Book Description Basic TV Reporting is a practical, easy to read guide to the skills needed to become a successful television reporter - arguably the most demanding and glamorous job in journalism. The book describes the role in detail, how reporters fit into the editorial team and where their duties begin and end. Show and hide more
Table of Contents
Cover Half Title Title Page Copyright Page Table of Contents Acknowledgements Introduction SO YOU WANT TO BE ON TELEVISION WHAT A REPORTER DOES Origins of television journalism Reporting responsibilities A PLACE ON THE TAXI RANK The predictability of news In the field Editing your report WHAT MAKES A GOOD REPORTER Persistence … and sensitivity A love of language An eye for illustration THE REPORTER AS MANAGER Reporter-camera operator relationship Meeting deadlines THINKING ABOUT NEWS Opening ‘The Gate’ Differences in news values THE NEWS MACHINE PLANNING FUTURE COVERAGE Foreign news ASSIGNMENT PLANNING The daily diary The assignments desk SOURCES The agencies Making contact Keeping the list MAKING USE OF YOUR CONTACTS The double-check Briefings and lobbies Uses and abuses RESISTING POLITICAL PRESSURES Defending against ‘the spin’ Video news releases GETTING STARTED SEEING HOW IT’S DONE (1) Stage 1: Planning and assignments Stage 2: On the road Stage 3: Picture editing WATCHING BRIEF (2) Stage 4: Graphics Stage 5: The newsroom Stage 6: Studio and production Stage 7: Practice MAKE THE MOST OF YOUR TALENT Style and ‘presence’ The need for training DRESSING THE PART (1) Keeping the audience’s attention Programme dress rules DRESSING THE PART (2) Accessories Hairstyles Beards Cosmetics VOICE PRODUCTION The wish to communicate Pronunciation SPEECH CLARITY No smoking rules Conquering stage fright A FRIEND IN THE AUDIENCE Be logical Develop a rapport Learn from others WRITING TECHNIQUE HOW TO WRITE FOR TELEVISION Keep it simple Write as you speak Be logical Avoid stupidities GOOD LANGUAGE Slang Eponyms Clichés Acronyms AVOIDING UNNECESSARY OFFENCE Sexism Racism Ageism Political labels AIMING FOR COMPREHENSION Keep in touch Signposting Facts and figures WRITING TO PICTURES Golden rules of writing for television USING THE SHOT-LIST Common errors WORDS BEFORE PICTURES ‘Wild-track’ commentary Leave room for the ‘sound-bites’ Influence of new technology COVERING A NEWS ITEM INTRODUCING THE NEWS CAMERA Staff versus freelance Camera crew numbers Single crewing Video journalists CAMERACREW WHO’S WHO Camera operators Sound recordists Engineers Electricians PART OF THE TEAM Discuss content Sensitivities CAMERA AND SOUND EQUIPMENT Electronic news gathering Enter the camcorder The advantage of ENG SOUND Personal microphone Directional microphone Stick microphone Radio microphone Other microphone types BASIC REPORTING SKILLS STAND-UPPERS The right backgrounds Centre-screen or to one side? MEMORYAIDS How to remember the words Alternatives Electronic prompting Miniature tape recorders THE ART OF INTERVIEWING Preparation Questions INTERVIEW PREPARATION Submitting questions Tone INTERVIEW TECHNIQUE Putting the questions Supplementaries Cliché questions INTERVIEW TYPES Set-piece interviews Doorstepping EYEWITNESSES AND OTHERS Vox pops News conferences CUTAWAY QUESTIONS Noddies Interview editing THE REPORTER AS PRODUCER CONSTRUCTING A PACKAGE (1) Research Planning the shape The ‘recce’ Knowing what to shoot Editorial partnership Accompany the crew CONSTRUCTING A PACKAGE (2) The grammar of pictures Picture composition Sound WHATTOKEEPIN,WHAT TO LEAVE OUT Viewing the rushes Interview extracts (sound-bites) YOUR PLACE IN THE PROGRAMME Writing the introduction ‘Musical’ news GETTING IT BACK ON THE ROAD At your own pace The hazards of going live Coping with spectators COVERING THE WORLD Sources THE FOREIGN CORRESPONDENT Choosing a base Correspondent costs The danger of ‘going native’ ENTER THE FIRE BRIGADE Overcoming the first barriers Inoculations and passports ON FOREIGN SOIL The independent news team Setting up Doing your homework COMMUNICATIONS SATELLITES How satellites work Satellite news gathering STAYING ALIVE The vulnerability of television Protection for journalists Red Cross lifeline THE REPORTER AS PRESENTER THE JOURNALIST’S SURVIVAL CODE THE ANCHOR The journalist/presenter Presenter power IN THE STUDIO Thriving under pressure In your own words … … and those of others PERFECTING POSTURE The wriggle routine Using a clipboard THE SCRIPT PROMPTER AND HOW TO USE IT Beyond the idiot board Avoid the shifty look TALKBACK The floor manager PRESENTERS IN PARTNERSHIP Attracting the audience Dividing the work Formality and informality STUDIO INTERVIEWING (1) The interviewer’s test Interview one plus one STUDIO INTERVIEWING (2) Interview one plus two Firmness counts Interview one plus more than two Live interview do’s and don’ts TRICKY CUSTOMERS AND ‘SPIN DOCTORS’ The tactics, and ‘spin doctors’ INTERVIEWEE ON THE ATTACK Softening up the interviewer Ignoring the question Other ploys Post-interview troubles AUDIENCE PARTICIPATION Programme format Be prepared PHONE-INS Achieving balance Concentrate on the caller WHEN THINGS GO WRONG Beware intruders Keep calm LAST WORDS ON INTERVIEWING To pay or not to pay? Looking after your guest On the air Illustrating the interview How you say goodbye … DOCUMENTARIES Shape and content Documentary production USING FILM Film technique Sound Using video with film THE REPORTER AS COMMENTATOR First principles Sport ETHICS WHOSE BIAS? Impartiality versus balance Neutrality Fairness THE BOUNDS OF GOOD TASTE The danger in your presence Scenes of violence Your responsibility Violence: code of practice OTHER CODES OF CONDUCT The Post’s policy Commensense rules THE OXYGEN OF PUBLICITY The journalist’s dilemma News blackouts Direct action INVESTIGATIVE JOURNALISM The difficulty for television The need for care In-depth reporting MATTERS OF LAW Defamation Contempt of court Copyright and Official Secrets Other laws CONCLUSIONS TV REPORTING: 2000 AND BEYOND The TV reporter and the World Wide Web GLOSSARY FURTHER READING
