(In this scene the News Director has just chastised his rookie reporter for nothing in particular since he loves keeping the upper hand. As expected, the tears begin to flow, pleasing the ND to no end.)
ND: Are you... crying?"
Reporter: (Trying in vain to hold back tears) No. No.
ND: Are those.... tears?
Reporter: No.
ND: There's no crying in news! Did Walter Cronkite cry? No! Did Edward R. Murrow cry? Nooooo! Because there's no crying in news!
Unfortunately, these days there seems to be a lot of crying in news. This year I've had more phone calls from reporters in tears than ever before. For whatever reason, managers seem to take perverse pleasure in ripping their new employees, when they should be doing just the opposite. While a News Director doesn't need to treat rookies like the bubblewrapped kids we often see in this country, he doesn't need to make the new kid walk on eggshells.
Let's face it, some NDs really get off on the power trip, and that's why many of them are stuck in small markets or working for lousy companies. But we've covered that ground before.
So it's time to channel your inner Vulcan. You must become Mister Spock, and check your emotions at the door.
You must grow a backbone. I'm not telling you to be insubordinate, but until you show managers that they can't get under your skin, they'll keep hammering you. You must keep in mind that it is simply management manipulation to make you feel less confident about your abilities, and therefore, less confident when it comes to job hunting.
But this isn't about them, it's about you.
Learn to sort constructive criticism from the comments that are simply mean spirited. Always consider the source of the comment. Just because someone carries a title of ND or Executive Producer doesn't make that person an authority on anything. There are hordes of crash test dummies working in positions of power.
Grow the backbone. Be the Vulcan and don't show your emotions. Raise your shields. As soon as you brush off nasty comments, they'll stop. The best defense is to be cheerful right after you've gotten hammered. Go back to the newsroom, tell a joke, laugh. Let them know they're not pushing your buttons.
Live long and prosper.
Monday, August 26, 2013
Saturday, August 10, 2013
Jedi Mind Tricks: Due to cutbacks, the old "good cop, bad cop" tactic is now performed by one person
Stop me if you've heard this before on a date:
"You're really attractive, have a great personality, and I've enjoyed spending time with you. I'm sure you'll make someone a wonderful husband/wife."
But......
Yes, that's the old "good cop, bad cop" dating version. You build the person up before dumping them to soften the blow, sort of like offering a condemned prisoner anything for a last meal before throwing the switch on the electric chair and frying said prisoner.
Back in the day the newsroom version of this was a skill set employed by the News Director and either his Assistant or the Executive Producer. Whoever was playing the good cop would build you up, usually just before a contract negotiation, and then the other would drop the hammer. Or, the bad cop character would lay the groundwork for a lousy offer by repeatedly focusing on your shortcomings, so when the good cop came by with an offer you were glad to sign.
Alas, lots of stations have done away with some of these positions, so the ND gets to play a dual role, and we're not talkin' Lindsay Lohan in Freaky Friday.
Depending on the News Director, you can get one of two scripts. The ND can lead off with the good cop, but the end result will be an offer you're not too pleased with. Or he can start with the bad cop, which results in a lousy offer that you'll be thrilled to accept.
Scenario Number One: "You've done some really great work here the past few years, and you're a valuable member of the team. I know I can always count on you to go the extra mile, you're a positive influence on the newsroom and I'd really like you to stay. We've got some long term plans for you if you can make a commitment."
(At this point you're pumped, smiling, sitting up straight, and waiting for the offer that will change your lifestyle. You're already picking out the color for your new car. Now stand by for the "but" part of this script.)
"But.... as you know the economy is not great and we've had to tighten our belt. (ND shifts in chair as he realizes he's sitting on the keys to his Mercedes.) I really wish I could offer you a lot more since you are soooooo valuable to the newsroom. Anyway, I hope you'll consider this offer as it's the absolute best we can do." (ND has fingers crossed behind his back, and the words "go to confession" are written on his desk calendar for Saturday.)
At this point the ND hands you a contract which is as convoluted as the health care bill. You quickly scan it for numbers and see that the proposed increase in pay will allow you to buy the ramen noodles with the little shrimp instead of the plain ones.
Scenario Number Two: "Well, I know this job has been a struggle for you and I appreciate the effort. I was hoping you would have made more progress at this point, and every time you seem to be taking your work to the next level you do something that makes me wonder if your head's in the game. It's basically two steps forward, two steps back with you."
At this point you're beginning to break out in a cold sweat. Uh-oh, I'd better get more resume tapes out. When is my last day here? How long can I pay my rent before I have to pack up and move into Mom's basement? And just when you've heard enough from the bad cop to make you think you're outta here, the good cop gallops in on a white horse and hands you a contract. Surprise!
"But, I still believe in your potential and would like to see you fulfill that potential. So we've decided to offer you an extension. Of course, I'll expect you to work harder to avoid all those little things that have been setting you back."
You exhale your tension as you flip through the contract, searching for those numbers. There they are! A three year deal with no outs! And a salary increase that will allow you to buy an extra soda each week from the break room vending machine! Sweet! And a few minutes ago you thought you were out the door. Whew, what a relief! Gimme a pen, where do I sign?
You must be aware that in any contract negotiation, mind games will be played. Also keep in mind that the first offer is almost always the lowest one because part of a News Director's job is staying under budget. There's almost always room for polite negotiation, and I must emphasize the word polite. Play hardball and take a firm tone, and the bad cop could escort you out the door.
"You're really attractive, have a great personality, and I've enjoyed spending time with you. I'm sure you'll make someone a wonderful husband/wife."
But......
Yes, that's the old "good cop, bad cop" dating version. You build the person up before dumping them to soften the blow, sort of like offering a condemned prisoner anything for a last meal before throwing the switch on the electric chair and frying said prisoner.
Back in the day the newsroom version of this was a skill set employed by the News Director and either his Assistant or the Executive Producer. Whoever was playing the good cop would build you up, usually just before a contract negotiation, and then the other would drop the hammer. Or, the bad cop character would lay the groundwork for a lousy offer by repeatedly focusing on your shortcomings, so when the good cop came by with an offer you were glad to sign.
Alas, lots of stations have done away with some of these positions, so the ND gets to play a dual role, and we're not talkin' Lindsay Lohan in Freaky Friday.
Depending on the News Director, you can get one of two scripts. The ND can lead off with the good cop, but the end result will be an offer you're not too pleased with. Or he can start with the bad cop, which results in a lousy offer that you'll be thrilled to accept.
Scenario Number One: "You've done some really great work here the past few years, and you're a valuable member of the team. I know I can always count on you to go the extra mile, you're a positive influence on the newsroom and I'd really like you to stay. We've got some long term plans for you if you can make a commitment."
(At this point you're pumped, smiling, sitting up straight, and waiting for the offer that will change your lifestyle. You're already picking out the color for your new car. Now stand by for the "but" part of this script.)
"But.... as you know the economy is not great and we've had to tighten our belt. (ND shifts in chair as he realizes he's sitting on the keys to his Mercedes.) I really wish I could offer you a lot more since you are soooooo valuable to the newsroom. Anyway, I hope you'll consider this offer as it's the absolute best we can do." (ND has fingers crossed behind his back, and the words "go to confession" are written on his desk calendar for Saturday.)
At this point the ND hands you a contract which is as convoluted as the health care bill. You quickly scan it for numbers and see that the proposed increase in pay will allow you to buy the ramen noodles with the little shrimp instead of the plain ones.
Scenario Number Two: "Well, I know this job has been a struggle for you and I appreciate the effort. I was hoping you would have made more progress at this point, and every time you seem to be taking your work to the next level you do something that makes me wonder if your head's in the game. It's basically two steps forward, two steps back with you."
At this point you're beginning to break out in a cold sweat. Uh-oh, I'd better get more resume tapes out. When is my last day here? How long can I pay my rent before I have to pack up and move into Mom's basement? And just when you've heard enough from the bad cop to make you think you're outta here, the good cop gallops in on a white horse and hands you a contract. Surprise!
"But, I still believe in your potential and would like to see you fulfill that potential. So we've decided to offer you an extension. Of course, I'll expect you to work harder to avoid all those little things that have been setting you back."
You exhale your tension as you flip through the contract, searching for those numbers. There they are! A three year deal with no outs! And a salary increase that will allow you to buy an extra soda each week from the break room vending machine! Sweet! And a few minutes ago you thought you were out the door. Whew, what a relief! Gimme a pen, where do I sign?
You must be aware that in any contract negotiation, mind games will be played. Also keep in mind that the first offer is almost always the lowest one because part of a News Director's job is staying under budget. There's almost always room for polite negotiation, and I must emphasize the word polite. Play hardball and take a firm tone, and the bad cop could escort you out the door.
Monday, July 15, 2013
I'm going on semi-hiatus...
If you've been a regular visitor here for the past few years you may have noticed the posts have not been as frequent of late. Some of this is due to a two week vacation in June, but most of it is because of a very big change in my career.
I've been writing novels for the past few years, and I've mentioned this a few times here. Well, a while ago I was offered a three-book deal by HarperCollins, known as one of the "Big Six" publishers. This is the kind of thing authors dream about... getting a major publisher to believe in your work and promote it. While television news has been my career, writing has always been my passion.
The key here is "three-book deal" which means I have to devote much more time to writing fiction... and a little less time here.
This does not mean I'm going to stop posting. There are still plenty of things you guys need to know, the industry is always changing, and I keep hearing of new Jedi Mind Tricks being played on unsuspecting journalists by those ne'er-do-wells in management. So though the posts will be less frequent, they'll still be there. Since I'm a quality vs. quantity guy anyway, this makes sense.
Besides, there are seven years worth of posts that you can read (the current count is 1,320) so there's plenty of useful information if you care to wander through the archives.
If you're a client, fear not, as I'll still take care of you and give you as much time and help as you need. Absolutely nothing will change.
If you send an email with a question, it might take a little longer to answer it.
As for my fiction, the first book is scheduled for release in August, and I hope you'll support it by either picking up a copy, telling your friends, or both.
In the meantime know that I'll still be looking out for you guys. Hell, somebody has to.
Meanwhile, here's my new author blog if you'd like to check it out...
http://thechannelingauthor.blogspot.com/
.
I've been writing novels for the past few years, and I've mentioned this a few times here. Well, a while ago I was offered a three-book deal by HarperCollins, known as one of the "Big Six" publishers. This is the kind of thing authors dream about... getting a major publisher to believe in your work and promote it. While television news has been my career, writing has always been my passion.
The key here is "three-book deal" which means I have to devote much more time to writing fiction... and a little less time here.
This does not mean I'm going to stop posting. There are still plenty of things you guys need to know, the industry is always changing, and I keep hearing of new Jedi Mind Tricks being played on unsuspecting journalists by those ne'er-do-wells in management. So though the posts will be less frequent, they'll still be there. Since I'm a quality vs. quantity guy anyway, this makes sense.
Besides, there are seven years worth of posts that you can read (the current count is 1,320) so there's plenty of useful information if you care to wander through the archives.
If you're a client, fear not, as I'll still take care of you and give you as much time and help as you need. Absolutely nothing will change.
If you send an email with a question, it might take a little longer to answer it.
As for my fiction, the first book is scheduled for release in August, and I hope you'll support it by either picking up a copy, telling your friends, or both.
In the meantime know that I'll still be looking out for you guys. Hell, somebody has to.
Meanwhile, here's my new author blog if you'd like to check it out...
http://thechannelingauthor.blogspot.com/
.
Saturday, July 13, 2013
Sharknado copy
It occurs to me that with all the talk about the scientific possibility of a "sharknado" that stations need copy should this phenomenon occur. If you're gonna run a crawl about this, you can't simply wing it.
So here's a template you can use should the skies start raining sharks. And remember, there's a difference between a sharknado watch and a sharknado warning. A watch means conditions are favorable for a sharknado, while a warning means that flying hammerheads have been spotted in your area.
SHARKNADO WATCH:
The National Sharknado Service has issued a sharknado watch for the following counties. (Insert counties and duration of watch here.) Sharknadoes can produce heavy rain, thumping music with gradually increasing speed, and flying sharks which may or may not include great whites. Should a sharknado occur you are advised to take cover, stay indoors and throw any raw steaks back in the freezer. If you are on the water in something less than a twenty foot watercraft, you're gonna need a bigger boat.
SHARKNADO WARNING
The National Sharknado Service has issued a sharknado warning for the following counties. (Insert counties and duration of watch here.) A sharknado has been spotted in (location) and is currently moving (speed and direction.) Sharknadoes produce heavy rain, flying sharks, cheesy movies, and Discovery Channel photographers busy collecting b-roll for Shark Week. During the first moments of any sharknado, a teenage bimbo will be eaten. During the middle of the sharknado, a push-the-envelope reporter stupid enough to stand on the beach will be swallowed during a live shot and Tweet from the shark's stomach. During the final moments of any sharknado, the biggest, baddest shark will either explode or be electrocuted.
SIGN UP FOR SHARKNADO ALERTS!
Viewers can get immediate warning that a sharknado is imminent by signing up for an alert. When a sharknado watch or warning is issued we will send a thirty second clip of the theme from Jaws to your cell phone. If you don't take cover by the end of the clip you're already dead. Viewers who already use this as their ring tone will be doomed.
-
So here's a template you can use should the skies start raining sharks. And remember, there's a difference between a sharknado watch and a sharknado warning. A watch means conditions are favorable for a sharknado, while a warning means that flying hammerheads have been spotted in your area.
SHARKNADO WATCH:
The National Sharknado Service has issued a sharknado watch for the following counties. (Insert counties and duration of watch here.) Sharknadoes can produce heavy rain, thumping music with gradually increasing speed, and flying sharks which may or may not include great whites. Should a sharknado occur you are advised to take cover, stay indoors and throw any raw steaks back in the freezer. If you are on the water in something less than a twenty foot watercraft, you're gonna need a bigger boat.
SHARKNADO WARNING
The National Sharknado Service has issued a sharknado warning for the following counties. (Insert counties and duration of watch here.) A sharknado has been spotted in (location) and is currently moving (speed and direction.) Sharknadoes produce heavy rain, flying sharks, cheesy movies, and Discovery Channel photographers busy collecting b-roll for Shark Week. During the first moments of any sharknado, a teenage bimbo will be eaten. During the middle of the sharknado, a push-the-envelope reporter stupid enough to stand on the beach will be swallowed during a live shot and Tweet from the shark's stomach. During the final moments of any sharknado, the biggest, baddest shark will either explode or be electrocuted.
SIGN UP FOR SHARKNADO ALERTS!
Viewers can get immediate warning that a sharknado is imminent by signing up for an alert. When a sharknado watch or warning is issued we will send a thirty second clip of the theme from Jaws to your cell phone. If you don't take cover by the end of the clip you're already dead. Viewers who already use this as their ring tone will be doomed.
-
Thursday, July 11, 2013
Another accident waiting to happen: reporters running their own live trucks
Every year I've run a warning about pushing the envelope during hurricane or storm coverage. A lot of people don't listen. Perhaps the sad fact that three storm chasers died recently might make managers and field crews put safety ahead of sensational coverage.
But there's another accident waiting to happen on the horizon. It's the disturbing trend of having reporters run their own live trucks. As if those who are one man bands don't have enough to do already, this will add another item to the list of duties. The problem is that this job requirement isn't an editorial one, but a technical one. And of all the dangerous things to do in this business, driving and operating a live truck is right near the top.
I was riding in a live truck many years ago when our mast clipped an underpass. Though bolted to the floor of the truck, it ripped those bolts right out of the floor and flew up between me and the photog so fast that we didn't realize what happened. Had either of our seats been directly in front of the mast, which was the case in our other truck, one of us would have been killed.
I worked with another photog who inadvertently put his mast up into a power line and was severely burned.
Driving live trucks is another story. I had to do it on many occasions, and always hated it because it was an unstable top-heavy vehicle. I had too many things to worry about while thinking about my story; don't drive through the tunnel because the clearance is too low, don't take turns too fast, don't go fast, period. While I never had to actually run a live truck, I know what goes into it. It's somewhat of an art, and, if you don't know what you're doing, it could be a deadly one.
So the beancounters out there who have come up with this crazy idea need to re-think it. Sure, you can save a salary by turning two man crews into one man bands, but you are putting way too much on a reporter's plate when you add live truck duties into the mix. I really hope I'm wrong, but I think it's only a matter of time before a reporter running his own truck gets seriously injured. While you're thinking about your story, what you'll say in your live shot, writing something for the web, Facebook, Twitter... your full attention cannot possibly be on operating something that absolutely requires your full attention.
If you're at a station that uses this practice, send out your tapes and get outta there.
And if you're one of the people instituting this insane practice... you'd better be able to look yourself in the mirror when someone gets hurt. Or worse.
But there's another accident waiting to happen on the horizon. It's the disturbing trend of having reporters run their own live trucks. As if those who are one man bands don't have enough to do already, this will add another item to the list of duties. The problem is that this job requirement isn't an editorial one, but a technical one. And of all the dangerous things to do in this business, driving and operating a live truck is right near the top.
I was riding in a live truck many years ago when our mast clipped an underpass. Though bolted to the floor of the truck, it ripped those bolts right out of the floor and flew up between me and the photog so fast that we didn't realize what happened. Had either of our seats been directly in front of the mast, which was the case in our other truck, one of us would have been killed.
I worked with another photog who inadvertently put his mast up into a power line and was severely burned.
Driving live trucks is another story. I had to do it on many occasions, and always hated it because it was an unstable top-heavy vehicle. I had too many things to worry about while thinking about my story; don't drive through the tunnel because the clearance is too low, don't take turns too fast, don't go fast, period. While I never had to actually run a live truck, I know what goes into it. It's somewhat of an art, and, if you don't know what you're doing, it could be a deadly one.
So the beancounters out there who have come up with this crazy idea need to re-think it. Sure, you can save a salary by turning two man crews into one man bands, but you are putting way too much on a reporter's plate when you add live truck duties into the mix. I really hope I'm wrong, but I think it's only a matter of time before a reporter running his own truck gets seriously injured. While you're thinking about your story, what you'll say in your live shot, writing something for the web, Facebook, Twitter... your full attention cannot possibly be on operating something that absolutely requires your full attention.
If you're at a station that uses this practice, send out your tapes and get outta there.
And if you're one of the people instituting this insane practice... you'd better be able to look yourself in the mirror when someone gets hurt. Or worse.
Sunday, July 7, 2013
Top ten reasons your confidence is shot
Sometimes I think I should have taken a few psychology courses in college, since many questions these days have to do with the mindset of those working in newsrooms. Back in the day the young reporters were of the take-no-prisoners type, wannabe Woodward and Bernsteins who thought nothing was impossible and shrugged off criticism that wasn't valid.
Ah, but many of you are from the "everybody gets a trophy" generation, and if that's the case, you've recently discovered that you are not the center of the universe. You don't get a paycheck or a better job just for trying.
Look, I'm not Doctor Phil, but I've seen enough and heard enough to know what's causing such a lack of confidence that permeates the industry. When type A guys turn into the geeks on The Big Bang Theory or traffic-stopping women who could cut a man in half with a barroom death stare are reduced to shuddering lumps, there's a reason.
Guess what, much of it isn't your fault. (That should make those of you from the blameless society feel better.) Well, I said much of it. Part of it is your fault if you let outside factors chip away at your confidence.
So if you're feeling worthless lately, check this list and you might find the reason why.
1. Your News Director is a jerk. (Sure, there are more colorful terms I could use, and have used.) No matter what you do, you've done something wrong. Or your work is never good enough. Recognize this as an old ploy to keep your confidence down, make you afraid to send out resume tapes, and make an insecure News Director feel more superior. It might also make you feel you're not good enough to leave, and therefore sign another contract out of desperation.
2. You dwell on the past. You might have knocked out ten great packages in a row but that stumble during a live shot is making your forget all the good stuff you've done. (And if your ND is the type to harp on said mistakes, that takes your anxiety up a notch.)
3. You have no support system. This is typical of people in their first jobs. No parents to tell them how wonderful they are, close friends are thousands of miles away, and they're alone in a strange town. If you don't make friends with the people in the newsroom or get an objective veteran mentor, like an anchor, you're going to feel lost. Annnnddddd.... cue the insecurity.
4. News flash: Not all the people in the world are nice. Some are minions of the devil. The sooner you realize this, the better off you'll be. Many entry level people are shocked at how nasty co-workers can be. The smaller the market, the bigger the egos.
5. No response from your resume tapes. That doesn't necessarily mean your work isn't good. You may not have connected with the right ND.
6. You're assigned lousy stories, even though your bring great ideas to the table. (That doesn't mean you have to do a lousy job. If you're assigned a dog, figure out a way to impress people with the way you turned it into a great story.)
7. You're the newsroom whipping boy. Lousy assignments, the worst equipment, nasty remarks. Chances are the ND is hoping you'll quit by making you miserable. And if the ND isn't the one who hired you, this is pretty common.
8. You've been passed over more than once for a promotion. Doesn't mean you weren't the best person, you just weren't the person management wanted. If you're passed over twice, move on, because they'll never promote you.
9. You haven't turned a good package in awhile. And whose fault is that? A dysfunctional newsroom and a nasty ND don't prevent you from doing great work.
10. You fail to consider the source of any criticism that isn't valid. So, the gal at the next desk who has less experience than you told you that your package was awful. Or your ND who has been fired from his last four jobs says you're worthless. When you accept criticism from people who don't have the credibility to dish it out, you're giving others the power over you.
Bottom line, suck it up and attack your job with a vengeance. Don't let others control your confidence. It comes from inside, not outside.
Ah, but many of you are from the "everybody gets a trophy" generation, and if that's the case, you've recently discovered that you are not the center of the universe. You don't get a paycheck or a better job just for trying.
Look, I'm not Doctor Phil, but I've seen enough and heard enough to know what's causing such a lack of confidence that permeates the industry. When type A guys turn into the geeks on The Big Bang Theory or traffic-stopping women who could cut a man in half with a barroom death stare are reduced to shuddering lumps, there's a reason.
Guess what, much of it isn't your fault. (That should make those of you from the blameless society feel better.) Well, I said much of it. Part of it is your fault if you let outside factors chip away at your confidence.
So if you're feeling worthless lately, check this list and you might find the reason why.
1. Your News Director is a jerk. (Sure, there are more colorful terms I could use, and have used.) No matter what you do, you've done something wrong. Or your work is never good enough. Recognize this as an old ploy to keep your confidence down, make you afraid to send out resume tapes, and make an insecure News Director feel more superior. It might also make you feel you're not good enough to leave, and therefore sign another contract out of desperation.
2. You dwell on the past. You might have knocked out ten great packages in a row but that stumble during a live shot is making your forget all the good stuff you've done. (And if your ND is the type to harp on said mistakes, that takes your anxiety up a notch.)
3. You have no support system. This is typical of people in their first jobs. No parents to tell them how wonderful they are, close friends are thousands of miles away, and they're alone in a strange town. If you don't make friends with the people in the newsroom or get an objective veteran mentor, like an anchor, you're going to feel lost. Annnnddddd.... cue the insecurity.
4. News flash: Not all the people in the world are nice. Some are minions of the devil. The sooner you realize this, the better off you'll be. Many entry level people are shocked at how nasty co-workers can be. The smaller the market, the bigger the egos.
5. No response from your resume tapes. That doesn't necessarily mean your work isn't good. You may not have connected with the right ND.
6. You're assigned lousy stories, even though your bring great ideas to the table. (That doesn't mean you have to do a lousy job. If you're assigned a dog, figure out a way to impress people with the way you turned it into a great story.)
7. You're the newsroom whipping boy. Lousy assignments, the worst equipment, nasty remarks. Chances are the ND is hoping you'll quit by making you miserable. And if the ND isn't the one who hired you, this is pretty common.
8. You've been passed over more than once for a promotion. Doesn't mean you weren't the best person, you just weren't the person management wanted. If you're passed over twice, move on, because they'll never promote you.
9. You haven't turned a good package in awhile. And whose fault is that? A dysfunctional newsroom and a nasty ND don't prevent you from doing great work.
10. You fail to consider the source of any criticism that isn't valid. So, the gal at the next desk who has less experience than you told you that your package was awful. Or your ND who has been fired from his last four jobs says you're worthless. When you accept criticism from people who don't have the credibility to dish it out, you're giving others the power over you.
Bottom line, suck it up and attack your job with a vengeance. Don't let others control your confidence. It comes from inside, not outside.
Monday, July 1, 2013
What's wrong with my resume tape?
(Excerpt from Broadcast Journalism Street Smarts)
A female anchor once told me, “News Directors are just like
single men. They say they’ll call, but they never do.”
Nothing drives on-air people nuts more than wondering what
actually happens to their resume tapes after they send them. Did the ND watch
my tape? Is it sitting in a giant pile unopened?
And the big
one.
Is my resume tape good enough? There are no definitive
answers to any of these, but you have to keep one thing in mind to maintain
your sanity.
In many cases, it is not a matter of hiring the best person for the job, but the right person. Here are some of the comments
I’ve heard over the years from various managers after watching really good
resume tapes. Preface all of these with “great tape, but...”“Too old.”
“Too young.”
“Not another blonde.”
“But we need a male/female.”
“Overqualified/not enough experience.”
“Won’t fit with the current co-anchor.”
“I’d rather hire someone local so we can save moving
expenses.”
You get the picture.
It is a lot like that episode of Seinfeld: “It’s not you, it’s me.” In
many cases, the stars have to align for you to get the job. Your tape may be
just fine, but you are not what the ND is looking for. Or your tape may need
some improvement. (More on that later.) But in order to understand how the hiring
process works, we need to take a peek inside the News Director’s office.
Let’s start at the beginning. There’s an opening. The ND
runs an ad in TVJobs.com. (He thinks he’ll save himself a few headaches by
putting the term “no phone calls” in the ad only to have the phone ring one
nanosecond after the opening hits the website.) Then the tapes begin to
arrive.(Let me preface the rest of this discussion by saying that when I made
the transition from reporter to manager I made myself a promise that I would watch
every resume tape as soon as it came in. This promise died a grisly death when
we ran an ad for a sports anchor and had 100 tapes show up in a week.)The tapes
begin to pile up the next day thanks to the wonders of overnight delivery. The
sad thing is, if the job was just posted, the applicant has just wasted fifteen
bucks. ND’s don’t think any more of a tape which arrived via Fedex than one
that was sent Media Mail. The only time to send a tape overnight is when it is
requested, or when you know for a fact the News Director is making a decision
tomorrow.
Okay, back to our story. Now there’s a giant pile of tapes
in the ND’s office, or if he has an assistant, in the assistant’s office. Every
ND has his or her own system. In one case, I as the assistant news director was
asked to go through the tapes and only bring the best ones to the ND. Since he
and I had the same taste in reporters, this worked well. In another case, the
ND watched them all himself, then asked me and the Executive Producer to watch
what he considered the finalists. At another station, the ND piled up the tapes
and invited the whole news staff to watch them after the 6pm newscast and
honestly listened to everyone’s opinion. And finally, I worked as a reporter at
a station that changed News Directors. I noticed the new guy watched resume
tapes with the sound off. When I asked him why, he said “if they don’t look
good, I don’t want them.” (Not being anything close to Robert Redford, I sent
out a dozen tapes the next day.)When it is time to watch the tape, here is what
generally happens. The envelope is opened and the tape, resume and cover letter
are pulled out. The tape goes in the machine while the ND takes a quick glance
at the resume to see the person’s name and the current station or university.
“Okay, we’ve got Joe from Wichita.” The “play” button is hit, and the show
begins.
Okay, your slate has rolled by and your first standup
begins. It had better be your best work or the “eject” button will be hit very
quickly. At this point you’re asking, “How can this be? This isn’t fair! The ND
hasn’t even gotten to my packages yet!” Bud sadly, in most cases, this is true.
Most managers are looking for their own style of on-air person. So your first
few seconds of tape had better show some personality, creative writing ability,
ability to communicate, animation, connection with the viewer. Remember, first
impressions count the most. And, yes, this is a very superficial business. Some
ND’s are very concerned with how you look. Once again, not fair, but that’s how
the business is. So, if you’re lucky your tape is still rolling. If an ND
watches a package or two, you’ll make the short list. The tape will be put
aside. This is generally when your cover letter is read, and this is a chance
for you to shine. A clever, well-written cover letter can set you apart from
one filled with grammar and spelling errors.
So now all the
tapes have been viewed and the ND has narrowed it down to maybe six. In most
stations, the GM will want to approve on-air hires, and in some cases, approval
must come from corporate. The list is narrowed, usually down to three, and the
interview process begins. The rest is up to you.
Things to improve your chances:
-A tape that really moves. A nice montage of standups, a
great live shot, and three great packages. If you’re an anchor, make sure to
include some crosstalk and a good variety of stories. Make sure at some point
in the tape we can see your smile. (If you’re a college student, we really
don’t expect you to have a live shot.)
-Your personality must come out. The world is full of cookie-cutter people; what
makes you different? Don’t tell me, show me.
-Make your first package an enterprise story or something in
which you’ve done some digging. Sadly,
many reporters start with a spot news package. Remember, the police do
most of the information gathering in spot news, so unless the story is really
unique, don’t lead with it. (That’s why most stations let interns cover car
wrecks.)
-A story with some kind of emotion or humor. A lot of times
managers will be talking about applicants and one will say “she’s the reporter
who did that homeless story” or
“he’s the reporter with the waterskiing squirrel feature.” Make an ND laugh or
cry and you’ll be more memorable.
-Anchoring in which your energy and personality comes
through the screen. Too many anchors send tapes in which they are simply
reading. Talk to the
viewer.
And here are some things that can work against you:
-Voice. Nothing takes you out of the running faster than a
wicked accent. No one wants an anchor who sounds like “The Nanny” or Scarlett
O’Hara. (In a bizarre bit of irony, you can’t get to New York if you sound too
Noo Yawk.) If you’ve got an accent, get rid of it and make a new tape.
-The work is not your own. News Directors are like
Columbo in spotting little things
that don’t add up. A favorite trick of a college intern is to “borrow” a local
or network reporter’s package, re-voice it and add his or her own standup. But
it is often obvious this is not the applicant’s work. In one such case a young
man was well into his package when his “exclusive interview” included a sound
bite featuring a hand holding a microphone. The hand had beautifully manicured
long red nails and an engagement ring.
-Misspelling the News Director’s name on your cover letter.
Why would you hire a reporter who is supposed to have attention to detail if he
or she can’t spell your name correctly? If the name is not listed in the ad,
call the station and ask for it. (Even if the ad calls for you to submit a tape
to Human Resources, you want your cover letter addressed to the ND.) Ask for
the correct spelling, and if it is one of those names that can be male or
female, like Terry, Kelly, or yeah, Randy, ask if the ND is a he or she. My
name is Italian and really isn’t that difficult to spell, but I’ve had mail
addressed to “Tonto,” “Toronto,” and my favorite, “Ranno Tanno.” I once had a
phone call for “Mr. Tomato.”
-Getting the call letters wrong in your cover letter. We
realize job applicants send the same cover letter to everyone, just make sure
you match the ND with the station.
-Bars and tone on the tape. For those who don’t know, bars
and tone are used by engineers to set broadcast levels and to chase on-air
people out of master control. They are not necessary on a tape. You may as well
just mail a screaming baby with your application.
-The DVD is blank. Amazingly this happens more often than
you would think. Check each tape before mailing.
-Calls to find out if your tape has arrived. ND’s know this
is an attempt to get feedback and can find these calls annoying. Just use the
US Postal Service delivery confirmation if you want to make sure.
-Beauty pageants listed on your resume. If you’re
attractive, it is obvious on your tape. While I know many pageant vets who are
competant journalists and nice people, there is a stigma that pageant people
are all style and no substance. If you’re going to list a parade of pageant
victories on your resume you might as well just tattoo “high maintenance” on
your forehead. Enter as many pageants as you want, just leave them off the
resume. (I actually worked with one anchor who listed her dress size on her
resume.)
-Modeling portfolio photos. Once again, if you’re
attractive, it is obvious. Sending photos of yourself in a bikini just labels
you as superficial. Sending any kind of still photos is a colossal waste of
money.
-Packing peanuts. Not really a mistake, but a good way to
get an ND in a bad mood. Proponents of packing peanuts often send their tapes
in giant boxes sealed with enough tape to bind Ironman to a chair. The ND
struggles to open the box, then endures an explosion of styrofoam. Since most
stations no longer have maintenance men, this sends the ND to the Chief
Engineer, who presents him with a 1958 Electrolux vacuum cleaner that makes
more noise that the generator on the live truck.
Now a word about feedback. Don’t call for it. A good way to
get some is to include a self addressed stamped postcard asking for it. You’re
bound to get some response. But there are two kinds. Good old-fashioned
constructive criticism is always welcome, especially if it points out something
of which you might not be aware. Make a note of those NDs, fix the problem, and
send a new tape when you do. On the other hand, there are some NDs who seem to
enjoy writing feedback that demeans the job applicant. If you get feedback like
this, ignore it and be thankful you don’t work for someone who would be that
mean spirited.
Monday, June 24, 2013
If you're working in the heat, shooting your own video, or both, it's time to shoot your standup early
The most common complaint I hear is that reporters pretty much hate shooting their own video. The most common sidebar to that complaint is that the reporter ends up with wrinkled or dirty clothes, looks like an unmade bed by the time the standup is shot, or both.
Movie companies routinely shoot scenes out of order. And, when you think about it, we do the same thing when shooting a story. The most usual order is sound bites, b-roll, and finally, a standup.
Time to move the standup to the front of the line.
I'm seeing too many rumpled outfits, too many outfits with that tell-tale mark on the right shoulder. So, a few things to make you look better in your standups:
-If you're a one man band, carry a hand towel with your gear. Before you pick up your camera, place the towel over your right shoulder. Then when you shoulder your camera it won't leave a mark.
-Shoot your standup before you start shooting b-roll. This might actually require you to think a little earlier about what you want to say, but in reality, it's not a big deal. If you're gonna get all rumpled shooting b-roll, do it after you're done putting yourself on camera.
-Guys, if it's hot as hell, leave the jacket and tie in the car until you're ready to shoot your standup. Put 'em on, shoot your standup, and you're done with them for the day.
-Carry a mirror. You always want to look your best on camera, so take a quick look before you shoot it.
-Finally, play back your standup and make sure you're happy with it before you move on to something else.
Movie companies routinely shoot scenes out of order. And, when you think about it, we do the same thing when shooting a story. The most usual order is sound bites, b-roll, and finally, a standup.
Time to move the standup to the front of the line.
I'm seeing too many rumpled outfits, too many outfits with that tell-tale mark on the right shoulder. So, a few things to make you look better in your standups:
-If you're a one man band, carry a hand towel with your gear. Before you pick up your camera, place the towel over your right shoulder. Then when you shoulder your camera it won't leave a mark.
-Shoot your standup before you start shooting b-roll. This might actually require you to think a little earlier about what you want to say, but in reality, it's not a big deal. If you're gonna get all rumpled shooting b-roll, do it after you're done putting yourself on camera.
-Guys, if it's hot as hell, leave the jacket and tie in the car until you're ready to shoot your standup. Put 'em on, shoot your standup, and you're done with them for the day.
-Carry a mirror. You always want to look your best on camera, so take a quick look before you shoot it.
-Finally, play back your standup and make sure you're happy with it before you move on to something else.
Tuesday, June 18, 2013
Adding some age in the era of high def
When you're young, you wanna look old. When you're old, you'll do anything to look younger. The latter is especially true with the advent of high def.
But this is for those who have just graduated or still in their early twenties. And I speak from experience, because I looked so young I was stuck in radio until I was 28. I routinely got carded well into my thirties. (Now if someone offers a senior discount I get seriously ticked off.)
It's hard for people who look very young to have credibility, so early in your career you need to add a little age wherever you can.
Men: Wearing polo shirts or shirts with open collars only makes you look like you're still in college. Neckties are a must, and dark suits will make you look older than light colored ones. Old school stuff like cuff links and pocket squares can also add a bit of age.
Women: Stick with business attire; suits, jackets, professional outfits. Forget things like sleeveless blouses or dresses or stuff that's too trendy. Hemlines should hit the knee. And nothing says old school more than a simple strand of pearls. (They don't even have to be real.)
When you get older, looking young will be a nice problem to have. But for now, age and credibility go hand in hand, and you need all the age you can get.
But this is for those who have just graduated or still in their early twenties. And I speak from experience, because I looked so young I was stuck in radio until I was 28. I routinely got carded well into my thirties. (Now if someone offers a senior discount I get seriously ticked off.)
It's hard for people who look very young to have credibility, so early in your career you need to add a little age wherever you can.
Men: Wearing polo shirts or shirts with open collars only makes you look like you're still in college. Neckties are a must, and dark suits will make you look older than light colored ones. Old school stuff like cuff links and pocket squares can also add a bit of age.
Women: Stick with business attire; suits, jackets, professional outfits. Forget things like sleeveless blouses or dresses or stuff that's too trendy. Hemlines should hit the knee. And nothing says old school more than a simple strand of pearls. (They don't even have to be real.)
When you get older, looking young will be a nice problem to have. But for now, age and credibility go hand in hand, and you need all the age you can get.
Thursday, June 13, 2013
Rush to judgment
Okay, back from a very long vacation (miss me?) after which I returned to an exploding email inbox and a very angry cat who is seriously ticked off at me. ("So, you go away for weeks and then expect me to jump into your lap and purr when you call? Fuhgeddaboudit.")
We've heard the term "dog days of August" but in television news June may as well be known as the "month of mistakes." That's because it's the beginning of the longest job hunting season of the year, situated right after May sweeps. No more sweeps till November, so there's plenty of time for the revolving door to spin.
The mistakes I'm referring to are the ones made when accepting a new job, and, in many cases, that first job. In the case of new grads, this is particularly true.
Tell me if you've felt this way. You're either stuck in the ninth circle of television news hell or just got that diploma and cannot wait to get your life started. You're ready to jump at the first offer and don't care what it is.
News Directors know this.
More people get stuck in bad situations with bad contracts during the summer because they're simply too eager to take the leap. NDs prey on new grads in particular because they're still wearing rose colored glasses and naive enough to think everyone in the real world is a nice person with only their best interests at heart. They know the last thing a new grad wants to do is move back home and hang out in mom's basement for months waiting to cash that first paycheck while the student loan lurks nearby. So they throw the worst possible offer out there, knowing you'll take it.
This is the time for patience.
When you get an offer, any offer, you must take the time to step back and take a good look at it. If there's a contract, get a lawyer to read it. Talk to the people who used to work at the station. Do your research on the News Director and the company.
It's just like dating. It's better to be in no relationship than a bad one.
When you rush to judgment, you often make mistakes. Nothing feels better than getting that first job or a better job, but nothing feels worse than the realization that you've made a huge mistake and are stuck for two years.
We've heard the term "dog days of August" but in television news June may as well be known as the "month of mistakes." That's because it's the beginning of the longest job hunting season of the year, situated right after May sweeps. No more sweeps till November, so there's plenty of time for the revolving door to spin.
The mistakes I'm referring to are the ones made when accepting a new job, and, in many cases, that first job. In the case of new grads, this is particularly true.
Tell me if you've felt this way. You're either stuck in the ninth circle of television news hell or just got that diploma and cannot wait to get your life started. You're ready to jump at the first offer and don't care what it is.
News Directors know this.
More people get stuck in bad situations with bad contracts during the summer because they're simply too eager to take the leap. NDs prey on new grads in particular because they're still wearing rose colored glasses and naive enough to think everyone in the real world is a nice person with only their best interests at heart. They know the last thing a new grad wants to do is move back home and hang out in mom's basement for months waiting to cash that first paycheck while the student loan lurks nearby. So they throw the worst possible offer out there, knowing you'll take it.
This is the time for patience.
When you get an offer, any offer, you must take the time to step back and take a good look at it. If there's a contract, get a lawyer to read it. Talk to the people who used to work at the station. Do your research on the News Director and the company.
It's just like dating. It's better to be in no relationship than a bad one.
When you rush to judgment, you often make mistakes. Nothing feels better than getting that first job or a better job, but nothing feels worse than the realization that you've made a huge mistake and are stuck for two years.
Monday, May 27, 2013
Reporter's contracts: a stupid idea that really needs to go away
I'll bet most of you who aren't in management never realized that a reporter's contract can backfire on a News Director. As much as you wanna get out of your current deal, there are plenty of NDs who are counting the days until certain contracts run out.
You need only look at major league baseball to understand this. The Yankees are stuck with A-Rod for several more years, owing more than $100 million to a broken down player who the fans hate. But hey, let's get that ten year contract done and lock him up so he can't go anywhere else.
Trust me, there's an A-Rod in every newsroom that a News Director can't wait to cut loose. But he can't since there's a contract involved. Yep, that contract he was so desperate to impose has now come back to bite him on the ass.
I understand the necessity of putting anchors under contract. I've never seen the need with reporters. I've had this view both as a reporter and a manager. When I was a rookie I once asked a consultant if viewers cared about the reporting staff, and he said, "Viewers make their choices primarily because of the anchors."
So why the obsession with contracts, especially with rookies... the ones most likely to become an A-Rod?
A few reasons.
-Many NDs are lazy when it comes to finding talent and consider the hiring process a pain. If people can't leave, there's less hiring to do.
-It's either company policy, or the GM insists on it.
-It adds stability to the newsroom. (In reality, it adds stress, as people obsess about their contracts and often feel like they're stuck in a bad relationship.)
-There's the notion that people will spin the revolving door if there aren't contracts.
So it's time for the "virtual contract." One that benefits both sides. One that says, "I hope you'll stay here awhile, and I'm going to make this a nice place to work so that you won't want to leave." One that doesn't charge you thousands to leave a job. (Is there any other industry that uses this insane tactic?)
Nothing stresses out a young reporter more than a contract that hangs around his neck like a noose, one that threatens serious legal action or heavy buyout fines if he leaves. Remove that, and you'll have a reporter whose attention can be focused where it matters: getting good stories.
This may surprise you: there are people in major markets working without contracts. Because NDs there are smarter and know that if they leave, there will be hundreds of qualified people lining up to take their place.
It should be the same everywhere.
I think back to that gal I knew from Texas who had all these quaint little sayings. One was, "You ride a horse longer with loose reins."
Get rid of the contracts, keep your newsroom happy and make it a fun place to work, and no one will want to leave. No contract can ever top that.
You need only look at major league baseball to understand this. The Yankees are stuck with A-Rod for several more years, owing more than $100 million to a broken down player who the fans hate. But hey, let's get that ten year contract done and lock him up so he can't go anywhere else.
Trust me, there's an A-Rod in every newsroom that a News Director can't wait to cut loose. But he can't since there's a contract involved. Yep, that contract he was so desperate to impose has now come back to bite him on the ass.
I understand the necessity of putting anchors under contract. I've never seen the need with reporters. I've had this view both as a reporter and a manager. When I was a rookie I once asked a consultant if viewers cared about the reporting staff, and he said, "Viewers make their choices primarily because of the anchors."
So why the obsession with contracts, especially with rookies... the ones most likely to become an A-Rod?
A few reasons.
-Many NDs are lazy when it comes to finding talent and consider the hiring process a pain. If people can't leave, there's less hiring to do.
-It's either company policy, or the GM insists on it.
-It adds stability to the newsroom. (In reality, it adds stress, as people obsess about their contracts and often feel like they're stuck in a bad relationship.)
-There's the notion that people will spin the revolving door if there aren't contracts.
So it's time for the "virtual contract." One that benefits both sides. One that says, "I hope you'll stay here awhile, and I'm going to make this a nice place to work so that you won't want to leave." One that doesn't charge you thousands to leave a job. (Is there any other industry that uses this insane tactic?)
Nothing stresses out a young reporter more than a contract that hangs around his neck like a noose, one that threatens serious legal action or heavy buyout fines if he leaves. Remove that, and you'll have a reporter whose attention can be focused where it matters: getting good stories.
This may surprise you: there are people in major markets working without contracts. Because NDs there are smarter and know that if they leave, there will be hundreds of qualified people lining up to take their place.
It should be the same everywhere.
I think back to that gal I knew from Texas who had all these quaint little sayings. One was, "You ride a horse longer with loose reins."
Get rid of the contracts, keep your newsroom happy and make it a fun place to work, and no one will want to leave. No contract can ever top that.
Saturday, May 25, 2013
Welcome to the beginning of the summer job hunting season
So the hits for this site are off the charts today. I'm gonna take a wild stab and guess that since sweeps just ended and people just graduated most of you are enjoying the long weekend putting together resume tapes.
Welcome to the party, pal. Yippie-ki-yay.
Welcome to the party, pal. Yippie-ki-yay.
Memorial Day: Thanks, vets!
Don't forget to thank a current member of the military or a vet this weekend. Thanks to them, we have the freedom to do what we do.
And please, if you don't know the difference between Memorial Day and Veterans Day, look it up.
And please, if you don't know the difference between Memorial Day and Veterans Day, look it up.
Wednesday, May 22, 2013
Graduation Day book sale
Okay, here's a break for you new college grads who are heading out into the real world with student loans totalling more than my mortgage. Of course, you don't have to be a new grad to take advantage of this.
Electronic book distributor Smashwords is offering 25 percent off my 2013 textbook (that's five bucks for those of you who are math challenged.)
Here's the link:
http://www.smashwords.com/books/view/270493
Then use this coupon code at checkout:
CQ65V
Smashwords enables you to download to any electronic device, including Kindle, Nook, Apple devices, and many more.
Electronic book distributor Smashwords is offering 25 percent off my 2013 textbook (that's five bucks for those of you who are math challenged.)
Here's the link:
http://www.smashwords.com/books/view/270493
Then use this coupon code at checkout:
CQ65V
Smashwords enables you to download to any electronic device, including Kindle, Nook, Apple devices, and many more.
Monday, May 6, 2013
200 sports openings
This is from Sports Illustrated's website today:
"Fox Sports 1 is expected to make around 200 hires."
Sports jobs are hard enough to get, so this is a real bonanza.
"Fox Sports 1 is expected to make around 200 hires."
Sports jobs are hard enough to get, so this is a real bonanza.
Friday, May 3, 2013
Stranger than fiction, or, how to fake your own death for eleven years
Every once in awhile I get an assignment that is truly bizarre. In this case, I've been working for Inside Edition on a story about that Pennsylvania woman who disappeared eleven years ago and was presumed dead until she turned up in Florida.
Turns out going off the grid is as easy as writing a novel.
In this case, Brenda Heist (and you gotta love the irony of the last name) simply re-invented herself as a cleaning woman in Pensacola, Florida. Yesterday we spent a lot of time with one of her clients, a kind-hearted woman named Sondra who took her in when she said she needed to get out of an abusive relationship. She said her name was Lovie Smith (yeah, same name as the Chicago Bears coach, but Sondra didn't follow football.) She paid everything in cash, bought cars with cash, covered her tracks, developed trust with clients in the community. Even though she left a husband and children behind she told Sondra she was a widow and had no kids. Sondra became close friends with her and had no inkling she was being conned.
This is a wild story and if you get a chance check it out on Thursday's episode of Inside Edition. I'll post the link here after it airs.
Turns out going off the grid is as easy as writing a novel.
In this case, Brenda Heist (and you gotta love the irony of the last name) simply re-invented herself as a cleaning woman in Pensacola, Florida. Yesterday we spent a lot of time with one of her clients, a kind-hearted woman named Sondra who took her in when she said she needed to get out of an abusive relationship. She said her name was Lovie Smith (yeah, same name as the Chicago Bears coach, but Sondra didn't follow football.) She paid everything in cash, bought cars with cash, covered her tracks, developed trust with clients in the community. Even though she left a husband and children behind she told Sondra she was a widow and had no kids. Sondra became close friends with her and had no inkling she was being conned.
This is a wild story and if you get a chance check it out on Thursday's episode of Inside Edition. I'll post the link here after it airs.
Wednesday, May 1, 2013
Entry level job hunting is a lot like the NFL draft
While I'm a NFL junkie and go into my fall Sunday coma with the NFL Sunday Ticket, I don't watch college football at all. So when the draft rolls around, I'll watch even though I have no idea which players might be good. I want to see who the Giants pick and enjoy the high comedy that is the New York Jets, who are the football version of a dysfunctional newsroom.
The analysts discuss all sorts of positives and negatives. Can a quarterback throw deep? Is the receiver shy about going over the middle? Is the person a team player? You'll hear them talk about a player with a good work ethic, or one who has a "motor" which means he never quits or takes a play off.
Then there are those "red flags" that can send players dropping off a cliff. Drug use, arrests, and, in the case of a certain Notre Dame linebacker, nonexistent dead girlfriends. (By the way, I don't buy it that anyone could be that gullible.)
Every summer after May sweeps, News Directors who hire entry level people have their own version of the draft. They're looking mostly for potential, because work done in college rarely simulates that done in a real newsroom. But they also look for the following:
-Experience: Has the applicant done an internship, or worked in a college station? Or simply learned journalism theory out of a book?
-Industry knowledge: Does the person know how to edit, how to put a story together?
-Versatility: Can the applicant do more than one thing, such as news and sports, or news and weather?
-Attitude: How does the applicant interview? Willing to learn, or already knows everything there is to know?
-References: What do people say about the applicant, especially those who worked with the person during an internship?
-Red flags: Does the person's social media sites indicate any alcohol or drug problems? Are there very opinionated or offensive comments on the Internet? (Trust me, every ND will check your electronic footprint, and most will do a background check.)
So how would you rank? First round draft choice? Middle of the pack? Undrafted free agent?
The analysts discuss all sorts of positives and negatives. Can a quarterback throw deep? Is the receiver shy about going over the middle? Is the person a team player? You'll hear them talk about a player with a good work ethic, or one who has a "motor" which means he never quits or takes a play off.
Then there are those "red flags" that can send players dropping off a cliff. Drug use, arrests, and, in the case of a certain Notre Dame linebacker, nonexistent dead girlfriends. (By the way, I don't buy it that anyone could be that gullible.)
Every summer after May sweeps, News Directors who hire entry level people have their own version of the draft. They're looking mostly for potential, because work done in college rarely simulates that done in a real newsroom. But they also look for the following:
-Experience: Has the applicant done an internship, or worked in a college station? Or simply learned journalism theory out of a book?
-Industry knowledge: Does the person know how to edit, how to put a story together?
-Versatility: Can the applicant do more than one thing, such as news and sports, or news and weather?
-Attitude: How does the applicant interview? Willing to learn, or already knows everything there is to know?
-References: What do people say about the applicant, especially those who worked with the person during an internship?
-Red flags: Does the person's social media sites indicate any alcohol or drug problems? Are there very opinionated or offensive comments on the Internet? (Trust me, every ND will check your electronic footprint, and most will do a background check.)
So how would you rank? First round draft choice? Middle of the pack? Undrafted free agent?
Monday, April 29, 2013
Unless you have the power to read minds or contact the dead, speculation makes you look stupid
Over the past two weeks the news business has apparently acquired a whole bunch of reporters with paranormal powers. Incredibly, these people are not only able to see into the mind of the captured Boston bomber, but are able to act as mediums and contact the dead one as well. These supernatural skill sets allow them to tell the general public exactly what the bombers were thinking, what their mindset was, and what they were or were not planning to do next.
They were going to New York. No, they weren't. They acted alone. Nope, they had help.
I continue to be amazed at journalists who simply spout these theories as if they are facts. And let's face it, they're theories. Just because they've interrogated the captured bomber doesn't mean he told the truth. (Why would he lie? Uh, I don't know... he just killed and maimed a bunch of people, so let's trust him.) Just because they've looked into the history of the dead bomber doesn't mean they had any idea what made him set off bombs or what he planned to do next.
We've already seen some incredibly embarrassing, and yes, amateurish coverage during the week of the bombing. How bad was it? The President had this line over the weekend:
"I know CNN has taken some knocks lately, but the fact is I admire their commitment to cover all sides of the story just in case one of them happens to be accurate."
A funny joke, but a sad commentary on what the news business has become.
Meanwhile, now that corrections have been issued, it's apparently time to speculate.
And of course, let's speculate by injecting some political bias into the argument.
There's an old newsroom joke that goes like this: Never let the facts get in the way of a good story.
It's not a joke anymore. It's fact.
Unless you have hard facts, don't speculate. It makes you look stupid. And it makes me change the channel.
They were going to New York. No, they weren't. They acted alone. Nope, they had help.
I continue to be amazed at journalists who simply spout these theories as if they are facts. And let's face it, they're theories. Just because they've interrogated the captured bomber doesn't mean he told the truth. (Why would he lie? Uh, I don't know... he just killed and maimed a bunch of people, so let's trust him.) Just because they've looked into the history of the dead bomber doesn't mean they had any idea what made him set off bombs or what he planned to do next.
We've already seen some incredibly embarrassing, and yes, amateurish coverage during the week of the bombing. How bad was it? The President had this line over the weekend:
"I know CNN has taken some knocks lately, but the fact is I admire their commitment to cover all sides of the story just in case one of them happens to be accurate."
A funny joke, but a sad commentary on what the news business has become.
Meanwhile, now that corrections have been issued, it's apparently time to speculate.
And of course, let's speculate by injecting some political bias into the argument.
There's an old newsroom joke that goes like this: Never let the facts get in the way of a good story.
It's not a joke anymore. It's fact.
Unless you have hard facts, don't speculate. It makes you look stupid. And it makes me change the channel.
Friday, April 26, 2013
Am I attractive enough for a television job?
If you've asked yourself this question and aren't sure, this should prove how subjective appearance is...
People Magazine has named Gwyneth Paltrow as the most beautiful woman on the planet.
(Yeah, I know. Words fail me too.)
People Magazine has named Gwyneth Paltrow as the most beautiful woman on the planet.
(Yeah, I know. Words fail me too.)
Wednesday, April 24, 2013
Am I good enough for a network job?
If you've asked yourself this question and aren't sure, this might clear things up...
http://www.thedailyshow.com/watch/mon-april-22-2013/this-is-cnn-
http://www.thedailyshow.com/watch/mon-april-22-2013/this-is-cnn-
Monday, April 22, 2013
In times like these, it's okay to be an American on the air
I went to a seminar about two weeks after 9/11. The topic of patriotism came up, as many stations (including mine) had either put up flags on the set or decorated them in red, white and blue. Some had on-air staff members wear flag pins or ribbons. Our station never received a single complaint. No one had a problem with the show of patriotism.
Well, almost.
One person at the seminar said she found such displays of patriotism "offensive." Most of us couldn't believe anyone could make such a statement.
So here we are again, twelve years later.
Of course, we now have an unwritten "policy" that people in the sports department can wear flag pins, patriotic ties, or whatever. But for some reason it's considered "inappropriate" for someone in the news department to do so, because it might constitute "bias."
Oh, please.
Let me get this straight... the news business has become incredibly biased in the last ten years, so much so that our trust level has reached that of used car salesmen and lawyers, yet we would appear "biased" if we literally wore our patriotism on our sleeves? How hypocritical is that?
If I were a News Director today I'd be fine with anyone who wanted to wear an American Flag pin. And if any viewer was somehow offended, I'd remind them what country they're living in.
Political correctness has done a ton of damage to this country. We don't need to make it any worse by denying our patriotism.
Because that's one thing that doesn't demand objectivity.
Well, almost.
One person at the seminar said she found such displays of patriotism "offensive." Most of us couldn't believe anyone could make such a statement.
So here we are again, twelve years later.
Of course, we now have an unwritten "policy" that people in the sports department can wear flag pins, patriotic ties, or whatever. But for some reason it's considered "inappropriate" for someone in the news department to do so, because it might constitute "bias."
Oh, please.
Let me get this straight... the news business has become incredibly biased in the last ten years, so much so that our trust level has reached that of used car salesmen and lawyers, yet we would appear "biased" if we literally wore our patriotism on our sleeves? How hypocritical is that?
If I were a News Director today I'd be fine with anyone who wanted to wear an American Flag pin. And if any viewer was somehow offended, I'd remind them what country they're living in.
Political correctness has done a ton of damage to this country. We don't need to make it any worse by denying our patriotism.
Because that's one thing that doesn't demand objectivity.
Friday, April 19, 2013
If your source isn't credible, shut the hell up
The movie "All the President's Men" should be required viewing for anyone in the news business. (Or, what a concept, read the book.) It shows how information needs to be backed up; if not by someone who will go on the record, but by sources who are rock solid. Even then, sources might have their own agenda.
This week we've gotten a re-run of the Newtown shooting story in Boston. During the past few days the misinformation has gotten out of hand. At first thirteen people died. Apparently ten miraculously rose from the dead since Monday. Police made an arrest, then they didn't. It got so bad that the FBI, it what was seemingly an unprecedented move, actually called out the media for irresponsible reporting in this statement:
"Contrary to widespread reporting, no arrest has been made in connection with the Boston Marathon attack. Over the past day and a half, there have been a number of press reports based on information from unofficial sources that has been inaccurate. Since these stories often have unintended consequences, we ask the media, particularly at this early stage of the investigation, to exercise caution and attempt to verify information through appropriate official channels before reporting."
Once again, the race to be first rather than right left the business with an omelet on its face. But this time it got so bad that the feds actually had to call reporters to the principal's office.
Like any reporter, I've used unnamed sources in stories. But I only relied on those that were rock solid. Often sources might have an agenda, might want to send you down the wrong path, or simply don't like you and want to make you look stupid.
In the case of this story, many reporters are relying on sources they met ten minutes ago.
The key phrase in the FBI statement is the one regarding "unintended consequences." Here's what that means: If you released a story that said the bombers had been arrested, some guy felt safe and went outside, and was killed by the suspects who were still at large, that would be the result of your incompetent reporting.
I realize many of you are under pressure to get the facts out on social media before they hit the air, but please be careful. When using a source... consider the source.
This week we've gotten a re-run of the Newtown shooting story in Boston. During the past few days the misinformation has gotten out of hand. At first thirteen people died. Apparently ten miraculously rose from the dead since Monday. Police made an arrest, then they didn't. It got so bad that the FBI, it what was seemingly an unprecedented move, actually called out the media for irresponsible reporting in this statement:
"Contrary to widespread reporting, no arrest has been made in connection with the Boston Marathon attack. Over the past day and a half, there have been a number of press reports based on information from unofficial sources that has been inaccurate. Since these stories often have unintended consequences, we ask the media, particularly at this early stage of the investigation, to exercise caution and attempt to verify information through appropriate official channels before reporting."
Once again, the race to be first rather than right left the business with an omelet on its face. But this time it got so bad that the feds actually had to call reporters to the principal's office.
Like any reporter, I've used unnamed sources in stories. But I only relied on those that were rock solid. Often sources might have an agenda, might want to send you down the wrong path, or simply don't like you and want to make you look stupid.
In the case of this story, many reporters are relying on sources they met ten minutes ago.
The key phrase in the FBI statement is the one regarding "unintended consequences." Here's what that means: If you released a story that said the bombers had been arrested, some guy felt safe and went outside, and was killed by the suspects who were still at large, that would be the result of your incompetent reporting.
I realize many of you are under pressure to get the facts out on social media before they hit the air, but please be careful. When using a source... consider the source.
Thursday, April 11, 2013
The biggest mistake people make on their resume tapes
The President was in your market and you covered it. You broke the story, right?
A school shooting took place in your market. You broke the story, right?
The oil spill coated beaches with oil and you work on the Gulf Coast. You broke the story, right?
Chances are the answers to these questions would be a resounding "no" but chances are very good you've put a story like this right up front on your resume tape. Because you think an important story or a national story makes you seem like a better reporter.
Uh, no it doesn't.
If you take anything from this post, take this: just because a story is national, or the lead story on your newscast, doesn't mean it's a resume tape story. Because it doesn't take anything special to cover a story that's already there.
Several years ago it seems like half the reporters looking for jobs started their tapes off with a Hurricane Katrina story, even if they lived in Montana. This year every reporter in the northeast will probably have a school shooting story. Next year it will be something else.
News Directors don't want reporters who can show up when everything is right in front of you. They want reporters who can come up with enterprise stories, who can dig for information and not have it handed to them by officials. They want people who can turn memorable stories that are unique, that the other stations won't have.
The best story you've ever done may have ended up in the second block of your local newscast, but no one cares where it aired. NDs only care what you did with the story and how you put it together. They don't care that you once rubbed elbows with the President. They want to see what you can come up with on a day when absolutely nothing is happening.
Show off your reporting skills, not the fact that you happened to be in the middle of a big story because it took place in your neighborhood.
A school shooting took place in your market. You broke the story, right?
The oil spill coated beaches with oil and you work on the Gulf Coast. You broke the story, right?
Chances are the answers to these questions would be a resounding "no" but chances are very good you've put a story like this right up front on your resume tape. Because you think an important story or a national story makes you seem like a better reporter.
Uh, no it doesn't.
If you take anything from this post, take this: just because a story is national, or the lead story on your newscast, doesn't mean it's a resume tape story. Because it doesn't take anything special to cover a story that's already there.
Several years ago it seems like half the reporters looking for jobs started their tapes off with a Hurricane Katrina story, even if they lived in Montana. This year every reporter in the northeast will probably have a school shooting story. Next year it will be something else.
News Directors don't want reporters who can show up when everything is right in front of you. They want reporters who can come up with enterprise stories, who can dig for information and not have it handed to them by officials. They want people who can turn memorable stories that are unique, that the other stations won't have.
The best story you've ever done may have ended up in the second block of your local newscast, but no one cares where it aired. NDs only care what you did with the story and how you put it together. They don't care that you once rubbed elbows with the President. They want to see what you can come up with on a day when absolutely nothing is happening.
Show off your reporting skills, not the fact that you happened to be in the middle of a big story because it took place in your neighborhood.
Monday, April 8, 2013
Hide the buttons
Sometimes I wonder if there's some secret seminar evil managers attend to learn how to push the emotional buttons of their staff members. Some of these people have raised it to an art form, not only throwing the knife but twisting it and adding salt before washing it with alchohol.
Creative people are a sensitive lot. As you get older, you begin to see through the mind games people play. But when you're young and unsure of your talent or future, one pointed comment can send your muse into vapor lock. Most of the time you can simply brush it off by considering the source; the manager might be an idiot, a cylon, or just a sick, twisted person who gets perverse joy out of demeaning others.
Trust me, everyone has buttons and they will get pushed at one time or another. How you react is what's important to your career. If you react correctly, you can effectively hide the butttons.
Here are the two most common old standbys that work for just about any young person in the business:
-"You're not ready for this market." (Usually from a ND who hasn't been able to rise out of it.)
-"You might not belong in this business." (Ironically, this often comes from someone who really doesn't belong in this business.)
How you react when your buttons are pushed is crucial. If the manager sees you turn into a quivering lump and your eyes begin to well up, he's gonna keep pushing that button like he's playing Whack-a-Mole at Chuckie Cheese. If, however, you don't show any emotional reaction, chances are he won't hit that button again.
The best thing to do when your emotional buttons are pushed is to head back to the newsroom and start joking around with co-workers. This tells the manager he can't get into your head and takes the air out of his mind games. You may be that quivering mess inside, but you can't show it.
So hide your buttons and keep your game face on. If a manager doesn't know where your buttons are, he can't push them.
Creative people are a sensitive lot. As you get older, you begin to see through the mind games people play. But when you're young and unsure of your talent or future, one pointed comment can send your muse into vapor lock. Most of the time you can simply brush it off by considering the source; the manager might be an idiot, a cylon, or just a sick, twisted person who gets perverse joy out of demeaning others.
Trust me, everyone has buttons and they will get pushed at one time or another. How you react is what's important to your career. If you react correctly, you can effectively hide the butttons.
Here are the two most common old standbys that work for just about any young person in the business:
-"You're not ready for this market." (Usually from a ND who hasn't been able to rise out of it.)
-"You might not belong in this business." (Ironically, this often comes from someone who really doesn't belong in this business.)
How you react when your buttons are pushed is crucial. If the manager sees you turn into a quivering lump and your eyes begin to well up, he's gonna keep pushing that button like he's playing Whack-a-Mole at Chuckie Cheese. If, however, you don't show any emotional reaction, chances are he won't hit that button again.
The best thing to do when your emotional buttons are pushed is to head back to the newsroom and start joking around with co-workers. This tells the manager he can't get into your head and takes the air out of his mind games. You may be that quivering mess inside, but you can't show it.
So hide your buttons and keep your game face on. If a manager doesn't know where your buttons are, he can't push them.
Thursday, April 4, 2013
Got an offer? Don't forget this stuff
It's natural to get excited when you get a job offer. You're tempted to simply accept it on the spot, but you're not thinking clearly when you're excited. And remember, the minute you accept an offer, the negotiation is over.
Then, all of a sudden, stuff you wished you'd asked about pops into your head. But it's too late. You can't go back after you signed and say, "Hey, can I have a few bucks for this?"
So, here's a list of stuff to ask about before you sign on the dotted line or accept an offer:
-When does health insurance kick in? In some stations, it starts on day one. In others, there's a three month waiting period. Paying for health insurance for a few months isn't cheap.
-Will the station pay moving expenses or offer a moving allowance?
-Relocation: Will the station put you up in a hotel while you find a place to live? Or pay for a house hunting trip before you start?
-Does the station pay/trade for hair, clothing and makeup?
-Do you get overtime and/or comp time?
-Do you have an out clause in your contract, and, if so, when does it kick in?
Finally, don't forget to have a lawyer look over any contract. If a News Director says, "It's standard, you really don't have to check it out. Just sign," then you should run.
Then, all of a sudden, stuff you wished you'd asked about pops into your head. But it's too late. You can't go back after you signed and say, "Hey, can I have a few bucks for this?"
So, here's a list of stuff to ask about before you sign on the dotted line or accept an offer:
-When does health insurance kick in? In some stations, it starts on day one. In others, there's a three month waiting period. Paying for health insurance for a few months isn't cheap.
-Will the station pay moving expenses or offer a moving allowance?
-Relocation: Will the station put you up in a hotel while you find a place to live? Or pay for a house hunting trip before you start?
-Does the station pay/trade for hair, clothing and makeup?
-Do you get overtime and/or comp time?
-Do you have an out clause in your contract, and, if so, when does it kick in?
Finally, don't forget to have a lawyer look over any contract. If a News Director says, "It's standard, you really don't have to check it out. Just sign," then you should run.
Monday, April 1, 2013
The biggest Jedi Mind Trick of all: market size
Last week I had a couple of clients get jobs in big markets. They're both in their mid-twenties. Both very talented. And here's the key: both not afraid to send tapes to big markets.
I don't know who continues to perpetuate the market size myth out there, but I have a good idea. I'll bet half comes from college professors who either haven't worked in the business or did so back in the dinosaur era. And the other half comes from veterans of my generation or people who have been stuck in Palookaville so long they think everyone else should pay the same sort of dues.
So for those of you about to graduate, (and a bunch of you who've been out of school awhile) let's get one thing straight right now. Well, several things:
-You do not have to start in a market between 100 and 210.
-You do not have to sign a three year contract, as you do not need to spend that much time in a first job.
-It does not take ten years of experience to move up to a major market. Sometimes it only takes two.
-People have gotten entry level jobs in major markets.
-You can send tapes anywhere.
-Do not listen to people who say it can't be done when it comes to job hunting. Tell me you're too young to get a great job in a big market, and I'll hit you with a ton of examples of people who have done it.
-The rules of my generation have changed drastically. In fact, they're gone.
-Do not assume that because one market is bigger than another, that the bigger market has a better quality newscast, or more talented people.
-Do not assume that because a station is number one in the market that it is a quality shop. Do not assume that because a station is not number one that there's something wrong with it.
-Bells and whistles don't make a station great, and have little effect on your career. A place with a whole bunch of flatscreens might have a horrible newscast, while the place with equipment that's not state of the art might be the best place for you to learn.
-No one cares what your GPA is. (Except your parents.)
Bottom line, I have talented people call me up all the time thinking they'll be making a huge jump if they can crack market 50. And then I look at their tapes and tell them they can send them out to major markets. Guess what, there are a ton of entry level people in 50s markets. There's nothing special about that level.
Perhaps you guys need to go online and watch some newscasts in markets of varying sizes. You might be shocked to find the following:
-Big markets have a lot of young people.
-Medium markets have a lot of bad people.
-Sometimes there's not much difference between a small market and a medium market.
So forget everything you've heard about paying dues and the market jumps you have to make. Your talent is unique, and so is your career. What other people have done or are doing has absolutely no effect on you.
I don't know who continues to perpetuate the market size myth out there, but I have a good idea. I'll bet half comes from college professors who either haven't worked in the business or did so back in the dinosaur era. And the other half comes from veterans of my generation or people who have been stuck in Palookaville so long they think everyone else should pay the same sort of dues.
So for those of you about to graduate, (and a bunch of you who've been out of school awhile) let's get one thing straight right now. Well, several things:
-You do not have to start in a market between 100 and 210.
-You do not have to sign a three year contract, as you do not need to spend that much time in a first job.
-It does not take ten years of experience to move up to a major market. Sometimes it only takes two.
-People have gotten entry level jobs in major markets.
-You can send tapes anywhere.
-Do not listen to people who say it can't be done when it comes to job hunting. Tell me you're too young to get a great job in a big market, and I'll hit you with a ton of examples of people who have done it.
-The rules of my generation have changed drastically. In fact, they're gone.
-Do not assume that because one market is bigger than another, that the bigger market has a better quality newscast, or more talented people.
-Do not assume that because a station is number one in the market that it is a quality shop. Do not assume that because a station is not number one that there's something wrong with it.
-Bells and whistles don't make a station great, and have little effect on your career. A place with a whole bunch of flatscreens might have a horrible newscast, while the place with equipment that's not state of the art might be the best place for you to learn.
-No one cares what your GPA is. (Except your parents.)
Bottom line, I have talented people call me up all the time thinking they'll be making a huge jump if they can crack market 50. And then I look at their tapes and tell them they can send them out to major markets. Guess what, there are a ton of entry level people in 50s markets. There's nothing special about that level.
Perhaps you guys need to go online and watch some newscasts in markets of varying sizes. You might be shocked to find the following:
-Big markets have a lot of young people.
-Medium markets have a lot of bad people.
-Sometimes there's not much difference between a small market and a medium market.
So forget everything you've heard about paying dues and the market jumps you have to make. Your talent is unique, and so is your career. What other people have done or are doing has absolutely no effect on you.
Thursday, March 28, 2013
Getting over the fear of sending tapes
I'm not sure if this is a generational thing, but I suspect it is. Back in the day we didn't hesitate to send tapes anywhere. Job open at the network? Take a shot. Major market? Off to the post office. News Director is a legend? Fuhgeddaboudit. Send the tape.
These days I hear the following:
"What will they think of me if they don't like me?"
"I'm sure my tape is not good enough."
"If they don't like my current tape, I'll lose any chance of ever getting in that market."
"News Directors will talk about me if they hate my tape."
The result is that you don't send the tape. The aggressive attitude you have as a reporter or anchor flat out disappears when it comes to a job search. You crawl back into your little hole, comfortable in the fact that your current station likes you. You play it safe.
(Oh, hang on. I hear sirens. They're getting closer. Uh-oh. There's a knock at the door. It's the resume tape police and I have to answer the door. It's a big burly cop holding up a DVD. He wants to know if I know the whereabouts of the sender. "No officer, I have no idea where you can find the person who sent me this tape. Yes, I understand there's a manhunt and the reporter will be thrown in jail, flogged, and made to watch reality television for ten years. Yes, I know that the penalty for sending out a tape that a News Director doesn't like is banishment from the industry."
Okay, they're gone. But you guys better lay low, 'cause they're out there looking for you.)
Back to our discussion. Let's blow up each of the statements:
"What will they think of me if they don't like me?"
Answer: They won't think anything, because they won't remember you. News Directors watch thousands of tapes each year. They remember the ones they like, not the ones they don't. They eject those in fifteen seconds. If I made you watch fifteen seconds of 1,000 tapes, how many names could you remember?
"I'm sure my tape is not good enough."
Answer: This one's right up there with, "I'm not sure if she'll go out with me," or "I'm not sure this college will accept me." So, let me get this straight. You're unsure as to the quality of your tape, so you're going to answer this question by... wait for it... leaving it in your desk drawer. The only way you'll know if your tape is good enough is by sending it out. A lot. No response after 50 tapes? Then start thinking about changing it.
"If they don't like my current tape, I'll lose any chance of getting in that market."
Answer: That's right, because you'll never, ever improve. You'll have the same quality tape five years from now as you do today. They may hit the eject button this time, but next time they might like you. There's nothing that says you get only one chance for any job. You can always apply again.
"News Directors will talk about me if they hate my tape."
Answer: (Oh, sorry, phone's ringing. I see it's a News Director friend of mine and I need to take this. "Hello?"
"Hey, Randy, I've got that list of names of eighty-five bad resume tapes I watched this week. You got something to write with? And if you've got time I'd like to discuss each one with you.")
Please guys, get over your fear. This is real life and not everyone gets a trophy for participating. But if you don't participate, you have zero chance of getting the trophy.
These days I hear the following:
"What will they think of me if they don't like me?"
"I'm sure my tape is not good enough."
"If they don't like my current tape, I'll lose any chance of ever getting in that market."
"News Directors will talk about me if they hate my tape."
The result is that you don't send the tape. The aggressive attitude you have as a reporter or anchor flat out disappears when it comes to a job search. You crawl back into your little hole, comfortable in the fact that your current station likes you. You play it safe.
(Oh, hang on. I hear sirens. They're getting closer. Uh-oh. There's a knock at the door. It's the resume tape police and I have to answer the door. It's a big burly cop holding up a DVD. He wants to know if I know the whereabouts of the sender. "No officer, I have no idea where you can find the person who sent me this tape. Yes, I understand there's a manhunt and the reporter will be thrown in jail, flogged, and made to watch reality television for ten years. Yes, I know that the penalty for sending out a tape that a News Director doesn't like is banishment from the industry."
Okay, they're gone. But you guys better lay low, 'cause they're out there looking for you.)
Back to our discussion. Let's blow up each of the statements:
"What will they think of me if they don't like me?"
Answer: They won't think anything, because they won't remember you. News Directors watch thousands of tapes each year. They remember the ones they like, not the ones they don't. They eject those in fifteen seconds. If I made you watch fifteen seconds of 1,000 tapes, how many names could you remember?
"I'm sure my tape is not good enough."
Answer: This one's right up there with, "I'm not sure if she'll go out with me," or "I'm not sure this college will accept me." So, let me get this straight. You're unsure as to the quality of your tape, so you're going to answer this question by... wait for it... leaving it in your desk drawer. The only way you'll know if your tape is good enough is by sending it out. A lot. No response after 50 tapes? Then start thinking about changing it.
"If they don't like my current tape, I'll lose any chance of getting in that market."
Answer: That's right, because you'll never, ever improve. You'll have the same quality tape five years from now as you do today. They may hit the eject button this time, but next time they might like you. There's nothing that says you get only one chance for any job. You can always apply again.
"News Directors will talk about me if they hate my tape."
Answer: (Oh, sorry, phone's ringing. I see it's a News Director friend of mine and I need to take this. "Hello?"
"Hey, Randy, I've got that list of names of eighty-five bad resume tapes I watched this week. You got something to write with? And if you've got time I'd like to discuss each one with you.")
Please guys, get over your fear. This is real life and not everyone gets a trophy for participating. But if you don't participate, you have zero chance of getting the trophy.
Wednesday, March 27, 2013
Life imitates blog
In the previous post, I wondered aloud, "Who in hell would watch this?" referring to the new reality show "Splash" in which has-beens dive into a pool.
Ratings for the second episode: 6.66 million viewers. Talk about appropriate numbers.
Apparently those banished to hell are sentenced to an eternity of watching reality television.
Ratings for the second episode: 6.66 million viewers. Talk about appropriate numbers.
Apparently those banished to hell are sentenced to an eternity of watching reality television.
Friday, March 22, 2013
TSTL
I recently discovered a wonderful new acronym that fits our business perfectly. It describes many of the people we interview, a certain demographic, and a few people who work in our stations.
Before revealing the meaning of said acronym, we must first make a stop at the theater, specifically, a horror movie. If you've ever seen "Scream" you know the rule: every horror movie has some gorgeous babe who's gonna get sliced and diced because she's simply an idiot. She wanders into the dark basement where we know the killer is lurking, some woman in the theater yells, "Don't go down there!" or "He's right behind you!" and before you know it she's been hacked up with a machete. Invariably, someone in the theater will mutter, "She deserved to die. She's an idiot."
Take that concept to romance novels, the source of the acronym. Apparently those who read this particular genre have a term for a character who's a lot like the girl in the slasher flick. Despite all the warning signs, the heroine will ignore them and still run head first into a disaster. One that is deserved because she is.... wait for it....
Too stupid to live.
TSTL.
Sadly, many of these people are appearing on television, night after night. Even sadder, people are tuning in to watch them.
Earlier in the week I was bombarded with promos for a show called "Splash" in which "celebrities" (actually a bunch of has-beens, with a hot babe thrown into the mix) would dive into a pool. I'm thinking, "Who the hell would watch this?" I felt certain this would be a ratings bomb.
Nope. It did very well. The general public apparently wants to watch people whose fifteen minutes of fame expired years ago swan dive into a swimming pool.
Then I noted that the hottest cable show features a bunch of ZZ Top lookalikes living in a neighborhood in which banjo music would seemingly accompany any canoe ride. Again, "Who the hell would watch this?"
Which brings us to the news business. I hate to admit it, but the consultants may have been on to something twenty years ago when they told me, "You need to write for a seventh grade level."
People often ask me, "Why do you network people always interview some toothless idiot who hasn't had a bath since the Bush administration?"
Because those who are TSTL always want to be on television.
I admit I've put my share of crash test dummies on the air over the years, but lately it's getting worse. And maybe that's why ratings for local news have swan dived. We put more idiots on the air, who appeal to idiots. Morons may be good for comic relief, but if we want to cultivate an intelligent audience, we need to put more smarts into our product. The man in the street who can't spell IQ might be entertaining, but the long term result is that newscasts are turning into reality shows.
And most intelligent people can't stand reality shows.
Advertisers love the demographic that features well-educated people with good salaries. That's why some "intelligent" shows without spectacular ratings often command top dollar for ad space. Smart people who make lots of money are a good target audience.
So the next time you get a ridiculous sound bite from someone TSTL, think twice about including it in your newscast. It might provide a laugh, but in the end you won't be laughing when the news business turns into full time reality television.
Before revealing the meaning of said acronym, we must first make a stop at the theater, specifically, a horror movie. If you've ever seen "Scream" you know the rule: every horror movie has some gorgeous babe who's gonna get sliced and diced because she's simply an idiot. She wanders into the dark basement where we know the killer is lurking, some woman in the theater yells, "Don't go down there!" or "He's right behind you!" and before you know it she's been hacked up with a machete. Invariably, someone in the theater will mutter, "She deserved to die. She's an idiot."
Take that concept to romance novels, the source of the acronym. Apparently those who read this particular genre have a term for a character who's a lot like the girl in the slasher flick. Despite all the warning signs, the heroine will ignore them and still run head first into a disaster. One that is deserved because she is.... wait for it....
Too stupid to live.
TSTL.
Sadly, many of these people are appearing on television, night after night. Even sadder, people are tuning in to watch them.
Earlier in the week I was bombarded with promos for a show called "Splash" in which "celebrities" (actually a bunch of has-beens, with a hot babe thrown into the mix) would dive into a pool. I'm thinking, "Who the hell would watch this?" I felt certain this would be a ratings bomb.
Nope. It did very well. The general public apparently wants to watch people whose fifteen minutes of fame expired years ago swan dive into a swimming pool.
Then I noted that the hottest cable show features a bunch of ZZ Top lookalikes living in a neighborhood in which banjo music would seemingly accompany any canoe ride. Again, "Who the hell would watch this?"
Which brings us to the news business. I hate to admit it, but the consultants may have been on to something twenty years ago when they told me, "You need to write for a seventh grade level."
People often ask me, "Why do you network people always interview some toothless idiot who hasn't had a bath since the Bush administration?"
Because those who are TSTL always want to be on television.
I admit I've put my share of crash test dummies on the air over the years, but lately it's getting worse. And maybe that's why ratings for local news have swan dived. We put more idiots on the air, who appeal to idiots. Morons may be good for comic relief, but if we want to cultivate an intelligent audience, we need to put more smarts into our product. The man in the street who can't spell IQ might be entertaining, but the long term result is that newscasts are turning into reality shows.
And most intelligent people can't stand reality shows.
Advertisers love the demographic that features well-educated people with good salaries. That's why some "intelligent" shows without spectacular ratings often command top dollar for ad space. Smart people who make lots of money are a good target audience.
So the next time you get a ridiculous sound bite from someone TSTL, think twice about including it in your newscast. It might provide a laugh, but in the end you won't be laughing when the news business turns into full time reality television.
Monday, March 18, 2013
Game face
I've likened the process of negotiation to a car dealership, a poker table and a chess game. The absolute worst thing about this career is the part where you have to sit down and hammer out a deal. They don't teach you this stuff in college, and, let's face it, creative types aren't well versed in the Jedi Mind Tricks of salesmen. Because that's what a lot of News Directors really are.
But let's get back to poker. You all know the term "tell" when it comes to playing cards. It's a little twitch, a narrowing of the eyes, a hand running through the hair that tells your opponent what you're thinking and what your hole cards are.
The "tells" in negotiating a job in broadcasting aren't that subtle. In fact, for young people, they're often so over-the-top it makes the News Director push all his chips toward the pot before the cards are even dealt.
Example: I remember one young lady who had just graduated and had dropped in for an interview. She wanted a job, any job, and would do anything if hired. She'd sweep floors, take out the trash, make coffee runs, whatever. So pumped during the interview she reminded me of a puppy so excited it wets on the rug. I liked her, so I offered her a job and she practically jumped over the desk to give me a hug.
I didn't even tell her the salary. At that point, I could have offered minimum wage. (I didn't, but that's besides the point.) She played all of her cards the minute she sat down at the table. I could have said, "You'll have to pay me to work here," and she would have said, "Where do I sign?"
While you have to show genuine interest in any job for which you've applied, you must maintain a game face. Be excited, yes, and let the ND know you're genuinely interested in the possibilities. But don't come off as so desperate he'll know you'll take anything for a salary and do anything to get the job.
The same goes for any phone interviews. Let the ND hear your smile, but don't get all gushy like a girl being asked to the prom.
If a News Director knows you'll take anything, he'll lowball you with an offer. If he can't completely read you, you've still got cards to play.
But let's get back to poker. You all know the term "tell" when it comes to playing cards. It's a little twitch, a narrowing of the eyes, a hand running through the hair that tells your opponent what you're thinking and what your hole cards are.
The "tells" in negotiating a job in broadcasting aren't that subtle. In fact, for young people, they're often so over-the-top it makes the News Director push all his chips toward the pot before the cards are even dealt.
Example: I remember one young lady who had just graduated and had dropped in for an interview. She wanted a job, any job, and would do anything if hired. She'd sweep floors, take out the trash, make coffee runs, whatever. So pumped during the interview she reminded me of a puppy so excited it wets on the rug. I liked her, so I offered her a job and she practically jumped over the desk to give me a hug.
I didn't even tell her the salary. At that point, I could have offered minimum wage. (I didn't, but that's besides the point.) She played all of her cards the minute she sat down at the table. I could have said, "You'll have to pay me to work here," and she would have said, "Where do I sign?"
While you have to show genuine interest in any job for which you've applied, you must maintain a game face. Be excited, yes, and let the ND know you're genuinely interested in the possibilities. But don't come off as so desperate he'll know you'll take anything for a salary and do anything to get the job.
The same goes for any phone interviews. Let the ND hear your smile, but don't get all gushy like a girl being asked to the prom.
If a News Director knows you'll take anything, he'll lowball you with an offer. If he can't completely read you, you've still got cards to play.
Friday, March 15, 2013
The "Hoosiers" factor
(re-posted by request)
If you've ever seen the Gene Hackman movie "Hoosiers" about a small town basketball team, you've gotten a subtle message about television news markets.
Toward the end of the film Hackman takes his team to the state championship. The day before the game he walks them around the court, takes out a tape measure and shows them that the basket is still ten feet high and a foul shot is still fifteen feet. It is the same, whether you're playing in a backyard or on the world's biggest stage.
The same holds true for television news. A package is a package, whether it is done in market 210 or at the network. In each case you still need good video, nat sound, strong writing and creative editing. Along with solid reporting skills, of course. Keep this in mind: I do EXACTLY the same stuff for the networks as I did when I was a rookie reporter.
So it makes me shake my head when so many young people think they have to start in a tiny market, or can only jump a certain number of markets for their second job. I'm not sure if college professors are telling kids they have to start really small, or if it is simply a myth that is so old it has become reality to some.
The truth: plenty of people have gotten their first jobs in New York or at the network. If you're talented, the sky's the limit. You have absolutely nothing to lose by sending your tape to any station. Limiting yourself to markets 100-210 can only set you back two years if you truly have talent. You may eventually end up in a small market, but you may not.
The same applies for a second job. If you can turn a package with the best of them, once again, take your best shot.
The rules of broadcast journalism don't change from market to market. I've seen great products in tiny markets and horrible ones in large markets. The business is getting younger, as veterans see the handwriting on the wall and bail out.
When someone tells you you have to start small, don't believe it. When you're told that maybe you can make it to market 50 in your second job, fuhgeddaboudit.
Talent knows no age or experience. If you've got it, aim high.
If you've ever seen the Gene Hackman movie "Hoosiers" about a small town basketball team, you've gotten a subtle message about television news markets.
Toward the end of the film Hackman takes his team to the state championship. The day before the game he walks them around the court, takes out a tape measure and shows them that the basket is still ten feet high and a foul shot is still fifteen feet. It is the same, whether you're playing in a backyard or on the world's biggest stage.
The same holds true for television news. A package is a package, whether it is done in market 210 or at the network. In each case you still need good video, nat sound, strong writing and creative editing. Along with solid reporting skills, of course. Keep this in mind: I do EXACTLY the same stuff for the networks as I did when I was a rookie reporter.
So it makes me shake my head when so many young people think they have to start in a tiny market, or can only jump a certain number of markets for their second job. I'm not sure if college professors are telling kids they have to start really small, or if it is simply a myth that is so old it has become reality to some.
The truth: plenty of people have gotten their first jobs in New York or at the network. If you're talented, the sky's the limit. You have absolutely nothing to lose by sending your tape to any station. Limiting yourself to markets 100-210 can only set you back two years if you truly have talent. You may eventually end up in a small market, but you may not.
The same applies for a second job. If you can turn a package with the best of them, once again, take your best shot.
The rules of broadcast journalism don't change from market to market. I've seen great products in tiny markets and horrible ones in large markets. The business is getting younger, as veterans see the handwriting on the wall and bail out.
When someone tells you you have to start small, don't believe it. When you're told that maybe you can make it to market 50 in your second job, fuhgeddaboudit.
Talent knows no age or experience. If you've got it, aim high.
Wednesday, March 13, 2013
A job with no contract is worth its weight in gold
I'm seeing a trend recently. People who work in places that make them miserable get to the end of the contract and leave rather than sign another one to remain in the ninth circle of hell. They're taking a chance (though if they're talented, they're really not) that they'll land on their feet. Some move home while looking for work, others seek freelance gigs until they find something permanent.
And then I have a few clients working with no contract. They're more relaxed without the noose around their neck, they have more flexibility when it comes to moving on. They're not going to face a "sign another contract or get the hell out" moment. I think of a line from a girl I knew who grew up on a ranch. "You ride a horse longer with loose reins." In other words, people without a contract might actually stay longer.
Contracts make things very tough on both parties. On the talent side, it seriously can hamper your options when wanting to move on. On the management side, you can either get stuck with someone you later discover you really don't want, or end up with an angry employee because you won't let that person stay when the contract runs out.
I can understand having contracts for anchors. But signing reporters in their first or second job makes no sense. It didn't used to be this way, but for some reason companies now want to play hardball with kids right out of college.
That's why if you run into a job offer that comes without a a contract, you need to weigh it accordingly. It will give you unlimited options and incredible flexibility, not to mention the lack of stress.
And then I have a few clients working with no contract. They're more relaxed without the noose around their neck, they have more flexibility when it comes to moving on. They're not going to face a "sign another contract or get the hell out" moment. I think of a line from a girl I knew who grew up on a ranch. "You ride a horse longer with loose reins." In other words, people without a contract might actually stay longer.
Contracts make things very tough on both parties. On the talent side, it seriously can hamper your options when wanting to move on. On the management side, you can either get stuck with someone you later discover you really don't want, or end up with an angry employee because you won't let that person stay when the contract runs out.
I can understand having contracts for anchors. But signing reporters in their first or second job makes no sense. It didn't used to be this way, but for some reason companies now want to play hardball with kids right out of college.
That's why if you run into a job offer that comes without a a contract, you need to weigh it accordingly. It will give you unlimited options and incredible flexibility, not to mention the lack of stress.
Saturday, March 9, 2013
How to live comfortably on a lousy salary
Salaries aren't what they used to be. But in some cases they are. Reporters now are making the same money I made in 1986... but the cost of living is much higher. Back then my terrific apartment was $300, gas was a buck and a quarter, I could fly home for $125 round trip. Plus, most of you guys have student loans, I did not. College was cheap back in the dinosaur age.
Anyway, many of you are expected to survive on 1980s dollars in a 2013 world. I've had clients take on second jobs waiting tables, working in a department store, etc. Sometimes it's necessary, but sometimes the solution to your problem is in your mirror.
Nothing illustrated this more than the time I was on a network assignment, and, as usual, was rubbing elbows with the rookies in the market. I heard one young lady moaning about her lack of cash... as she sipped a cup of coffee from Starbucks. So, let me get this straight... you can't pay your rent, but you'll blow five bucks every day on a cup of coffee?
The point here is that many of you (and people in general) simply don't know how to shop or manage money. When you're barely getting by, you must find ways to work the system. This doesn't mean doing anything underhanded, but simply understanding how the system works... and how it can work to your advantage.
So in no particular order, here are a bunch of things you can do to get more bang for the buck:
-Brew your own coffee at home. Let's get that Starbucks thing out of the way right now. Someone recently did a study and figured out that Starbucks made $152 on each pound of coffee. You can buy a pound for about six bucks. Do the math.
-Avoid convenience stores and vending machines. You can pick up a soda or a chocolate bar for a buck and a half at the gas station, or you can fill your desk drawer with snacks and pack a cooler with cold drinks or a thermos with hot coffee and save about 75 percent of the cost. Convenience stores are called that for a reason... you're paying for the convenience.
-Ditch the debit cards and use credit cards to your advantage. When you use a debit card you get no bonuses. When you use affinity credit cards, your bonuses can pile up. But here's the key: you must, absolutely must, pay off your balance in full every month. I pay almost everything with a credit card. I have my utilities billed to a credit card. Groceries, gas, you name it. If I can charge it, I do. I have not paid a dime in credit card interest since 1985 because I always, always, always pay the full balance. In return I get free hotel rooms, a ton of restaurant gift cards, free airline tickets. I'm getting a rebate for paying bills and buying stuff I'd buy anyway. Last year on vacation we had five free hotel rooms and half a dozen free dinners at nice restaurants. All because I charge stuff.
-Best credit cards: Marriott, Discover, Chase Freedom, Southwest Airlines. As an example, this month Chase Freedom is giving you a five percent rebate on gas purchases. That's almost 20 cents a gallon. Discover is giving a five percent rebate on restaurant purchases.
-Don't buy a new car when you graduate from college or get the first job. You may want to start your life with everything new, but nothing sends a twentysomething into debt quicker than a big car payment.
-Look for chain store rewards and shop the sales. I'll use Walgreens as an example. Sign up and collect points for things you'd buy anyway. Let's say you like Colgate toothpaste and Walgreens has a sale this week and is offering points if you buy four tubes. Stock up, because you're going to use toothpaste eventually anyway and get a rebate. Shopping the sales for everyday stuff is crucial; you'll never run out, and you won't have to pay the regular price if you do.
-Clip coupons. Or download them. Doesn't matter. It's old fashioned and not very cool, but those coupons are basically cash. You'd pick up a dollar bill if you saw one in the street, right? A dollar off coupon on something you need is worth the same. (By the way, do a story with one of those local coupon queens and you might be amazed at how much you can save.)
-Cut the cell phone obsession. Yes, I know most of you will give up your phone when we pry it from your cold, dead fingers, but you're wasting a ton of money on these things. Let's say you're paying for internet service at your home anyway. Why are you surfing the web on your cell phone?
Recently we switched to Consumer Cellular. My wife and I both have iPhones but rarely use them to visit the Internet. Monthly bill for two phones? $42.50. Check out this company. There are others out there with better deals (and no contracts). Shop around. And if you're determined to stick with a major carrier, buy your accessories online. eBay has thousands of items at a fraction of the cost. Even the websites of the major carriers offer the same phones and accessories in the brick and mortar store for lower prices. (By the way, I bought both iPhones on Ebay for 60 bucks each. People upgrade often and put their old phones up for sale.)
Here's another deal about cell phones. Many carriers charge you a fee (around 20 bucks) when you upgrade your phone or renew your contract. I once said this to a person from AT&T. "Let me get this straight... you want to charge me for the privilege to remain a customer?" The woman laughed and waived the fee.
-Search for a cheaper Internet service provider, or lower your speed to get a better rate.
-Check the Internet for better prices. Something you see in the store might be available for half price on the net.
-Remember that everything is negotiable, even stuff outside the car dealership. And I do mean everything. (Especially furniture if you're setting up your first apartment.) Here's a common example: Hate your satellite bill? Threaten to switch to cable. Or vice versa. Trust me, they'd rather make 80 percent of your bill than 100 percent of nothing. Companies are fighting for every customer, and you as the consumer have the power. Always ask if they can do a little better, especially if it's a major purchase. Be willing to walk, the price usually comes down.
-Can't pay the rent or living in a lousy place? Consider a roommate. I know this is tough to do with the timing of contracts, but I've done it before and it worked fine.
-Before you buy anything, ask yourself this question... Do I need this, or do I want this? Very often the things we want aren't things we really need.
-Finally, start saving for retirement. Yeah, I know that seems ridiculous when it's forty years away, but you'll thank me when you have a comfortable retirement. (I'll probably be dead, but you'll thank me.) Even if you put away one percent, it will have four decades to grow. And if your company offers a 401k matching program, you're throwing away free money if you don't take advantage of it.
Anyway, many of you are expected to survive on 1980s dollars in a 2013 world. I've had clients take on second jobs waiting tables, working in a department store, etc. Sometimes it's necessary, but sometimes the solution to your problem is in your mirror.
Nothing illustrated this more than the time I was on a network assignment, and, as usual, was rubbing elbows with the rookies in the market. I heard one young lady moaning about her lack of cash... as she sipped a cup of coffee from Starbucks. So, let me get this straight... you can't pay your rent, but you'll blow five bucks every day on a cup of coffee?
The point here is that many of you (and people in general) simply don't know how to shop or manage money. When you're barely getting by, you must find ways to work the system. This doesn't mean doing anything underhanded, but simply understanding how the system works... and how it can work to your advantage.
So in no particular order, here are a bunch of things you can do to get more bang for the buck:
-Brew your own coffee at home. Let's get that Starbucks thing out of the way right now. Someone recently did a study and figured out that Starbucks made $152 on each pound of coffee. You can buy a pound for about six bucks. Do the math.
-Avoid convenience stores and vending machines. You can pick up a soda or a chocolate bar for a buck and a half at the gas station, or you can fill your desk drawer with snacks and pack a cooler with cold drinks or a thermos with hot coffee and save about 75 percent of the cost. Convenience stores are called that for a reason... you're paying for the convenience.
-Ditch the debit cards and use credit cards to your advantage. When you use a debit card you get no bonuses. When you use affinity credit cards, your bonuses can pile up. But here's the key: you must, absolutely must, pay off your balance in full every month. I pay almost everything with a credit card. I have my utilities billed to a credit card. Groceries, gas, you name it. If I can charge it, I do. I have not paid a dime in credit card interest since 1985 because I always, always, always pay the full balance. In return I get free hotel rooms, a ton of restaurant gift cards, free airline tickets. I'm getting a rebate for paying bills and buying stuff I'd buy anyway. Last year on vacation we had five free hotel rooms and half a dozen free dinners at nice restaurants. All because I charge stuff.
-Best credit cards: Marriott, Discover, Chase Freedom, Southwest Airlines. As an example, this month Chase Freedom is giving you a five percent rebate on gas purchases. That's almost 20 cents a gallon. Discover is giving a five percent rebate on restaurant purchases.
-Don't buy a new car when you graduate from college or get the first job. You may want to start your life with everything new, but nothing sends a twentysomething into debt quicker than a big car payment.
-Look for chain store rewards and shop the sales. I'll use Walgreens as an example. Sign up and collect points for things you'd buy anyway. Let's say you like Colgate toothpaste and Walgreens has a sale this week and is offering points if you buy four tubes. Stock up, because you're going to use toothpaste eventually anyway and get a rebate. Shopping the sales for everyday stuff is crucial; you'll never run out, and you won't have to pay the regular price if you do.
-Clip coupons. Or download them. Doesn't matter. It's old fashioned and not very cool, but those coupons are basically cash. You'd pick up a dollar bill if you saw one in the street, right? A dollar off coupon on something you need is worth the same. (By the way, do a story with one of those local coupon queens and you might be amazed at how much you can save.)
-Cut the cell phone obsession. Yes, I know most of you will give up your phone when we pry it from your cold, dead fingers, but you're wasting a ton of money on these things. Let's say you're paying for internet service at your home anyway. Why are you surfing the web on your cell phone?
Recently we switched to Consumer Cellular. My wife and I both have iPhones but rarely use them to visit the Internet. Monthly bill for two phones? $42.50. Check out this company. There are others out there with better deals (and no contracts). Shop around. And if you're determined to stick with a major carrier, buy your accessories online. eBay has thousands of items at a fraction of the cost. Even the websites of the major carriers offer the same phones and accessories in the brick and mortar store for lower prices. (By the way, I bought both iPhones on Ebay for 60 bucks each. People upgrade often and put their old phones up for sale.)
Here's another deal about cell phones. Many carriers charge you a fee (around 20 bucks) when you upgrade your phone or renew your contract. I once said this to a person from AT&T. "Let me get this straight... you want to charge me for the privilege to remain a customer?" The woman laughed and waived the fee.
-Search for a cheaper Internet service provider, or lower your speed to get a better rate.
-Check the Internet for better prices. Something you see in the store might be available for half price on the net.
-Remember that everything is negotiable, even stuff outside the car dealership. And I do mean everything. (Especially furniture if you're setting up your first apartment.) Here's a common example: Hate your satellite bill? Threaten to switch to cable. Or vice versa. Trust me, they'd rather make 80 percent of your bill than 100 percent of nothing. Companies are fighting for every customer, and you as the consumer have the power. Always ask if they can do a little better, especially if it's a major purchase. Be willing to walk, the price usually comes down.
-Can't pay the rent or living in a lousy place? Consider a roommate. I know this is tough to do with the timing of contracts, but I've done it before and it worked fine.
-Before you buy anything, ask yourself this question... Do I need this, or do I want this? Very often the things we want aren't things we really need.
-Finally, start saving for retirement. Yeah, I know that seems ridiculous when it's forty years away, but you'll thank me when you have a comfortable retirement. (I'll probably be dead, but you'll thank me.) Even if you put away one percent, it will have four decades to grow. And if your company offers a 401k matching program, you're throwing away free money if you don't take advantage of it.
Monday, March 4, 2013
Don't forget the nat sound underneath
Natural sound was always a major component of my stories. Well, almost always. When I was in my first job no one ever told me about it for the first few months. Then we got a new News Director who was a wonderful teacher and he walked into the edit booth one day and showed me how to use it.
But he didn't just teach me about nat sound breaks, in which you bring the nat sound up full without any voice track, but about running a low level of nat sound along with all your b-roll. That's one component that's often missing in the packages I see.
Here's what I'm seeing: packages that have nat sound breaks and sound bites, but when the voice track starts the nat sound level goes to zero. It's something glaring to veterans and managers.
So, a couple of things to remember:
-Just about all video has natural sound. Make sure you kick up the level so that the viewer can hear it without it overpowering your voice track or sound bite.
-Nat sound breaks don't always need to be abrupt, they can be faded. You can start natural sound before we see the matching video, like bringing it up under the sound bite. And you can fade it down, so that it flows smoothly.
Little stuff like that gets you noticed when you do it, but it also gets you noticed for the wrong reasons when you don't.
Remember, the world has sound. If you want to see how different things are when you forget it, put on a pair of headphones and go outside. You'll see what you, and the viewers, are missing.
But he didn't just teach me about nat sound breaks, in which you bring the nat sound up full without any voice track, but about running a low level of nat sound along with all your b-roll. That's one component that's often missing in the packages I see.
Here's what I'm seeing: packages that have nat sound breaks and sound bites, but when the voice track starts the nat sound level goes to zero. It's something glaring to veterans and managers.
So, a couple of things to remember:
-Just about all video has natural sound. Make sure you kick up the level so that the viewer can hear it without it overpowering your voice track or sound bite.
-Nat sound breaks don't always need to be abrupt, they can be faded. You can start natural sound before we see the matching video, like bringing it up under the sound bite. And you can fade it down, so that it flows smoothly.
Little stuff like that gets you noticed when you do it, but it also gets you noticed for the wrong reasons when you don't.
Remember, the world has sound. If you want to see how different things are when you forget it, put on a pair of headphones and go outside. You'll see what you, and the viewers, are missing.
Sunday, March 3, 2013
Six day book sale
Smashwords is discounting certain books 25 percent thru March 9th, which means you can pick up the digital copy of the 2013 edition of my Street Smarts book for five bucks off the cover price. This applies only to digital downloads ordered thru Smashwords.
Use coupon code REW25 at checkout.
https://www.smashwords.com/books/view/270493
Use coupon code REW25 at checkout.
https://www.smashwords.com/books/view/270493
Tuesday, February 26, 2013
Burned out at 23? It's not you, it's them.
I continue to be amazed at the emails and phone calls I get from people in their first jobs who wonder if they've made the right career choice. They wonder if they're "burned out" or if they're not cut out for the business. Some even start thinking about a career change.
Here's a math formula for those feeling that way. The size of the egos in a market is indirectly proportional to the size of the market.
In English: The smaller the market, the bigger the egos.
Over the years I've run into some massive egos, and there's a common denominator. Just about all of those people worked in small markets. Maybe it's because they've been stuck there for a long time, or they just don't have much talent. Doesn't matter. They turn into newsroom monsters, acting as though they worked for the network.
Here's a news flash: network people don't act that way.
Maybe you've never heard this one: "The bigger they are, the nicer they are." If the network people I work with are any indication, it's true. Oh sure, there was that one woman who loved ordering the crew around, but she didn't last, and isn't working for any network anymore.
Those who have reached the top, or a spot near it, are comfortable in their positions. They don't need to play mind games in the newsroom, don't stir the pot, don't act like dictators, and, most important, don't scare the hell out of the new kids. What some of you are seeing in small markets is simply insecurity; people who have such serious doubts about their own talents that they attack others. (Sometimes this manifests itself in bigger markets in which the station has been stuck in last place forever; bringing out the small market mentality.)
You can't possibly be burned out at 23, or even 25. But you can be emotionally battered when you work in a toxic environment. You probably still love what you do. You just don't love the people you have to work with. Fear not. Nicer people are waiting up the ladder.
Here's a math formula for those feeling that way. The size of the egos in a market is indirectly proportional to the size of the market.
In English: The smaller the market, the bigger the egos.
Over the years I've run into some massive egos, and there's a common denominator. Just about all of those people worked in small markets. Maybe it's because they've been stuck there for a long time, or they just don't have much talent. Doesn't matter. They turn into newsroom monsters, acting as though they worked for the network.
Here's a news flash: network people don't act that way.
Maybe you've never heard this one: "The bigger they are, the nicer they are." If the network people I work with are any indication, it's true. Oh sure, there was that one woman who loved ordering the crew around, but she didn't last, and isn't working for any network anymore.
Those who have reached the top, or a spot near it, are comfortable in their positions. They don't need to play mind games in the newsroom, don't stir the pot, don't act like dictators, and, most important, don't scare the hell out of the new kids. What some of you are seeing in small markets is simply insecurity; people who have such serious doubts about their own talents that they attack others. (Sometimes this manifests itself in bigger markets in which the station has been stuck in last place forever; bringing out the small market mentality.)
You can't possibly be burned out at 23, or even 25. But you can be emotionally battered when you work in a toxic environment. You probably still love what you do. You just don't love the people you have to work with. Fear not. Nicer people are waiting up the ladder.
Thursday, February 21, 2013
Okay, one man bands, help is finally here.
I've had a lot of good response to both of my broadcast journalism books, but, as I've mentioned many times, I've never shot a frame of video. There needed to be a guide for those who find themselves shooting their own stuff.
Finally, and it's about damn time, someone has written a such a book.
Lucky for you, the author is a photog who shot wonderful stuff for me years ago, so I can vouch for him. The shooter is Rick Portier, one of the smartest photogs I've ever known, and he's put together a simple, easy to understand pocket checklist to help you navigate the electronic minefield that comes with being handed a camera and tossed into the deep end of the pool. If you've ever returned to the station with video out of focus, a standup out of frame, an interview subject lit like the Phantom of the Opera, b-roll in a lovely shade of blue, no audio, or video grainy enough to pass for a 1950's home movie, you need this book.
Rick has formatted it into a digital version just like my own pocket checklist. (You'll notice the covers are similar.) It's designed to be downloaded to a phone, iPad or whatever you carry with you so that you'll always have it on hand. And the price is right: a wealth of knowledge for five bucks.
You can pick up Rick's book at Amazon and Smashwords right now. Barnes & Noble's Nook version coming shortly. Here are the links to the Amazon version and one available on Smashwords, which offers downloads to practically every device out there.
http://www.smashwords.com/books/view/287433
Finally, and it's about damn time, someone has written a such a book.
Lucky for you, the author is a photog who shot wonderful stuff for me years ago, so I can vouch for him. The shooter is Rick Portier, one of the smartest photogs I've ever known, and he's put together a simple, easy to understand pocket checklist to help you navigate the electronic minefield that comes with being handed a camera and tossed into the deep end of the pool. If you've ever returned to the station with video out of focus, a standup out of frame, an interview subject lit like the Phantom of the Opera, b-roll in a lovely shade of blue, no audio, or video grainy enough to pass for a 1950's home movie, you need this book.
Rick has formatted it into a digital version just like my own pocket checklist. (You'll notice the covers are similar.) It's designed to be downloaded to a phone, iPad or whatever you carry with you so that you'll always have it on hand. And the price is right: a wealth of knowledge for five bucks.
You can pick up Rick's book at Amazon and Smashwords right now. Barnes & Noble's Nook version coming shortly. Here are the links to the Amazon version and one available on Smashwords, which offers downloads to practically every device out there.
http://www.smashwords.com/books/view/287433
Coming up, right after the break....
Help is coming for one-man-bands. Not kidding.
Stay tuned.
(How's that for a tease, you sweeps producers?)
Stay tuned.
(How's that for a tease, you sweeps producers?)
Wednesday, February 20, 2013
Always have an "escape tape"
It happens at the end of every sweeps month. Pink slips fly as the ratings come out. Or contracts end and are not renewed. Yes, when the calendar turns, there will be people without jobs.
And there will be people who give their two week notice. But often the two weeks becomes one minute.
Some stations have a "get the hell out" policy. You're not working here anymore? Out the door. Right. Now.
I've seen people escorted out of stations like criminals. I have one friend who was shown the door and not even allowed to clean out his desk. The contents were dumped in boxes and delivered to his apartment. Management can get pretty heartless sometimes. (Some of you are asking, "Sometimes?")
And when this happens, lots of people are left out in the cold without resume tape material. You're not allowed in the building anymore, but that's where all your best work is.
Hence, the "escape tape."
People who are shut out end up having to call friends still working at the station in an attempt to get copies of their work. Management knows this, and often keeps a threatening eye out for it. Your friends may take the risk, or not.
Bottom line, don't let this happen to you.
Get in the habit of making copies of your work and taking them out of the building. Do it once a week. If you knock out an absolutely killer package or anchor a great newscast, make a copy that day. You can always find someplace to edit everything later. But the key is to get your copies home where you have access to them should you find the station door locked.
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And there will be people who give their two week notice. But often the two weeks becomes one minute.
Some stations have a "get the hell out" policy. You're not working here anymore? Out the door. Right. Now.
I've seen people escorted out of stations like criminals. I have one friend who was shown the door and not even allowed to clean out his desk. The contents were dumped in boxes and delivered to his apartment. Management can get pretty heartless sometimes. (Some of you are asking, "Sometimes?")
And when this happens, lots of people are left out in the cold without resume tape material. You're not allowed in the building anymore, but that's where all your best work is.
Hence, the "escape tape."
People who are shut out end up having to call friends still working at the station in an attempt to get copies of their work. Management knows this, and often keeps a threatening eye out for it. Your friends may take the risk, or not.
Bottom line, don't let this happen to you.
Get in the habit of making copies of your work and taking them out of the building. Do it once a week. If you knock out an absolutely killer package or anchor a great newscast, make a copy that day. You can always find someplace to edit everything later. But the key is to get your copies home where you have access to them should you find the station door locked.
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Monday, February 18, 2013
The real pros are polite
While covering Carnival Cruise Line's Voyage of the Damned for three days last week we had a lot of down time waiting for the Flying Dutchman to reach port. Throw about fifty or so network veterans into a small space, and you hear some interesting conversations.
One of the topics centered around that fact that no one got into an argument about anything. We're all fighting for the great interview, the "get" that will make our employer proud, but no one was stepping on toes. I waited quietly for an interview as another reporter finished up, then another reporter waited quietly for me to wrap up. When fifteen or so cameras were crammed together, there were no flying elbows. Reporters crouched down under lenses or sat on the ground. One white balance for everyone, one mike check for everyone.
Then we talked about how it used to be when we were just getting into the business. Shoving, scrambling, jamming a camera into a small space. But back then we were cowboys, and have gotten too old for that stuff.
It's also impolite.
We realize we all have a job to do, and it's a lot easier to do it when you treat the people next to you as the competition rather than the enemy. Your battery dies? Someone will lend you a good one. Mike falls off the stand? Another reporter will pick it up for you. Someone else's light stand about to fall over? You grab it and hold it until they're done. Because eventually you'll need a favor as well.
Those scenes in movies with reporters shoving each other like rugby players in a scrum are from a bygone era.
Be polite. Your job will be much easier if you're friendly to the competition.
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One of the topics centered around that fact that no one got into an argument about anything. We're all fighting for the great interview, the "get" that will make our employer proud, but no one was stepping on toes. I waited quietly for an interview as another reporter finished up, then another reporter waited quietly for me to wrap up. When fifteen or so cameras were crammed together, there were no flying elbows. Reporters crouched down under lenses or sat on the ground. One white balance for everyone, one mike check for everyone.
Then we talked about how it used to be when we were just getting into the business. Shoving, scrambling, jamming a camera into a small space. But back then we were cowboys, and have gotten too old for that stuff.
It's also impolite.
We realize we all have a job to do, and it's a lot easier to do it when you treat the people next to you as the competition rather than the enemy. Your battery dies? Someone will lend you a good one. Mike falls off the stand? Another reporter will pick it up for you. Someone else's light stand about to fall over? You grab it and hold it until they're done. Because eventually you'll need a favor as well.
Those scenes in movies with reporters shoving each other like rugby players in a scrum are from a bygone era.
Be polite. Your job will be much easier if you're friendly to the competition.
-
Monday, February 11, 2013
Staying on the back burner
I hear this one all the time from clients. News Director calls, loves the tape. Tells client he's going to make a decision n a few weeks. A few weeks go by. ND says the decision is coming soon. Weeks become months. Job remains open. Client gets frustrated and wants to move on.
And that's the last thing you should do.
If you've made it to the short list and a News Director keeps stringing you along like this, you need to stay in the back of his mind. The hiring may have been delayed, the GM can't make a decision, corporate wants approval, whatever. Just because that two week decision is stretching into several months doesn't mean you should give up because it may be out of the ND's hand.
So you need to stay in the back of his mind. Touch base every month or so by sending a link to a great package you've done or an entirely new tape with a few good stories. He probably hasn't forgotten you, but this will ensure that he doesn't.
One client got hired more than a year after sending the first tape by sending periodic updates. Trust me, it pays to stay in touch.
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And that's the last thing you should do.
If you've made it to the short list and a News Director keeps stringing you along like this, you need to stay in the back of his mind. The hiring may have been delayed, the GM can't make a decision, corporate wants approval, whatever. Just because that two week decision is stretching into several months doesn't mean you should give up because it may be out of the ND's hand.
So you need to stay in the back of his mind. Touch base every month or so by sending a link to a great package you've done or an entirely new tape with a few good stories. He probably hasn't forgotten you, but this will ensure that he doesn't.
One client got hired more than a year after sending the first tape by sending periodic updates. Trust me, it pays to stay in touch.
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Wednesday, February 6, 2013
The kid point of view
When I travel a long way by car I always have those little single serving boxes of raisins with me. They're a good snack and can keep your energy up if you're stuck on a stakeout or have a really long drive ahead of you.
Anyway, the last time I opened one up I noticed how small it looked in my hand. Sure, it was probably downsized, but it made me think back to grade school when my mom always put one of these in my lunchbox.
It wasn't that much bigger back then. My hand was smaller.
Which brings us to another pet peeve of mine, shooting stories about small children. Wow, I just love video of the tops of kids' heads. Or that interview of the child craning his neck, staring straight up while he gives an answer to a question.
The solution to shooting a good kid story: kneel down.
If you want to show the viewer what the world looks like from a five year old's point of view, you can't do it standing up with the camera on your shoulder. Crouch down, kneel, whatever. Get the camera down to the eye level of the child. Make the teacher look like a giant.
You see parents do it all the time. They crouch down or kneel to talk to their small children. You should do the same. To give the adult viewer the perspective of a small child, you have to get down to the kid's level with the camera.
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Anyway, the last time I opened one up I noticed how small it looked in my hand. Sure, it was probably downsized, but it made me think back to grade school when my mom always put one of these in my lunchbox.
It wasn't that much bigger back then. My hand was smaller.
Which brings us to another pet peeve of mine, shooting stories about small children. Wow, I just love video of the tops of kids' heads. Or that interview of the child craning his neck, staring straight up while he gives an answer to a question.
The solution to shooting a good kid story: kneel down.
If you want to show the viewer what the world looks like from a five year old's point of view, you can't do it standing up with the camera on your shoulder. Crouch down, kneel, whatever. Get the camera down to the eye level of the child. Make the teacher look like a giant.
You see parents do it all the time. They crouch down or kneel to talk to their small children. You should do the same. To give the adult viewer the perspective of a small child, you have to get down to the kid's level with the camera.
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Monday, February 4, 2013
Happiness is the new black (or, why you should stop obsessing over market size)
I think we took the car keys away from Mom when she turned eighty. Anyway, she didn't argue, but missed shopping on her own. Until she discovered television shopping networks. Mom was a trusting soul and believed the hucksters on the tube, but every once in awhile she'd buy something that would fall apart and have to be sent back. The conversation would always go something like this:
Mom: "I can't believe this fell apart. It's got a designer label."
Me: "Ma, the label next to it says Made in China."
Meanwhile, some markets and stations could be made in China.
A market size is just a number. It's a label, like one from a designer. You might think the number stands for a list of specifics, but every situation is different. Just because a station sits in a certain size market doesn't mean it's a good situation for you. The product could be awful, the ND could be a cylon, the company could throw nickels around like manhole covers, the city could be a dump.
Yet most of you look at the magical number first, before anything else. You'll live in God-awful places and work for demonic managers rather than take a job in a market with a slightly larger number.
Because, God forbid, what would people think? "He turned down a job at market 40 and took one in market 50! He must be an idiot!"
Here's a news flash: what other people think of your decisions or career has no effect on your happiness. The market size number where you're working will not make you happy. What will leave you feeling contented is a challenging job in a nice station situated in a great place to live.
I've had several clients over the years who would get good offers from solid stations, but if those stations were in markets with a number that wasn't appealing, they would hesitate. It would always be the one thing that seemed to trump all.
Market size is a number, that's all. It doesn't guarantee quality, doesn't mean your work will improve, and, most of all, doesn't insure you'll be happy. You don't want to end up with a "Made in China" lifestyle simply because of a label.
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Mom: "I can't believe this fell apart. It's got a designer label."
Me: "Ma, the label next to it says Made in China."
Meanwhile, some markets and stations could be made in China.
A market size is just a number. It's a label, like one from a designer. You might think the number stands for a list of specifics, but every situation is different. Just because a station sits in a certain size market doesn't mean it's a good situation for you. The product could be awful, the ND could be a cylon, the company could throw nickels around like manhole covers, the city could be a dump.
Yet most of you look at the magical number first, before anything else. You'll live in God-awful places and work for demonic managers rather than take a job in a market with a slightly larger number.
Because, God forbid, what would people think? "He turned down a job at market 40 and took one in market 50! He must be an idiot!"
Here's a news flash: what other people think of your decisions or career has no effect on your happiness. The market size number where you're working will not make you happy. What will leave you feeling contented is a challenging job in a nice station situated in a great place to live.
I've had several clients over the years who would get good offers from solid stations, but if those stations were in markets with a number that wasn't appealing, they would hesitate. It would always be the one thing that seemed to trump all.
Market size is a number, that's all. It doesn't guarantee quality, doesn't mean your work will improve, and, most of all, doesn't insure you'll be happy. You don't want to end up with a "Made in China" lifestyle simply because of a label.
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