, this tweet was incorrect, and CNN ended up tweeting a correction a few minutes later. The original and incorrect tweet, however, had already been shared hundreds of times. This anecdote, which is in no way uncommon when news breaks, demonstrates the importance of being right, not first on social media. That’s not to say it’s easy to be mindful of this when the pressure is on to quickly convey information to the audience. It’s just a good idea to slow down, check for errors, and proofread one last time before hitting send. Don’t just proofread the text, either. Make sure you check the link and/or photo, too. You may be able to delete a mistake, but a screenshot lasts forever. When it comes to breaking news on social media, Twitter should be considered your go-to platform. It’s not that you shouldn’t put the story on Facebook or Instagram, but the algorithms of those platforms won’t do you any favors as you update the story. Post on Facebook no more than once an hour and be sure to drive the audience to your website. On Twitter, you can update people in real time. Here are some ways to make your coverage stand out: • • •

Have a breaking news graphic saved in your phone to attach to your first tweet. By having more than just text, it will stand out more on people’s timelines. Infographics, including maps, statistics, or simply bullet points of the latest information, are also easy ways to boost engagement. Let your audience know you’re heading to the scene, and let them know when you’ve arrived.

Figure 12.1 CNN incorrectly reported in this tweet that the individual mandate of the Affordable Healthcare Act has been struck down.

112  Sally Ann Cruikshank

Figure 12.2 Example of a breaking news graphic in a tweet.

• • • • •

Post pictures and/or video ASAP. It may be some time before police or other officials confirm anything. Pictures and video you take do not need to be vetted. You should, however, be mindful of what you’re sharing of sensitive scenes. While you’re waiting for information, look for historical context and share what you find. Start interviewing people on the scene. You can use quotes or videos from these interviews on Twitter. Again, don’t share anything that hasn’t been confirmed, but people’s personal experiences make for compelling tweets. Start searching social media for user-generated content from the scene or about the situation, but always get permission before sharing. And, of course, confirm any information you find online before retweeting. As you start to gather more video and interviews, edit short videos with captions that you can share on Twitter. These don’t have to be long or complicated, it’s just an easy way to show your audience you’re on the scene and learning more.

Get Active… with Your Voice On May 30, 2020, The New York Times tweeted a link to a story about journalists being targeted during Black Lives Matter protests over the weekend. The tweet accompanying the story read, Minneapolis: A photographer was shot in the eye. Washington, D.C.: Protestors struck a journalist with his own microphone. Louisville: A reporter was hit by a pepper ball on live television by an officer who appeared to be aiming at her.

Social media from the scene  113

Figure 12.3 The New York Times received criticism for using passive voice when referring to police violence in this tweet.

Critics immediately questioned why active voice was used when protestors committed acts of violence, but when police used force, passive voice removed them from the action. There could be any number of reasons why the journalist wrote the tweet this way, but the passive voice construction impacted the narrative. The bottom line is, use active voice when you can. It makes for clearer, more engaged writing and reading.

Covering protests At some point in your field producing or multimedia journalist career, you will probably be sent to oversee or provide coverage of a protest. Beyond the generally preparations for field reporting outlined in Chapter 10, there are a few other provisions you might need for this type of story. Anytime a large crowd is gathering, you should prepare for the possibility that things could turn violent, no matter how peaceful the protest may seem. That’s just because there’s always a risk of something going wrong when that many people come together, especially when emotions may already be running high. Before you leave the newsroom, map possible exits in advance. You should also always work in teams for this kind of coverage. When one person is doing interviews, the other can pay close attention to surroundings. You should decide ahead of time if you plan to blend in with the crowd or stand out. For example, during the Arab Spring protests in Tahrir Square in Cairo, Egypt, journalists became the target of violence from some protestors. In the United States, journalists tend to want to identify themselves as press to indicate to police they are not part of the crowd.

114  Sally Ann Cruikshank

Along with your typical live reporting gear, you’ll want to throw a few extras in your bag. You may even want to re-evaluate the kind of bag you carry, depending on where the protest is being held. Now is a good time to leave the big, bulky camera at home, if you can, and rely on a smaller one or your phone. Pack lightly, but here are a few necessities to cross off your prep list or throw in your bag: • • • • • •

Include an external battery and cord for easy phone charging. Pack a clean bandana that can be used to wipe your forehead if it’s hot or clean your lenses. A bandana that’s been soaked in lemon juice or apple cider vinegar is also an excellent addition in case pepper spray or tear gas is deployed. Have a small first aid kit in your bag. Bring glasses or goggles to protect your eyes. Throw a sharpie in your bag. This can be used for a variety of reasons, including writing important contact information on your arm, in case something happens to your phone. Turn off the facial recognition passcode on your phone. This way, you’re the only one who can get into your phone with a numerical passcode.

Never put yourself in an unsafe situation. If things begin to deteriorate, your first priority is getting to safety. Remember, you can and should record police if you are working in the United States and on public property. U.S. police also cannot ask you to delete photos or videos, and they cannot confiscate your equipment without a warrant. If you’re stopped by the police, remain calm, identify yourself as press, and do not resist in any way. Know your local, state, and federal laws well, and be prepared to repeat them back to officers. When it comes to your social media posts, don’t fixate on violence if it wasn’t an overwhelming characteristic of the event. One burning trash can in an otherwise peaceful march involving thousands of people is not newsworthy, no matter how the flames may look in a photo. Remember, paid protestors are rarely a real thing, so don’t buy that storyline from either side. When it comes to crowd size, get photographic evidence.

LANGUAGE MATTERS Your choice of words always matters as a journalist, and it’s especially important to make careful language decisions when covering a protest. Terms such as “riot” and “rebellion” are loaded and should be avoided unless completely applicable. You should also avoid generalizing about the protestors as a group, including what the “crowd” may or may not want. Even if they’re united as one for a particular cause or purpose, people, and their motivations, are diverse.

When it comes to covering protests, whether on social media or in your general coverage, don’t treat protests as episodic. Protests are the beginning of a story, not the end of it. If people are willing to take the time out of their busy lives to demonstrate for or against something that means it’s an issue important to your community.

Social media from the scene  115

Take the time to report on it carefully and thoroughly outside the tension-filled environment of a march. It’s also important not to try to tabulate success or failure immediately. The lasting effects of a protest can take days, weeks, or even longer to understand.

The social media bottom line No matter the story, whether a planned event, protest, or breaking news, social media has become an indispensable tool for journalists. Not only can it help you disseminate valuable information rapidly, but it can also be a resource for information. Later on, in Chapter 20, you’ll learn how to approach social media in a different way – from inside the newsroom.

Sources Dana Sitar, “The New York Times was Accused of Siding with Police Because of an Ill-Placed Passive Voice”, Poynter, June 2, 2020, https://www.poynter.org/ethics-trust/2020/new-yorktimestweet-passive-voice/.

13 Diversity, equity, and inclusion matters Creating a complete story for your audience Keonte Coleman You play a role in shaping how audiences view themselves and society. This means that you shouldn’t take lightly the responsibility of creating a diverse, equitable, and inclusive newscast. Diversity, equity, and inclusivity (DEI) initiatives are undertaken to ensure that all members of your community, both normalized and marginalized, are being respected and properly served. Normalized communities are individuals, groups, organizations, or areas that hold power and status while also being associated with the accepted social construct (e.g., nurse = woman). Marginalized communities represent individuals, groups, organizations, or areas that hold powerless positions within your DMA and/or society, or they aren’t easily associated with the accepted social construct for a group (e.g., stay-at-home dad). DEI can take on various meanings. This text will use the following definitions. Diversity encompasses the array of demographics, experiences, and thoughts of those within the newsroom and the communities being served (e.g., getting a traditional college intern’s input on non-college-related stories). Equity within the newsroom and newscast allows all members of the community to receive fair treatment while understanding that additional aids may be needed to properly address marginalized communities (e.g., providing accommodations so a person in a wheelchair can participate in an on-set interview). Inclusivity in the newsroom and newscasts means that members of marginalized communities are integral in the conversation about coverage for all communities and they play a role in delivering the messages (e.g., consulting local members of an LGBTQIA [lesbian, gay, bisexual, transgender, questioning, intersex, asexual/ ally] group before covering an upcoming Pride festival). Journalists strive to tell stories without any bias to establish and maintain the trust of the communities being served. This is generally accomplished by withholding the journalist’s or company’s personal views, gaining different perspectives on issues, and reporting verified facts from multiple sources. These practices are ingrained within journalism education and professional newsroom policies. However, these practices don’t account for the unconscious bias (i.e., social stereotypes and attitudes that people unconsciously attribute to others), ingrained feelings, and learned behaviors that exist in everyone. If you aren’t being intentional about the decisions you’re making, you’ll likely revert to well-established tropes (predictable or stereotypical representations of people, places, or scenarios) to deliver messages to your audience. Viewers turn to their trusted news sources for the truth about the world around them, so newscasts have the power to allow, dispel, and legitimize harmful messages. We select news stories and ignore others by using news judgment principles, but we view those principles based on our own lived experiences. Those experiences are shaped DOI: 10.4324/9781003037729-19

Diversity, equity, and inclusion matters  117

by, but not limited to, our ability, age, appearance, education level, ethnicity, family structure, gender, height, race, religion, sex, sexual orientation, socioeconomic status, etc. It’s a good practice to reflect on how the intersection of these elements influences your perspective and decision-making. This can help you understand the areas where you have gaps in knowledge and identify potential biases (preconceived or unreasoned feelings toward a group or subject).

DEI newscasts You can employ several methods to create diverse, equitable, and inclusive newscasts. Your role as a producer can impact story selection, the tone of news stories, sources used, and the treatment of the news items. DEI in story selection To begin using DEI practices in your rundown, you must identify the marginalized communities in your DMA and begin to monitor stories focused on them. News stations obtain demographic information via market research surveys. This information can give you an idea of the proportion of viewers in various categories (e.g., age, gender, race) and you can use that information to guide the decision-making regarding which news items to include in a newscast. You shouldn’t randomly suggest increasing coverage of marginalized communities without analyzing what the newscast is currently doing. A simple content analysis chart could be created where you watch archived/current newscasts to tally the number of times various marginalized communities appeared in the newscasts. You could also track the genre of news stories the communities appeared in on the newscasts. The analysis period should last at least a week and focus on the same newscast(s) each day. This allows you to keep the variables fairly consistent with similar news crews putting the newscasts together. The data can then be analyzed and shared with the news team. For example, let’s propose that Black people make up 40% of the DMA but appear 15% of the time in your newscasts, and the majority of those appearances (60%) are connected to crime-related stories. The newsroom should question whether the presentation of the Black community is being accurately portrayed by their newscasts. This information is only a snapshot in time, but the newsroom should be able to look at the numbers and discuss whether the coverage of marginalized communities meets the station’s mission for serving the DMA. The data should help spur a conversation about what is under- and over-reported in your newscast as it relates to your audience. You can then be intentional about including various communities in the newscast by encouraging the assignment editors, news reporters, and videographers to identify stories that will feature marginalized communities. It would also be a good practice to identify areas that rarely receive coverage in the DMA and have conversations about why this happens. There can be many reasons for not covering certain areas, but a lack of coverage can cause viewers to seek out alternative news sources because they don’t see their communities reflected in your newscast. You should also pay attention to the outside news content gathered from the news/video feeds and how it impacts the overall story that you are telling your audience about marginalized communities.

118  Keonte Coleman

Tone of news stories News organizations have well-documented histories of aiding in the marginalization of communities by rarely reporting positive or neutral news stories about the groups, but instead covering those communities negatively or during negative situations. This process can cause viewers who aren’t members of the marginalized community to have negatively skewed opinions about marginalized groups. You want to track the tone (the negative, neutral, or positive feeling a news story emanates to audiences) and genre of news stories aired about marginalized communities to ensure that your newscast isn’t creating a false narrative about a certain group of people or an area of your community. You should aim to create news stories that are neutral in tone as it relates to the script, banners, graphics, etc., to ensure that the news station isn’t influencing viewers to think a certain way about your news stories. News anchors and reporters can influence how the audience views the tone of news stories by the way the script is delivered. Anchors and reporters should be made aware of their tone if their delivery strays too far away from neutral. You can encourage your news team to visit marginalized communities to report on how news of the day is affecting that community. The tendency is to tell these news stories from the normalized point of view, which can reinforce stereotypes. However, if you are tracking your coverage and being intentional about telling complete stories about your DMA, your newscast can play a role in normalizing marginalized communities or areas.

Scenario in action The new school year starts today, and your DMA has numerous schools in the district. Most stations will cover back-to-school stories and include video of local schools. There are a handful of schools that are well-resourced and likely to appear in the news during the school year. There are also schools in the district whose last few news appearances involved negative content. Producers concerned about the overall presentation would encourage their news crews to get b-roll and soundbites from the schools that have appeared under negative circumstances in the past. This kind of coverage can begin the normalization of the marginalized schools by showing that the average day at these schools is generally no different than the average day at normalized schools. Diversify sources News sources are the lifeblood of a newscast. Your sources embody the stories you’re telling your viewers. Sources help viewers connect to the content in a way that your anchors and reporters can’t because the news gatherers are supposed to remain neutral while presenting the facts about the news item. Sources are allowed to be emotional and opinionated because their views can be challenged by other sources who feel differently about the subject. Anchors and reporters are tasked with putting sources’ views in the proper context when counterviews aren’t available. There are different kinds of sources, and your newsroom should be mindful of the role it plays if it routinely uses similar sources from normalized groups. Some news items will have story-specific sources. The news crew doesn’t have much flexibility in deciding whether to use these sources if they want to tell an accurate and

Diversity, equity, and inclusion matters  119

complete news story. Then there are expert sources that normally lend themselves to flexibility because the news crew decides whom to contact and whom not to contact. The newsroom should aim to create a list of experts in the market that is as diverse as the demographic of your viewing area and track how often different members on the list are used. For example, you should have a list of economic experts from various backgrounds and institutions to discuss the latest economic change that is affecting the housing market instead of using the same economics professor from the same university every time there is a related news story. Once you diversify your expert sources you allow your viewers to see that members from marginalized communities can provide knowledge about the state of the economy, education, government, healthcare, judicial system, etc. Newsrooms also have flexibility in choosing whom to interview for news-of-theday stories. These are common stories that a large portion of the audience will recognize and could speak to if given the chance to share their views (e.g., holiday travel, drastic weather issues, or major sporting events). Diversifying your news-of-the-day sources can also, in a more subtle way, affect your audiences’ views of marginalized communities. For instance, the audience may not realize that you purposefully chose to talk to a woman coder at a tech firm for a technology story, especially if that story wasn’t focused on her tech company. But having a woman talk about a historically male-dominated industry allows the audience to begin to replace stereotypical norms of who should be giving them information about technology. When covering news stories focused on marginalized communities, it’s a good practice to use members of those communities as sources. One or two sources won’t embody the perspectives of everyone within that community, but when you allow those groups to speak for themselves they can bring more legitimacy and context to the story than someone who isn’t a member of the community. For example, rural farmers in your DMA might be considered a marginalized group because they represent a very small percentage of the business community. You can quickly interview an economist who has studied the farming industry (but has never stepped foot on a farm) to gain a big-picture perspective of what is happening to the farmers because the economist is conveniently located in your city. However, this perspective might not be as informative as talking to actual farmers in your DMA. Getting the interviews might not be as convenient, and the farmers you choose may not experience all the situations their fellow farmers are experiencing, but allowing them to speak personalizes this story for your community. Ideally, you want to include both economists and farmers within this story to paint a more complete picture for your audience. Treatment of news items You have countless ways to present news items to the public. When being intentional about DEI practices, you should pay attention to how the newscast portrays stories that feature marginalized communities. The most valuable commodity you control is the duration of time given to each news item. Check to see if your newscasts provide similar coverage to normalized and marginalized groups when it relates to the duration of the news stories. If there is a disparity between the two groups, review the types of stories being covered and see which are receiving more or less time. You could find that negative stories centered on marginalized communities receive more time when compared to similar stories dealing with normalized communities. This doesn’t mean that you

120  Keonte Coleman

shouldn’t tell negative stories about marginalized communities, but it should make you more aware of how you are portraying these groups to your audience in comparison to normalized communities. Many other variables factor into news presentation (e.g., order of appearance, visual treatment, build-outs, graphics, and animations). You should monitor whether stories focused on marginalized communities are receiving similar treatment to news elements about normalized communities. There are several ways that news items can either be minimized or made prominent in a newscast. If stories focused on marginalized communities receive treatment that minimizes them more often, it’s easier for your audience to overlook the information. You should also monitor whether you are giving marginalized communities more prominent treatment when the news element has a negative connotation, such as stories involving misfortune, because this can adversely affect those communities. Examples of News Presentation Variables Providing Prominent Coverage: • • • • • • • •

The first story at the top of a news block Reporters fronting news elements (e.g., PKG, VO, VO/SOT) News packages Teased news items News stories with build-outs New items with team coverage News items with a split-anchor read at the top Anchor fronting the news item away from the normal location

Examples of News Presentation Variables Minimizing Coverage: • • • • • •

Readers A series of readers A series of VOs that wipe together without showing the anchor Unteased items placed in the lower half of the newscast Pre-selected elements to drop when a newscast gets heavy Not allowing marginalized groups to speak for themselves

DEI style guides and resources The information in the previous sections should help you and your news team create a newscast that reflects your DMA by bringing more diversity, equity, and inclusivity to your coverage. However, those elements don’t broach one of the most important aspects of broadcasting and that is the actual language used to communicate to your audience. Words matter, and as a news producer, you should make sure that your newscast includes the most accurate words and phrases to address the communities you serve. News outlets have the power to educate their communities on the proper terms to use and to call attention to a cultural shift when certain words or phrases are no longer socially acceptable. When media outlets fail to do this, the backlash can be swift. There are numerous examples of media outlets broadcasting and publishing insensitive information that led to them having to issue public apologies. Figure 13.1 shows an image a viewer shared of a local newscast using an insensitive phrase on their headline banner to highlight that the Major League Baseball team the Atlanta Braves were eliminated from the playoff season. The station then issued an apology.

Diversity, equity, and inclusion matters  121

Figure 13.1 KTVU-TV issues an on-air apology after using a racially insensitive phrase connected to Indigenous groups while reporting that the Atlanta Braves lost a playoff series.

Figure 13.2 shows an apology issued by a prominent newspaper after publishing an opinion article and headline equating the damage to buildings during protests for social justice to the loss of lives. You can avoid reputation-ruining scenarios if you use resources available to you to ensure that your words and phrases are clear and respectful to everyone, which includes those in marginalized communities. Avoid using jargon and clichés because they can be outdated and take on different meanings over time. Get a diverse group of people to review news copy, images, and headline material if there is any question in your mind about whether the message could be viewed as inappropriate. It’s a great idea to cultivate relationships with various members of different marginalized communities in your area and get their feedback, especially if your newsroom lacks representation from the group(s) in question. You should also invest some time in reading through journalism-related style guides. Several organizations have created stylebooks that address vocabulary, definitions, and word usage for content surrounding marginalized communities. While some style guides are available in print, most are found only online. The list found in Table 13.1, which includes website links that are active as of the publishing of this text, isn’t exhaustive, and many of these entities update their definitions and add more definitions as the language continues to evolve. These resources can help you and your news team align with your DEI mission.

122  Keonte Coleman

Figure 13.2 The Philadelphia Inquirer issues an apology the day after publishing a controversial headline and opinion article, “Buildings Matter, Too.” The title was adapted from the Black Lives Matter movement, which brings awareness to social injustices with a focus on the deaths of Black people at the hands of police officers.

Diversity, equity, and inclusion matters  123 Table 13.1 It Would Be a Good Practice to Search These Journalism DEI Style Guides Periodically Because They Are Often Updated Journalism Style Guides Referencing DEI Topics Style Guides

Editor/Organizations

AP Stylebook & Briefing The Associated Press on Media Law The Association of LGBTQ The Association of LGBTQ Journalists Stylebook Journalists (NLGJA) Conscious Style Guide Karen Yin Disability Language Style Guide The Diversity Style Guide

Guide to Covering Asian America NABJ Style Guide NAHJ Cultural Competence Handbook NAJA Reporting Guides Reporting in an Era of Disinformation: Fairness Guide for Covering Women and People of Color in Politics SAJA Style Guide

The Trans Association’s Style Guide

National Center on Disability and Journalism Society of Professional Journalists & College of Liberal and Creative Arts at San Francisco State University Asian American Journalists Association (AAJA) National Association of Black Journalists (NABJ) National Association of Hispanic Journalists (NAHJ) Native American Journalists Association (NAJA) UltraViolet

South Asian Journalists Association (SAJA) Trans Journalists Association

Websites https://www.apstylebook.com/ https://www.nlgja.org/ stylebook/ https://consciousstyleguide. com/ https://ncdj.org/style-guide/ https://www.diversitystyleguide. com/ https://www.aaja.org/ aajahandbook https://www.nabj.org/page/ styleguide https://nahj.org/wp-content/ uploads/2020/08/NAHJCultural-CompetenceHandbook.pdf https://najanewsroom.com/ reporting-guides/ https://weareultraviolet.org/wpcontent/uploads/2020/08/uvvp-reporting-styleguide-v3. pdf http://www1.lasalle. edu/~beatty/310/ACES_CD/ reference/reference_and_ resources/SAJAstyle.pdf https://transjournalists.org/ style-guide/

The DEI bottom line Diversity, equity, and inclusion in the media requires intentional practices designed to respect and accurately represent all communities in a DMA, paying close attention to the marginalized communities who’ve been historically disparaged by the media. You play a significant role in accurately depicting the community you serve. Acknowledging the diversity in your DMA and being sure to reflect that in your newscast allows your viewers to gain a realistic perspective about their neighbors from diverse backgrounds. You’ll need to assess your newscast to see if you’re broadcasting skewed images of marginalized groups in your community. There are resources available to help ensure that you’re accurately writing and showcasing these communities, so make sure to reference DEI style guides when you aren’t certain about the proper use of words or images.

14 Taking ownership of stories and shows Keonte Coleman

As a news producer, you must take complete ownership of every aspect of your newscast because you’re held accountable for everything that is broadcast. You don’t get to point the finger at anyone else, so it is imperative that everyone contributing to your show understands what you are expecting of them and that they respect the guidelines you’ve implemented for the newscast.

News rundowns create checks and balances The news rundown can be viewed as a contract between you and everyone contributing to the newscast. It represents the one place where each newscast member looks to find out what’s expected of them. The rundown becomes a form of checks and balances because the document is visible to everyone in the newsroom and the entire news team knows who’s responsible for each news item. Your first chance to set the tone for the day is during the first newsroom meeting. You’re responsible for creating a draft rundown to present in the meeting. A clear and descriptive rundown draft alerts the news team to your early expectations for them. You should be able to defend your rationale for the draft rundown but also be flexible enough to make changes when your news team presents ideas that can make the newscast stronger.

QUICK TIP: THE DRAFT RUNDOWN IS POWERFUL Use your draft rundown to clearly define who’s expected to complete various assignments, what you’re expecting from the team, and the duration of time you’ve allotted for each news item. This allows you to set the tone in front of the newsroom managers, which further legitimizes your decisions to the news crew. Own the newscast meeting Take ownership of the newscast during the news meeting by setting clear expectations for the types of stories you want in your show. News stations attempt to make each of their newscasts look different, even when they are sharing some of the same stories gathered by the same reporting teams. You must be able to stand up for your newscast to get the content you desire from your local crews. That means you’ll need to learn to haggle with other producers and reporters. There are many different personality types, so it’s important to figure out yours and how to best use it to advocate for content. DOI: 10.4324/9781003037729-20

Taking ownership of stories and shows  125

Prepare to negotiate It’s important for you to communicate the time frame that is being allotted to each news member who will be working on a news element. A great rapport with everyone will help ensure that no surprises appear during the newscast regarding the time. You can also help yourself by thinking strategically when building the newscast. The producer, associate producers, and writers will find content and write a considerable portion of the newscast. These items can be considered dependable news items, because these individuals are working on the entire newscast and are concentrating on adhering to the time cues to fit all the items into the newscast. However, the news items that you turn over to on-air journalists like anchors, reporters, meteorologists, and sports anchors should be considered negotiable news items because these journalists will want to negotiate the time allotted to them – usually requesting more time – for their portion of the newscast. Be fair and judicious with the time allotted, but each day and circumstance changes so being open and honest about the newscast time each day can help ease the negotiating process. Talk to the individuals beforehand to gauge their thoughts on the time needed and determine the allotted time. You can suggest changing the format of the news elements to adhere to the time for the newscast, changing a package to a VO/SOT, for example. Talk directly to the weather and sports departments because those departments typically produce their segments with little input from news producers. You can learn their timing needs and find out if they have any special items for the news segment. For instance, the sports department might normally get two minutes, but a major sporting event has happened, and the local audience wants to know the latest. This story could become the news lead or an element in the first news block as well as appearing in the third or fourth block of a newscast where sports segments typically reside. Delegate duties with the rundown A productive newsroom meeting should end with everyone informed about what’s expected of them, but always knowing that those duties can be altered before the newscast. You’ve created a clear rundown when the news and production crews can easily figure out their duties with minimal conversation. Everyone should be alerted to their responsibilities once the rundown is completed, especially if there is a change from the original draft presented during the newsroom meeting. You must not assume that the news team will notice changes made to the rundown. There will be days when everyone does exactly what is asked of them on the rundown, but some days you’ll have to make adjustments and ask the news team to do something extra or different than expected. Some stations employ writers and associate producers to help write news content, but this isn’t guaranteed, especially in smaller news markets, so the bulk of the writing is your responsibility. You can delegate some of the writing to news anchors and others capable of completing scripts to help speed up the process. You can also ask those capable of video editing to help complete projects if editors can’t complete certain tasks by the deadline or ask videographers to conduct interviews if a reporter isn’t available. Anyone can be asked to help the assignment desk make calls or conduct pre-interviews for news crews. An anchor could be asked to finish putting together a news story for a reporter if the reporter needs to switch to a breaking news story. Try to always be respectful of the frustration the changes may cause and show your gratitude while making the needed changes and after the newscast.

126  Keonte Coleman

QUICK TIP: COMMUNICATE CHANGES Use the CMS to communicate changes to editors, reporters, and videographers, but follow that up with a phone call to make sure everything is clear. You can also use this time to get a status check about their assigned news items.

Enforce deadline policies You must set, abide by, and enforce deadline policies. Clear and established deadlines bring a sense of organization to the chaotic world of newsgathering. Hold yourself to a high standard and aim to meet all the specified deadlines for creating a draft rundown, assigning anchor reads, writing scripts and teases, and proofing reporter scripts. Adhering to your deadlines allows others to complete their tasks by their deadlines. Every newscast contributor should know the deadlines associated with their position and those associated with the rundown and newscast. Deadlines should be realistic, so the crew has plenty of time to submit their best work. Pre-newscast meetings and check-ins with crew Once the scripts and teases are complete attempt to contact various members of the news team to assess their progress. It might be possible to hold a fairly quick meeting if enough members are in the news station. The focus of this meeting is to learn the status of all the outstanding news elements in the newscast. Your goal is to learn the expected completion time for items like news packages, full-screen graphics, edited video, and soundbites for the newscast. You’ll check with reporters to approve their scripts if they haven’t been submitted before this time. Use this time to discuss potential issues in the scripts with the anchors, and to make decisions on whether contingency plans should be applied to the rundown (e.g., removing or replacing news items, or rearranging the order of news items). It’s important

Figure 14.1 Producer Texting Reporter

Taking ownership of stories and shows  127

to build a rapport with the news team so that everyone is honest about their actual progress and their realistic chances of completing an assignment. This allows you to make timely decisions to ensure the newscast meets the expectations of the viewers and the news team. Consult with the director about the newscast to discuss any potential issues with the allocation of resources in the rundown. The director will point out problems that could occur because of limitations with human resources, hardware, or software. You’ll need to work with the director to create the best newscast possible. This could mean adjusting the rundown or scripts to allow the production crew enough time to complete different tasks. Copy edit scripts and visuals Try to carve out some undisturbed time before the newscast to review all the content that will be broadcast. Find and correct spelling and grammatical errors within scripts and on any visuals that will appear on the screen. Make sure the scripts have properly attributed the content to the correct sources and look through edited video to ensure it matches the scripts. It’s ultimately your responsibility, but everyone in the newsroom should be encouraged to point out any issues they find so viewers don’t see mistakes. Lock scripts and rundowns You’ll lock (aka freeze) the newscast rundown and scripts within an hour of the newscast. This time needs to be consistent so that the entire news crew knows and adheres to the deadline. Locking the rundown and the script symbolizes that the newscast is complete and that all the information within the rundown and script is set for how it will appear to the audience. The locked script also means you’re the only person who can make changes to the script or rundown unless you give access to those who need it. Once the script is locked go over the newscast again with the director to discuss any potential issues that weren’t discovered during earlier conversations. Directors mark their scripts to identify the various commands they’ll have to give to the production crew during the newscast. You should always make directors aware of any special items you’re planning well before the final conversation because the special item could require additional work the director didn’t account for before the newscast. For example, suppose a producer wants a six-box live shot to showcase team coverage from six different locations, but a four-box live shot template is the largest one in the system. This means a new box will need to be created and there might need to be adjustments made to the switcher to include six live shots at once. This shouldn’t be a last-minute request if the producer expects to use it in the upcoming newscast.

QUICK TIP: BUILD A GREAT RELATIONSHIP WITH THE DIRECTOR Foster great relationships with your directors and technical directors. Their main goal is to have a technically flawless newscast, which means no mistakes from the production crew. This can lead to them being more cautious and conservative about trying new production techniques. Present new ideas to them early and allow them the opportunity to give guidance on the best scenarios to implement the new production technique. If possible, give them enough time to perfect the idea before it is needed in a newscast.

128  Keonte Coleman

Do not jeopardize your newscast Producing a live newscast means that the unexpected will happen, but that doesn’t necessarily mean you can’t be prepared for it. There must be some flexibility regarding the various situations that can prevent someone from meeting a deadline. However, this shouldn’t give the illusion that missed deadlines aren’t without consequences. You don’t have the right to punish a fellow news team member for not submitting an item on time, but you do have the right to write up the individual(s) for missing their deadlines, move the content lower in the newscast, or exclude the content from the newscast. This might upset news crew members who’ve worked hard to gather an item for the show, but it’s important for them to understand the strain their late submission puts on the entire newscast. Deciding to float or drop a news item because of a missed deadline isn’t an easy decision. Base your decision on all the available information, what you know about the individuals completing the task, and the time remaining until the newscast airs.

QUICK TIP: BE DECISIVE Removing one item won’t hurt your newscast, but one late item can cause a snowball effect that ruins your show. Be decisive and communicate the changes to the entire crew sooner rather than later.

Backup plans and timing strategies Have multiple backup plans for all scenarios so that when items don’t appear when they should, viable replacements are ready. You can give a little padding (extra estimated time) to the rundown for several dependable news stories and even the commercial breaks. This allows you to build in time without the on-air staff noticing that the show is light because the duration for their segments will not change. For instance, if a producer knows that it will take an anchor 15 seconds to read a news story, the producer could place 20 seconds into the rundown for that story. This will give the newscast an extra five seconds, which allows the producer to create a small buffer that can absorb a timing miscue. Table 14.1 illustrates how you can help keep a newscast on schedule by padding dependable news items and commercial breaks. There is also the chance that expected news elements that take up substantial time, like live shots or reporter packages, won’t make it into the newscast because of human or technical errors. You can be resourceful by placing several completely written and edited stories into the Z-block just in case they are needed. The Z-block is an untimed portion of the newscast and can be found at the end of the rundown. One last strategy to keep in mind when building the newscast is to craft the placement of various news elements. Strategies can change depending on the number of anchors who will appear in a newscast and the time of day for the newscast. A morning show and a noon show typically need more padding because they tend to have live guest segments. A two-anchor newscast needs more padding than a one-anchor newscast because you’ll build in some time for the anchors to crosstalk (when anchors are allowed to converse about a given topic without a script) and react to some of the news stories.

Taking ownership of stories and shows  129 Table 14.1 Padding Is a Producer’s Secret, So Keep This Little Tip to Yourself! Page

A1 A2 A3 A4 A5 A6 A7 A8 A9 A10 B0 B1 B2 B3 B4 B5 C0 C1 C2 C3 C4 B0 D1 D2 D3

Story Slug

Headline teases: A5+B2+C1 Show open Introductions Story 1 Story 2 Story 3

Story 4 Story 5 Story 5 Tease 1: B2+C2 Break 1 Rejoin open Story 1 Story 2 Full weather Tease 2: C1+D1 Break 2 Story 1 Story 2 Story 3 Tease 3: D1 Break 3 Story 1 Story 2 Goodbye & Beauty Shot END END SHOW Z1 Backup Story 1 Z2 Backup Story 2 Z3 Backup Story 3 Z4 Backup Story 4

Segment

SOT

News Rundown Template Anc Start Time: End Time: 6:16:00 Total Run Time: 00:16:00 6:00:00 PM PM Shot Writer Est. Actual Back Front Duration KC :15 :15 6:00:00 PM 6:00:00 PM

ANM OnCam VO Live PKG GFX

K&C C K K

2 1 Monitor Monitor

TC TC DE DE

Reader NatsVO SOTVO VOTOP

C C C C&K

1 1

SC SC TC SC

ANM VO/SOT VO WX Wall NATSVO

C&K C S C&K

2 1 2

DE SC SC TC

VO WipeVO WipeVO VO

K& C 2 C K K&C 2

KC CE KC TC

NATS VO WipeVO OnCam

C&K C C&K

SC CE

VO VO VO VO

1

2 2

:10 :10 :30 1:25 :10

:10 :10 :20 1:45 :05

6:00:15 PM 6:00:25 PM 6:00:35 PM 6:00:55 PM 6:02:40 PM

6:00:15 PM 6:00:25 PM 6:00:35 PM 6:00:55 PM 6:02:40 PM

:20 :25 :25 :10 2:00 :10 :45 :20 1:35 :10 2:30 :20 :15 :15 :10 2:30 :20 :25 :15

:20 :25 :25 :10 2:00 :10 :40 :20 2:00 :10 2:20 :20 :15 :15 :10 2:20 :20 :20 :10

6:02:45 PM 6:03:05 PM 6:03:30 PM 6:03:55 PM 6:04:05 PM 6:06:05 PM 6:06:15 PM 6:06:55 PM 6:07:15 PM 6:09:15 PM 6:09:25 PM 6:11:45 PM 6:12:05 PM 6:12:20 PM 6:12:35 PM 6:12:45 PM 6:15:05 PM 6:15:25 PM 6:15:45 PM

6:02:45 PM 6:03:05 PM 6:03:30 PM 6:03:55 PM 6:04:05 PM 6:06:05 PM 6:06:15 PM 6:06:55 PM 6:07:15 PM 6:09:15 PM 6:09:25 PM 6:11:45 PM 6:12:05 PM 6:12:20 PM 6:12:35 PM 6:12:45 PM 6:15:05 PM 6:15:25 PM 6:15:45 PM

6:16:00 PM

6:15:55 PM

:20 :20 :20 :20

Notice that the producer added 50 seconds worth of padding into the bolded news items and commercial breaks. The italicized reporter and meteorologist segments exceeded their allotted time by 45 seconds. The extra padding allowed the producer to absorb the excess time without having to drop any news items.

QUICK TIP: FULLY UNDERSTAND EVERYTHING IN THE NEWSCAST A producer who fully understands everything in their rundown and scripts is positioned to help their news team navigate both the expected and unexpected in a live newscast while maintaining the quality programming the audience deserves.

130  Keonte Coleman

Figure 14.2 Anchors Crosstalk

The taking ownership bottom line Taking ownership of your newscast and the stories in it requires you to understand that everything presented to the audience is your responsibility. Understand the power you have with the first meeting rundown draft and make it as clear as possible for your team so that expectations are made clear with the support of the newsroom leaders. You must lead by example through showcasing high journalistic standards while creating the rundown and meeting all your deadlines. Form a great rapport with your news team because much of producing is being able to manage the different personalities in the newsroom. This gets everyone on the same page to create a successful newscast. You’ll have to learn to negotiate, which means learning to be flexible, but not to the point where you’d jeopardize your newscast. Ultimately, it’s your show and your stories so you must be decisive and stand behind your decisions.

15 Inside and outside the newsroom Laws and ethics Christine C. Eschenfelder

The difference between law and ethics Following the law is something we must do as citizens and as journalists. Ethical behavior, however, is ingrained in the nature of most journalists and not because there are laws against being unethical. Good journalists are ethical because it is the right thing to do. You are encouraged to take both a media law and a media ethics class in addition to this class even if they are not required in your program. You may have already taken one or both of these vital courses. If you have, this chapter will serve as a review of some information and concepts. The topics in law and ethics in this chapter were selected especially for television and online producers. It is not exhaustive but covers some issues that frequently come up in the newsroom. Producers deal with legal and ethical considerations on a daily basis. When you are working in a newsroom, the station and its ownership will likely have specific policies and procedures in place. However, those policies and procedures probably won’t cover every legal or ethical dilemma that comes your way, especially the ethics questions. Do not go it alone. Always discuss legal and ethical matters with other staff and managers. Managers including the news director, executive producer, and managing editor advise staff on legal and ethical considerations. Station and company attorneys also consult on legal issues. The information in this chapter is intended to ensure you are aware of certain legal issues that affect journalists, as well stimulate your thinking on ethical journalism practices.

The First Amendment Any discussion of law and ethics as they relate to journalism should begin with the First Amendment. As a journalist in the United States, you must know and understand the First Amendment to defend your press rights and freedoms. There are five rights guaranteed to citizens in the First Amendment. Do you know them all? Before you read on, stop here and think: what are the five freedoms guaranteed by the First Amendment that serve as rights for U.S. citizens?

THE FIRST AMENDMENT TO THE U.S. CONSTITUTION Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances. DOI: 10.4324/9781003037729-21

132  Christine C. Eschenfelder

Press freedom is one of the most important concepts in this chapter. These freedoms are not unlimited but they do give journalists in the United States a lot of autonomy. This can’t be said for all countries in the world. However, don’t forget all the freedoms guaranteed for U.S. citizens in the First Amendment. As a journalist, you have the ability to empower citizens with information about their freedoms and give them a voice if their freedoms are violated. This is a great power and an equally great responsibility.

QUICK TIP: A GOOD RESOURCE If you are interested in reading news stories about real cases involving the five freedoms, the First Amendment Encyclopedia is a searchable database of more than 1,400 entries on First Amendment freedoms. It includes First Amendment history and current events as they relate to the five freedoms. You can find the First Amendment Encyclopedia at https://www.mtsu.edu/first-amendment/ encyclopedia

Legal issues Defamation Reporters and stations are often accused of libel. Libel and slander are categories of defamation. Libel is a false publication about someone that damages their reputation or that of their business. Libel can adversely affect their standing in the community or expose them to ridicule or hatred. Slander has the same effect but is applied when the falsehood is spoken. While slander is spoken, most defamation cases against broadcasters are treated as libel cases. Broadcast is considered libel, rather than slander, because broadcasting is considered “publication,” one of the elements necessary for proving libel. These elements must be proven in libel cases: • • • •

Publication: the story aired Identification: the plaintiff was identified Harm: the libel harmed the plaintiff Fault: it was the result of negligence or reckless behavior by the journalist

It is important to understand that when we talk about proving a case, this is “proven” according to the rules of evidence. “Everyone knows” is not proof. Private citizens have more legal protection than public officials when it comes to libel suits. This is the result of the landmark libel case New York Times v. Sullivan. Later decisions expanded these protections to statements about public figures. All journalists should be familiar with this case, which was decided by the U.S. Supreme Court in 1964. L.B. Sullivan was an elected official in Montgomery, Alabama, with duties including supervision of the police department. He sued The New York Times in state court, alleging he had been libeled by an ad published in the paper. The full-page ad was placed by a group of civil rights leaders asking for donations to defend Dr. Martin Luther King, Jr. on perjury charges. The advertisement included statements about Alabama police

Inside and outside the newsroom  133

action directed against students who participated in a civil rights demonstration. The ad contained a few minor fact errors. Even though Sullivan wasn’t named in the ad, he felt the statements referred to him as he was the police supervisor. The ad referred to actions taken before Sullivan was a commissioner. He filed suit against the Times and was awarded $500,000 in damages by the trial court. The Alabama Supreme Court upheld the decision. The Times then took the case to the U.S. Supreme Court to decide if Alabama’s libel law unconstitutionally infringed on the First Amendment’s freedom of speech and freedom of press protections. The U.S. Supreme Court unanimously reversed the decision, thus setting the standard that public officials bringing suit must prove “actual malice” in order to collect damages. The criteria for actual malice are that the journalist published the statement with “reckless disregard for the truth”: the journalist either knew the statement was false, and published it anyway, or should have known the statement was false and published it anyway. Public officials include someone elected to an office or someone who is a government employee involved in public funds, health, safety, or policy. Public figures, such as celebrities, must also prove actual malice in libel cases. However, sometimes private people get involved in a news story giving them temporary fame or notoriety. In the case of Gertz v. Robert Welch, Inc. decided in 1974, the U.S. Supreme Court articulated the concepts of “All-Purpose Public Figures” and “Limited Purpose Public Figures.” All-purpose public figures are celebrities or people prominent in society. In libel cases, they must prove actual malice. Limited public figures have to prove actual malice only when the defamation is over something in which they have voluntarily participated. Elmer Gertz was an attorney hired by the parents of a boy who was killed by a Chicago police officer. The officer had already been convicted in a criminal trial; the boy’s parents hired Gertz to represent them in a civil suit for damages. An article in a magazine published by Robert Welch, Inc. falsely accused Gertz of being a “Communist-fronter” because he was representing clients suing a law enforcement officer. Gertz sued. He lost the libel suit because the trial court and appeals court found Gertz to be involved in a matter of public interest. As such, the lower court judges found the magazine had not violated the Sullivan actual malice test. The U.S. Supreme Court, however, reversed the decision, holding that simply being the attorney on the case did not make Gertz a public official. Further, they wrote Gertz was not a public figure as there was no evidence he was seeking fame or notoriety. The U.S. Supreme Court ruled, someone can be considered a limited purpose public figure only if the defamation involves a public controversy, the person became involved voluntarily, and the person tried to affect the outcome of the controversy. If all three apply, the person is considered to be a limited purpose public figure. Defenses against libel Do your best to avoid litigation by always checking the facts of a story; truth, accuracy, and verification are essential in journalism. Use reliable sources and obviously never make up anything. Check and double-check the accuracy of your work. That is the responsibility of journalists. Not doing so can lead to lawsuits. Don’t think using the word “alleged” in copy is going to save you from a libel suit. It offers very little protection. Always use official sources.

134  Christine C. Eschenfelder

It is likely that at some point in their careers, many journalists will be sued for libel. There are some things to consider that may prevent your station from getting sued. Remember, in order for a libel suit to be successful, the defamatory statement must be published or aired. Also, the person who charges you with libel must be identified, although this does not mean their name has to be used. If the plaintiff’s friends or colleagues can identify the person in a photo or on video, this is still identification. What the journalist said or wrote must harm the person or damage their reputation. The statement or information must be false and the person suing must show the reporter or station demonstrated negligence, recklessness, or actual malice. The best defense for libel, then, is that the statement or story is the truth and you can prove it is the truth. There are some other defenses for libel. One of those is fair comment. Fair comment essentially means journalists can offer opinion or commentary on a person or group that seeks public approval, but can only comment on the quality of the performance. You can’t make unfounded comments. For example, you could say the play you are reviewing was terrible. You can’t say it was terrible because all the actors were intoxicated. Unless you can prove it. Another defense is qualified privilege or reporter’s privilege. This protects a fair and accurate story that includes comments made in public or official proceedings, in a legislative body, or in open court. When mistakes are made or vital information is omitted, make a quick and complete correction. If you are producing a newscast and notice a mistake, correct the mistake as soon as possible in the same newscast. If you can’t, correct it in the very next newscast. If the mistake is on a website, correct it immediately. You may want to write a line of copy in the correction noting the correction has been made to clarify any confusion or the desire to add additional information. False light False light invasion of privacy occurs when information is published that creates a false impression about a person. This type of invasion of privacy tends to occur when a writer condenses a story or uses file video or images to illustrate a concept in a news story. For example, let’s say you are writing a voice over about alcoholism on the local college campus. You ask an associate producer to find file video of people drinking at a bar. You write a line of copy reading, “25% of students at State University consider themselves alcoholics.” The file video playing as the anchor reads that copy shows two identifiable male students drinking beer at a local sports bar while watching a basketball game. Someone watching the story on the news may be able to identify one or both of those male students and the juxtaposition of the two elements, both of which are true (the video shows people actually drinking at a bar, and there is a drinking problem on campus) could lead a viewer to assume the people in the video are the same ones you are talking about relative to alcohol abuse on campus. Notice, both elements are true, and thus not libelous by themselves, but putting them together creates a false impression. Always look at the video and think about whether or not it could put someone in a false light. An interesting false light case is Duncan v. WJLA-TV, Inc. In this case, shortening the story caused the problem. As a producer you may often write, or ask an associate producer to write, a shortened version of a news package. For example, a reporter does

Inside and outside the newsroom  135

a package for the six o’clock news. The producer for the 11 o’clock news may cut the story down to a voice over with a soundbite, or VO/SOT, for the later newscast. The original news package likely included several soundbites, had reporter track and maybe a stand-up, and was around a minute and a half. The condensed version, as a VO/SOT, has usually one soundbite and no reporter track but uses the same video the reporter used. The anchor reads over the video. In Duncan, the Washington, D.C., television station was doing a story about treatment for genital herpes. In the six o’clock broadcast, there was b-roll in the reporter package of people on the streets including a full-face shot of Linda Duncan walking along the street. That shot was followed by a stand-up in which reporter says, “For the 20 million Americans who have herpes, it’s not a cure.” The viewers at six o’clock saw only the reporter delivering the line about Americans with herpes. In the 11 o’clock newscast, the reporter package was cut down to a VO/SOT. The news anchor read the same words the reporter said earlier in the on-camera stand-up, but the anchor read those same words about herpes over the video of Linda Duncan walking down the street. Duncan sued WJLA over both broadcasts. While the court ruled the six o’clock broadcast did not put Duncan in false light, the court ruled in favor of Duncan over the 11 o’clock newscast version, the story where they showed her face simultaneously while talking about herpes. The court held the juxtaposition of video and voice over supported an inference that Duncan had the disease. This mistake could have been avoided by simply not showing her face in the voice over video.

QUICK TIP: LEGAL GUIDE FOR JOURNALISTS The Reporters Committee publishes a number of legal guides for journalists that are available free online covering a variety of First Amendment and legal topics, including the ones in this chapter. You can find them at https://www.rcfp.org/

Access Journalists have a lot of freedom in the United States, but not unlimited freedom. One issue that comes up frequently is access. If you are field producing a story, your crew can go on private property without prior consent only for a newsworthy event, but must leave if you are asked to do so by the property owner. Police can also tell you to leave the property in an emergency. Do not cross police tape. The fact that property is owned by the government does not necessarily make it a public forum. Courts allow greater restrictions on places including courthouses, jails, government offices, city halls, and public schools, some airport property and military bases. This type of property is often referred to as non-public-forum public property. In general, the government may exclude the media from publicly owned property if authorities can show that media access would interfere with the normal operations of the facility. The Supreme Court held the government, “no less than a private owner of property, has the power to preserve the property under its control for the use to which it is lawfully dedicated” (Adderley v. Florida).

136  Christine C. Eschenfelder

As a rule, the media act as surrogates for the public. If the public is not allowed on the property (a prison, for example), a reporter could be given permission to enter, but is not necessarily allowed to enter simply because they are a reporter. Think of all of the stories we have seen shot inside a prison. The public is not allowed inside a prison, but a reporter, acting as a representative of the public, will often, but not always, be allowed access to do a story. If you are granted access to a public elementary or secondary school, do not record video of children unless the school gives you permission. Parents are asked to sign permission forms at the start of a school year to indicate whether they give permission for their child to be photographed. Schools know who can or cannot be photographed or videotaped. When in doubt, have videographers get shots of shoes, backpacks, or the back of heads so that the children are not able to be identified. If you are shooting the outside of a school from a sidewalk, it is best to be in a marked vehicle with you or a crew member wearing some item of clothing with the station logo. The reason? Parents, teachers, or administrators may think a person pointing a camera at a school or at school children may be doing so for nefarious purposes (pedophiles, trafficking, etc.). Also, even if you are on public property where there is no expectation of privacy, ethics dictates that journalists should not shoot identifiable video of children. If the child is in a public location, you can take their picture without permission but probably should not. There are also strict regulations when shooting video in hospitals or medical facilities. The Health Insurance Portability and Accountability Act or HIPAA was passed by Congress in 1996. HIPAA privacy regulations require health care providers and organizations ensure the confidentiality and security of protected health information. You must set up these types of shoots in advance. You and your crew will likely be escorted by a hospital representative at all times if you are doing a shoot in a hospital or medical facility. Follow their instructions. They may not allow you access to certain areas such as emergency rooms or operating rooms. HIPAA privacy regulations also pertain to information about a patient’s general condition. No information about a patient may be given if a request does not include a specific patient’s name or if the patient asks that their information not be released. Patient deaths are reported to the authorities. Social media Social media sites such as Facebook and Instagram contain a lot of personal information about people and usually a lot of images as well. It may sound reasonable to think that if a person’s social media account is public, then they have no expectation of privacy and all the photos and information they offer are in the public domain. Many if not most photographs are copyrighted and owned by the person who took the picture, even if those images are online. Try to find the source and seek permission.

Ethics issues There is a lot more gray area when it comes to ethics. When you think about ethics in television and online producing, the first things that come to mind are likely some of the values essential to journalism: truthfulness, accuracy, transparency, fairness, balance, and objectivity. All good journalists agree these values guide our work every day. However, producers often deal with many other ethical dilemmas such as whether to show a certain photo or video clip, run a particular story, or assess potential conflicts of interest.

Inside and outside the newsroom  137

Story selection and personal bias We’ll start with a provocative question: are you unbiased? Most journalists will answer “of course I am unbiased!” Journalists work hard at being as objective and unbiased as possible, but some may not be aware of their personal bias. Producers are daily making editorial decisions about what to put in the newscast. How do they decide what to include in the newscast? Viewer benefit is paramount. Breaking news is essential. What about health, education, and technology stories? There isn’t time for everything. Younger producers might select stories about things they find interesting or useful without considering the benefit of their selections to the entire audience. This is suggested by William T. Kauf hold’s concept of peer consonance, a theory that holds “journalist gatekeepers such as news producers often (and often unconsciously) craft news for people like themselves, and age and job role have been shown to influence behavior in newsrooms.” When you get your first producing job, think of all the people who make up the audience for your newscast. They range in age, socioeconomic status, education, marital and parental status, race and ethnicity, religion, and political philosophy. You must know your viewers and each television market is a little different. Who is your audience and what is the most important information they need on any given day? The content of your newscast must reflect the diversity of your audience and contain news items with the most overall viewer benefit. When selecting stories for your newscast, think carefully about the value of each story for your viewers. Good news judgment is essential for producers. Step outside of your own needs and interests and think of everyone you serve. A visual medium Great visuals are important for television and online content. A compelling scene or soundbite will get the viewers’ attention. Producers love great video and sound. But be careful your newscast isn’t full of style and lacking in substance. Don’t fill it with stories that are great to look at but don’t deliver items beneficial to the audience. Make sure you have plenty of stories with viewer benefit. Further, what is the news value of showing a violent or disturbing video? Does the audience need to see that video in order to understand the story? Many stations and companies have policies about what you can show and when. What might not be appropriate at six o’clock in the evening may be allowed at 11 PM. Some stations will allow shots of a body bag, some will not. Again, think carefully about the news value of your visuals and how much the public needs to see and know in order to understand a story. What about those important stories packed full of viewer benefit but that have no exciting visuals? Some broadcast journalists jokingly call them “newspaper stories.” These stories have implications for the audience, such as local government meetings about various issues. Think of the visuals available at a city council or county commission meeting. What do you see? Usually a bunch of people sitting around talking, right? Broadcast journalists often have to think of ways to make meetings and the like visually interesting while still covering issues important to their viewers. Cover these vital stories but brainstorm ways to improve the visuals. Creating fullscreen graphics is one way to improve the visual interest of a story lacking good b-roll. Or find ways to get good b-roll about an item on a meeting agenda. Take a look at the

138  Christine C. Eschenfelder

meeting agenda and the items you are covering for the newscast. Have a videographer or multimedia journalist go get some b-roll related to the item. For example, if commissioners are talking about road improvement projects, call for some video of bad roads and drivers navigating potholes. Reporters and videographers often come up with creative solutions for stories lacking good b-roll, but it’s something producers must also think about. Gifts and favors Journalists should refuse gifts, money, or favors. Acceptance may compromise your integrity, create a conflict of interest, or make it appear that way to the public. Later in this chapter you will read codes of ethics from two journalism organizations. In each of the codes, the organizations warn against accepting gifts or favors. The Society of Professional Journalists (SPJ) and the Radio, Television, Digital News Association (RTDNA) discuss acceptance of gifts in the sections of their codes on acting independently. You do not want your audience to think you are reporting favorably on a person or organization because they gave you gifts or freebies. Perception is reality. Optics are important. Special situations Your station or ownership will likely have a policy on how you should cover special situations including suicides, bomb threats, and hostage situations. Most stations don’t report suicides unless there is something extraordinary about them such as the suicide involves a celebrity or well-known person. Stations may also report a suicide if the circumstances are unusual or done in public. The website Reportingonsuicide.org notes, “More than 50 research studies worldwide have found certain types of news coverage can increase the likelihood of suicide in vulnerable individuals.” Their website has excellent resources for journalists including examples of stories about suicide were written responsibly and contact information for experts about suicide. Bomb threats are treated much like suicides as they are usually reported only if they are extraordinary in nature. One reason is to reduce copycat threats. Hostage situations also require some special consideration. Among its suggestions, the Radio, Television, Digital News Association (RTDNA) advises journalists to assume the hostage-taker has access to the news during the hostage situation. RTDNA suggests reports should not give details that could indicate to the hostage-taker where police or SWAT teams may be positioned. RTDNA also advises not to speculate about the psychological condition of the hostage-taker and to carefully consider whether to do a live shot, noting, “Things can go wrong very quickly in a live report, endangering lives or damaging negotiations.”

QUICK TIP: CHECK RTDNA To see the full RTDNA guidelines on covering a hostage situation, visit https:// www.rtdna.org/content/shooting_hostage_situation.

Inside and outside the newsroom  139

Codes of ethics Many stations, ownership groups, and journalism organizations have codes of ethics in place. These codes serve as guidelines. They assist in providing a framework for ethical decision-making and standards journalists are expected to uphold. Ethics questions come up every day in newsrooms. Established codes of ethics help guide journalists, but they sometimes may also be vague. The Society of Professional Journalists (SPJ) identifies four principles that provide the foundation for ethical journalism: • • • •

Seek the truth and report it Minimize Harm Act Independently Be Accountable and Transparent

These four tenets are very easy to remember. In the first, “Seek truth and report it,” SPJ notes, “Ethical journalism should be accurate and fair. Journalists should be honest and courageous in gathering, reporting and interpreting information.” Minimizing harm refers to the ethical treatment of subjects, the careful treatment of vulnerable subjects, and the balance of what the public needs to know about a story versus the potential harm it could do to a source. The standard of acting independently discourages the acceptance of gifts or favors, avoiding conflicts of interest, and the need to distinguish news from advertising. Finally, being accountable and transparent includes explaining your ethical decisions to the public, admitting and fixing mistakes quickly, and holding yourself to a high standard.

QUICK TIP: GO TO THE SOURCE You can read more of the SPJ Code of Ethics on the organization’s website, which you can find at https://www.spj.org/ethicscode.asp. The Radio, Digital, Television, and News Association (RTDNA) code of ethics is similar to the SPJ code. The three main principles in the RTDNA code are: • • •

Truth and accuracy above all Independence and transparency Accountability for consequences

About truth and accuracy, RTDNA asserts: The facts should get in the way of a good story. Journalism requires more than merely reporting remarks, claims or comments. Journalism verifies, provides relevant context, tells the rest of the story and acknowledges the absence of important additional information.

140  Christine C. Eschenfelder

RTDNA believes independence and transparency include the explanation of editorial decisions and processes. Transparency requires reflection, reconsideration, and honest openness to the possibility that an action, however well-intended, was wrong. Being independent includes not accepting gifts or favors in order to avoid appearance of conflict of interest. Accountability includes accepting responsibility and making your news gathering and reporting processes open to public scrutiny. Individual stations, ownership, and other organizations often have their own codes of ethics as well. Know the code of ethics for the company for which you work. Remember the tenets of the codes you just read about. Use codes of ethics to help you make rational decisions about ethical dilemmas.

QUICK TIP: CHECK RTDNA You can read more of the RTDNA Code of Ethics on the organization’s website which you can find at https://www.rtdna.org/content/rtdna_code_of_ethics.

Making ethical decisions It can be difficult to know how to make ethical decisions in the newsroom. Just relying on your gut instinct is not the way to do it. How would you rationalize a gut instinct approach to the audience anyway? Talking with co-workers and managers about dilemmas, referring to codes of ethics, and following company policies and procedures can help you make good, rational, defendable decisions. There are several established frameworks that can help journalists make decisions about ethical dilemmas. A good framework guides our thinking about how to come to a decision. Many offer questions we should ask ourselves about the situation and the principles and values we should consider. One tool that can help you make sound ethical decisions is a list of six questions devised by media ethicist Jay Black. In their book Doing Ethics in Media, Black and Roberts (2011) suggest asking these six questions about the situation at hand to help guide you to a rational and justifiable decision: 1 2 3 4 5 6

What’s your problem? In other words, what is the ethical situation? Why not follow the rules? These are the laws and codes of ethics to keep in mind when making a decision about the case. Who wins, who loses? Identify everyone who will be affected by the final decision and how they will be affected. What’s it worth? List your values in the context of this specific case and note which ones you will not compromise. Who’s whispering in your ear? This is where philosophy and moral principles come into play. For example, utilitarianism. This is basically the concept that a decision is right if it makes the most people happy. Think of the moral principles guiding your decision. How’s your decision going to look? State your conclusion and what your friends and people you respect will think about it. Black and Roberts (2011)

Inside and outside the newsroom  141

QUICK TIP: DOING ETHICS WEBSITE Roberts and Black have an open website covering interesting and current media ethics cases and questions. You can find it at https://doingethicsinmedia.com You can also use the codes of ethics to walk through an ethical dilemma. For example, if you chose the SPJ Code of Ethics to guide your thinking, you would first ensure you are seeking the truth and reporting in that particular situation. Second, consider if the decision you ultimately make will minimize harm. Third, are you acting independently? Finally, will your decision reflect accountability and transparency? This can be a lot to think about and discuss on deadline. News is fluid and dynamic and the 24/7 nature of the news cycle moves very quickly as a result.

The bottom line on why ethics matter Thinking about getting sued or breaking a law is scary. The law is pretty clear about what you can and can’t do as a journalist, although some lawyers joke, “as they said in law school, ‘maybe yes, maybe no.’” Some issues can be a little tricky so always consult with a manager or station attorney if you aren’t sure how to proceed. Ethics aren’t always easy to navigate. It’s often easier to determine what you can or can’t do than it is to figure out what you should or shouldn’t do. These decisions are often relative to the situation. But these decisions matter. Journalism is about finding, verifying, and reporting the truth. We do this for our audience and the community we serve. Along the way, newsgathering and storytelling can get a bit messy. Codes of ethics can help guide your thinking on ethical issues that come up every day in the newsroom. Never forget the value of good journalism in people’s lives. It’s worth your effort.

QUICK TIP: CASE STUDIES If you want to look up media ethics case studies on many different issues and find out what the journalists involved decided to do in those cases, the Media School at Indiana University-Bloomington has a large online database: https://ethicscasestudies.mediaschool.indiana.edu

Case Study The Parkland School shooting: what would you have done? Using the Parkland School Shooting as a case study, think about the ethical concerns over using certain information, including using the shooter’s name and photo, private information about the victims, and video taken by the shooter before the incident. Facts of the case: On February 14, 2018 at 2:19 PM, a 19-year-old male walked into Marjory Stoneman Douglas High School in Parkland, Florida. The alleged gunman, Nikolas Cruz, had gone to school at Stoneman Douglas but according to authorities he had been expelled

142 Christine C. Eschenfelder

for fighting. Police say at 2:21 he started shooting. A minute later, the school’s fire alarms went off. Many students started evacuating the building but others remained inside. Some teachers sheltered students in classrooms and closets. At this time, the first 911 call was made. At 2:24:54 PM the Code Red was given but several students and staff had already been killed or injured. At 2:27 PM, Cruz slipped out of the school undetected. At 2:32 PM, police and sheriff’s deputies entered the building. The shooting lasted just over six minutes. At 3:41 PM, police arrested Cruz in a nearby neighborhood about two miles from the school. Fourteen students and three staff members were killed. In 2020, Cruz was still awaiting trial. He is charged with fatally shooting 17 people and wounding 17 others. As the story unfolded, media exploded. News outlets across the country went into “breaking news” mode, scrambling to gather and report information. In the first few minutes and hours of breaking news, media may receive and report inaccurate information. They search everywhere for details and content. They look for video, photos, and social media posts. They are making calls, trying to get on-scene interviews, and gathering what they can to give the audience as much information as possible. There is often a rush to be first and a rush to have the most interesting content before the competition. But at what price? Reportage continues days or even weeks after such a big story. Again, stations compete to get the most compelling stories to the viewers.

QUICK TIP: LEARN FROM THE AWARD-WINNING JOURNALISTS The Sun-Sentinel won the Pulitzer Prize for their coverage of the Parkland shooting. You can read some of their outstanding work at https://www.pulitzer.org/winners/south-florida-sun-sentinel and at https://projects.sun-sentinel.com/2018/ sfl-parkland-school-shooting-critical-moments/

References Adderley v. Florida, 385 U.S. 39 (1966). Black, Jay and Chris Roberts, Doing Ethics in Media: Theories and Practical Applications (New York, NY: Routledge, 2011). “Code of Ethics,” RTNDA, April 11, 2020. https://www.rtdna.org/content/rtdna_code_ of_ethics Duncan v. WJLA-TV, Inc., 106 F.R.D. 4 (1984). Gertz v. Robert Welch, Inc., 418 U.S. 323 (1974). “Guidelines for covering a hostage situation,” RTDNA, April 11, 2020. https://www.rtdna.org/ content/shooting_hostage_situation Kauf hold, William T., “Peer consonance: Age matters in story selection and presentation among television news producers,” Electronic News 4, no. 58 (2010): 7–22. New York Times Co. v. Sullivan, 376 U.S. 254 (1964). Reporting on suicide, “Recommendations for reporting on suicide,” n.d. Reportingonsuicide. org. Society of Professional Journalists, SPJ Code of Ethics, 2014. https://www.spj.org/ethicscode.asp

Part Break Getting a job as a producer Christine C. Eschenfelder and Sally Ann Cruikshank

What skills employers are looking for in a television news producer Writing One of the most important skills you must master if you want a job as a producer is writing. Producers write a lot. Producers write to deadlines. They write stories for newscasts, headlines and teases, web versions of stories, and social media content. Producers must be quick writers. Television news producers must be great at conversational style writing for broadcasts. Newscasts are produced over several hours, not days. Deadlines are firm. The best way to cultivate your writing skill and speed is to practice writing. Write every day. Read your writing aloud to hear how it will sound when an anchor reads it. What sounds good on paper may not sound the same when spoken. For broadcast news, writing is intended to be heard. Broadcast producers write for the ear. You must be competent as a conversational writer. News directors are also looking for producers who can write in an exciting, compelling, and authentic manner. Producers must engage the audience through their writing and coach reporters and anchors on doing the same. Expect to write and post daily on several different digital platforms including websites and social media. Producers are consummate multi-taskers who write while getting many other tasks accomplished as well, such as communicating with reporters and videographers throughout the day. Don’t expect to sit quietly and just focus on writing. To get an idea of how good writing sounds, you must consume the content of the field in which you want to work. Watch television news if you want to work as a television news producer. Watch local news. Read content on media websites. Look at social media posts from stations and talent. Participate in student newscasts if available and take as many classes as you can that will help you develop your writing skills. Take on an internship where you can write and find a producer to be a mentor. Ask them to read your work and give you honest critique. How will a potential employer know you are a good writer? You will likely be asked to provide writing samples, submit a recent newscast you produced if applicable, and take a writing test before or during a job interview. If you take a writing test during a job interview, someone will likely give you wire copy or other story information, tell you what story format they want you to write such as a vo or a VO/SOT, and give you a set amount of time to write. If you have been practicing your writing every day, you will be less nervous and better able to show off your great writing skills. DOI: 10.4324/9781003037729-22

144  Christine C. Eschenfelder and Sally Ann Cruikshank

It’s not just anchors and reporters who showcase their skills online through professional websites and video sharing sites such as YouTube or Vimeo. It’s a good idea to have a digital portfolio in the form of your own website with contact information, a biography, a resume, and samples of your work. Use your professional website to showcase stories you have written and newscasts, shows, or specials you have produced. Make sure you include your best content in an easy to navigate and clear layout without spelling or grammar mistakes. Show examples of how you have covered breaking news and your great headline and tease writing. News judgment If you look at a job advertisement for a news producer, you will probably see among the requirements strong news judgment or the ability to develop it. News judgment is the process of selecting which stories will be included in a newscast or on the website. It is also about the format of the story; presenting one story as a reporter package or another as a voiceover. Producers with good news judgment understand that viewer benefit is essential. The audience must have information that will help them make good decisions for themselves and their families and remain informed about current events. The audience is increasingly diverse and producers must ensure that stories selected reflect the needs and interests of that diverse audience. Stories selected must also be presented in an interesting way in order to get the attention of the audience. There are many other media outlets competing for the audience. Good producers know how to select and showcase stories that will win the audience. This involves not only the story that leads the newscast but also creative production techniques such as graphics, viewer contributions, and other visuals to enhance stories. Producers may also use consumer analytics in determining content and enterprise news stories. Requirements Most producing jobs require an undergraduate degree in journalism, communications, or a related field. News directors are also looking for producers who create newscasts and news content for broadcast, online and social media. This usually includes the ability to attach images and streaming video. Some producing jobs may require the candidate to be able to shoot or edit stories for television and digital platforms. Producers must always be able to verify content for accuracy and credibility. Knowledge of certain software may be desired. Newsrooms use news producing software to create the rundown and content for broadcast or digital platforms. ENPS and Avid are among the most commonly used news producing software programs. Soft skills for producing News directors are also looking for producers who can lead and inspire news teams to work together and coach on-air talent to be exciting and engaging. Producers must be able to multi-task and think creatively. They must have strong organizational skills, excellent time management, the ability to work under constant time pressure deadlines, and to be calm under pressure during live, breaking news situations and events.

Getting a job as a producer  145

Producers must have strong decision-making skills, be detail oriented, and have good interpersonal skills. All journalists, including producers, must have integrity and understand the tenants of journalism.

Diversity and inclusion Many producers become executive producers and eventually news directors. Research indicates there are fewer women and minorities as news directors. In order to best reflect the diversity of the audience, there must be more diversity in newsrooms and newsroom management. Women and minorities interested in management should find a mentor who can guide them to getting a management role and help them as they navigate management roles.

Markets and ownership When looking for a job as a producer, you are probably thinking about cities in which you would like to work. In the United States, television news markets are organized as designated market areas or DMA. Nielsen Media ranks markets by size numerically from 1 to 210. The rankings are determined by size and fluctuate based on population. In general, New York City, Los Angeles, Chicago, and Philadelphia are at the top. Alpena, Michigan, North Platte, Nebraska, and Glendive, Montana are at the bottom. Entry-level producers usually don’t start in large markets such as New York City. A producer may work at two or three small- to medium-sized markets before they advance to large television markets.

Where to find job openings When searching for television news producing jobs, visit the websites of television news ownership groups. In the United States, large local media groups include Nexstar, Sinclair, Meredith, Hearst, Scripps, Tegna, Gray, and Gannett. Media groups post job openings across the country. You may also search websites of stations in a particular city. Look at the ownership of the station. Producers work for media groups, not for networks unless the station is owned and operated by the network. In other words, a producer works for Nexstar not for ABC, NBC, or CBS. News directors are increasingly using professional networking sites such as Linked-In to identify potential employees. Networking during career fairs is a good way to connect with potential employers. So are internships and student memberships in professional organizations including the Radio Television Digital News Association (RTDNA), the National Association of Black Journalists (NABJ), and the Broadcast Education Association (BEA). There are also broadcast employment services such as TVJobs.com that require a paid subscription. Keep in mind, when jobs are posted the news director is usually looking to fill the job within weeks, not months. If you are graduating in May, don’t apply for a job in January unless the job posting specifically indicates it won’t be filled until summer. Also, don’t be discouraged if you don’t get a job offer right away. It may take some time and effort but that great job is out there, especially for producers! News directors are always looking for good producers like you.

Part Three

Digital producing

16 What does a digital producer do? Sally Ann Cruikshank

Digital producers Digital-first became a key buzzword in newsrooms over the past few years. Much like television news producers and field producers, digital producers work behind the scenes to determine digital-first strategy and content. In this context, the title digital producer is being used to encompass several different positions in the newsroom, including planning editor, producer, digital editor, web editor, multimedia journalist, social media manager, and engagement editor, to name a few. The bottom line is that a digital producer is responsible for optimizing content for digital distribution. You’ll learn more in-depth about the skills and strategies a digital producer needs to know in the following chapters, but this chapter gives you an overview of what this position entails. Be a multi-tasker on multiple platforms Generally, the complimentary phrase “jack of all trades” is followed by the less flattering “master of none,” but that’s not the case when it comes to being a digital producer. Digital producers need to have a good breadth of skills and tend not to be a specialist in one thing. This doesn’t mean you can’t carve out a niche for yourself in the newsroom, but the people relied on the most tend to be multi-talented in all things digital. Digital producers also need to be able to think across multiple platforms. This can include asking: • • • • •

Is the headline engaging for the platform? Is the video a better length for the website or social media? Which platform is the best for the topic of this story? When should this story publish? What am I doing to maximize reach?

Beyond thinking about how content goes out on various platforms, digital producers are often tasked with adding multimedia to a story. This can include deciding the most compelling photo to post on Facebook or determining a related video to add a story on the website.

DOI: 10.4324/9781003037729-24

150  Sally Ann Cruikshank

QUICK TIP: KNOW YOUR ARCHIVE When you start your job as a digital producer, one of the first things you should do is get to know your news outlet’s archive system. Archives can be great resource for pulling multimedia to go with a story and can help provide valuable context for current stories. Throwback photo galleries are also a great way to engage your audience! Mobile-minded Although all journalists these days need to be mobile-minded, this is especially true for digital producers. According to a 2019 Pew Research Center study, 96% of adults in the United States have a mobile phone of some kind, and a majority of Americans (57%) access news using a mobile device. Part of making decisions about how content is distributed is understanding how multimedia will look to a mobile audience. Digital producers might also be tasked with writing “takeaway stories” from longer investigations. For example, on October 2, 2018, The New York Times published a massive, long-form report on President Donald Trump’s taxes. The investigation took up so much space in the newspaper, Assistant Managing Editor Carolyn Ryan wrote on Twitter, “We had to bring extra printing plant workers at @nytimes to put out this 8-page 14,000-word historic investigation.” The day the story published in the paper and online, The New York Times also released a story titled, “11 Takeaways from The Times’s Investigation into Trump’s Wealth.” That’s because they knew not everyone would take the time to read the whole investigation, particularly on a mobile platform. They also knew that other news outlets would likely write their own bite-sized versions of the story. These takeaway stories list the most important points of a longer news report and have become essential for engaging audiences with a short attention span. In the case of the Trump tax investigation, the original authors of the story wrote the takeaway piece. However, often this is something digital producers are tasked with doing. Digital producers might also write these kinds of stories when news is breaking and the reporter is busy on the scene. Here are some other tips for being mobile-minded: • • • •

Write headlines that will grab attention. Put the most important information at the beginning. You might even consider a bulleted list with story highlights at the top of the page. Keep paragraphs short with white space in between. This can keep people reading longer. Keep stories short, too, and if that’s not possible, consider writing the takeaway version discussed above.

Get ready to edit There’s a reason the term “editor” gets appended to so many digital positions in the newsroom. That’s because, chances are, the digital producer is the last person to see something before it hits the audience. That makes editing skills, critical thinking

What does a digital producer do?  151

Figure 16.1 T he New York Times investigation into President Donald Trump’s taxes in 2018 required extra printers, the printed story was so long.

abilities, and sharp reading habits crucial to this position. You’re the one who will hit send on the tweet that makes your news organization go viral for all the wrong reasons. You’re the one who wrote the headline that boosts engagement by 50% or makes everyone mad. Understand audiences Having a deep understanding and awareness of your audience is also key to being a successful digital producer. Journalists don’t like to use the m-word (marketing), but

152  Sally Ann Cruikshank

implicit in what you do as a digital producer is thinking about how to market content to the audience. For example, if it’s a sports story, it’s probably going to work better on Twitter, since that’s where sports fans lurk. Digital producers also consider who is online right now when considering what time to publish a story. The audience is the money, and even if your organization has a dedicated marketing department for ads and promoting your news outlet, you’re marketing the news itself. You always need to be thinking about presentation and the audience experience. It’s also a good idea to view your website and social media outside of the content management system to see what the reader sees. That way you can fix any formatting problems you notice. (Unfortunately, there’s probably not much you can do about the pop-up ads.)

QUICK TIPS: CONTENT MANAGEMENT SYSTEMS As a digital producer, you’ll likely become an expert in your newsroom’s content management system (CMS). A CMS allows you to easily publish content to a website with little or no coding. Several major media companies, including Gannett, The Washington Post, and BuzzFeed, have their own in-house CMS, and most of your CMS training will likely be done on the job. If you’d like to gain experience using a CMS before going on the job market, WordPress, Squarespace, and Wix are good options.

Be a problem-solver Digital producers often fill the role of problem-solver-in-chief of the newsroom. The most valuable people on the digital media team can write, edit, fix a video issue, do a little audio production, and most importantly, are comfortable with change. At its core, the job of a digital producer is change and your role will constantly evolve. This means you need to be resilient and ready to take the time to figure something out before just giving up and calling for help. Leading from home The COVID-19 pandemic emptied out newsrooms and sent journalists home to work. This meant a huge shift in how newsrooms worked and produced stories for the audience. It also meant digital producers had to add a new skill to their repertoire: working from home and leading a remote team. Here are some tips for working home as a digital producer: • • •

Get organized. If you didn’t use a calendar before, now is the time to start. Color coding your calendar can help. You might also consider keeping a daily to-do list, where you can cross items off as you go. Try to separate your workspace from your “home” space. This isn’t always possible, especially if you’re living in an apartment. But if you can, try to have designated workspace that you can leave behind at the end of your shift. Clean out your devices. This can be especially helpful if you’re battling a slower internet connection at home.

What does a digital producer do?  153

• • • •

Take breaks. When you’re in the newsroom, you get up, walk around, get coffee, chat with co-workers, etc. Don’t just sit at your desk all day at home. Cut down on social media when you’re not on the job. Screen time is increasing for everyone, and covering the news all day can be emotionally draining. Make space for some quiet time away from devices. Be selective about extras. Now that the door to virtual meetings has opened up, everyone is scheduling webinars on various issues of interest for journalists. These can be great resources! But don’t over-extend yourself. Take vacation. It may seem strange to take vacation when you aren’t able to travel, but you’ve earned that personal time. Plan a staycation or even just time to bingewatch something.

QUICK TIP: VIDEO ON When working from home, turn your video on for meetings. This is a great way to keep the human connection in your work. It’s also a way to see body language and visual cues from your team. Communication happens a lot clearer this way. (And no one really cares what you’re wearing!) When it comes to leading a remote team, here are a few things you can do: • • • • • •

•

Clearly communicate. Communication in the newsroom is always important, but it’s even more so when working from home. Set up a communication system and make sure there’s an easy-to-find place with everyone’s phone numbers. Don’t just transfer all your meetings to virtual ones. The switch to working from home is an excellent time to re-evaluate your workflow. Does that meeting really need to stay a meeting? Or can it become an email or text exchange? Try to keep a routine with your team. Give them an idea of what is expected and help them meet those benchmarks. Be aware of what resources your team has at home and be adaptable. It’s also important to realize what challenges people may be facing working from home. Be flexible. When people work isn’t necessarily as important as getting the work done. Maybe someone needs to shift their schedule slightly to accommodate a child at home. But if they’re able to meet the requirements of their job, that’s okay! Find ways to connect with your team outside of work. This can be anything from a virtual happy hour to trivia night. You can even have fun Slack channels where everyone just talks about their favorite television shows. Don’t make any of this mandatory, though. Check in regularly on your team individually. Block time to call your team members to see how they’re doing. This demonstrates that you care about them, and it gives them a chance to speak one-on-one about something they might be concerned about but don’t want to bring up to the whole team.

It’s important to remember that you probably won’t be able to replicate the same vibe as the newsroom with everyone scattered. But with clear communication and care, you can make it work.

154

Sally Ann Cruikshank

The digital producing bottom line If this chapter has made digital producing sound challenging, that’s because it is. Digital producers often serve as the glue that holds the newsroom together. With those challenges, however, come great rewards when you’re able to lead the digital team through a big investigation or a breaking news story. If you’re someone who enjoys multi-tasking and working behind the scenes, digital producing might just be the position for you.

Sources Mark Briggs, Journalism Next (Thousand Oaks, CA: Sage, 2020). “Social Media Fact Sheet,” Pew Research Center, June 12, 2019. https://www.pewresearch.org/ internet/fact-sheet/social-media/. Mason Walker, “Americans favor mobile devices over desktops and laptops for getting news,” Pew Research Center, November 19, 2019. https://www.pewresearch.org/fact-tank/2019/11/19/ americans-favor-mobile-devices-over-desktops-and-laptops-for-getting-news/ Jeffrey S. Wilkinson, August E. Grant, and Douglas J. Fisher, Principles of Convergent Journalism (New York, NY: Oxford University Press, 2013).

Chapter Break Meet a journalist – profile of a digital producer Spencer Elliott

Figure CB4.1 Spencer Elliott, Lead Digital Producer, USA Today Network – Tennessee.

In my organization, being a digital producer means doing little bit of everything: we edit stories and optimize them for digital publication; write engaging headlines; manage our newspapers’ websites and social media feeds; help produce video and audio reporting; identify trending topics to cover; and even write breaking news stories, among many other duties. Crucially, we’re usually the last stop a story makes in the newsroom before it goes out into the wider world, so we need to be advocates for our audience. In fact, our audience is really at the heart of everything we do. Our digital producers need to have a sophisticated understanding of how to deliver the right stories to the right people on the right platform at the right time. This means looking at metrics and audience data and collaborating closely with editors and reporters. (Some good, old-fashioned journalism instincts don’t hurt, either.) My digital team works on behalf of several newspapers covering an entire state, so we rarely have a slow news day. Producers will be among the first people to start work in the morning, on the lookout for trending topics or breaking news from the night before and helping get the stories written in advance where they need to be for our readers that day. When the day is in full swing, we’re working with our reporting teams to get breaking news up and out quickly while also making sure stories that will publish later DOI: 10.4324/9781003037729-25

156  Spencer Elliott

are ready to go. Producers will also be some of the last people to leave at night as they watch for late-breaking news, ensure the printed paper goes to press smoothly, and set up their colleagues for success the next day. I began my career as a copy editor and page designer for a small newspaper and worked my way up to bigger publications, transitioning to a producer role as digital platforms became our primary focus. That involved picking up a lot of new skills on the fly and a willingness to frequently take on new roles and responsibilities. It also involved two cross-country moves; building a career in media often means being willing to relocate if you don’t already live in one of the largest markets. Being a journalist today – and especially being a digital producer – also means being adaptable and comfortable with change. While many of the fundamentals of good journalism have endured over time, the strategies and tactics for success in digital media are constantly evolving. Be willing to experiment and to critically evaluate your practices. Be ready to throw out the old ways of doing things when they don’t serve your needs. Embrace change as an integral part of doing your job instead of an obstacle to it.

17 Get Googled SEO best practices Sally Ann Cruikshank

What is SEO? All journalists publishing online need to pay careful attention to search engine optimization, or SEO. SEO is the practice of increasing traffic to a website through search engine results. Simply put, SEO is doing things search engines, particularly Google, like. The goal of SEO is to make sure your content appears higher on search engine results. SEO works with many types of searches, including text, image, and video. Most search engines use automated programs, known as spiders or crawlers, to scrape the internet for data. Websites are indexed by the search engine, and then an algorithm helps rank the relevancy of those pages to a particular search. In this chapter, you will learn SEO best practices, including: • • • • • •

Ways to understand your audience Choosing the correct keywords for a story Using Google Trends to find and pitch stories Understanding how trends change Key content management system, or content management system (CMS), fields for SEO Writing the best headline for the story

Trending news and keywords SEO begins with knowing your audience. You need to anticipate what they’re looking for online and how they’re searching for it. You also need to have an understanding of what types of stories will get them to click and keep reading. Fortunately, there are a few tools that can help you understand your audience better. In Chapter 21, you’ll learn about metrics, which measure audience behavior. In this chapter, you’ll learn how to find and use the keywords that will lead readers right to your content.

QUICK TIP: START WITH GOOGLE It’s a great idea to Google your competition for a story before you even get started. Start by searching the keywords you’d use to find your story in Google. See what comes up first and take note of the keywords and phrases they’re using.

DOI: 10.4324/9781003037729-26

158  Sally Ann Cruikshank

Google Trends The best place to start finding keywords for your story is Google Trends (trends.google. com). This free service from Google can tell you everything you need to know to write stellar SEO content, and it can even point you in the direction of stories you should be writing. Google Trends allows you to see what people around the world are searching for online, along with the keywords they’re using to find certain stories. You can search by term, topic, phrase, or proper nouns. You can limit the dates of your search and even limit that search to a particular part of the country. You can also compare searches to find out which keywords associated with a particular story are getting more traffic online. For example, let’s say you’re writing a series of stories about people traveling alone. By comparing terms associated with solo travel, you can get a better understanding of what people are more likely to search. Your goal is to find a list of keywords that will help drive traffic to your story. It’s a great idea to keep a master list of relevant keywords by beat in your newsroom. You’ll still want to check Google Trends each time you’re writing a new story to see what unique keywords could help you maximize SEO. Related queries Take advantage of the related queries function of Google Trends to flip the script and stand out when it comes to trending news stories. Find another aspect to the story fewer people will be covering. For example, when musician Eddie Money died, Google Trends showed an increase in searches for Ronnie Spector. Money and Spector had sung the hit “Take Me Home Tonight” together. Many news organizations wrote an obituary for Money, but few capitalized on the SEO opportunity with a story about Spector and her reaction to his death.

Figure 17.1 This shows the popularity of different travel search terms over time on Google Trends.

Get Googled: SEO best practices  159

QUICK TIP: STORY FINDER Stuck on what to pitch in the morning meeting? Google Trends can be helpful in the newsroom beyond just deciding on keywords for a story. It can also be a great tool to find out what people are talking about and a way to discover stories you should be covering in your community. Use the recently trending tool or the regional/city search to find out what your audience is Googling.

Where SEO goes Once the keywords have been decided upon for a story, the next step is strategizing the position of keywords in the various fields of your content management system (CMS). A CMS is software or a program used to create, publish, and manage digital content on a website. Popular content management systems include WordPress, Wix, Squarespace, and Drupal. Within the CMS are fields that are key to SEO success. These fields include: page title, URL ending or slug, the excerpt, headline, and subheadings. You can also add SEO keywords through using hyperlinks, in the photo captions, and in video and photo files. Page title The page title is what someone sees when they hover a cursor over the website tab. This is the most important SEO field, as it’s the first information a search engine finds. Here is where you want to place the most important keywords. Ideally, the page title should be five to six words. However, be sure not to just make keyword salad. More and more, search engines are prioritizing human language, so rather than just listing keywords, make sure it’s a phrase or sentence that makes sense. URL ending or slug The URL ending, sometimes referred to as the slug, is the last part of the website address where the story will be located. If you don’t put any information in this field, you will lose a valuable chance for more SEO impact. The CMS default for this field is usually a string of random numbers instead of keywords. For this field, maybe consider adding other keywords associated with the story and keep it about the same length as your page title. Again, try to use a phrase that is clear, natural language. It’s a good idea to ask yourself: would I understand what this article is about just by reading the URL ending? Excerpt The excerpt is the small paragraph that appears when your story is returned on a search result page. This should be about three to four sentences of actual writing. The excerpt is an opportunity to include more keywords, and it’s a way to entice people to click on your story. The excerpt should be a well-written, catchy tease for the story.

160  Sally Ann Cruikshank

Headline The headline, or H1 tag, is the main heading for your story. It should also include main keywords. Later in this chapter, you’ll learn some great strategies for writing headlines that are SEO-friendly and attention grabbing. Subheadings Subheadings, or H2 tag, are smaller headings that you should be using throughout your article. Besides being a way to fit in more SEO keywords, subheadings help the readability of your content and allow people to more easily scan your articles. Hyperlinks Hyperlinks within stories are a great way to add SEO value to content. Include the hyperlink on keywords within the story, particularly within the top third of the page. This boosts the chances the search engine will pick up on the keywords. Hyperlinks in an article serve a dual purpose in articles. Not only do they increase SEO opportunities, but hyperlinks also keep people on your website. It’s also a good idea to link to relevant content a few times throughout the story and at the bottom of the page. Photo captions Sneaking keywords into photo captions can increase the chances of your story appearing at the top of the search results. It’s especially effective to include keywords at the beginning of a caption. An easy way to do this is to use the keywords as a title for your photo, followed by more information about the photo. Video and photo files The metadata associated with video and photo files poses an SEO opportunity. This means you should never upload a file with a generic or numbered name. Instead, prior to uploading your files to the CMS, change the name to keywords associated with the story. Your readers won’t know the difference, but the search engines will! Trends and keywords change For ongoing coverage of a story, it’s a good idea to check back with Google Trends occasionally to make sure the keywords you started with are still the best ones to be using. That’s because how people search for a story may change over time. For example, if there’s a shooting downtown, people may search for the phrase “downtown shooting” in the first few days. Once police announce a suspect, however, people may be searching for the suspect’s name. This means new stories about the shooting should emphasize the suspect’s name in keyword fields.

Get Googled: SEO best practices  161

QUICK TIP: NEAR ME Writing an article about restaurants or a list of things to do in your city? Try adding “near me” to the URL ending. People often Google “places to eat near me” or “things to do near me.” This can be an easy way to increase traffic through SEO.

Long tail SEO For some stories, you might consider using a long tail SEO strategy. A long tail SEO strategy involves targeting low, but steady, traffic over an extended period of time. This approach works best for stories that fill a niche for a small audience but will also have lasting relevance. The idea behind long tail SEO is to find keywords that may have a low search volume and low competition and use these keywords along with more popular ones. This mix returns higher yields over time. In other words, only a few people may be searching for those keywords or phrases, but by including them, you’re more likely to get their clicks. Finding long tail SEO keywords can mean a little extra work. One way to make long tail SEO easier is to keep a list of possible keywords for each beat within your newsroom. A good place to start with creating this list is, of course, Google. Start typing the main keywords associated with your story and then write down the autocomplete suggestions. Be sure to check Google’s related search suggestions, as well, and keep a list of those keywords. Repeat this process with other search engines, including Bing and Yahoo. You can also check Google Trends for related queries.

Figure 17.2 Long tail SEO can help you target a smaller, niche audience.

162  Sally Ann Cruikshank

Story highlights One easy way to increase SEO keywords at the beginning of an article without compromising your writing is to feature story highlights at the top of the page. This can be something as simple as a bulleted list of the key points or takeaways from the story. This works especially well for complicated stories or developing news. Story highlights have the added bonus of being mobile-friendly and make stories easily scannable for readers in a hurry.

Writing headlines for SEO and beyond Although much has changed since the days newspapers were the only news source, the importance of a good headline has not. The Washington Post has a team of journalists whose task is to punch up headlines. Some organizations, including Buzzfeed and Upworthy, require writers to turn in as many as 25 headlines with each story. Now, headlines serve a dual purpose: contributing to SEO and grabbing the reader’s attention once it lands on the search page. Besides being a key SEO opportunity, the headline is the first (and sometimes only) part of a story readers will see. It may be the most important thing you write, and it should not be left to the last minute. In fact, it is good idea to write your headline first! Good headlines: • • • • • •

Entice people to read further, watch, or click Are accurate, don’t misrepresent the story or promise what they can’t deliver Tell the reader what the story is about Match their platform Use keywords early and often Include proper nouns (names, locations, etc.)

Generally, headlines fall into seven categories: colon, news, emotion, quote, roundup/ lists, question, and social.

THE DIFFERENT TYPES OF HEADLINES Colon: Game of Thrones: filming locations around the world News: Power outage delays hundreds of flights from Heathrow Emotion: Visitors accidentally locked in Madame Tussauds describe 12 hours of pure terror Quotes: “I know evil is real”: meet the woman who dined in every Guy Fieri restaurant Roundups/Lists: 13 places to contract a tropical disease for the budget-minded traveler Question: Why can’t planes just fly into space? Social (OMG/Really?!?): 86-year-old grandmother cleared of assault charges after drunken brawl at zoo

Get Googled: SEO best practices  163

Colon headlines The most SEO-friendly headline is the colon headline. Colon headlines begin with a few keywords, followed by more details about the story. Putting the key words first means search engines will find them faster, and people will be more likely to find the story through a search. Deciding what goes before the colon can be as simple as thinking, “What would I type into Google if I wanted to find this?” However, a better practice is to look on Google Trends to see how people are searching for key terms related to the story. One word of caution when writing a colon headline: be sure that you don’t inadvertently quote someone. If you use someone’s name before the colon, it can sometimes look like what follows is something they said. News headlines News headlines stick to just the facts. Some stories sell themselves and don’t need a clever headline. Stories about sensitive topics, including news about crime or violence, don’t lend themselves to catchy phrases or word plays. The best news headlines still include keywords, just not necessarily at the beginning of a colon headline. The most effective news headlines also consider the Five Ws and H: who, what, where, when, why, and how. Emotion headlines Emotion headlines convey to the audience the feelings associated with the story and are particularly effective online. Emotional appeals have long been used in marketing, and a study by CoSchedule found headlines that featured emotional words were more likely to be shared on social media. The key to writing this type of headline is to find the emotional hook and highlight it. It’s also important to use vibrant verbs and active voice to draw readers in. Quote headlines Quote headlines can be a great way to capture the emotion of the story. It also allows the subject of a story to provide information that you as a journalist may not be able to say. Before choosing to write a quote headline, be sure there is an interesting and eye-catching quote to use. Quote headlines also need to have context in order to be effective. In other words, the quote should be understandable on its own. There is also an ethical concern with quote headlines. As discussed earlier in this chapter, the headline is often the only part of a story a reader may see. This means the quote used should not contain misleading or inaccurate information. Roundup/list headlines Roundup and list headlines can be a great way to engage the audience, especially with readers who are in a hurry or just scanning stories. Using this headline structure signals a time commitment for the reader. List posts are especially popular on Facebook, Twitter, and LinkedIn.

164  Sally Ann Cruikshank

Good roundup/list headlines focus on tips and advice and include numbers. It’s also important to use adjectives that signal the emotional value of the story. Question headlines Question headlines can be good for complex issues but should not be used as an easy way to avoid writing a better headline. In other words, question headlines should be used very sparingly. Question headlines are best used when there may not be an obvious answer to the question at hand. However, when readers finish the article, they should be able to draw a conclusion for themselves. Social headlines In some ways, social media posts are the new version of headlines. When writing a social headline, all of the styles mentioned can work. When it comes to social posts, engagement is key. You always want to think about your audience, including what they are interested in reading and what platform you’re using. To write a great social headline, find the juiciest bits of the story to showcase and be sure to use emotional words and lively verbs that will catch the reader’s attention. Deciding which headline With so many choices, it can be difficult to choose what type of headline to write for a story. So how do you decide? Here are a few things to consider: • • • • • • •

As always, start thinking about the audience for the story. What will grab their attention? Where will they be seeing this headline? Is this a highly searchable or trending story? In that case, a colon headline might be the way to go. If the story is serious in nature or on a sensitive topic, a colon or news headline allows the heart of an issue to come across. Is there a fantastic, emotional quote that stands alone? Go for a quote headline. Are there easy takeaways from the story? Does it involve an easily digestible list? In that case, a roundup/list headline might be the most effective. If you’re unsure, try writing several headlines and test them on your newsroom colleagues or even a friend! It’s also worth thinking about writing a really good headline and then writing a story to match.

Revisiting headlines Just because you’ve written and published a headline doesn’t mean you’re necessarily finished. There are many reasons to revisit a headline, the first being a lack of engagement from the audience. If your audience isn’t clicking on a story, the headline may be to blame. Try rewriting the headline in a different style to see if engagement improves.

Get Googled: SEO best practices  165

Figure 17.3 Here’s an example of a catchy social headline. Vengeful grannies always get clicks.

Finally, updating the headlines of evergreen stories (news that does not have a timely aspect and can be published any time) can sometimes be a way to use trending topics to increase traffic through SEO. This can include adding the year to the headline or including keywords that are trending in the news.

166  Sally Ann Cruikshank

The SEO bottom line Of all the skills a digital producer has in their repertoire, probably the most marketable is an understanding of how SEO works. All internet content, news or otherwise, depends on SEO to be found. If you know how to use tools such as Google Trends, keywords, metadata, and well-written headlines, you’ll be increasing traffic to your site in no time.

Source Garrett Moon, “How to write emotional headlines that get more shares,” CoSchedule, October 5, 2020. https://coschedule.com/blog/emotional-headlines/

18 Creating eye-catching infographics and data visualization Christine C. Eschenfelder

Catching the eyes of your audience Producers are often tasked with creating infographics to accompany reporters’ stories online, with good reason. Studies have found infographics are an effective way to attract and keep an audience. The term infographic is a combination of the two words: information and graphics. Infographics are a way to help the media consumer visualize data and information. Infographics should be easy to process, visually appealing, and informative. Humans like visuals, so we are naturally drawn to the visual aspect of infographics. Also, many people lead busy lives and want to consume news and information quickly. An infographic looks something like this:

Elements of an infographic Story The elements of a good story are also the elements of a good infographic. A selection of some of the “who, what, when, where, and why” of a news story can also make good content for your infographic. This is the “info” part. Make sure you have verified all the information you include in the infographic. While infographics have a creative aspect, they still offer accurate information. However, do not simply throw together a lot of information or statistics without a narrative. The infographic tells a story. Data Again, it is essential that you collect your data from reputable sources and use citations. Make sure you have properly vetted the sources and the information. If you are using data from a survey, poll, or research report, look carefully at things like the sample size and the population from which the sample was gathered. Sample size is how many people participated in the survey, poll, or research. If it is a poll, confirm that it was conducted by a reputable polling organization. Their methodology should be transparent. Methodology is essentially exactly how the researcher or organization carried out the study. The methods include when was it done, who was contacted, how many people were contacted, and so on. Who did they poll and what questions did they ask? For a survey, was it conducted by a reputable source? Again, the methodology should be

DOI: 10.4324/9781003037729-27

168  Christine C. Eschenfelder

Figure 18.1 Sample of an infographic.

transparent. Look at the sample size of a survey. A small sample size is usually not a good sign. In research, a larger sample makes the results more generalizable. Display your data in a clear and visually appealing way. Make sure you understand it before you put it out into cyberspace. If you don’t understand what you are writing, there is a good chance the people reading your infographic won’t either. Design Design platforms are available, many for free, to help you create infographics. Using a design platform such as Infogram, Canva or Spark Post, you will get help with design

Infographics and data visualization  169

aspects including color, fonts, and layout. Customizable templates for infographics are provided in most design platforms. Things to consider when designing an infographic are the title, use of images, font style and size, an appealing color scheme, and a layout that is easy to navigate. The design should make it easy for the reader to understand and follow. Simplicity is key. The Customer Magnetism Internet Marketing Agency also suggests avoiding a white background and limited use of text. Too much text takes away from the visual appeal of an infographic. This is not the place for a lot of reading. Think of all the PowerPoint presentations you have watched in classes. Do you feel overwhelmed when there is a lot of copy on a slide? That is how your audience will feel if you put too much text on your infographics. The free versions of Canva, Adobe Spark Post, and Infogram include many templates, images, icons, shapes, videos, and clip art. There are paid-subscription “pro” versions of these design platforms that offer many more images, videos, colors, fonts, and logos. Premium templates are available in the paid-subscription accounts. Venngage has a large selection of infographic templates, but only students are eligible for free access. Charts, graphs, and visual representation of numeric data Simple charts, graphs, and other visual representations of data can make statistics and other numbers more powerful to the consumer. A pie chart that is primarily blue with only a little sliver of yellow communicates a lot of information in a quick and simple manner. Bar charts can also be a very engaging way to communicate trends or differences. If you are not sure what type of chart, graph, map, or other method of data visualization would work best for your infographic, an excellent resource is the Data Visualization Catalogue website at datavizcatalogue.com. The site has a library of dozens of different types of data visualizations that includes a description, an image, examples of how the visualization has been applied, and the recommended functions. The Data Visualization Catalogue also provides a good list of links to data sources including the CIA World Factbook, the United States Census Bureau, and the World Bank. If you need some creative inspiration, the Cool Infographics website has hundreds of examples. The site features great examples of infographics, data visualizations and visual communication and also includes critique, commentary, and best practices. The site is maintained by Randy Krum, president of InfoNewt, an infographic design and visual consulting company. Krum also teaches Data Visualization Design at Southern Methodist University and at workshops. Some of the infographics featured on Krum’s website are so visually appealing that they are available for sale as posters, more proof that infographics can be works of art and science. The website can be found at coolinfographics.com. Interactive elements Some infographics contain interactive elements. This is an opportunity for media consumers to take a deep dive into the information and customize their experiences. Some viewers want more information and want more control over how they get it. Interactive elements in your data visualization can help your consumers enhance their experience. Some news organizations that take interactive data visualizations to the next level include The New York Times and the Sun-Sentinel newspapers.

170  Christine C. Eschenfelder

An outstanding example of data visualization is the winner of the 2019 Pulitzer Prize in Public Service Journalism, “Unprepared and Overwhelmed: The Mass Shooting at Parkland, Florida.” South Florida Sun Sentinel’s reporting exposed failings of school and law enforcement officials before and after the deadly shooting rampage at Marjory Stoneman Douglas High School. The presentation of data is exemplary. You can view it at https:// projects.sun-sentinel.com/2018/sfl-parkland-school-shooting-critical-moments/ Datawrapper is a free online tool that can be used to create interactive maps, charts, and tables. Users creating charts or tables copy their data from a Microsoft Excel spreadsheet and paste it into Datawrapper or upload a data file from Microsoft Excel file from their computer. Once the data is entered, the user is offered many visualization options to display the data. There are numerous chart styles on Datawrapper including scatter plots, donut charts, and grouped bars. Tables can be customized by changing border styles, displaying a rank order for data in lists, and making tables mobile-device friendly. Three types of maps are offered: a map using color regions, one using symbols, and a locator map. The user can upload one of the many maps already created in Datawrapper or upload their own maps. The site also offers suggestions on what type of data visualization to create based on the type of data being used and the goal of the visualization. For more information, visit Datawrapper.de. The website “Journalist’s Toolbox” maintained by the Society of Professional Journalists is an excellent resource for journalists overall, but it also provides information on some other tools available for making infographics and interactive data visualizations. It can be found at Journaliststoolbox.org.

Mining stories for data As a producer, you may be asked to take information from a reporter’s story and create an infographic or some form of data visualization for the station’s website or social media. How do you decide what to use? Remember, infographics should be easy to process and visually appealing with a narrative but not too much text. First things first. What is the story about and what information is important to communicate? Lisa Charlotte Rost notes on the Datawrapper blog that a good headline is vital. Like a good lead or intro to a package, that headline should get the attention of the media consumer. Decide on an attention-getting headline, then decide what data in the story is the most important, compelling, useful, or surprising. That is the data that will engage the audience. Next, how will you present this data in a visual way? Much of the presentation depends on the type of data or what you want to communicate. Data-driven stories communicate information such as how many people in your television news market have a certain illness, how the university in your city ranks nationally, or how many newly registered voters there are in your market and in which precincts they live.

The bottom line on infographics What are the numbers you want to present to tell a story with viewer benefit that will also catch their eye? Charts and graphs are an excellent way to show change over time. A location map is a good way to help viewers see where a rash of crimes have been taking place over the past few days. A simple infographic with colorful clip art can easily communicate percentages. Use these attention-getting graphics to help your audience visualize information.

Infographics and data visualization  171

Figure 18.2 Dr. Ken Blake, Middle Tennessee State University.

Data visualization during a pandemic Dr. Ken Blake Professor, School of Journalism and Strategic Media Middle Tennessee State University Data visualization is playing an increasingly large role in journalism as newsworthy datasets become more accessible to reporters and producers, along with tools for analyzing data and presenting data-driven findings. Some data visualizations accompany stories that are presented in otherwise traditional ways. But other data visualizations tell stories mostly or entirely by themselves, with little or no accompanying verbal content. Early in the COVID-19 pandemic, for example, The New York Times developed an interactive “Covid in the U.S.: Latest Map and Case Count” feature that ran on The Times’ landing page, offered daily counts and 14-day trends for COVID-19 cases and deaths, plus national maps showing the virus’ spread – all without even one complete sentence. Clicking the feature led to even more interactive graphics and maps and allowed users to drill all the way down to county-level data. Research suggests that such visualizations draw people to stories, help hold their attention, and boost their understanding of information. Work with the richness and depth of The Times’ COVID-19 feature still takes expensive talent to create and maintain. But local reporters and producers equipped with nothing more than a Google Drive account, which offers free Google Sheets and Google My Maps apps along with cloud data storage, can still get an awful lot of serviceable data visualization and mapping into the journalism they do. Learning enough Python code to scrape a website or pull data from an Application Programming Interface represents a significant next step. Modest investment in paid accounts with online data visualization and mapping services can lead to even bigger dividends.

172 Christine C. Eschenfelder

In sum, reporters and producers owe both themselves and their audiences at least a chance at the benefits that data visualization skills offer. Visit Drkblake.com for more information on data analysis, mapping, and data sources.

References Rost, Lisa Charlotte, “What questions to ask when creating charts,” last updated November 15, 2017. https://blog.datawrapper.de/better-charts/ “What is an infographic?,” Customer Magnetism. https://www.customermagnetism.com/ what-is-an-infographic/

19 Producing video inside the newsroom Sally Ann Cruikshank

Producing video inside the newsroom It’s impossible for a newsroom to send a full team to every story, and often photographers shoot events or stories back to back. In these cases, the raw footage gets handed over to the digital team to produce the final piece. Digital producers are also essential when it comes to managing live feeds and turning around video from breaking news. Start with the story When you’re handed raw video to produce, the most critical step is to get a clear understanding of what is expected of the video. Is this just an interview that needs a few soundbites pulled? Or is it b-roll and interviews that needs to be turned into a full package? It’s also important to know where the video will be posted. This way, you can edit better for your audience. Ideally, you’d meet with the photographer and/or the reporter before they even go to the story to get an idea of what to expect and the scope of the story. If time doesn’t permit a pre-meeting, try to sit down with the photographer and the reporter when they return. Some questions you’ll want to ask: • • • • •

What footage do you have? What’s the most compelling interview or b-roll? What’s the focus of the written story? What are other angles of the story that could be explored with the video? Is there any sensitive content?

It’s always possible that time and circumstance could mean you’re just handed the raw video without any direction on what to do with it. In this case, Ayrika Whitney, regional multimedia producer – USA Today Network, who you met in Chapter 9, suggested the best place to start is the written story. The video should complement the story, not be an exact replica of what already exists. In other words, don’t use the same quotes and story structure as the accompanying article.

“I like to treat my videos not as a retelling of the story, but as a visual sidebar. That’s the term I like to use.” – Ayrika Whitney, Regional Multimedia Producer – USA Today Network DOI: 10.4324/9781003037729-28

174  Sally Ann Cruikshank

Once you’ve finished reading the story, see if there are powerful quotes in the video that didn’t make the cut for the article. And be sure to go through all the footage you’re given, rather than just selecting the first few shots. The best stuff might be at the end. Video editing tips Once you’ve decided the angle and format of your story, write your script or outline first. You might be tempted to start editing without sketching out the whole story, but that’s how you end up with a rambling mess. When you start editing, here are some tips to keep in mind: • •

• • • • • • •

Have a great opening shot or soundbite – People are more likely to watch the rest of the story if the first shot grabs their attention. Use natural sound throughout – Natural sound, or nat sound as it’s sometimes called, is the noise ambient to the scene. Nat sound helps the audience get a sense of place from the story and provides a more immersive experience. You can layer nat sound under other video or use it on its own. Make captions part of the edit – Captions make your video more accessible. Captions especially increase the chances of someone watching on social media when they may not be able to play the sound. Keep your b-roll short and moving – Generally, unless something super compelling happens, keep your b-roll edits between three and five seconds. This keeps people’s attention better than long static shots. Keep soundbites tight – Again, unless the soundbite is particularly moving, try to use interview segments between 12 and 15 seconds. Put motion to stills – If you’re using still photos mixed with video, use what’s called the Ken Burns effect. The Ken Burns effect, named after the famous documentary filmmaker, adds movement to a photo, usually by panning across it or zooming in or out. Use graphics – You’re not limited to just b-roll and soundbites. Adding in a graphic can make your videos pop. Consider file footage – Is this a follow-up to a previous story or an ongoing issue in your community? Check the archives to see if there’s any file footage that will work with the current story. Ask for a second opinion – If you’re editing something that deals with a topic that might be controversial, consult with an editor or even the legal team before publishing the video.

When you’re tasked with turning around breaking news video, speed and caution are necessary in equal measure. You’ll want to scan the video for anything sensitive and listen for any language that might not be suitable. Before posting any videos, make sure the person in the soundbite doesn’t release information that shouldn’t be public or say something that could be libelous.

QUICK TIP: GET CREATIVE WITH COURT TESTIMONY At some point in your journalism career, you’re likely to produce a video about a court case. Outside of the occasional compelling courtroom exchange or emotional testimony, court cases don’t usually produce compelling visuals.

Producing video inside the newsroom  175

One way to add a little spice to your videos in this case is to go to the case documents. If there is testimony or evidence about conversations between people, use it to your advantage. Grab a co-worker and change their name in your phone to the name of the person involved in the court case. Then, text each other the exact exchange in the court documents while recording your phone’s screen. Now, you have instant b-roll of the evidence!

Figure 19.1 This video from The Tennessean used a push alert graphic to introduce a story about controversial text messages from a politician.

176  Sally Ann Cruikshank

Managing live feeds During breaking news or even a planned event, you might be put in charge of both managing a live feed and producing video from it. The story will likely dictate where the video is streamed and what you do with it once it’s finished. Streaming on Facebook Live usually gets the largest audience. However, some newsrooms route live streams through YouTube instead. That’s because this gives a clean, embeddable link that can easily be dropped into a story later. YouTube videos can also be monetized with advertising before the video plays. When you’re managing a live stream, here are some things to do before, during, and after the event: • • •

Communicate clearly with the journalist(s) in the field. Let them know if you’re having any audio or visual issues and indicate to them when the live stream has started and ended. Have a backup plan in case the stream goes out. This could be as simple as having a graphic to put up as a placeholder until it starts working again. Listen to the live stream and make note of any compelling and important quotes. These can be chopped up individually later or edited into a larger story. Doing this work now will save you time, which is especially key during breaking news.

Interviewing from the newsroom (or home) Occasionally, digital producers get assigned interviews to conduct from the newsroom. This might happen during breaking news or if there’s a shortage of reporters available. This means doing either a phone or video call interview, which requires slightly different prep than an in-person interview. During the COVID-19 pandemic, even reporters used to working in the field had to adjust to remote interviews from home. To get the best from your interview subject during a remote interview, whether at home or in the newsroom, consider the following: • •

•

• •

Will this be a phone or a video call? Depending on the circumstances, a phone interview may be your only choice. Most journalists prefer a video call, however, as body language can be a key part of conducting a successful interview. Let the person know ahead of time if and how the call will be recorded. Will you be recording audio only? Video, too? Also, make sure they understand how the recording will be used. You don’t want to indicate you’re only recording for your own use and then publish the audio or video to your audience. Find the right tech. You can find dozens of apps for your phone that will automatically record a call, and some will even transcribe your conversation for you. (These transcriptions should always be double-checked, though.) If you’re doing a video call, Zoom has a built-in function to record both audio and video. If you’re doing a video call and you plan to use the video in a story, pay attention to the person’s lighting and framing. There’s nothing wrong with asking them to adjust their computer to make a better shot! Practice your tech. No matter what app or program you’re using, enlist a co-worker to do a trial run with you.

Producing video inside the newsroom 177

• • • •

Go somewhere quiet for the interview. This might be difficult in a noisy newsroom, but it’s necessary to limit distractions. This is also important if you plan to use the audio and/or video, as it will cut down on extraneous noise. Use headphones. This will limit your distractions and produce clearer audio for both the person you’re talking to and the recording. Take notes. Even if you’re recording, there’s always a chance something can go wrong. Also, making note of the best parts of the interview will save time later. Backup your recording immediately and try to transcribe it while it’s still fresh. It will go much faster.

The video bottom line When it comes to creating videos in the newsroom or at home, flexibility and an understanding of the purpose of the video makes all the difference. Remember, communication with the rest of the news team is fundamental, as is compromise. Whitney warns that there will be stories where people get too attached to aspects of the video. “Learning how to break off your own emotional tie to the video in order to tell the best story is sometimes critical,” she said.

Sources Anthony Adornato, Mobile and Social Media Journalism: A Practical Guide (Thousand Oaks, CA: CQ Press, 2018). Damian Radcliffe, “9 remote interviewing tips for journalists,” International Journalists’ Network, August 17, 2020. https://ijnet.org/en/story/9-remote-interviewing-tips-journalists.

20 Digital producers and social media Sally Ann Cruikshank

Digital producers and social media Social media skills are required of all journalists these days, but perhaps are particularly important for digital producers. Digital producers regularly run newsrooms’ social media accounts and coordinate social media coverage during breaking news or live events. Journalists, including digital producers, should think about social media on two levels: newsroom and personal. Although reporters may boast more public-facing social media, it’s important for behind-the-scenes journalists to curate their own professional accounts. Having your own personal account can benefit your organization by increasing its presence on social media, and your posts can show what’s happening behind the scenes. This can be important to increase transparency and credibility. Having your own personal social media account also provides an opportunity for you to share the work you’re doing and will increase your chances of landing another job when you’re ready for a career move. Whether the newsroom account or your own personal account, social media provide endless opportunities for journalists including: • • • • • • • • • •

A way to drive traffic to the news site Finding sources Crowdsourcing news Covering breaking news Going live Teasing upcoming stories Connecting with the community Gathering user-generated content Understanding who is reading and watching your stories Getting feedback

All platforms are not created equally In the early days of social media, journalists (and really everybody) often treated all platforms equally. Journalists routinely copied information and pasted it across all platforms without any changes. Or worse, just posted a link to a Facebook post on Twitter.

DOI: 10.4324/9781003037729-29

Digital producers and social media  179

Now journalists are more thoughtful about what and where information is posted on social media. When picking your platform for a post, consider the following: • •

•

Audience – Who are you trying to reach with your post? For example, Facebook has the widest reach, but skews much older than platforms like Instagram or TikTok. Algorithm – Knowing how each platform’s algorithm works is key. Facebook will actually hide content if you post too frequently, which makes it problematic during breaking news. Twitter, the only platform that still can be viewed as a timeline, instead of an algorithm-selected feed, works better for minute-by-minute updates. Content – What is the content you’re sharing? If it’s a photo essay, Instagram may be your best option. If it’s a longer piece of text, Facebook offers more character space than Twitter.

Facebook According to a Pew Research Center survey in 2019, 69% of U.S. adults use Facebook, making it the second most-used platform. (Only YouTube came in higher at 73%.) By comparison, the next most-used platform was Instagram at 37%. This means Facebook gives you the broadest audience, but it is also skews older than other social media platforms. On a personal level, Facebook offers opportunities to build your reputation and brand, find sources and stories, and share your work. Digital producers working with their newsroom’s Facebook page will likely be concerned with managing live reports, posting stories, providing behind-the-scenes and extra content from stories, and interacting with the audience. It’s incredibly important that digital producers understand Facebook’s algorithm, which changes frequently. Generally, it prizes videos over photos, links, or text-only posts. It also hides content if you post too frequently. Twitter As the only social media platform where users can see posts in real time, Twitter serves as the best place to follow breaking news. Twitter doesn’t hide content if you post several times in a short amount of time. It’s also the preferred social media network of journalists, which makes it a great way to network with other people in the industry. Twitter’s advanced search feature is particularly handy when you’re trying to find information about a story or event. You can search for people, phrases, by date, and even location.

QUICK TIPS: TWITTER THREADS If you’ve spent any time at all on Twitter, you’ve probably come across a thread or two. Twitter threads serve several purposes, including: keeping people up to date on a story, breaking down a big story, going behind the scenes of a story, capitalizing on a

180  Sally Ann Cruikshank

viral story, or engaging your audience with something they might have missed. Here are some ways to make sure your Twitter thread gets (and keeps) the reader’s attention: • • • • • • •

Number your tweets. If you know at the start of the thread how many tweets you’ll have, make that clear. Keep each tweet’s text on the short side. People will be more likely to read the next one. Add visuals in the form of photos, videos, or infographics. Add links if available. Tag relevant people Use appropriate hashtags, but sparingly. If there’s an update on a story, tweet about it as part of an older thread. This will allow the whole thread to show up again on a follower’s timeline.

Instagram While Instagram always provided an excellent platform for photographers, it became especially beneficial for journalists with the emergence of the Stories feature. If you’re a verified user or have more than 10,000 followers, you have the ability to post links in Stories. This can be an excellent way to drive traffic to your site, and traffic from Instagram skews younger than other platforms. Beyond photo essays, Instagram provides a way to be creative with news content. Infographics work great on the platform and typically encourage engagement. Grabbing a compelling quote from a story, putting it on a graphic, and posting it can tease deeper content. Stories can also be used to post news of the day summaries and break down longer reports into bite-sized pieces. YouTube You might not think of YouTube as a social media network, but it is actually the mostused platform. According to Pew Research Center, 73% of U.S. adults use YouTube. It’s even more popular with teens, as 85% reported using YouTube. This presents an excellent opportunity for newsrooms to reach a broad audience, including the sometimes-elusive younger crowd. YouTube lends itself well to livestreaming, and it’s also possible to embed search engine optimization (SEO) keywords into the video metadata. How-to videos are especially popular on YouTube. The platform is especially good for freelance journalists who may want to monetize their videos. Other platforms It’s impossible to detail every social media platform, especially since new ones emerge every day. Here are a few other key players: •

TikTok: This one has seen explosive growth since the Chinese social media service merged with the U.S.-based app, Musical.ly, in 2018. The video-based platform allows journalists to be creative, while also reaching a younger audience. The Washington Post even has a dedicated TikTok staff member now.

Digital producers and social media  181

• •

LinkedIn: LinkedIn is a fantastic way to grow your personal network in a business setting, although you’re less likely to create content for it in your capacity as a digital producer. Pinterest: Don’t sleep on Pinterest. The Pew Research Center found 28% of American adults use it, which means it’s more popular than Twitter. It’s also kept a pretty steady audience the past few years. Pinterest can be a place to highlight top stories, display photo essays, and even storyboard content.

QUICK TIP: BE AN EARLY ADOPTER When it comes to social media and digital producing, perhaps the most important thing to keep in mind is that you should be an early adopter. Keep on trends and jump on new platforms as they emerge. Not all of them will work, and you should be prepared for that. But being first on the platforms that take off means you’ll be seen as an innovator.

Social media tools As a digital producer, you’ll also become familiar with different tools to help you manage social media. Perhaps the most widely used program is Hootsuite, although there are endless other options, including Buffer and Sprout Social. These programs can help you manage all your accounts in one place and allow you to schedule and monitor posts. Several of these programs offer certification programs, although much of your learning will likely come on the job.

Creating social media As a journalist, you should be sure you’re maintaining an active social media presence on your personal account. This means sharing the work of your organization and retweeting other journalists. Your personal account can also be the place where you humanize yourself and connect with the audience. However, don’t fall into the trap of thinking retweets don’t equal endorsements, no matter how many people put that in their profile. If you’re sharing anything, make sure you’re providing context and/or an explanation of the post. As a digital producer, you’re likely going to be tasked with running, or at least supervising, your newsroom’s social media accounts. Before you even begin creating content, be sure to understand your newsroom’s social media policies, specifically correction policies. It’s only a matter of time before someone makes a mistake, and you’ll need to know how to handle it. Does your newsroom ever delete posts? Or do you correct with a reply? These policies vary from newsroom to newsroom, and sometimes are decided on a case-by-case basis. When creating content, here are strategies for making sure your social media resonates with your audience and doesn’t end up being shared for all the wrong reasons:

182  Sally Ann Cruikshank

• • • • • • •

Proofreading matters. A lot. With social media posts, you’re really proofreading three things: the text, the link, and the photo. If you’re tagging someone or another account, make sure you have the right one. Try not to share a post that is exclusively text. A link, photo, graphic, or gif will help it stand out on someone’s feed. Similarly, don’t post a link to an Instagram photo on Twitter. No one is going to click on it! If you do make a mistake or share wrong information, correct it quickly. And be open and honest with your audience about the mistake. This can help fix credibility issues. When you start the day, be sure to check the timeline and scheduled posts. This can keep repeats or contradictory information from being shared. Beware of stock photos. Don’t use them unless they truly are generic, and be precise with what you pick. If you’re posting videos, caption them. You want to assume someone is accessing social posts via a mobile platform, and they might not be able to watch with sound.

Figure 20.1 This USA Today tweet features a poor stock photo choice. Not only is the man in the forefront Sikh instead of Muslim, he and several others are easily identifiable in the photo. The text of the tweet could insinuate they are Islamic terrorists.

Digital producers and social media  183

RIP MY MENTIONS By Kenny Smith Everyone gets wrong numbers. Spam. Telemarketers. Junk mail. My name is Kenny Smith and I get other people’s mentions. A lot of them. Is there a basketball game on? Has someone in the NBA done something worth a basketball fan noticing? My mentions blow up with messages aimed at Kenny “The Jet” Smith. You might know him as the All-American point guard, the first round draft pick out of North Carolina, the winner of two NBA championships. When he retired he became a studio host with Turner and CBS. He’s won an Emmy. He’s part of a great show. People mistake me for him all the time. The similarities are obvious. He’s four inches taller, a few years older, from New York and he was really, really good at basketball. But otherwise, we’re the same guy in the eyes of Twitter users. Easy mistake. Look at my headshot. For years, I’ve quote-tweeted the best messages using #NBAFanTweets. I often make his co-host, and retired NBA great, Charles Barkley the butt of the joke, but never the person who wrote me. It’s an honest mistake. Sometimes they have a laugh with me about it. Celebrities, basketball players, regular fans, podcasters, media members, his own publicists, they’ve all thought I was The Jet. One time the other Kenny Smith tagged me for a reason I still can’t explain. I’m more of a propeller plane, at best. Oh, there was a city councilor in Charlotte, North Carolina who ran for mayor. Some of their local media thought I was that guy during debate season. So, I laid out an ambitious transportation plan for the Queen City. Neither of us got elected. I get a lot of mentions.

Figure 20.2 Kenny Smith, multimedia producer, digital production manager, and IUSTV advisor, The Media School at Indiana University.

184  Sally Ann Cruikshank

I believe it’s an autofill issue. You start typing the name and mine pops up. Now you’re in my mentions. Or you’re in a rush. You type @kennysmith and not that other guy’s Twitter account. Who bothers to notice the profile photo anyway? It says something about our haste, our media literacy, about how we’re still very much prone to mistakes, even with all of our technology. It’s another caution about how we have to pay attention to the details. Fundamentals. It’s what a basketball great like Kenny Smith would preach. Kenny Smith could dunk a basketball in high school. When he realized he’d never won a game of H-O-R-S-E because he couldn’t shoot, he decided to pursue journalism instead. Now, he works at The Media School at Indiana University. You can find him online at kennysmith.org.

Don’t mislead the audience Don’t mislead the audience probably seems like a simple and easy thing to avoid. It’s tricky, though, in the world of social media. Digital producers juggle a lot when creating

Figure 20.3 CBS News tweeted this quote from President Donald Trump. No evidence exists that millions voted illegally in the 2016 election. That context should be provided in the tweet, in order to not mislead the audience.

Digital producers and social media  185

Figure 20.4 Here is a better way to treat the illegal voter quote from President Trump. The Los Angeles Times essentially fact checks the quote in the tweet.

posts, and catching the audience’s attention while also being accurate and transparent can be a difficult balance. You should always assume that your audience won’t be reading past the initial tweet or headline. This means that, ethically, you need to be careful with the pictures you pair with posts. It’s easy to mislead the audience if your picture is a generic stock photo pull but your story is really about something else. Perhaps more importantly, don’t run false statements in posts, even if those quotes are from someone important or noteworthy. Your audience may not read on to understand that the information is inaccurate. Beware of bias In the Summer 2012 Olympics, U.S. athlete Corey Cogdell-Unrein won the bronze medal in women’s trap shooting. The Chicago Tribune announced her win with a tweet

186  Sally Ann Cruikshank

that read, “Wife of Bears’ lineman wins a bronze medal today in Rio Olympics.” The tweet immediately faced backlash from all corners of the internet for defining a woman by her husband. People pointed out that Cogdell-Unrein’s name didn’t even make it into the tweet. Women are not the only group often on the end of problematic framing by the media. Studies repeatedly show people of color, the LGBTQA+ community, and people with disabilities are marginalized in the media. Changing this requires a culture shift in newsrooms, which includes an understanding of how to be more inclusive. Here are some excellent resources for combatting bias in social media and, really, everything you produce: • • • • • • •

National Association of Black Journalists (NABJ) style guide: www.nabj.org/page/ styleguide Society of Professional Journalists (SPJ) diversity toolbox: www.spj.org/dtb.asp Native American Journalists Association (NAJA) reporting guides: najanewsroom. com/reporting-guides/ National Association of Hispanic Journalists (NAHJ): nahj.org Asian American Journalists Association (AAJA): www.aaja.org National Center on Disability and Journalism: ncdj.org The Association of LGBTQ Journalists (NLGJA) toolbox: www.nlgja.org/ resources/journalists-toolbox/

Figure 20.5  T  his Chicago Tribune tweet received widespread criticism for not including Corey Cogdell-Unrein’s name, instead calling her “wife of.”

Digital producers and social media  187

Crowdsource with care On August 10, 2014, the official Twitter account of Florida State University’s football team tweeted “#Noles Fans: Do you have a question for our starting QB Jameis Winston? Tweet us using #AskJameis.” Winston, however, was facing a litany of problems off the field, including rape allegations and a citation for stealing crab legs from a local supermarket. Within minutes, the hashtag was overrun with negative comments ranging from jokes about Winston being hit by a security guard to more serious allegations of a police cover-up. Winston trended the rest of the day, but definitely not for the reasons the football team hoped. This became one of many cautionary tales about crowdsourcing on social media. Other examples include the New York City Police Department asking people to share their experience with the police using #myNYPD and Bill Cosby posting a picture of himself on Twitter with “Meme me!” Both ended disastrously. These cases are just a reminder that social media can be a great way to connect with your audience and get feedback. When crowdsourcing, though, take care. Before posting the call, take a moment to brainstorm possible outcomes and put a plan in place if the responses aren’t what you were expecting.

Figure 20.6  One of the humorous tweets that used #AskJameis.

When social is the story Occasionally, social media may be the story. This generally happens in two different ways. The first way is the obvious: someone of importance posts something newsworthy and/or controversial. The second way is using social media to crowdsource reactions to the story. Generally, embedding is the best way to put social media in a story. This way, the audience can click to the original social media post. This is also a courtesy if you’re doing a social media reactions story. Non-public figures can remove their association to the story if they so choose. However, screenshots are essential when it comes to controversial posts. It’s common for politicians and other public figures to post something, only to take it down when

188  Sally Ann Cruikshank

it receives blowback. You might also be sent screenshots from private communication, including Facebook messages or private groups. If this is the case, it’s important to verify the screenshot is authentic and has not been manipulated.

QUICK TIPS: VERIFYING INFORMATION As a digital producer, you’ll spend a lot of time verifying information found online. It’s also a good idea to share information from sources beyond your own newsroom on your personal accounts. Think before you share, though, and make sure what you’re posting is true. When you’re reading articles from other outlets, make sure you read past the headline and check the date and time of the publication. It’s also important to do some background searching on both the outlet and the author if you aren’t already familiar with them. Look at the links and sources in the article, and check to make sure those are accurate, too. Questionable quotes and photos also serve as a red flag when authenticating information. Perhaps most importantly, be aware of confirmation bias. Just because you want something to be true, doesn’t mean it is.

Breaking news on social Journalism is always a team sport, but that’s especially true when news breaks. You learned about strategies for breaking news on social media from the field in Chapter 12, and some of those tips work from inside the newsroom, as well. A digital producer’s role during breaking news is typically performed inside the newsroom, which calls for a different approach. Digital producers serve as coordinators for the newsroom’s larger strategy for breaking news. This can mean everything from making calls to confirm information to being the contact person in the newsroom for the reporter in the field. It also might involve posting updates on social media. Here are a few best practices for breaking news on social media: •

•

• • •

Pick the right platform. Facebook is great for introducing a breaking story and driving traffic to the website. But it’s not the place for constant updates, because the algorithm will start hiding your posts. Twitter is where you want to go to update breaking news in real time. Agree on a hashtag in the newsroom. This can help you and your audience find out information. Don’t choose something so generic it will get lost in internet noise. For example, #shooting will probably turn up thousands of results that aren’t relevant. Pick a hashtag that is specific to what’s happening on the ground but won’t be obsolete with updates. Make sure you’re driving the audience to your website content, and don’t overpromise in your posts. Don’t say there are new details unless you really do have a development. Be right, not first. This can be hard when you’re trying to beat the competition, but you don’t want to be the one spreading misinformation or having to print a retraction later. Have a visual to go with the post. This can be anything from a map to a breaking news graphic.

Digital producers and social media  189

• •

Check your timeline and scheduled posts for anything related to the breaking news. It’s also a good idea to see if the ad department has any sponsored content that might need to be held. Be on multiple platforms. You’re less likely to miss developments this way.

During breaking news, you’ll also be responsible for checking social media to see what other people are posting. This can be an opportunity to find user-generated content (UGC). UGC is anything – text, video, photos, etc. – created by a person who is not with a news organization or media company. Of course, you need to receive permission from the creator of UGC to use it in your stories or to post it independently on your organization’s social media. Before using UGC, you also need to verify the content. Using fact-checking tools, including reverse-image search, can help with this process. It’s also a good idea to check the account’s history and previous posts. It’s unlikely that a brand-new account is going to post the definitive photo of a breaking news event. Checking image data and comparing it with maps can be a good way to spot a fake photo.

DON’T READ THE COMMENTS… OR MAYBE DO For some reason, comments and replies on social media seem to bring out the worst in people sometimes. Online harassment is a persistent problem for journalists, especially for women and people of color. There’s no industry standard for what constitutes harassment, and newsrooms have varying policies on who can be blocked. Worse, if something escalates to where a journalist feels unsafe, police often don’t understand what’s happening or have little power to stop it. The important thing to remember is to be honest and contact your newsroom superiors if you feel threatened by anything. Your safety and mental health come first. Whether or not you have to engage with the comment section as part of your role as a digital producer will vary depending on the size and scope of your newsroom. Many larger newsrooms don’t moderate comments at all or have a separate staff that monitors replies. Some supervision is even done by using filters. For example, you can set some platforms to automatically hide comments with offensive words. If you work for a smaller newsroom, however, you may be the one who reads the comments. Having a person who reads and responds to comments can actually be a fantastic engagement tool for smaller organizations and community news outlets.

The social media bottom line As a digital producer, chances are you’ll spend a significant amount of time working with, and on, social media. It’s a way to reach and understand your audience in a way that previously wasn’t possible. Knowing how to use it effectively can increase your chances of succeeding in your position and help your career grow.

190 Sally Ann Cruikshank

Sources Bryan Fisher, “FSU’s ‘Ask Jameis’ twitter chat leads to critiques of star QB,” nfl.com, August 10, 2014. https://www.nf l.com/news/fsu-s-ask-jameis-twitter-chat-leads-to-critiques-of-star-qb0ap3000000376547 “Social Media Fact Sheet,” Pew Research Center, June 12, 2019. https://www.pewresearch.org/ internet/fact-sheet/social-media/

21 Measuring your audience through metrics Sally Ann Cruikshank

What are metrics? With the rise of social media and online news, metrics have become more and more a part of journalism. Metrics are data about when, where, and how the audience interacts with content. Metrics measure audience behavior, and can tell you the following: • • •

How many people read a story or a social media post? How long did they read it? What device did they use to access it?

It is often the job of a digital producer to analyze and interpret metrics in order to improve the performance and reach of content. Why metrics So why do journalists need metrics? In a way, metrics create an opportunity to understand your audience in a way that wasn’t possible before the internet. Newspapers used to judge performance based on circulation, which only counted how many papers were sold. Journalists didn’t know how many people read their story or receive feedback beyond letters from readers. Through ratings, television news stations knew how many people had the news turned on, but not how carefully they watched. Now, through online metrics, you can see how people interact with your content in real time. You can find new ways to connect with your audience, foster a sense of trust with your readers/viewers, and develop strategies and best practices based on what you learn from metrics. You can explore ways to make your story successful. Using metrics, you can set different goals for growing your audience and measure your progress along the way.

QUICK TIPS: TIMING IS EVERYTHING One of the simplest ways to boost engagement is to use metrics to determine the best time of day to post for your audience. According to Sprout Social, Wednesday is one of the best days for engagement on social media, and Sunday generally has less engagement. With metrics, you can determine the time your audience is most active on your site and social media and schedule posts accordingly.

DOI: 10.4324/9781003037729-30

192  Sally Ann Cruikshank

Types of metrics There are really two types of metrics: real-time and historical. Real-time metrics explain what is happening on your website right now. This can include: • • •

How many people are on the site? What are the top stories? How far into the story are people reading?

Historical metrics tell you what has happened in the past, including: • •

How many people visited the site last month? How does traffic now compare to a year ago?

Real-time and historical metrics can be used to make strategic decisions about everything from what to put on the front page of the website to how to improve a story’s performance. Key metrics There are two key metrics newsrooms use to make decisions about content: traffic and engagement. Traffic metrics measure the who, what, where, and when. Engagement metrics explain the how. The simplest traffic measure is page views, which tells you the number of times someone has viewed your content. But other traffic measures can tell you about how your content is (or isn’t) reaching the audience. You might also want to know the number of unique visitors that click on your site, and what they did to find your page. Things that can influence your traffic include your target audience, the headline, and where your story has been posted or promoted.

KNOW YOUR AUDIENCE Before a story even gets posted online or on social media, and really even before it is written, you want to consider the target audience. The target audience is the group of people planned to be the reader of the story. You can use the following factors to determine your target audience: • • • •

Demographics, including their age and location The main issue they care about or their biggest concerns Where they get information How they access information (desktop or mobile)

An example of a target audience might be someone who is family-focused. This person might be looking for news that helps them be a better parent or make financial decisions. By identifying your target audience earlier in the process, you can determine the best story structure, headline, layout, visuals, and format to attract the reader.

Measuring your audience through metrics  193

Engagement metrics tell you how your audience is behaving. Perhaps the most important metric in this category is engage time. Engaged time is how long someone spends actively viewing content. According to a Pew Research Center study, the average engaged time for short news stories online was just 43 seconds, although people did spend more time on longer stories. Engagement metrics also include scroll depth, or how far down the page a person got, and recirculation – whether or not the person clicked on other content on your site. Several factors influence engagement, but perhaps the easiest way to keep people on the page is to make it easy to scan. People tend to scan a page first to see if they want to read more. The most-scanned parts of a page are the headlines, subheadings, links, and bold text. Having short paragraphs formatted with some space in between can also keep people reading longer.

Metrics tools The growing importance of metrics can be demonstrated by the number of programs available that are designed to analyze and report metrics. Metrics programs generally measure traffic on social media or on a website. Which ones you use regularly will depend on where you work, but here are a few of the most common metrics programs used in newsrooms. Twitter Analytics Twitter Analytics is a free service that can be accessed by any Twitter user by going to analytics.twitter.com while signed into an account. Twitter Analytics gives you a summary of how your tweets are doing, including tweet impressions and fluctuations in followers. Data from Twitter Analytics can be found in three places: Account Home, Tweet Activity Dashboard (TAD), and Video Activity Dashboard (VAD). Account Home, as the name suggests, gives a monthly overview of a Twitter account’s activity. It includes historic data, so you can see how your account is performing over time. Account Home provides the following information that can help you develop your Twitter strategy: • • • • •

Number of tweets Tweet impressions: how many times people see your tweet in a timeline, search results, or profile Profile visits Mentions New followers

Account Home will also show you the tweet that received the most impressions, the tweet that mentioned you with the most impressions, and your top follower. The top follower is an account that followed you that month with the highest number of followers. Account Home is the starting place to find out how your Twitter account is doing and to find out what is and isn’t working. For more detailed analytics, use the Tweet Activity Dashboard (TAD), which shows tweet-level metrics. Here, you can see the number of impressions and engagements for every tweet you send. You can use this information to see what information

194  Sally Ann Cruikshank

your audience likes and even determine what time of day your audience is most engaged. The Video Activity Dashboard (VAD) shows microdata on the videos you have tweeted, including the retention rate, view rate, and completion rate. The retention rate is the average amount of the video people watch. The view rate gives you details on how it was watched, including if it was expanded or unmuted. The completion rate shows how many people watched the whole video. Information in both the TAD and VAD can be exported as a.CSV file, which allows you to run more sophisticated data analysis tests. Facebook Insights Facebook offers a similar metrics measurement system called Facebook Insights. This can tell you demographic information about people who have viewed your content, including their age and interests. On the Overview page of Facebook Insights, you can decide the time range of the data you want to view. You’ll also find three sections: Page Summary, 5 Most Recent Posts, and Pages to Watch. The Page Summary section displays charts with data on page views, page likes, post and story reach, video views, and more. Clicking on the charts takes you to more detailed metrics. The 5 Most Recent Posts section shows you the reach and engagement of your latest content, and under Pages to Watch, you can compare your page to similar pages. More specific metrics about your posts can be found under the Posts section of Facebook Insights. You can see when people who like your page are online and how individual posts are doing. There’s also data about the top posts from competing pages. For each of your posts you can see its type, reach, and engagement. Instagram insights As Facebook owns Instagram, its program for analytics is also called Insights, and it works similarly. However, you do need to have a business or creator Instagram account to have access to it. Insights are also only available in the mobile app. Instagram Insights displays information about individual posts, stories, and Instagram TV (IGTV) videos. Google Trends Another great, free tool for metrics is Google Trends. Google Trends can show you what people around the world (or your city) are searching for at an exact moment in time or historically. Through Google Trends, you can determine what stories people are interested in listening to, reading, and watching. Google Trends is also a great way to find key words for SEO-friendly headlines, which you can read more about in Chapter 17. Google Analytics When it comes to metrics for your web page, Google Analytics is a popular option. It’s free for certain data categories, but upgrading gives you access to more detailed information. After installing a tracking code, Google Analytics starts recording website traffic.

Measuring your audience through metrics 195

When you log into Google Analytics, the first screen is the Audience Overview Report. From here, you can run more than 50 reports. Google Analytics can tell you: • • • •

The number of visitors to your website Where those visitors live How visitors find your website (search, social media, etc.) Detailed demographics of your visitors (age, gender, language, etc.)

QUICK TIP: GET CERTIFIED Several metrics programs, including Google Analytics, offer certification training. If data and audience metrics are something you’d like to do professionally, getting certified in programs can be a great hit for your resume. Chartbeat Another program used in newsrooms to measure website traffic is Chartbeat. Similar to Google Analytics, it shows in real time how many people are on the site, which stories they’re reading, and how long they spend reading the story. It also shows how people found the story. Chartbeat offers historical data, so you can compare how your website traffic is doing now versus a time in the past. This is a great way to measure growth over time.

The metrics bottom line Metrics have become an excellent tool for journalists to understand their audience and determine what is and isn’t working. After all, you can write the most important story ever, but if no one reads it, it won’t make an impact. Metrics are dispassionate feedback that can help you make decisions about story placement, headlines, social media posts, and more. Metrics aren’t good or bad, just true, and serve as the starting point for a conversation about how to better serve your audience.

Sources “About Instagram Insights,” Facebook, September 1, 2020. https://www.facebook.com/help/ instagram/788388387972460 Elizabeth Arens, “The best times to post on social media in 2020,” Sprout Social, August 3, 2020. https://sproutsocial.com/insights/best-times-to-post-on-social-media/ “How to use Twitter Analytics,” Twitter, September 1, 2020. https://business.twitter.com/en/ advertising/analytics.html Amy Mitchell, Galen Stocking, and Katerina Eva Matsa, “Analysis suggest some readers’ willingness to dig into long-form news on cellphones,” Pew Research Center, May 5, 2016. https://www.journalism.org/2016/05/05/2-analysis-suggests-some-readers-willingness-todig-into-long-form-news-on-cellphones/ Christina Newberry, “The beginner’s guide to facebook analytics,” Hootsuite, January 20, 2020. https://blog.hootsuite.com/facebook-analytics-insights-beginners-guide/

22 Behind the paywall Sally Ann Cruikshank, Christine C. Eschenfelder, and Keonte Coleman

Behind the paywall In 2008, Jeff Zucker, then-President and CEO of NBC Universal, warned in a keynote address to the National Association of Television Program Executives that media companies needed to avoid “trading analog dollars for digital pennies.” Newsrooms have not successfully navigated the switch to an online news revenue model. According to a Pew Research Center analysis of Bureau of Labor Statistics data, U.S. newspapers have lost half their workers since 2008. The economic fallout from the COVID-19 pandemic further hit newsrooms hard, prompting Poynter to keep a running list of furloughs, layoffs, and closures. When it became clear that advertising money wasn’t going to convert equally from print and air to online, newsrooms began trying a paywall system. A paywall system means content is not freely accessible to the public, and usually, someone must be a subscriber and logged in to read content online. The debate over paying for news For newsrooms, deciding whether to have a paywall is a complex debate. In competitive markets, news is a commodity and charging for it means people will likely go where it’s free. Smaller, local newsrooms, both broadcast and print, worry about creating enough content to sustain membership. There’s also concern that using a paywall will further decrease advertising revenue, as advertisers pay for volume. However, as advertising brings in fewer dollars, audience growth becomes a game of diminishing returns. Paywalls and subscriber content, though, has the potential to be more sustainable. This has meant newsrooms, particularly reporters, must reimagine what a successful story looks like. For years, journalists have measured success by the number of page views, a metric that declines significantly when a paywall is introduced. Paying for news again, which used to be commonplace when newspapers were the primary source, has also meant a change in thinking for the audience. Industry leaders, however, argue this shift is necessary, especially considering the prevalence of misinformation online.

DOI: 10.4324/9781003037729-31

Behind the paywall  197

Figure 22.1 Ken Paulson, Director of the Free Speech Center, Middle Tennessee State University, former editor-in-chief of USA Today.

When was the last time you heard someone say, “I’m beautiful enough” or “I’m rich enough?” It doesn’t happen. Astonishingly, though, millions of Americans daily say, “I’m smart enough” or “I’m informed enough.” They may not verbalize it, but that’s their message when they refuse to pay for news. Rather than subscribe to a publication or news service that offers insight into their communities and world, they embrace the free content on social media, not recognizing that the local story on Facebook came straight out of a newspaper they fail to support. Worse yet, many believe they’re informed when they watch local newscasts filled with crime, crashes and weather, or a cable channel that panders to their political biases. Much has been written about the polarization of the United States, but too few acknowledge that those heated debates are all about heat rather than light. The only way to support professional, balanced and ethical journalism is by paying for it, just as quality higher education depends upon tuition and quality entertainment depends upon ticket sales. Lies, memes and innuendo come cheap. Freedom of the press doesn’t.” – Ken Paulson, Director of the Free Speech Center, Middle Tennessee State University, former editor-in-chief of USA Today

198  Sally Ann Cruikshank et al.

Soft vs. hard paywalls Newsrooms, on both a local and national level, have been experimenting with different variations of a paywall or subscriber system for some time now. Generally, stories fall into three categories: free, soft paywall, and hard paywall. A free story requires no subscription or cost. Stories behind a soft paywall mean someone can read it if they haven’t hit a pre-set number of “free” articles during a certain time period. You must be a subscriber or pay for any stories behind a hard paywall. How newsrooms use these three levels depends on the organization. Most newsrooms allow unrestricted access to stories that directly involve public safety. For example, if a hurricane threatens a region, most news organizations will not put information about the storm behind a paywall. For news organizations that use a paywall, everything else goes behind it in one way or another. The New York Times allows readers five free stories before everything goes behind a paywall. The Wall Street Journal, which has had a paywall in some form since 1997, even used a machine-learning algorithm to determine how many free articles a person could access before deciding they were likely to subscribe. Now, most of the content on The Wall Street Journal’s site is behind a hard paywall. Spencer Elliott, lead digital producer for USA Today Network – Tennessee, works with editors and reporters to decide what stories go behind a hard paywall. He said they think of the paywall as a funnel. At the top of the funnel are the stories that have the broadest reach – trending topics, international search interest, etc. These stories stay free or go behind the soft paywall, because the goal is traffic volume. Elliott said from there, decisions are made to move people down the path to becoming a subscriber. In the middle of the funnel, you have stories that may have wide interest, but smaller than stories at the top. A good example of this might be a university with a popular football team. In this case, stories about how the team did in Saturday’s game would go behind the soft paywall. An exclusive interview with the coach, however, would be for subscribers only.

You can’t really say that a story drove a subscription, because the consumer behavior of making that decision to purchase the subscription is much more complex than just “I want to read this one story.” – Spencer Elliott, lead digital producer for USA Today Network – Tennessee

Stories at the bottom of the funnel usually go behind the hard paywall. These stories include topics that are hyper-local or in-depth investigations. Elliott said high school sports serve as a strong driver of subscriptions, as coverage can’t really be found anywhere else. Decisions about what goes behind the paywall are usually made collaboratively. Editors, digital leadership, and reporters discuss the scope and purpose of a story before making a decision about where to place it. Sometimes, however, interest and traffic in a story might cause a digital producer to reassess if a story should be subscriber-only or not. In other cases, what does well behind a paywall may even lead to discussions about future reporting.

Behind the paywall  199

ACCIO SUBSCRIPTIONS Some stories present the possibility of having your cake and eating it, too, when it comes to the paywall. In 2019, a priest at a Catholic school in Nashville, Tennessee, removed the Harry Potter book series from the school library, stating in an email, “The curses and spells used in the books are actual curses and spells; which when read by a human being risk conjuring evil spirits into the presence of the person reading the text.” Nashville’s newspaper, The Tennessean, wrote an article on the story, which immediately went viral. The Tennessean story picked up readers from across the country, and within a few days, national news outlets reported on the story. The Tennessean’s initial story about the book ban remained behind the soft paywall, because it worked to increase volume to the site. People living in another state, who found the story through social media, were unlikely to pay to read it, especially with other news outlets picking it up. However, the story did create an opportunity to produce something to persuade local readers to subscribe. This wasn’t the first time the priest had been the center of controversy, as parents had written a letter to the school complaining about him in 2017. The Tennessean’s story about the previous complaints went behind the hard paywall. Although unlikely to garner the attention of a national audience, the follow-up story is an excellent example of a hyper-local piece that could entice people to subscribe.

Making the model work The difficulty with making the paywall model work isn’t necessarily about getting people to subscribe. Instead, the bigger problem is keeping people subscribed. The German daily Die Welt reported half its new subscribers left within the first three months. This turnover of subscriptions, or lack of retention, is referred to as churn. The L.A. Times demonstrated this difficulty with its push to double digital subscriptions in 2019. Despite discounted rates and an advertising push, halfway through the year the newspaper had only netted 13,000 digital subscriptions. While the L.A. Times struggled to maintain 170,000 digital subscribers, The New York Times boasted 2.7 million subscriptions, and The Washington Post totaled 1.7 million. So how do you keep subscribers once you have them? Joshua Benton, the director of the Neiman Lab, who bought a subscription to the L.A. Times, noted that he had not received any communication from the paper reminding him why he should stay a subscriber. He suggested news organizations need to clearly indicate to subscribers the value they’re receiving. Elliott said his newsroom makes every effort to demonstrate the worth of a subscription. Subscribers receive a weekly newsletter highlighting subscriber-only content. Subscriber-only stories are also marked as such in push alerts and on the website. Prominently marking stories as subscriber-only serves two purposes, according to Elliott.

200 Sally Ann Cruikshank et al.

Figure 22.2 An example of a “For Subscribers” story on The Tennessean’s website.

“When a subscriber is reading a story, they know they’re reading something only they can read,” he said. “And when someone is scrolling down the site, they can see those stories that are for subscribers, so, A – if you’re not a subscriber you shouldn’t be surprised when you hit the paywall, and B – that is us signaling to non-subscribers, ‘Look at this thing we have that you could read if you signed up.’”

The paywall bottom line It’s been a difficult few years for the news industry, as journalism struggles to find a workable revenue model. The increasing use of a paywall model for newsrooms has created a culture shift for both journalists and audiences. Now newsrooms need to find the balance between free and subscriber-only, while gaining a greater understanding of what audience want and need. Getting the audience to understand the value of news is crucial to the financial success of newsrooms. As Elliott summarized, “Very few people are going to subscribe the first time they hit a paywall. They’re going to do it because they read us regularly and they’re like, “you know what, this is worth it to me, because I’m going to get enough out of this.” And then we need to keep delivering.”

Sources “A time for change: NATPE keynote address of NBC Universal President/CEO Jeff Zucker,” Broadcasting + Cable, January 29, 2008. https://www.nexttv.com/news/time-change-natpekeynote-address-nbc-universal-presidentceo-jeff-zucker-31555 Joshua Benton, “The L.A. Times’ disappointing digital numbers show the game’s not just about drawing in subscribers – It’s about keeping them,” Nieman Lab, July 31, 2019. https://www. niemanlab.org/2019/07/the-l-a-times-disappointing-digital-numbers-show-the-games-notjust-about-drawing-in-subscribers-its-about-keeping-them/ Elizabeth Grieco, “U.S. newspapers have shed half of their newsroom employees since 2008,” Pew Research Center, April 20, 2020. https://www.pewresearch.org/ fact-tank/2020/04/20/u-s-newsroom-employment-has-dropped-by-a-quarter-since-2008/ Kristen Hare, “Here are the newsroom layoffs, furloughs and closures caused by the coronavirus,” Poynter, October 1, 2020. https://www.poynter.org/business-work/2020/here-are-thenewsroom-layoffs-furloughs-and-closures-caused-by-the-coronavirus/ Tom Jones, “Trouble at the Los Angeles Times: Memo says digital subscriptions way below goal,” Poynter, July 30, 2019. https://www.poynter.org/business-work/2019/trouble-at-the-los-angelestimes-memo-says-digital-subscriptions-way-below-goal/ Holly Meyer, “Harry Potter books removed from St. Edward Catholic School due to ‘curses and spells,’” The Tennessean, September 6, 2019. https://www.tennessean.com/story/news/ religion/2019/08/31/harry-potter-books-removed-st-edward-catholic-school/2168489001/

Behind the paywall

201

Holly Meyer, “Parents raised previous concerns about priest who pulled ‘Harry Potter’ book from school library,” The Tennessean, September 5, 2019. https://www.tennessean.com/story/ news/religion/2019/09/06/priest-pulls-harry-potter-books-nashville-school/2196305001/ Aditi Sangal, “Inside The Wall Street Journal’s subscription strategy,” Digiday, January 22, 2019. https://digiday.com/media/inside-wall-street-journals-subscription-strategy/ Lucinda Southern, “‘2018 is the retention year’: How publishers are managing subscriber churn,” September 3, 2018. https://digiday.com/media/2018-retention-year-publishers-managingsubscriber-churn/ Shan Wang, “After years of testing, The Wall Street Journal, has built a paywall that bends to the individual reader,” Nieman Lab, February 22, 2018. https://www.niemanlab.org/2018/02/ after-years-of-testing-the-wall-street-journal-has-built-a-paywall-that-bends-to-the-individual-reader/

Resources

Asian American Journalists Association (AAJA) – www.aaja.org Association for Women in Communications (AWC) – www.womcom.org Broadcast Education Association (BEA) – www.beaweb.org Data visualization catalogue – datavizcatalogue.com Data Visualization tutorials – Drkblake.com Ethics Case Studies from SPJ – https://www.spj.org/ethicscasestudies.asp International Women’s Media Foundation – iwmf.org Happiness scholar Dr. Kornti Alston – www.DrKortniAlston.com iMediaEthics – https://www.imediaethics.org/ Journalist’s Toolbox – www.journaliststoolbox.org Mental Health Journalism – mentalhealthjournalism.org National Association of Black Journalists (NABJ) – www.nabj.org National Association of Broadcasters (NAB) – www.nab.org National Association of Hispanic Journalists (NAHJ) -www.nahj.org National Center on Disability and Journalism – ncdj.org Native American Journalists Association (NAJA) – www.najanewsroom.com Poynter News University – www.poynter.org/newsu Radio Television Digital News (RTDNA) – www.rtdna.org Society of Professional Journalists – www.spj.org South Asian Journalist Association (SAJA) – www.saja.org The Association of LGBTQ Journalists (NLGJA) – www.nlgja.org The Dart Center for Journalism and Trauma – dartcenter.org The First Amendment Encyclopedia – https://www.mtsu.edu/first-amendment/encyclopedia The Reporters Committee for Freedom of the Press – https://www.rcfp.org/ TrollBusters – troll-busters.com

Glossary

actual time precise time a news element should take to run according to the anchor read rate and total run time of news elements. audio boards/consoles/mixers hardware devices or software that are used to control the audio heard during the broadcast. The audio board controls the volume from studio microphones, live shot microphones, audio embedded into video sources, and audio connected to graphics and animations by placing the various audio signals on different audio channels. audio operators people who control the audio board levels for microphones, video playback, and any other audio played during a newscast. They use the script and listen to the director to figure out which audio should be raised or turned down. b-roll video footage that is normally edited to match the written broadcast script which allows viewers to experience the news content in a more memorable way. backtiming a way of calculating the time in the newscast as it relates to the end of the show. This ensures the newscast ends at its allotted time before the next scheduled program takes control. beat calls the process of contacting specific agencies, organizations, and businesses to gain information for a news story. The beat generally refers to a specific genre (e.g., education, government, sports, etc.) biases preconceived or unreasoned feelings toward a group or subject. boothing the newscast/show the act of sitting in the production control room at the producer’s booth (i.e., the area where a producer has access to the rundown, monitors, and communication devices to speak to the entire news team) during the newscast to make sure that all news-related items appear correctly. breaking news spontaneous news events deemed worthy enough to change established plans. broadcast news scripts or copy the news content that is written in a conversational style to be read on-air. building out the process of expanding a news story to make it more memorable by adding additional news elements to the beginning, end, or both the beginning and end of the news story. churn the turnover or lack of retention of digital news subscriptions. chyron/super/banner a horizontal text box that is superimposed over the bottom portion of the screen and includes the main point(s) being spoken by the anchor. These can appear over video or while the anchor is on the screen. clean show a newscast that was broadcasted without any noticeable flaws or errors. clichés overused phrases that should be avoided in broadcast news writing.

Glossary  205

cold open a method of presenting powerful information quickly before a major news story, typically composed of some combination of great video, natural sound, and soundbites. commands instructions within scripts used by the production crew and on-air talent to cue them when to perform various actions. commercial breaks advertising that is sold to local and national businesses that airs before, during, and after the newscast. The producer’s only dealings with commercial breaks are to know the duration and the times that they are supposed to air. commercial break teases intriguing snippets of news that are placed at the end of news blocks before going to a commercial break. Teases are designed to stop viewers from changing the channel during the commercial break. communication systems systems that allow the news crew to communicate directly with one another via an in-house network. Broadcast stations will have a mixture of intercom and two-way talking systems. conflict a quality of news judgment that showcases the division between individuals or groups over issues. content management systems (CMS) systems that allow the news crew to communicate with one another and have a central place to work on the elements for the newscast. The software system houses the rundown, script, commands, and codes needed for various other newsroom systems to analyze the material and operate the broadcast. content management systems (CMS) software or a program used to create, publish, and manage digital content on a website. crawl or news ticker a horizontal text box containing news headlines and scripts that generally scrolls across the bottom of a newscast. crosstalk when anchors are allowed to converse about a given topic without a script and react to some of the news stories with their fellow on-air journalists. daypart a system that divides the broadcasting day into categories (morning, midday, evening, late evening/night). The system helps broadcasters categorize and define the viewing audience. debriefing a collaborative news meeting following a newscast that addresses the positives and negatives of the newscast including events leading up to it. dependable news items news elements written for the newscast that typically adhere to the stated estimated duration. The elements are mostly written by producers and news writers who are focused on fitting all of the new elements into the newscast. designated market area (DMA) the coverage area that television and radio broadcasters reach with their broadcast signals. digital producer a journalist responsible for optimizing content for digital distribution. directors/technical directors (TD) people who command the production switcher and production crew during the newscast. The director controls the production switcher to change the news elements that appear on-air and coordinates when the production crew should complete their tasks for a given news element. diversity encompasses the array of demographics, experiences, and thoughts of those within the newsroom and the communities being served. dolly a camera movement that physically moves the camera away from or toward an object. engaged time the length of time someone spends actively viewing content. engagement metrics data that explains the how of audience behavior on a website.

206 Glossary

equity within the newsroom and newscast, allowing all members of the community to receive fair treatment while understanding that additional aids may be needed to properly address marginalized communities. evergreen stories news stories that do not have a timely aspect and can be published or aired at any time. excerpt the small paragraph that appears when a story is returned on a search result page. fair comment journalists can offer opinion or commentary on a person or group that seeks public approval, but can only comment on the quality of the performance. false light false light invasion of privacy occurs when information is published that creates a false impression about a person. float to hide a news item during a newscast and potentially use it later in the show or remove it to be used for a different newscast. flow the logical progression from one news story to another news story. franchise segments news items that appear regularly, usually in a particular newscast and news block, and often on the same day(s) of the week. front to deliver content in front of monitors or various backdrops. full-screen graphics documents created to cover the screen with text and images that reinforce the news content being delivered by the anchor. graphics operators people who place graphics into the newscast when directed by the technical director. hard paywall stories that are accessible only for subscribers of a news website. headline teases intriguing snippets of news items that appear at the very beginning of the newscast, either before or after the news station’s opening animation and before the news anchors introduce themselves. heavy reference to time within a newscast indicating news elements went over their estimated duration. human interest a quality of news judgment that resonates with your audience by tapping into the human emotions expressed by the subject(s) of a story. IFB (interruptible feedback) a device on-air talent wears in their ear to hear commands from the news producer. The anchors and reporters will need to use visible gestures to communicate a message or use their microphone to speak to the control room. intro an on-camera introduction of a reporter’s news package read by an anchor or reporter. impact a quality of news judgment that considers the number of people who will be influenced by the news content. inclusivity in the newsroom and newscasts, members of marginalized communities are integral in the conversation about coverage for all communities and they play a role in delivering the messages. in the field when the news crew is on assignment outside of the television station. jargon words or phrases related to a particular industry that should be avoided in broadcast news writing. journalism style guides/style books documents created to address vocabulary, definitions, and word usage for journalists. These guides can also focus on best practices surrounding DEI and law & ethics issues. Ken Burns effect adds movement to a photo, usually by panning across it or zooming in or out.

Glossary  207

libel a false publication about someone that damages their reputation or that of their business. Libel can adversely affect their standing in the community or expose them to ridicule or hatred. light a reference to time within a newscast indicating news elements went under their estimated duration. live cameras a network of cameras and video feeds that provide windows to live events in real-time. Control room switchboards can broadcast any of the desired camera shots. live interview the act of interviewing a source in the studio or on-location in realtime during the newscast. live intro an on-camera live introduction of a report in the field. live tag an on-camera live ending of a report in the field. live shot the act of having an anchor/reporter delivering news content on-camera live from a location. localize to take news content from outside of your DMA, and find a way to make the story resonate with your local audience. lock/freeze rundown/scripts to finalize the rundown so that each page has a number, and no one can change content within a script without the producer’s permission. This happens at a designated time before each newscast. long tail SEO targeting low, but steady, traffic over an extended period of time. look-live recording journalist introducing and closing the story at the scene. lower third (CG/chyron/super/banner) a graphic that appears on the bottom third area of the screen used to provide information about the location of a video, the name and title of a person talking in an interview, the names of on-air talent, and promotional copy over headline or tease video. making slot a term used in newsrooms that signifies the location and time within a newscast rundown reserved for an individual story. marginalized communities individuals, groups, organizations, or areas that hold powerless positions within your DMA and/or society or are not easily associated with the accepted social construct for a group. master control operators people who control a station’s access to network programming, local programming, and commercial breaks. The master control operator switches control from the local newscast to national programming. They will also be the contact persons for getting the most accurate times for the start of the newscast, internal commercial break duration times, and the end of the newscast. metrics data about when, where, and how the audience interacts with content monitor (live and preview) screens located in the control room that allow the news crew to view any item that is appearing live on the broadcast or will eventually appear on the broadcast. The monitors can display live cameras, those not in use in the studio, and cameras on-location outside of the television station. The monitors can also preview recorded videos, graphics, banners/supers, and animations. monitor graphic a full-screen graphic physically displayed inside of a monitor that can be placed behind or beside your anchor(s). natural sound/nat sound/NATS the ambient noise captured while recording b-roll that gives the audience another connection point to the broadcasted information. negotiable news items news elements written for the newscast by on-air journalists who will want to negotiate for more time to tell their stories in order to make their news elements the best for the newscast.

208 Glossary

news/news content information deemed worthy to report to the audience based on the news judgment principles. news boxes animated graphic window frames that can contain anchors/reporters, live or recorded sources, b-roll, full-screen graphics, etc. These are creative ways to showcase two or more items or locations on the screen at the same time. news block a segment of a newscast containing news content separated by commercial breaks. newscast the overall broadcast created by journalists to convey the news of the day to their given audience. The newscast contains news content produced by the newsroom and commercial content created by the business/creative marketing teams. newscast layering the idea that various news elements/segments can be layered onto news content to make it more interesting or memorable to the audience. news elements/segments the various ways news broadcasts present news content to the audience using audio, camera shots, graphics, video, etc. news gatekeepers individuals who decide what news will be placed in a newscast and what will be left out of it. news hit the on-air mentioning of a news story or element. news hole the portion of the news content that a television news producer is responsible for including in a newscast that does not include news staples and commercial content. news judgment list of qualities used to determine the newsworthiness of content. news package (PKG) a news element that combines video, soundbites, natural sound, and voice tracks to tell a news story. news-of-the-day stories common stories that a large portion of the audience will recognize and could speak to if given the chance to share their views. news of the weird a quality of news judgment that represents bizarre circumstances that many would find hard to believe happened in reality. news producers people who perform multiple tasks for a newscast such as creating the rundown, writing or overseeing the scripts, copy editing all the content for accuracy, and making decisions during the newscast to ensure the newscast ends at the scheduled time. news rundown a spreadsheet-style document that explains the news content that will appear in a newscast and other pertinent information about the content. news shift the official time employees spend working on a newscast. news staples those items that normally appear daily within a newscast and often have specified times in the newscast when the station wants them to appear. normalized communities individuals, groups, organizations, or areas that hold power and status while also being associated with the accepted social construct. one-sheet guides short, explanatory documents that tell the newsroom everything from how to set up equipment in the field to how to prepare for and execute coverage of a specific type of news. overproduce to place too many elements into the newscast so that the newscast begins heavy. over-the-shoulder (OTS) a box that appears to float next to an anchor’s head in a single-camera shot, and typically contains a photograph and a small amount of text describing the news item being delivered by the anchor. pacing the rate at which news content is provided to the audience.

Glossary  209

package (PKG) a fully edited news story that includes video, sound on tape interviews, and a voice track from a reporter or anchor. padding adding extra estimated time within the newscast by the producer to account for items exceeding their estimated duration. page each line within the news rundown that contains commands for each item in the newscast. page title what someone sees when they hover a cursor over the website tab. pan a camera movement that swivels the camera view horizontally to the left or the right. paywall system when a news website requires a subscription to access certain online content. pedestal a camera movement that lifts or lowers the body of the camera. phoner a phone interview where you cannot see the individual talking, but maybe there is a graphic with their photo and name or a super with their name and b-roll of the topic being discussed. pre-newscast promotional teases intriguing snippets of news that appear during commercial breaks of regularly scheduled programs that encourage viewers to choose your news station. pre-show teases intriguing snippets of news that appear before your news program begins during the final commercials of the lead-in programming. production commands cues located in the rundown and the script informing the production crew of what is needed for each news story. production switchers hardware devices or software that is used to perform digital video processing in real-time. The production switchers can switch between live cameras, chroma key screens, recorded video, animations, graphics, and other production elements for live broadcasting and post-production purposes. programming clock the clock located in the control room that showcases the actual time of the on-air programming. prominence/celebrity a quality of news judgment that emphasizes well-known individuals who garner attention because of their position within the community or world. proximity a quality of news judgment that refers to the location of a news story as it relates to the DMA of the news outlet. read rate the amount of time it takes anchors to read the news script clearly to the audience. Anchors can have slow, medium, or fast read rates. reporter’s privilege this protects a fair and accurate story which includes comments made in public or official proceedings, in a legislative body, or in open court. search engine optimization (SEO) the practice of increasing traffic to a website through search engine results. shoot to edit a way of shooting video to eliminate extraneous frames, so that the video will essentially be pre-edited. show stacker a news producer who creates a basic newscast by placing like items together which can lack creativity, depth, and pace. slang words or phrases that are not part of the standard language and should be avoided in broadcast news writing. slug a shortened label given to news content in a rundown using keywords or a phrase. soft paywall stories that are available for free until a person accesses a preset number of clicks on a website.

210 Glossary

sound on tape (SOT) edited/condensed soundbites recorded during interviews with news sources. sources individuals or resources used to attribute facts and perspectives surrounding news content. split-read the process of allowing two anchors to each read a sentence while appearing on camera together, and then one anchor turns to another camera and finishes reading the news script. stacking (a newscast) the act of placing news content into a newscast rundown, usually by placing similar news stories together. stinger animations visual motion effects used to quickly signal an abrupt change in the newscast with or without sound effects. story count the total number of different news elements that appear in the newscast. story duration/total run time (TRT) the total amount of time it takes to deliver an individual news item. studio camera movement the act of manipulating a studio camera to add visual appeal. studio camera operators people who move and focus studio cameras during a newscast. The operators also cue anchors to the correct cameras and relay information to the anchors. Stations using robotic cameras will have individuals who program the camera movements for the newscast. tag an on-camera ending of a reporter’s news package read by an anchor or reporter. take production command to insert a news element into the newscast. takeaway stories shorter versions of lengthy articles that highlights the most important findings. target audience the group of people planned to be the most interested in a story tease typically a short version of a news item that highlights an intriguing element within an upcoming news story that ideally entices the audience to watch or continue watching the newscast. teleprompter operators people who scroll the news script in the teleprompter during the newscast for the studio on-air journalists. tent pole method an alternative method of stacking a newscast that provides more flexibility with the placement of news content. The key point is to spread out big/ teaseable elements throughout the newscast to give your audience more reasons to continue watching the entire newscast. tilt a camera movement that swivels the camera view vertically up or down. timeliness a quality of news judgment that can refer to the physical time that news events occur in relation to a newscast, or it can refer to a more abstract given moment or period. tone the negative, neutral, or positive feeling a news story emanates to audiences. top follower an account that followed you on Twitter within any given month that has the highest number of followers. traffic metrics data that measures the who, what, where, and when of audience engagement. transitions elements that help your audience understand changes between news stories, within news stories, and between news blocks. There can be audible, visual, and written transitions in a newscast. tropes predictable or stereotypical representations of people, places, or scenarios that can play a role in fostering negative perceptions of marginalized communities when they appear in newscasts.

Glossary  211

truck a camera movement that physically moves the camera to the left or the right. Tweet Activity Dashboard (TAD) program that shows tweet-level metrics. tweet impressions how many times people see your tweet in a timeline, search results, or profile. unconscious bias social stereotypes and attitudes that people unconsciously attribute to others. These ingrained feelings and learned behaviors exist in everyone. URL ending sometimes referred to as the slug, is the last part of the website address where the story will be located. user generated content (UGC) text video, photos, etc., created by a person who is not with a news organization or media company. Video Activity Dashboard (VAD) program that shows microdata on videos tweeted, including retention and view rates. video playback operators people who organize and play video for the newscast when directed by the technical director. voice over video (VO) a news element that uses video to show viewers particular scenes or actions while a news anchor reads a script about what is being shown. voice over with soundbite (VO/SOT) a news element that uses video to show viewers particular scenes or actions while a news anchor reads a script about what is being seen, with the addition of sound on tape from an interview subject. walk-and-talks live reporter at the scene showcasing surroundings without recorded video to share what is happening right now. Z-block an untimed portion of the newscast that can be found at the end of the rundown. zoom a camera movement that makes the subject appear closer to or farther away from the camera by toggling a button.

Index

access 135 Adderley v. Florida, 385 U.S. 39 (1966) 135 algorithm 179 Alston, Kortni 84–86 archive 150 Asian American Journalists Association (AAJA) 186 Association of LGBTQ Journalists (NLGJA) 123, 186 audiences 151–152, 179, 184–185, 191–192; target audience 192 audio operators 67 backtiming 73 beat calls 62 biases 117, 185–186 Black, Jay 140–141 Blake, Ken 171 breaking news 60, 78, 89, 91–93, 99, 101, 103, 188; breaking news rundown 61 broadcast script writing 19 bug 50 building out 32 Canva 168–169 clean show 75 codes of ethics 138, 139, 140 Coffee, Caitlin 97–98 cold open 32 content management systems (CMS) (websites) 152, 159; excerpt 159; headline 160; hyperlinks 160; page title 159; photo captions 160; slug 159; subheadings 160; url ending 159 control room 65–76 control room equipment 65–67; audio board/ consoles/mixers 65; communication system 66; content management system

(broadcast rundowns) 67; IFB (interruptible feedback) 66; monitors (live and preview) 65; production switchers 65 Cool Infographics 169 COVID-19 56, 83, 152–153, 171, 176 crosstalk 128 crowdsource 186 cyberbullies 84 Dart Center for Journalism 83, 86 Data Visualization Catalogue 169 Datawrapper 170 daypart 3 DEI 116–117, 119–121, 123 DEI style guides 120–123, 186 dependable news items 125, 128 designated media market (DMA) 4, 12, 116, 117, 145 digital producing 149–154, 155–165, 173, 176; remote leadership 152–153; social media 178–189 directors/technical directors (TDs) 67 diversity 100–101, 116, 120, 123, 137, 145 Drummond, William J. 81, 86 Duncan v.WJLA-TV, Inc., 106 F.R.D. 4 (1984) 134, 135 Elliott, Spencer 155–156, 198–200 equity 116, 120, 123 Eschenfelder, Dan 107 ESPN 104 evergreen stories 91, 165 false light 134–135 field producing 89–96, 99–103; coordinating field coverage 91–94; planning 100–101; safety 94–95 First Amendment to the U.S. Constitution 132

Index  213 float/floated 69, 128 flow 33 franchise segments 14 Freedom of Information Act (FOIA) 100 full-screen graphic 50, 51 Geisler, Jill 56, 57 Gertz v. Robert Welch, Inc., 418 U.S. 323 (1974) 13 go bag 102–103, 114 graphics operators 68 headline 15, 23, 40, 42, 43, 44, 45, 46, 48–49, 162–164; colon 162–163; emotion 162–163; news 162–163; question 162, 164; quote 162–163; roundup/list 162–163; social 162, 164 HIPAA (The U.S. Health Insurance Portability and Accountability Act) 136 hostage situation (covering) 138 IFB 104, 107 inclusivity 116, 120, 123 infographic 167, 168, 169 interviewing 101, 176–177 Kaufhold, William T. 137 kicker 37, 38, 45 Krum, Randy 169 libel 132, 133 live intros 72 live tags 72 lock/freeze scripts 76, 127 logo 50 look-live 95 lower third 44 making slot 68, 73 marginalized communities 116–123, 186 master control operators 67 metrics 191–195; Chartbeat 195; engaged time 193; engagement metrics 192; Facebook Insights 194; Google Analytics 194–195; Google Trends 194; historical 192; Instagram Insights 194; real-time 192; tools 193–195; top follower 193; traffic metrics 192; Tweet Activity Dashboard (TAD) 193; tweet impressions 193; Twitter Analytics 193; Video Activity Dashboard (VAD) 194 minimizing coverage 120 mobile 150

National Association of Black Journalists (NABJ) 86, 123, 186 National Association of Hispanic Journalists (NAHJ) 123, 186 National Center on Disability and Journalism 123, 186 Native American Journalists Association (NAJA) 123, 186 negotiable news items 125 negotiate 125, 130 Newell, Graeme 40, 42, 44, 45, 47 news blocks 14, 59 News booth 60, 65, 68, 75; boothing 60, 65; producer’s booth 60, 65, 68–71 newscast 3, 7, 8, 13, 23, 56, 65, 67, 69, 72, 126, 128 newscast time 72, 125; heavy 72–75, 120; light 72, 128; overproduce 72 news consumption 4 news elements 14, 23, 72, 125, 128 news gatekeeper 11 news hit 60 news hole 14–16, 41 news judgement 11, 13, 144 news judgment categories 11–13; celebrity 12; conflict 12; human interest 12; impact 12; news of the weird 13; prominence 12; proximity 12; So what? Who cares? 11; timeliness 12 news meetings 5; debriefing/postmortem 8; morning meeting 159 news-of-the-day stories 119 news producers 3, 67, 76 newsroom leaders 5, 8, 58 news rundown 5, 6, 13, 61, 74–75, 124, 129 news scripts or copy 7, 19, 23, 39, 48, 134 news shift 3–4 news staples 14, 16 New York Times 169, 171 New York Times Co. v. Sullivan, 376 U.S. 254 (1964) 132, 133 normalized communities 116, 118–120 one-sheet guide 92–93, 99 Orr, Bryan 93–95 over the shoulder (OTS) 50 pacing 16, 33–34; pacing strategy 33; read rate 34; story count 33; story duration 34; total run time (TRT) 34 padding 128–129 page (rundown) 6, 13–15, 61, 74, 129

214 Index Paulson, Ken 197 paywall 196–201; churn 199; hard paywall 198; paywall system 196; soft paywall 198 peer consonance 137 Peralta, Chris 58 phoner 62 pitching stories 90–91 production commands/commands 14–15, 23, 62, 75 programming clock 73–74 prominent coverage 120 protests 113–114 Radio, Television, Digital News Association (RTDNA) 138–140 Robert, Chris 140–141 Rost, Lisa Charlotte 170 South Asian Journalists Association (SAJA) 123 scrim 108 search engine optimization (SEO) 157–166; Google 157; Google Trends 158; keywords 157–160; long tail 161; related queries 158; story highlights 162; trends 157–160 Senger, Ben 77 shoot to edit 95 Six C’s of broadcast writing 19–22; clear writing 19; clichés 20; complete information 21; concise writing 20; conversational writing 21, 39; correct information 22; current information 22; jargon 20; slang 20 Skrysak, Stacey 84 Smith, Kenny 183–184 social media 109–115; breaking news 111–112, 188–189; comments 189; Facebook Insights 194; Facebook Live 176; Facebook 109, 178–179, 188; going live 109–110; hashtags 188; Instagram Insights 194; Instagram 109, 180; LinkedIn 145, 181; live feeds 176; Pinterest 181; producing 178–189; TikTok 180; tools 181; top follower 193; Tweet Activity Dashboard (TAD) 193; tweet impressions 193; Twitter Analytics 193;

Twitter 109–112, 150, 152, 163, 179–181, 183–184, 186–188; user generated content 189; verification 109; verifying information 188;Video Activity Dashboard (VAD) 194; YouTube 109, 176, 180 Society of Professional Journalists (SPJ) 138, 139, 141, 186 sources 101, 118 Spark Post 168, 169 stacking 11, 16–18; show stacker 11 stereotypes 116 studio camera operators 68 suicide (covering) 138 Sun-Sentinel 142, 169, 170 takeaway stories 150 tease 22–23, 36–47, 74, 99, 109, 126, 159, 180; commercial break tease 23; deep tease 36; headline tease 13, 23; pre-newscast promotional tease 22; pre-show tease 22 teleprompter operators 69 tentpole method 17–18 Tompkins, Al 38, 41, 47 tone 118 Trans Journalists Association 123 transitions 16, 18, 28, 33, 71 trolls 83–84 tropes 116 unconscious bias 116 Venngage 169 video playback operators 67 video producing 173–177; b-roll 173; editing 174; file footage 174; graphics 174; interviews 173; Ken Burns effect 174; natural sound 174 walk-and-talks 63 Whitaker, Grace 9 Whitney, Ayrika 89–90, 96, 99, 173 WSAV-TV 77 Z-block 128