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Scoring your first newsroom position is exciting, but managing your finances can be a challenge. Take a look at our interactive map provided by ziprecruiter.com that details salaries based on location.
Her first job was at WEHT-ABC in Evansville, Indiana.
A&E Network's hottest series, Court Cam, is back for a second season of stunning and emotional courtroom moments caught on camera. The series gives viewers a comprehensive look at how courtroom drama unfolds from frightening outbursts, crazed defendants, and furious judges. Host and executive producer Dan Abrams gives the show more depth and insight by conducting interviews with witnesses, judges, bystanders, and victims while providing access to courtroom moments.
In its first season, the show was the #1 cable show on Thursday nights among Adults 25-54. Across its first season, the series delivered more than 2 million total viewers per episode and was A&E’s #1 new series in 2019.
We spoke with Abrams who gave us details on how he uses his journalism background to ensure balance on the show and behind-the-scenes particulars on why Court Cam may be the best teacher for legal journalists.
Who won the final 2020 presidential debate? Moderator Kristen Welker. Welker managed to maintain the integrity of the process and give the American people a real exchange of views as opposed to 90 minutes of interruptions. However, it was her question about 'the talk' that stood out. 'The talk' is a conversation a number of African-American parents are compelled to give their children concerning how to conduct themselves if they have an interaction with law enforcement. Yes, questions dealing with race during political debates are not new.
Yet up until this point, this specific question had not been asked and the seriousness and authenticity of the line of questioning had not been felt. This is just one example of why diversity in the newsroom is so important.
As we continue to make strides in our profession, we learn from the examples placed before us. Here are 4 tips from Welker's debate performance that all journalists can use right now.
1. Do your research - Welker prepared a list of excellent questions with ranging subject matter.
2. Listen - Welker asked the correct follow-up questions that continued the conversation and pressed the candidates for truthful and straightforward answers.
3. Know your Facts - When candidates were aloof with answering, Welker pressed them by highlighting facts and up-to-date information. This let the candidates know that she was informed about the subject matter and forced more detailed answers.
4. Command your Space - There's a give and take aspect of debates that if not handled properly can undermine the entire process. Welker remained stern and professional throughout the entire process. She commanded the space as well as the respect of the candidates.
USA Network has set its powerhouse retail panel for the new, first-of-its-kind shoppable LIVE competition series “America’s Big Deal” from world renowned inventor and entrepreneur Joy Mangano.
Several of America’s biggest retail giants, QVC and HSN, Lowe’s and Macy’s, will join forces like never before to be a part of this groundbreaking series that has a mission to lift up the nation’s greatest inventors and small businesses by inviting them to sell their products live on-air to home viewers through One Platform Commerce @ NBCU. Each week competitors will take the stage to pitch their product to America and the person with the highest dollar sales at the end of the show will win the chance to strike a life-changing deal with one of the three retail giants.
We spoke with Emmy Award-nominated journalist Scott Evans who's hosting the new season about why this series stands out from its competitors.
She is a member of Delta Sigma Theta Sorority, inc.
In the Fight Against Systemic Racism, Michael Jordan and Jordan Brand Announce $1 Million Donation to Ida B. Wells Society to Help Diversify Newsrooms
Internships are an invaluable way to learn the life of a journalist. If executed strategically, an internship may also lead to your first job. The experience you gain and the contacts you make will get you that much needed boost to reaching your goals. Not only is this your opportunity to do the job at a limited capacity it’s also your chance to ask specific questions and see the newsroom in its entirety. If you learn how the newsroom functions as quickly as possible, your career will flourish. Take the opportunity to learn the duties of each person at the station for a complete understanding of how the newsroom operates. Sit, take notes, ask questions, absorb.
This means, if you’re logging tapes at the assignment desk be sure to have a conversation with the stringer that captured the video. The district police should know you by name from your daily beat check calls in which you also engage them in small talk. You’ve formed a relationship with the technical director after requesting station cameras are brought up at a specific time. You’ve sat in the control room and have a basic understanding of how it and the technical team function. You’ve listened as the satellite coordinator held two conversations at one time while turning in your ‘feed’ request. You’ve written teases and scripts for producers and you’ve edited video. You’ve participated in morning and afternoon meetings and you’ve scheduled an individual meeting with the news director.
After you’ve gained a better understanding of each position you can focus on what interests you. One thing you know for sure, if it's a position in the newsroom outside from engineers, directors, and coordinators, you will have to write. If you’re not practicing your writing every day, start now. And by writing I don’t mean just rewriting a newspaper article to broadcast style. That’s just step one. I mean rewriting that same article a minimum of three different ways.
Say you’ve just landed a job as the new staff writer or producer. Great! You get your copy and it's a reader. You knock it out. Then video comes in, so you’ll need to rewrite it to the video and
make it shorter. Cool. You get that done. Now the executive producer wants to use it for a teaser so you now need to rewrite it again and get it down to maybe 15 seconds. That’s a prime example of one story being written three ways. Breaking down a reporter’s package into a VO/SOT and a reader are good ways to practice because that will be a part of your daily job function.
I cannot stress enough the importance of mastering the skill of writing. Let's say you’re working the morning show and you were assigned a story that was done at 6:00AM and 6:30AM. Nothing will irritate your executive producer more than you simply copying and pasting the same script into the next show. You will get called out for it and it will not be good. You also want to be mindful of not getting a reputation of being lazy and undependable. Even as an intern. The moral of the story is you need to practice your writing every, single, day.
I completed an internship every summer of my undergrad years and even while earning my master’s degree. Before leaving the station for the day, I would print a copy of the entire newscast. I would then compare what aired to how I’d written the story. Having scripts is also a good way to practice your speech for those looking for on-air positions. Record the newscast and record yourself reading the script. Get comfortable with the sound of your own voice. Then compare your delivery to the newscast.
I was the assignment editor throughout my journalism career which means information on breaking news, updates, daily assignments, and changes that occurred throughout the day were all coming from me. I tried to write all of my emails, notes, messages, and any form of communication relating to news of the day in broadcast form. When I got information from news affairs, I’d write it out as close to a script as possible because I knew that would help my coworkers especially in breaking news situations. I was pulled to the side on several occasions by coworkers at every station I’ve worked for thanking me for what I thought was simply doing my job.
As an intern, you’ll more than likely be assigned a job and an area. Master that and grow. If you’re on the assignment desk and you want to write, ask a writer or producer if you can sit with them after you’ve completed your work. While I was working in Chicago, we had an intern on the assignment desk that wanted to be a reporter. She told everyone who would listen about her goal as she should have. The problem was she didn’t want to do anything other than field produce so she could make her audition tape. When she was asked to log tapes, make beat calls, review press releases (all things a reporter will do) she balked and did the bare minimum to complete the task. In short, she was not allowed to complete her internship. I don’t know what happened to her or her career.
It should be a goal of yours as an intern to get to the station early and stay late. Your goal is to
absorb everything that you can. If you’re with a reporter when they’re writing you should be writing. Ask questions afterwards. If you're with a photographer, you should be taking notes while they’re editing. Ask questions afterwards. Notice how you’re first observing, trying things on your own, then asking questions. Remember these people are at work and have a job and a deadline. Do not disturb their work and give them space especially in a breaking news situation.
In breaking news, you should literally be a fly on the wall, ready to assist when asked. You will be told what to do directly in that situation. Your job is to do it quickly and correctly. Be present and persistent but not pesky. Be observant. Read the room. A lot of times you will learn more simply by watching and listening.
At the end of your internship you should literally know everyone who works your shift from stringers to technical directors to producers to the news director. You should have formed relationships and have at least one contact that you can use as a reference. If you don’t, you did it wrong.
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If you think being an anchor or a reporter is only about being good looking, you are sorely mistaken. To take a quote from NBC - 5 Chicago Reporter Michelle Relerford who's featured in my book #JOURNOLIFE, “This is not a Miss America pageant...this is work. You have to be very quick. You have to be very smart. you have to be able to grasp a lot of information in a short amount of time, then communicate it to people. You have to know what you're talking about and get it right.”
Journalists develop a thick skin simply due to the nature of the job — newsroom people tend to be very direct and have little to no regard for feelings, no matter who they belong to. But on-camera positions are vulnerable to the eyes and ears of the world and people can be
cruel. Critics will make comments based on factors beyond the scope of your job performance and they can become very personal. People will criticize and nitpick everything you say and do on down to how you do it. And this is before you check your social media accounts.
Is this right? No. Is it fair? No. Will it continue to happen? Yes.
Your best defense is to work hard and master your craft. Being a general assignment reporter means you're covering a different subject matter daily. The local election one day, city budget,
breaking news, crime, new store opening, human interest, the list goes on. One essential function of your job is understanding how the government works. You cannot get around that
and this is true for producers, assignment editors, and photographers as well. You should be well versed on the functions of city departments and who runs them, jurisdictions, and
neighborhood border lines, what issues affect which county, zoning, and its history. Why is a grocery store opening news in one neighborhood and not another? How do you read city
budgets and most importantly can you translate the numbers to show how they affect real lives?
Doing your research is more than a few Google searches. Taking a public official's word for it simply because they said it is not doing your job. Fact-checking, asking the right questions and
the follow-up questions to tell a complete and thorough story is. There was a time when a minimum of three different sources were needed for a story. That’s not the case anymore but you’d better be able to back up your story.
Anchors who come in to work 30 minutes before the newscast typically don’t last long. Being the face of the newscast is a big deal. People trust you. They believe what you say. So, what you say should be correct and it's your responsibility to ensure that it is. Good anchors write as much as their producers and editors. They know the story they’re telling and can adlib if needed at the drop of a dime. They can deliver the news with compassion and ask hard-hitting questions. Because they’re a part of the community — as all journalists should be — they know who to call in live breaking situations and can talk with in-depth knowledge about nearly any facet of city operations.
Be diligent in your research, learn the city where you live and be a part of it. Take your profession seriously and put your best foot forward every day. And if by chance you’re easy on the eyes, well that’s just icing on the cake.
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Vh1’s popular reality series Basketball Wives enters its ninth season with familiar faces including Executive Producer Shaunie O’Neal, Evelyn Lozada, Jackie Christie, Malaysia Pargo, and Jennifer Williams but its newest addition is already turning heads. Liza Morales who shares children with former Los Angeles Lakers star Lamar Odom is the newest cast member of the hit series that regularly draws over a million viewers per episode.
I often feel like reality television misses the mark on the positive images and story lines it has the power to bring to the masses. Most reality television fans are unaware that many of the featured ‘wives’ are college educated, business owners, and entrepreneurs in their own rights often outside of their famous spouses. Unfortunately, this aspect is often overlooked and replaced with bickering, fights and drink throwing.
Because our platform is centered around the field of journalism, we took the opportunity to speak with Morales about her - who she is and what she’s accomplished outside of reality television and her famous ex.
We wanted to get to know the 41-year-old separate from the realm of tabloid gossip and social media banter. Who is Liza Morales? Find out here.
Wendy Raquel Robinson and Hosea Chanchez tell us why a reboot of the hit series 'The Game' was needed and why old and new fans won't be disappointed.
A recent headline in the Atlantic newspapers claiming US President Donald Trump referred to Americans who died in war as 'losers and 'suckers' has caused heavy debate on the subject of anonymous sources and their protections. Should a journalist's source be revealed?
Journalistic standards as outlined by the Associated Press and in full detail in the article below make the procedures and guidelines very clear. Seasoned journalists as well as newcomers will be well served to review the instructions and adhere to the guidance.
Transparency is critical to our credibility with the public and our subscribers. Whenever possible, we pursue information on the record. When a newsmaker insists on background or off-the-record ground rules, we must adhere to a strict set of guidelines, enforced by AP news managers.
Under AP's rules, material from anonymous sources may be used only if:
The material is information and not opinion or speculation, and is vital to the news report.
The information is not available except under the conditions of anonymity imposed by the source.
The source is reliable, and in a position to have accurate information.Reporters who intend to use material from anonymous sources must get approval from their news manager before sending the story to the desk. The manager is responsible for vetting the material and making sure it meets AP guidelines. The manager must know the identity of the source, and is obligated, like the reporter, to keep the source's identity confidential. Only after they are assured that the source material has been vetted should editors allow it to be transmitted.
Reporters should proceed with interviews on the assumption they are on the record. If the source wants to set conditions, these should be negotiated at the start of the interview. At the end of the interview, the reporter should try once again to move some or all of the information back on the record.
Before agreeing to use anonymous source material, the reporter should ask how the source knows the information is accurate, ensuring that the source has direct knowledge. Reporters may not agree to a source's request that AP not pursue additional comment or information.
The AP routinely seeks and requires more than one source. Stories should be held while attempts are made to reach additional sources for confirmation or elaboration. In rare cases, one source will be sufficient – when material comes from an authoritative figure who provides information so detailed that there is no question of its accuracy.
We must explain in the story why the source requested anonymity. And, when it’s relevant, we must describe the source's motive for disclosing the information. If the story hinges on documents, as opposed to interviews, the reporter must describe how the documents were obtained, at least to the extent possible.
The story also must provide attribution that establishes the source's credibility; simply quoting "a source" is not allowed. We should be as descriptive as possible: "according to top White House aides" or "a senior official in the British Foreign Office." The description of a source must never be altered without consulting the reporter.
We must not say that a person declined comment when he or she is already quoted anonymously. And we should not attribute information to anonymous sources when it is obvious or well known. We should just state the information as fact.
Stories that use anonymous sources must carry a reporter's byline. If a reporter other than the bylined staffer contributes anonymous material to a story, that reporter should be given credit as a contributor to the story.
And all complaints and questions about the authenticity or veracity of anonymous material – from inside or outside the AP – must be promptly brought to the news manager's attention.
Not everyone understands “off the record” or “on background” to mean the same things. Before any interview in which any degree of anonymity is expected, there should be a discussion in which the ground rules are set explicitly.
These are the AP’s definitions:
On the record. The information can be used with no caveats, quoting the source by name.
Off the record. The information cannot be used for publication.
Background. The information can be published but only under conditions negotiated with the source. Generally, the sources do not want their names published but will agree to a description of their position. AP reporters should object vigorously when a source wants to brief a group of reporters on background and try to persuade the source to put the briefing on the record. These background briefings have become routine in many venues, especially with government officials.
Deep background. The information can be used but without attribution. The source does not want to be identified in any way, even on condition of anonymity.
In general, information obtained under any of these circumstances can be pursued with other sources to be placed on the record.
ANONYMOUS SOURCES IN MATERIAL FROM OTHER NEWS SOURCES:
Reports from other news organizations based on anonymous sources require the most careful scrutiny when we consider them for our report.
AP's basic rules for anonymous-source material apply to pickups as they do in our own reporting: The material must be factual and obtainable no other way. The story must be truly significant and newsworthy. Use of sourced material must be authorized by a manager. The story must be balanced, and comment must be sought.
Further, before picking up such a story we must make a bona fide effort to get it on the record, or, at a minimum, confirm it through our own sources. We shouldn't hesitate to hold the story if we have any doubts. If the source material is ultimately used, it must be attributed to the originating member and note their description of their sources.
CHIP SOMODEVILLA / GETTY
Starting a blog for a fiercely private person is no small task. As I spoke at college campuses and various business and nonprofit organizations, it became clear that sharing my story will
encourage others to pursue their dreams. JOURNOLIFE is here to embolden you to find your path as you navigate the world of broadcast journalism. Here you will find the tools and tricks of the trade to be successful. It is my hope that you will learn the lessons and adhere to the mishaps provided so you can bypass them on your journey.
My path has not been easy; and it certainly hasn’t been straight and narrow. There has been a number of ups and downs, course changes, and huge disappointments. But what holds true and steady is not only a strong faith and belief in God but an unbreakable work ethic, and the ability to adjust and adapt to win. I must admit that yes, I've had to change my plans. That was the hardest thing to accept for me. Switching my career goals meant a change in what I expected my life to look like. My perception of success was wrapped in this singular goal and reimagining that was a process that I wasn’t ready to reformulate for a long time.
I’d wanted to be an on-camera reporter for as long as I can remember. Even with a speech impediment I was determined to pursue my goals. I exhausted all avenues to get there. I remember driving to various news stations to meet news directors. No appointments. Just me, my resume, copies of my tape, and charisma. One of the five news directors had the time to meet with me and after two hours decided I wasn’t a fit. I literally cried the entire three-hour drive home. Then it dawned on me that in that very same moment in time, I was consistently gaining accolades and being promoted in my position as assignment editor. I couldn’t see my success because it didn’t look like what I wanted it to look like. My prior disposition was to never have a plan B because that meant 100% wasn’t being given to plan A. When failure is not an option you find a way through it all.
After that experience, I reflected on everything I’d accomplished in my life leading up to that point and the wins astronomically outweighed the losses. Why couldn’t I let go of having this
position? Mainly because it had been my dream my entire life and everything I’d done professionally up to that point was to achieve that goal.
Shortly after the news director debacle, I was discussing a story with a reporter when I realized I’d been looking at this all wrong. Ultimately, my goal was to tell stories. Did I need to be on camera to do that? No. But like so many others, that’s the position I saw the most on television so I focused on that because it made sense. Meanwhile, the entire time, I was literally one of the people in the newsroom who decided what stories were told and maybe most importantly how they were told. How’s that for ironic?
I look forward to sharing more of my story and experiences with you through weekly updates right here on JOURNOLIFE.com. Enjoy!
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