How to break through with good breaking news coverage

When you absolutely, positively need to break an important story… 

 

I spent part of the summer critiquing student news media outlets and judging student media contests, something that often helps me see what is going on in the universe of universities. Some things never change (parking problems, dorm food debacles, roommate dysfunction) while other things definitely show me the nuance and distinctiveness among various schools.

A category that kept showing up on my plate was “breaking news,” mainly because that category tended to have a lot of entries, thus other volunteers avoided it like the plague, and I spent my formative journalism years running after anything that caught fire, got shot or otherwise went to hell in a speedboat.

As strange as it seemed to me, there wasn’t a lot of consistency in terms of what qualified as “breaking news” or what made a breaking-news story worthy of submission. Everything from county fairs to shootings ended up here, with lengths ranging from “undersized haiku” to “plus-sized Iliad.” Sufficient to say, all of this made it difficult to pick winners, particularly when trying to compare them.

With all that in mind, here are some things that came to mind as I was reading through some of the offerings:

AN EVENT ISN’T (NORMALLY) BREAKING NEWS: The concept behind “breaking” news really started with radio broadcasting in the 1930s. It was predicated on the idea was that something so important and unexpected had happened, it merited breaking into whatever was currently on air to alert the public about that important thing. With that in mind, if you’re going to call something breaking, you need to showcase two things:

  1. How something is exceptionally important, exceeding the importance of the regular stuff you were covering.
  2. How it was unexpected, either in terms of no one foreseeing it happening or something that was expected to happen a certain way going off the rails.

In most cases, this means event stories don’t really meet those primary requirements. For example, a group of people planning an annual “walk a mile in her shoes” march to support sexual-assault awareness isn’t a breaking news piece unless something unexpected happens. If it goes off the way it should, it’s an event and that’s about it.

That’s not to say anything that doesn’t involve a shooting or a fire can’t be a breaking news story. An unplanned walkout of school students to protest how the district is banning books could be a breaking news event, as could a planned walkout that started peacefully enough before the kids started throwing flaming books at cars in the faculty parking lot.

If everyone knows this is happening for weeks in advance, so much so the administration sanctions it and the PTA brings bottled water and snacks, you’re not “breaking” much of anything.

 

GRAB ME QUICK, HOLD ME TIGHT: In a lot of contest entries I reviewed, I felt that a lot of people were abiding by the “longer is better” philosophy when it came to what made the cut. I get that this makes a lot of sense in feature categories, profile categories and in-depth/investigative categories, as deeper pieces with more nuance and description need the room to breathe. (To be fair, even some of those could use a little pruning.)

What really made the difference with the breaking stories, however, was how quickly the lead grabbed me and how tightly written the rest of the piece was. I knew something had made the first cut and probably the final pile if I read a lead and instinctively blurted out, “Oh my God!”

When I found myself scrolling to the end of the story and not skipping a word before I hit the requisite ads for “5 tricks to relieve back pain your doctor won’t tell you” and “You’ll never guess what your favorite teen idol got busted for now!” I knew it was a tight, strong read.

If you’re truly “breaking” the news, you need to tell people right away what happened and why they care. If you want to think about it in relation to the old broadcast standard, you’re essentially saying, “Here is something so important, we need to stop what you like enough to be currently watching/hearing and point you to this new thing.” To that end, when you aren’t producing content like that, you need to return people to their previously scheduled programming.

(SIDE NOTE: The one real thing we tend to “break into” programming for these days is weather, which makes a lot of sense, as an impending tornado or damaging storm is something people NEED to know about NOW, so they can go to safety. However, the local weather folks seem like they start channeling Norma Desmond from “Sunset Boulevard” the minute they get on the air.

It takes everything I have not to start laughing when they cut into a Brewers game and spend the next 30 minutes repeating 30 seconds worth of information, only stopping to say, “We KNOW we’re interrupting the Brewers game, but you need to listen to us NOW!” Meanwhile, my dad is practically chewing on the remote control as these weather barons are waiting for Mr. DeMille to give them a close up.)

Breaking news doesn’t have to be long, but it does have to pound the heck out of the content in a non-stop fashion. Even if in an early unfolding report you have to add information based on observation or other “filler” elements, once you get to a true breaking situation, trim out any random garbage that doesn’t keep a grip on the readers’ eyeballs and you’ll have a winner.

 

TELL ME WHAT YOU KNOW AND WHAT YOU DON’T: The best stories answer all the questions readers have in a clear and complete fashion. The next time that happens in a breaking news event will be the first time it ever happened.

That’s not a dig on reporters or media outlets, as it’s the nature of the beast: When something unexpected happens, everyone is trying to figure things out at the same time, so there will naturally be a dearth of information and a ton of holes in stories.

The best breaking news tells the audience everything the reporter knows about the situation, but it also tells the audience what they DON’T know as well. That can feel counterintuitive sometimes, because it’s like answering questions on a final exam with, “You got me! Good one! I have no idea.”

However, I know that when I was reading stories, I had questions that kept popping up in my head. Maybe it was the journalist in me, but sometimes I was thinking, “Did they try to call (SOURCE X)?” or “Was (DOCUMENT Y) available?” Other times, I saw holes in stories like, “Did the police catch the robber?” or “When can people move back in now that the flooding is receding?”

I’m sure a few folks forgot to ask those questions or gather those facts, but I bet even more of the journalists asked about the stuff I had wondered about, but nobody had an answer, or a source refused to comment.

Putting in those bits of information can help the readers see what you did to provide them with the most complete story. That not only helps fill some holes they see, but it also gives them more confidence in the rest of the story, as it becomes clear that you did the job as well as the job could be done.

 

 

The objects people own can help us tell the best stories if we take the time to ask about them

About 15  years ago, I was riding in a  taxi at 4:30 in the morning with a driver who was yammering a million miles per minute in a dialect best described as “Swamp People on Uppers.”

He was telling me about the heat index and how I was lucky to be leaving Columbia, Missouri before sun up. He was telling me about his home somewhere in Louisiana, which he left because of some reason he couldn’t adequately explain in our short drive.

He was talking about a story he heard on the radio about a woman in Philadelphia being hit in the face by a five-pound fish, a situation he said likely occurred when an eagle dropped its lake-drawn quarry  into a nearby tree.

Suddenly he stopped, and in clear, crisp English said, “Hey, you wanna buy  a watch?”

Then, he was off to the races again, explaining that a drunk flagged him down around 3 a.m. and asked for a ride home and how he wasn’t going to give the guy a ride, but the guy promised him a big tip and then they got to his house and you know what? “That sumbitch didn’t have no money on him.”

So… The guy hands over a watch to hold until he could go into his house and get money, but then he disappeared into the house and wouldn’t answer the door no matter how loudly the driver knocked…

Each time the driver pitched me the watch, the value went up: It started as a $100, based on what the guy saw online. Then it was a, swear to God, $150 watch. By the time we got to our highway off ramp, it was a $250 timepiece, but the hell did he need a watch for? He didn’t ever wear a watch and besides, he had his wife to tell him how damned late he was… All he needed was to sell it so he could cover his fare and not get in trouble with the bosses…

And on and on and on it went.

When we got to the airport, I had stifled the laughter as long as I could, but I still had to ask,  “OK, so how much was the fare?”

“It was 25 goddaddanged dollars!” he told me. “And I mean this watch… You know how much this thing is worth?”

At that point, I forked over my fare, a tip and an additional $25 for the watch. It wasn’t so much that I was buying the watch, but instead, I bought the story. And the story attached to that object was worth so much more than the object itself.

When it comes to writing, you can find a lot of value in understanding stories and how objects can lead to those things. Objects themselves are pretty much static and plain, but the things they evoke in us can make for some fascinating stories. Good reporters can ask questions about those items to tap into something beneath the surface of a source. Good writers can then use those revelations to better paint word pictures for the audience.

For example, when I’m doing a profile, I look to see if there’s something very clearly important to a person in their office, their home, their car or more. Sometimes, it’s simple like hand-drawn crayon-colored pictures taped to a wall, showcasing that they’re a “mommy” or “daddy” first and a powerful CEO second.

(I once mentioned in a lecture that occasionally I’ll spot a piece of jewelry on someone that seems to feel particularly important. Almost instinctively, a young lady in the room reached up and touched a pendant hanging on her necklace. It turned out, that was the last gift her grandmother had given her, and it serves as a sentimental reminder of a relative.)

I have found that you can learn a lot about people based on certain objects and asking about those items. I figured this out when I first started doing furniture restoration and friends would put me in touch with people torn between selling and refinishing a piece.

I’d ask a simple question, “Tell me about your (chair/table/hutch/whatever).”

If they started to tell me that it was maple or walnut, or that it was such-and-such brand from such-and-such era, I’d likely offer to buy the piece. I’d then refinish it and either keep it or sell it.

If they started with, “Oh, this was my grandma’s chair,” or “This was mom and dad’s kitchen table, and we always had our holiday dinners on it,” I’d convince them to get it restored, do it for whatever they could afford and return it to them in the best shape possible.

In one case, I’d donated a “gift certificate” for refinishing to a fundraiser for a local boy who was experiencing some significant health challenges. I promised that the winner of the silent auction could have any piece done that they wanted (as long as it wasn’t a piano or something I couldn’t move).

The family that won it asked to have their oak kitchen table redone, and it had really seen better days. The finish was all worn off, it had glass rings permeating the wood and the thing had an ungodly wobble to it. As I was loading it into the car, the mom of the family said her daughter had a request. The daughter was in her early 20s and she seemed embarrassed that her mom was making a fuss, but I asked what she wanted.

“Do you see these cigarette burns?” she asked, pointing to several spots on the well-worn table top. “Can you save them? Her grandfather used to smoke at the table and she said she’d be sad if they were all gone.”

So, that’s exactly what I did, leaving those little “character” remarks behind because the sentimental reminder was worth more than perfection to these people.

As a reporter, look to the objects that are interesting or distinctive in some meaningful way and see what a source can tell you about it. In some cases, a vase is just a vase or a ring is just a ring, but it never hurts to ask. In many cases, you will open the door to something well beyond what you could have imagined.

ONE FINAL NOTE: Sometimes objects can help explain something about the subject of a piece or typify an aspect of a personality that otherwise would be inexplicable.

For me, the best example is this ashtray:

I picked this up at an estate sale a few years back, and it’s nothing special. I think I paid five bucks for it and it’s advertising a relatively obscure beer company overseas.

However, the process of getting it and keeping it reveals a lot about me. (At least that’s what Amy said, and she didn’t really say it in a good way…)

I was wandering around the sale when I spotted this on the ground and nobody else was near it or me. When I picked it up, a woman who runs an antique store and was hoarding things in a pile 30 feet away screams, “THAT’S MINE! I WAS GETTING THAT!”

I looked at the guy who was running the place and he kind of just shrugged, so as I went to buy it, she was making all sorts of passive aggressive comments about how I “stole” from her and how I should know how “unethical” I was being. As I was leaving, she asked the guy about furniture restoration and buying restored pieces, and he mentioned I had done some and was good, so she asked for my number.

Peace with honor, I thought, so when she texted me asking about furniture I’d done, I sent pictures and offered to sell her some things. To which she responded, “I might consider that if you give me back my ashtray.”

So, before I deleted her number and blocked her, I calmly texted back that if I were ever to be so broke that I starved to death and was forced to be buried in a debtor’s field, I would be buried with that frickin’ ashtray before I ever gave it to her for any reason.

The basics of lead-writing: Tell me what happened. (A Throwback Post)

During the first media-writing class I teach each semester, I tell the students, “The first thing you will write for a grade in this class will be one sentence long and it’ll take you three class periods to do it.”

The students usually give me either an incredulous or smirking look that says, “Dude… Do you THINK you’re teaching the slow class? There’s no way it’ll take that long.”

And then it does, with some of them even thinking about reconsidering their major.

The problem I’ve found over the years is that students are trained to write to page counts that forced them to fluff up their work to meet the required length. Whether it’s two pages or 10 pages, they need to add stuff to get there.

Our field requires precision, clarity and focus. Get to the point and get done.

To that end, we’re doing a lead-writing throwback Thursday post to help showcase the ways in which leads go wrong and how best to fix them. Enjoy!

 

 

Just tell me what happened: Lead writing 101

The lead is the most important thing you will ever write in a story. It’s supposed to grab your readers by the eyeballs and drag them into the guts of your story. It’s supposed to explain who did what to whom in a clear and concise fashion. It’s also supposed to be between 25 and 35 words, lest it get wild and unruly. This is one of those skills you need to work on constantly, even if you are a pro.

Consider a few of the following leads and what went horribly wrong with them:

 

Lead 1: It’s the most sensational, inspirational, celebrational, muppetational…

Hyperbole is the art of creating overblown excitement for no real reason. A straw man approach is the ability to set up a weak argument or premise that no one has stated so you can refute it and establish your point of view. If you put both of them in a lead, you have something like this story’s opening:

Delivering wheelchairs to disabled kids across the country from Bozeman may sound like a pipe dream, but it’s exactly what ROC Wheels does.

I don’t know much about Bozeman, Montana, but I’m guessing its entire populous doesn’t stay awake at night aspiring to deliver wheelchairs to people. Also, who says this aspiration would likely go unmet if my supposition in the previous sentence were incorrect? What is this “On Bozeman, Montana’s Waterfront?”

 

The author has overstated her point, and that’s just one problem with this lead. Here are two others:

  1. The story isn’t about ROC’s past. It’s about the launch of a new program involving veterans building and delivering chairs as part of a therapeutic activity. Thus, the lead is buried in the second sentence.
  2. The origin of the term “pipe dream” relates to the smoking of an opium pipe and the wild visions this activity evoked in people. Eeesh.

This is a clear case of what happens when a writer tries to do too much with a lead. Just tell me what’s going on and why I care: Veterans will build and deliver wheelchairs, an activity that helps the recipients as well as the veterans.

 

Lead 2: How can we bore people with a story about sex?

Question: How can a lead about sex toys be bad?

Answer: Like this.

Zach Smith had sex toys delivered to him at Ohio State‘s football headquarters in 2015, according to an online report Friday, raising more questions about the former assistant coach’s conduct while employed there just as the university prepares to conclude its investigation of the program and head coach Urban Meyer.

This 50-word monstrosity manages to pour a ton of random facts into the mind of the reader, like that scene in “A Clockwork Orange.” Even more, the lead skipped several other elements of the report that were far more likely to grab the readers’ attention:

  • He spent more than $2,200 on this stuff, including on items named “WildmanT ball lifter red, candyman men’s jock suspenders (and) PetitQ open slit bikini brief,” none of which are the most offensive items he purchased. Plus, that’s almost twice what I spent on my first car…
  • His lawyer threatened the reporter over the publication of these documents and refused to engage in the premise that this was a legitimate story.
  • Smith apparently had a “photography hobby” of sorts, namely that he took shots of his genitalia while at work, including multiple photos believed to have been taken at the White House during a celebration of the team’s national championship.

I’m not saying you should always go with salacious details in a lead. The point is that if you pick a key element of a situation like this for the lead, don’t lose the thread as you try to weave in six other plot lines. This is a sports story, not a “Grey’s Anatomy” episode.

LEAD 3: Something happened! Oh… you wanted more?

Here’s the lead on a story about a county conducting alcohol-compliance checks where you learn nothing more than what I just told you:

ENID, Okla. — Garfield County Sheriff’s Office and PreventionWorkz partnered earlier this month to conduct alcohol-compliance checks throughout the county.

This is a version of the standard “held a meeting” or “gave a speech” lead. It often shows up in sports reporting as well where someone will explain that Team X played Team Y on Friday or something. The problem with every version of this lead is that it fails to tell the readers the outcome of something. Instead, it simple explains that something happened. In this case, the writer could have focused on a number of things:

  • In the 25 random checks, four places sold alcohol to the underage person, down from eight sales in March.
  • In all of the cases, the clerks checked the person’s ID, but the four sales came from reading the ID wrong.
  • Of the four sales, one person had sold to a minor and been cited at least once before.

There’s also some information about upcoming legal changes that will require sellers to take a course in IDing people and such. Finally, the story noted that the authorities look to hit 100 percent compliance, but it never mentions if that ever happens. In any case, telling me an alcohol check happened isn’t telling me much of anything as a reader.

Lead 4: Here’s your lead. Guess the story:

Quote leads are always difficult for readers, because they lack context. Try this one:

“There is not a man under the canopy of heaven, that does not know that slavery is wrong for him.”

It’s a great line from a great man: Frederick Douglass uttered it in his 1852 speech, “What to the Slave is the Fourth of July?” However, dropping it up at the front of a story doesn’t make it a lead.

Whether the quote comes from a source in the story, a movie, a poem, a song lyric or a famous person, as is the case here, the reader will likely be unable to determine the point of the piece. Quote leads are always dicey for exactly this reason: It feels like you were dropped into the middle of someone else’s conversation at a party.

By the way, you can find the whole story here and see how close you were to guessing the point of it, based on that lead.

The Cleveland Plain Dealer’s AI department co-opted a staffer’s byline for a story. Head Honcho Chris Quinn still thinks AI is our salvation.

Actual footage of what happened at The Cleveland Plain Dealer’s AI desk this week… 

THE LEAD: The Cleveland Plain Dealer has apparently engineered a new form of AI that not only creates crappy content, but also finds a way to place the blame on an uninvolved human reporter:

A journalist has accused Cleveland.com — the online home of The Plain Dealer, Ohio’s largest newspaper — of publishing an article under her byline without her consent, knowledge, or approval. The article was generated by the “Cleveland.com Express Desk,” which “uses AI tools to assist in producing content” that the newspaper claims is “reviewed and edited by staff.”

The supposed writer, Kaitlin Durbin, was not thrilled about having her employer slap her byline on whatever the hell Cleveland.com’s robot overlords had decided to create:

The paper didn’t pull the rather banal article, but instead pulled Durbin’s byline which was like saying, “Hey, remember how we said AI wasn’t going to hurt the newsroom? Well… Um… Look! It’s a picture of a guy in a suit made of Bluey’s hide!

(SIDE NOTE, PART I: This story could have used some actual reporting, as this literally reads like a press release that was copied and pasted into the paper. Also, anytime someone says they are quitting  a job for “personal reasons,” I tend to believe that there’s something less benign happening that is just SCREAMING for someone to dig into it. )

DYNAMICS OF WRITING FLASHBACK: This whole thing would not be half as delicious as it is, if it weren’t for Plain Dealer Head Honcho Chris Quinn’s sermons from the Mount about AI being all that and a bag of chips.

You might remember we covered this back in February, where Quinn was so “Team AI,” you would have thought it were a “Twilight” character competing for Bella Swan’s affections. He also was nice enough to tell all of us in education that we were old, stubborn cusses who refused to see how great AI is and how much we are harming our students.

Well, at least when our kids turn in their papers, they actually have their own names on them…

(SIDE NOTE PART II: The clip I desperately want to use here to express my feelings about this whole situation comes from the opening of “Another 48 Hours,” when Nick Nolte is questioned by internal affairs after he shoots a guy and accidentally blows up a race track. The people at Sage would have a full on aneurysm if I posted it, so instead, I’m linking to this clip, while also telling you that it’s number nine on the top 10 quotes. Watch at your discretion.)

IT’S “ONE TO GROW ON” TIME: As much as I doubt Chris Quinn will read this, I still think it’s worth the rest of us to dig in and learn something from this situation. Here are the best  “One To Grow On” moments I can pull out of this:

You can’t let automation make you lazy: One of the biggest risks of automation is that the humans supposedly overseeing it tend to pay less attention to the details. When we had to look up every word instead of relying on spellcheck, we tended to edit more carefully and thus avoid headlines that proclaimed the opening of a “pubic library” or one like this:

Generative AI moves that risk even higher, because a) it’s capable of doing more complex stuff for us than traditional AI, b) We’re not as familiar with its risks and c) We don’t know how best to backstop it yet.

This means we need to be MORE diligent with this stuff, not less.

 

What is the true Cost vs. Value of AI?: In his magnum opus, singing the praises of AI, Quinn explained how reporters will benefit from all the time AI could save them, so they could do other more important things. (Apparently, in this case, it saved the reporter enough time to go on a honeymoon without actually having to file the story she supposedly wrote…)

He also opined on how the readers will benefit from better overall coverage and how the world will benefit because people are now part of an “energized electorate” that will engage like never before.

The idea of saving time, energy and resources sounds great in terms of value, but what about the cost associated with ticking off a reporter who is publicly wondering aloud if the paper thinks it owns her soul?

Some portion of your newsroom probably thinks you’re already selling them out for a sack of magic beans and the promise of fourth-quarter profits for the hedge funds that own the place. Now, I imagine they’re less likely to believe that “AI is your friend” and more likely to think “The T-800 is coming for your job and your soul…

Also, what about the cost associated with the loss of readership confidence in ALL of your work now? Before, it might have been, “OK, don’t trust anything with that AI Buzzword byline on it, but we know Kaitlyn and she’s solid.” Now it’s “OK, did the person we thought wrote the story actually write the story, or was it even a person at all?”

Trust and credibility have always been built a grain at a time when it comes to the media’s relationship with the public, and it’s always been destroyed in an instant when someone makes a short-sighted decision to cut corners.

AI can do a lot, but it can’t change that.

 

You’re a journalist, not a cult leader: One of the biggest problems here was Quinn’s “nothing to see here” response when the byline situation broke:

After this story was published, Quinn told Futurism that the byline blunder was “a simple mistake, the result of a miscommunication between a couple of editors.”

“It was corrected as soon as we learned of it from the Tweet,” Quinn continued, adding that he’s “written extensively about our policies, practices and controls regarding AI content in my From the Editor columns this year” and directing us to a post containing links to his statements on Cleveland.com’s AI policies. “If you’re looking for information about us, it’s all there,” said Quinn. “I have nothing to add.”

Back when he first was telling everyone who would listen that AI was not going to be a problem, he was singing this tune:

Because we want reporters gathering information, these jobs are 100 percent reporting. We have an AI rewrite specialist who turns their material into drafts. We fact-check everything. Editors review it. Reporters get the final say. Humans — not AI — control every step.

If that’s true, where did this story come from? Clearly the reporter given the initial credit (Durbin) didn’t write it, and apparently neither did anyone else, as there’s no byline on it now. Also, way to throw those human editors under the bus, just to make sure no one was thinking about the AI’s role in this screw-up.

Guys like this remind me of the line, “Often wrong, never in doubt,” and as bad as that normally is, it’s really disturbing to see it from the editor of a major media outlet.

Journalists are supposed to play the skeptic, hedge their bets, play with caution and find balance. It keeps us out of trouble and allows us to see things as they are, not as we would like them to be. It also allows us to fess up when we’re wrong, something that (oddly enough) inspires confidence in the people we serve.

If Chris Quinn wants to talk up the positives and crap all over people who point out the negatives, that’s fine, but do it as a PR guy for an AI firm or as the prophet for some sort of futuristic tech cult.

Journalists don’t have the luxury of arrogant presumption.

Starting the school year with lessons from 5-year-olds

In starting another new year of teaching, I’m always on the lookout for things that will inspire me enough to inspire my students. This year, I found it by dealing with my 5-year-old nieces, Abby and Sophia. Spending time with the twins gave me some key insights as to how best to challenge my own students. Hope some of these things might help you along as well:

REMEMBER TO WONDER: The best part about being a little kid, at least in my book, is that everything seems new and amazing in some of the best ways possible. Little kids wonder about stuff all the time, whether it’s how the refrigerator keeps stuff cold, or why nature deals some of us a bad hand. Here’s a conversation between Abby and me regarding the latter issue:

Her: “Uncle Cake! Why you have no hair?”

Me: “Well, I’m older than you, sweetie…”

Her: “Uncle Cake, my daddy’s old and he has hair. What happened?”

I wasn’t about to explain hereditary cruelty to the kid, but it was one of many conversations that had me thinking and laughing all at the same time, simply because one of the twins wanted to know something that literally had never occurred to me to consider.

Most of us used to wonder about stuff like this and we had no compunction about sharing it with others. However, as we got older, we started keeping our questions to ourselves, for fear of how we’d look in front of our peers or because we just didn’t care anymore.

Reporting, in a lot of ways, is all about wonder. It could be a simple thing like, “Why is there only one type of ketchup, while there are dozens of mustard varieties?” to “Who is really keeping an eye on airplane usage?” Go back to that little 5-year-old in your brain and let the wonder take you places.

 

RULES MATTER: We were over at my brother-in-law’s place swimming one day this summer, when Abby decided to be the lifeguard of the pool. She used her pretend binoculars to watch all of us, which was kind of cute until I apparently violated the rule against using a squirt gun against the lifeguard:

Her: “UNCLE CAKE! NO! YOU GET A TIMEOUT!”

Me: “You didn’t say squirting people was bad. You were squirting people before you became a lifeguard!”

Her: “You should know better. You go to timeout.”

It dawned on me how much of what I was covering last year, ranging from an April Fools’ edition that really ticked people off to the whole Russini/Vrabel “inside with the insider” thing, came down people needing to follow rules and behave with common sense. The old line of “I’d rather beg for forgiveness than ask for permission,” sounds kind of cool, until you realize you probably aren’t getting forgiven and are more likely to be fired for whatever it is you did.

 

SIX – SEVEN: I learned a long time ago that students tend to remember what I tell them, even if they remember it ass-backwards or for the wrong reasons. I thought about this when Sophia was showing me how she could count to ten using fingers.

We started with the pinkie on one hand with one, moving all the way through the thumb. I then raised my index finger and said, “And six…”

She replied by patiently putting her hand on mine and correcting me:

“No, Uncle Cake,” she said. “That is seven.” She then wiggled my thumb, “THIS is six.”

And thus it shall always be, from here into eternity…

Rest assured, I do know how to count to six, but I also was not taught that each finger had a specific purpose. I suppose I could have corrected her, but I’d prefer that she gets her counting down and that eventually she learns that each finger can represent a counting digit from a more credible source.

Remember that whole thing about rules? Sometimes they learn the rule to the point of being problematic. I’m thinking more about explaining the WHY they have to follow the rules, what the purpose of those rules are and how to understand what matters about those rules.

 

BE PERSISTENT: Most of what we do as journalists is about getting people to do things that are for the betterment of all, even when those people don’t want to do them. It might be getting them to share open records, provide an interview on a difficult topic or ratting someone out for doing shady stuff.

I’ve noticed that a lot of my students tend to give up after one or two emails, instead of really going after something like a dog chasing a car. I have also noticed that the twins are more than up to a challenge when it comes to getting something they want.

Case in point, when Amy visits, they always want her to stay over for the night. No matter what she says as to why she can’t do it, they’ve got a rebuttal.

“I don’t have a bed here.”

“You can sleep with us!”

“I have to work tomorrow.”

“We can wake you up extra early so you can drive home!”

“Uncle Cake is waiting for me at home and he misses me.”

“We’ll miss you more!”

In a lot of cases, Amy has to leave, but on more than one occasion, they wore her down. (To be fair, there are two of them and they have the energy of the Energizer Bunny on meth.) They’re never rude and don’t resort to tantrums. They’re just persistent to the point of running you out of excuses.

I don’t know what it is that makes the rest of us run out of steam so much faster (other than the Energizer Bunny meth thing) but I do know we can push harder to get more when we really want to. I’m thinking that’s going to be the goal of my reporting kids this year: Be persistent.

Hypocrisy, Thy Name is “Insider:” A Deeper Look at The Athletic’s Postmortem on The Dianna Russini/Mike Vrabel Scandal

THE LEAD: From the “Oh, really? Ya THINK?!?” Department…

An internal investigation by The Athletic found that the relationship between Dianna Russini, its former senior N.F.L. reporter, and Mike Vrabel, the head coach of the New England Patriots, was a “clear violation” of the company’s standards.

In a report released Thursday detailing findings of its monthslong investigation, The Athletic said that the relationship gave the appearance of a conflict of interest and Ms. Russini should have revealed it to the company.

CATCHING UP: As I think everyone short of the Beaver County Tidbit has reported earlier this year, Russini and Vrabel had photos of them published that made it clear there was more than a “source/reporter” relationship going on.

Russini first vigorously defended herself against these allegations, saying everything was taken out of context and she wasn’t going to dignify this non-story with a response.

Dianna Russini’s PR team making it clear that there’s nothing to this story….

Meanwhile, Vrabel made a vague mea culpa, complete with his decision to attend counseling because… um… you got me on this one.

RANDOM SIDE NOTE: Can I have her job? According to a story written after the relationship became public, Russini was making bank:

Ms. Russini was not just any reporter. The Athletic paid her an annual salary of close to $800,000, according to a former manager who had knowledge of her salary negotiation. This would have made her one of the highest-paid journalists at the Times Company.

She apparently filed somewhere north of 900 stories during her three years at the publication, along with appearing on podcasts, doing videos and more, so I’m not saying she didn’t work at her job, but damn… At what my kids are telling me they’re making coming out of college, we could staff a decent-sized newsroom out here for what The Athletic was paying the self-described “straight-up MILF.”

HYPOCRISY, THY NAME IS INSIDER: First things first for the journalism kids out there: Don’t have any kind of snuggly relationships of any kind with any source if you are a reporter.

If you somehow managed to find yourself with a potentially risky situation (as I once did in getting engaged to a city council rep, even though I didn’t cover city council as my beat), disclose the relationship ASAP and then figure out if the juice is worth the squeeze depending on the rules of your gig and the level of interest you have in your significant other.

But here’s the one question nobody seems OK with asking at any of these major media outlets:

Was the Vrabel situation worse than anything else “insiders” are doing?

I get that Americans are always going to clutch their pearls when sex-like-stuff becomes public and I know that women (particularly women covering sports) are constantly treated less favorably than men.

But let’s not pretend sports “insiders” are anything more than glorified PR agents that get paid way too much and get away with way more than they should.

In the same timeline in which the Russini-Vrabel was being feverishly dissected by journalists, fellow “insider” Jay Glazer was pouring back the suds with coaches at a pool party he has apparently hosted for the past 18 years.

The reporters tsk-tsking Russini used footage of this party to show that Vrabel wasn’t present, apparently because he was out “running the offense” with Russini or something. Apparently, it was fine for Glazer to set up a day-drinking session with the people he covers, and no one has tried to put a stop to an event older than the incoming college freshman.

Glazer has gotten in deep with all sorts of players and teams, including serving as an MMA trainer for several players. He also once got away with this:

I often recall Walter Cronkite demanding that LBJ let him sign a bill… 

As we noted when Adam Schefter wasn’t behaving like a paragon of journalistic virtue, the “insider” culture that has consumed sports journalism is overflowing with hypocrisy and self-promotion.

The “insiders” pretend to be journalists when they want to break stories, but pretend not to be when they want to break journalistic rules. Charissa Thompson tried to play this angle a few years back, when she said she “made up” quotes as a sideline reporter, only to try to walk it back.

Even without the whole “Oh my stars! She might have touched his manly virtue!” stuff, Russini seemed a bit ethically compromised by the spoils of stardom. She apparently bragged about hanging out with the who’s who of the NFL, and even trying to use a coach to get her out of a speeding ticket.

Other sports reporters, whose livelihoods depend on scoops and staying ahead of the pack, see what the “insiders” do and how well they are treated, so they figure if that’s the game, let’s go play it.

This is why we get more and more “anonymous sources” for less and less important content. It’s why we see more grandstanding and brand building from the “big names” in the media instead of following the same rules  everyone else has to.  It’s why we see people pushing the edge of the envelope in what is acceptable to cover and how much of a jagwad they feel comfortable being in covering it.

It’s also why when sports and news meet, sometimes some a reporter will take a corner or two too quickly and end up getting sued back to the Stone Age.

Professional sports loves themselves some PR, and basically, that’s what they get when they pick out their favorite mouthpieces and spoon feed them content they want to have in the public.

So, let’s stop pretending that Glazer, Schefter and dozens of other “reporters” who start every sentence with “The general manager told me exclusively that…” haven’t sold their journalistic souls for heavy bank and easier scoops.

They might not be pulling tongue with a coach in a hot tub, but they’re no less ethically compromised than someone in a romantic relationship with a source.

Writing digital headlines without abandoning old-school journalism values

 

A friend and journalism professor put this challenge to the hivemind recently:

“I have been teaching headline writing the same way for decades and I think headlines have changed drastically in the last 10 years and no longer are we writing headlines the same way as sentences with a noun and a verb, but we are writing things that are more like teasers, invitations and clickable phrases. Does anyone have any material on how to write headlines for digital media (not print)? I need to update what I am teaching my practicum and journalism students.”

 

As I’ve always said, the blog is about what you need, when you need it, so here goes our look into the world of headlines for digital media:

THINGS THAT ARE THE SAME:

A number of things that we tend to think of when we look at traditional headlines remain valuable in writing digital media headlines. In looking into a number of media outlets and organizations that are working on headlines or studying them, here are some things that they are pitching for today’s writers that should look familiar to those of us old enough to remember the 1980s well:

  • Short and Simple/Clear and Concise: Depending on which way you want to play this, the authors of these suggestions are trying to get at the same basic thing: Make sense for your readers and don’t screw around while doing it. I’m more of a fan of “clear and concise,” in that clarity and simplicity aren’t always the same thing and in most cases it’s better to be clear than simple. Still, the idea is all about not wasting your reader’s time or space on their screens.
  • Accuracy above all else: If it’s not right, it doesn’t matter. That means it’s important to do your research on the topic, read the story fully, understand what the words you are using mean and double/triple/quadruple check your head for any mistakes before you push the big red button.
  • Concrete nouns and vigorous verbs: As much as passive voice has a space in headlines in print (Kennedy killed; Trump elected president), you get a little more room in digital heads to work in noun-verb-object format and really nail down those first two items.
  • Answer “Why do I care?” above all else: If people don’t know why they should care about something, they’re not going to pay attention to it. In some cases, it’s an easy sell, while in other cases, you have to rub their nose into it like you’re training a dog that keeps pooping in the house, but it needs to be there in a meaningful way.

Consider the headline that just showed up in my feed while writing this:

US House passes funding bill to avert government shutdown

It hits most of the marks pretty simply: Short/simple, (9 words, 57 spaces including blanks) accurate, (House passed the bill, it was a funding bill, without it we would likely shut down the government) concrete noun/vigorous verb, why you care (no government shut down)

Now consider these other ones:

House passes short-term funding bill to prevent a shutdown before the election

House sends government funding bill to Trump to avert shutdown ahead of Midterms

Congress passes funding bill to avoid October shutdown, pushing fight past midterms

U.S. House Passes Homeland Security Funding Bill Ending Shutdown For All Department Of Homeland Security Agencies Except ICE and CBP

The verb in three of the four alternatives is the same (passes), with three of the four focusing on the House (vs. Congress). The alternatives tend to focus on the election while the original didn’t. All are longer than the original, but each has something more than the original included in there (in the case of that last one, way, way, way too much…)

THINGS THAT ARE DIFFERENT: 

The digital world gives us several challenges that are crucial to be aware of when we’re moving away from print heads.

SIZE, IN A DIFFERENT WAY, DOESN’T MATTER: We talked about the importance of keeping things short in both digital and traditional headlines. However, there’s another size issue we need to consider. In newspapers, we refer to headline copy as “the big type,” as it was traditionally larger than body copy and the idea was that the bigger the story, the bigger the headline size. Look at some of the headlines written when World War II ended and you get the idea.

The end of World War II was a big enough deal to cover everything above the fold (and at least an inch or two below it) with two letters and a hyphen.

In the digital realm, size doesn’t matter in terms of the font, because search engines and news aggregators treat all words exactly the same. They don’t stop and say, “Oh, wow! This headline is huge! I better move it up in my results list.”

 

PEOPLE ARE ATTUNED TO HYPE SO AVOID IT: Like most things we are inundated with, people have gotten over being enticed or impressed with “EST” claims. THE BEST BRAND! THE FASTEST WAY TO MEET WOMEN! THE CHEAPEST AIRFARE IN THE WORLD!

In fact, using this approach will actually activate defenses of readers who will now be less likely to trust you and will be more likely to push back against you. It’s like when your lazy stoner roommate comes to you and says, “Hey, I want you to know I just did everyone’s dishes, cleaned the bathroom and put in a little extra for rent this month.” If your Spidey Sense isn’t going off at that point, something is wrong with you.

FOCUS ON “U” ELEMENTS:  To generally write effective headlines, experts at American Writers and Artists offer the “4 U” approach:

  1. Be USEFUL to the reader,
  2. Provide him with a sense of URGENCY,
  3. Convey the idea that the main benefit is somehow UNIQUE; and
  4. Do all of the above in an ULTRA-SPECIFIC way.

Beyond the maxims and cute little clusters of advice, however, headline writing comes down to applying the basic skills you’ve learned within your writing classes to this point. Let’s get into the nitty-gritty stuff and look at some key ways to do this:

 

Identify your point in six words or less: One of the best bits of advice I have been given about writing is to boil everything you are doing down into one simple, declarative statement before you begin. If you can’t do that, you don’t know what you’re doing yet, and you need to go back to the drawing board. The more sure you are of the point you want to make, the easier this is and the more clearly you can do this. When you are kind of all over the place, you don’t know what you’re trying to say in the headline. When that happens, it’s probably safe to assume you’re going to be all over the place when it comes to everything else as well.

Start with a few words that define what you’re trying to accomplish. Don’t worry if they don’t form a perfect noun-verb-object structure. Also don’t worry if you’re not using declarative statements at this point. As you will learn later, these variables take on different values in your writing here than they have in everything else you’ve written to this point.

  • Custard is superior to ice cream
  • Write a better blog post
  • Study more effectively for finals
  • Avoid 8 a.m. classes
  • Is 4-wheel-drive worth it?
  • Selena Gomez or Taylor Swift?

In each case, we’ve identified a lane we intend to drive in and we did it in less than six words. This means we focused. Some focus could be better. “What does “worth it” mean?” or how are we comparing these singers? It’s all not perfect, but it gets us off the tee and into the middle of the fairway.

Usability experts talk about the 3 and 3 rule, which states that people scan headlines in the same way they scan text: They basically catch on to the first three words you write and the last three words you write. In the middle is kind of a mess of letters that they’ll go back to if the first three and last three words grab them.

With that in mind, you want to start strong and end strong on your headlines for the digital media world. If you’re lucky and keeping things tight, the middle is tiny compared to the first three and last three words. If you go back to the example head, you’ll see a good example of how this works:

  • Front 3: US House passes
  • Back 3: Avert government shutdown

If we dodged “US” it might be a bit stronger with “House passes funding” so, that’s something else to think about.

Focus on benefits: When you are doing feature pieces, particularly those in the “how to” range, you want people to see your story as the solution to all their problems.

People will smartly employ aggressive attention filters while scanning headlines and you’ll get through that filter much more easily if you spell out your benefits rather than imply them slyly in a nuanced fashion. The big type is supposed to hit you in the head with a hammer, so make sure it does.

Ask yourself, “What possible good will come to my reader from spending time with this thing that I’m writing?” Then focus on that:

  • Dinner for a king on a peasant’s paycheck
  • Save time studying for finals
  • Build your savings account without depriving yourself
  • Avoid stupid Facebook arguments with redneck friends
  • Learn why Putin is your friend

In many cases, the idea of “how to” is implied in there while in other cases, it’s just about learning something you need to know. However, the goal is to really tell people, “This has value. Read me.”

 

Pick words other people would pick: The easiest way to be found is to put yourself out there in a way that people would look for you. Let’s say your roommate had a really rough night and threw up in the kitchen sink before going to bed. You wake up the next morning and find this disaster of Jagermeister and Taco Bell has coagulated in your sink and has somehow after about 30 seconds of trying to run the garbage disposal, it stops and you’ve got no idea what went wrong, but you still have a mess on your hands.

You can’t call the landlord and you don’t have money for a plumber, what are some words you would choose to google to get you out of this jam? (garbage disposal, sink, plug, stuck, broken, fix MORE).

The point is, you wouldn’t Google “Lousy roommate” and “food death spiral in the sink” even though those would likely be the first words out of your mouth in describing this disaster to anyone who would listen to you. Those other words are what you need to get out of this jam.

In many cases, we would call the words you would pick out keywords or SEO-driven search terms.  What you need to do is figure out what words go with your topics as part of the headline. In marketing, people often refer to these kinds of terms as part of a word bank or a brand dictionary, but either way, you want to find them and use them. Basically, pick words other people are going to pick.

 

Follow the formula: Certain headlines match up with certain types of digital pieces, much in the same way that certain topics lend themselves to certain types of stories and blog posts. Here are some examples of what I mean:

  • Instructional post: “How to avoid talking politics with racist relatives at the holidays.”
  • Listicle post: “10 things only children of the 1980s will understand about watching movies.”
  • Profile post: “The Finnish Farm Boy who held the Russian Army at bay for six months.”
  • Analysis post: “A deeper look at why US/Iran nuclear deal will lead to Armageddon” or “Five things the Iranians didn’t ask for in the nuclear deal but should have.”
  • Cheat Sheet: “A helpful series of MS Word quick-keys that will speed up your typing.”

 

Certain words match up with certain topics: Numbers with lists, “how to” with instructions, “helpful” or “easy” or “simple” with cheat-sheets. Analyses rely on “deeper” or “smarter” or what have you. When you think of the types of posts you read, you can now see how the words match up with the types of posts.

Lenka Istvanova analyzed blogs that got the most clicks based on headlines and found a simple formula that tends to relate to most of the things we want to see in a headline:

Numbers + Adjective + Target Keyword + Rationale + Promise

Here are a few general applications of those items:

Ten Simple Dating Tips for People Who Want to Avoid Gold Diggers

Five Strong Resume Words Job Seekers should Use to Rise to the top of the Pile

One Difficult Thing Overweight People Should Do Every Day to Avoid Giving up Pizza

Seems ridiculous, but it really does work. Keep in mind, the formula can shift based on what you plan to do or what topic you plan to cover.

 

Gone Fishin’: Reevaluating My Purpose In Life Edition

I normally take a break this time of year, as to get ready for the semester and mourn the end of summer, but this year, my decision on when to call it quits for a while was the result of a funny conversation with my mom.

She called me to tell me that a lady from her old neighborhood had died and that she decided to attend the funeral. Mom had taught four of the woman’s five children over the course of her teaching career and wanted to pay her respects to the family.

Mom said the kids were all grown up and they all remembered her, despite all the time had passed.

“Do you know what question they asked me first?,” she said to me. “‘Do you still have that Corvette? Does it still have the side pipes?”

To be fair, it is a really sweet ride…

She assured them the car was still part of the family. She also noted that she was still substitute teaching.

“Are you still ruling with an iron fist?” she told me they asked.

At that moment, I started thinking about what weird-ass things students will remember about me if they see me years later. It won’t be the “noun-verb-object holy trinity” or the “take a breath and read the lead aloud” suggestion, but instead it’ll be:

“Do you still have a jillion bobbleheads?”

“Are you still telling kids weird stories about that old hockey team?”

“Hey, you’re still bald!”

Thus, it might be time to seriously reconsider truck driving school or something…

In the meantime, I’ll take a couple weeks off and get back with you all in early September.

Best,

Vince (a.k.a. the Doctor of Paper)

What People Who Love Your Video Podcast Content Hate About Your Video Podcasts (Part II)

If you watch one or two episodes of this, you get the distinct feeling that literally everyone in the 1970s was on drugs… 

(ED NOTE: Last week, we took a look at the things that made fans of a podcast topic stop watching video podcasts. In that segment, we tended to look at content and approach, so in this segment we’ll be looking at the smaller details that can drive the viewers crazy. Hope these help.)

Just for a brief recap: as part of the annual The Mid Year Freakout Book Tag, a number of vloggers and book influencers took to YouTube to present their views on the books they’ve read, what they want to read and how close they are to their annual reading goal. As Amy watched these, I asked her to keep track of the things that made her stop watching any particular video and we would chat about it later. The idea was that she loved the content, but still wasn’t going to dedicate her time to something that didn’t pass muster for her.

Here are some of the more “detail oriented” elements she noted:

SENSORY OVERLOAD: Apparently, some of these content creators didn’t get the memo that “less is more” when it comes to stuff like this. Amy noted that the most annoying ones would be weaving in pointless visuals, using weird filters or doing edits that drew attention to the edits. While she was trying to learn about a book, she found herself fending off the feeling that she was going to have a seizure from all the blinking and cutting going on.

This is a relatively common phenomenon when people get ahold of some newer form of technology. When word-processing programs took over from standard typewriters, people were using all sorts of weird fonts for no real reason. When HTML coding became accessible to folks, I remember all sorts of colored fonts and even the dreaded “blink” tag, which made it almost impossible to read.

Editing programs give us more options than the simple “cut,” such as wipes, crumpled paper cuts and even the weird raindrop thing. People think they’re being edgy or innovative when they use them, but they never once think about how damned difficult they’re making it for the audience.

If the content is good and the presentation is strong, you don’t need to jack up the production with all sorts of weird stuff and visual stunts. It’s the reason why “Citizen Kane” doesn’t have any car chases or explosions, while every “Fast and Furious” movie has about a million.

 

PRACTICE, PRACTICE, PRACTICE: Someone once told me that great acting is done in way where it doesn’t look like acting at all. That’s probably why I sucked at it, given I could memorize all the lines, but I delivered them like I was a scared kid at a spelling bee. Great actors practice over and over and over again until what they’re doing looks and sounds conversational, but is really a well-learned presentation.

Amy got peeved a few times when it was clear someone was trying to spitball their way through content without really having spent any time practicing what they were going to say or do. This included weird pauses in the content because they forgot what book would be discussed next, or stops in the middle of a sentence because they forgot what they were going to say. It also got weird when the podcaster wanted to show off a book, but couldn’t find the right book and we were all there just hanging out, waiting for the person to find it. (Editing doesn’t hurt here, either…)

Practicing will help eliminate some terrible verbal mannerisms. The “ums” and “likes” and “y’knows” will crop up less frequently, but you can also look for other things you do that might annoy the heck out of your audience. In one case, a video presenter kept saying “No one can believe it” about EVERYTHING to the point where Amy said, “I can’t believe I watched this for this long” and flipped away from it. I have no idea if the content was worth anything, but it wasn’t worth enough to hear “No one can believe it” one more time, apparently.

Spend the time working your way through the material before you put it on video. Practicing, like when you had to give a speech for class or do a presentation in front of important people, will limit the nerves, smooth out the rough spots and get you ready for a clear, coherent and confident chunk of content.

 

AVOID DISTRACTIONS: I’ve had conversations with people where I get distracted by something weird going on with them, and suddenly, I’m fixating on whatever that distraction. George Carlin once did a bit about someone laughing through their nose and blowing a snot on their shirt. That actually happened in a conversation I was having and all I kept thinking was, “There’s this giant snot on their shirt…” They could have been getting ready to stab me to death or tell me the cure for cancer, but all I’m thinking is, “That snot is going to dry there…”

Amy mentioned a number of weird distractions that bothered her. In one case it was some freakish piece of pottery on a shelf behind the person. In another case it was the lip gloss the person was wearing that was so shiny, it was almost creating star bursts on the video. Whatever it was, she suddenly got sucked into this moment of weird and eventually couldn’t hang in there for the content.

It’s hard to come up with exactly the right amount of background elements. Too much stuff and it’s “Squirrel Theater.” Not enough stuff and it looks like you’re filming a hostage video in a shipping container. This is where both practice and “beta testing” can go a long way. Put something together, have people you trust give it a look and see if there’s anything they would recommend you get rid of or add.

Hope these help. See you next week.

What People Who Love Your Video Podcast Content Hate About Your Video Podcasts (Part I)

(This act was like Masterpiece Theater compared to some of the stuff we were watching during Amy’s day of couch arrest…)

 

Book influencers, vloggers and other folks in the Booktube universe usually post videos this time of year for the annual The Mid Year Freakout Book Tag .

The trend began on social media in 2016, when two Booktube readers decided to look back at their New Year’s reading resolutions to see how far they’ve come and what they’ve read. The “freakout” level is based on the idea that the reader might have said, “I’m going to read 50 books this year” back in January, only to find that as of July 1, they’ve only read 12.

Beyond that, however, the tag includes a series of topics for video podcasters to discuss about what they’ve read to this point and how they feel about it:

Each year, Amy looks forward to this like I look forward to the end of the school year. This year, the weather and wildfire smoke exacerbated her asthma to the point she couldn’t leave the house for a couple days, so she spent a lot of it flipping through the various videos.

She watched every second of some videos while catching only a couple minutes of others before cutting the video short in favor of something else.

The journalism nerd in me, of course, asked her why some of these were non-starters, even as they discussed one of her favorite topics (books) and hit on some of her favorite reads of the summer. In some cases, she said, it was way the video came together, while in other cases it was the content. Still others involved some annoyances she couldn’t quite put her finger on, but she knew she had to stop watching before she had a brain aneurysm.

So, in hopes of finding some deeper truths (and keep her laminated to her chair to avoid massive wheezing), I asked if she’d take some notes on things that bothered her when she noticed them. In looking back at the answers, and discussing her broader thoughts on the topic, here are a few things that might help you in doing video (or audio) podcasts.

(ED NOTE: This started to get overly long, I decided to cut it into two parts, with the second portion coming next Thursday.)

GET TO THE POINT: This one came up repeatedly, and it says something about what audiences have come to expect.

“I came here to see your favorite books or your thoughts on (NAME OF BOOK I’VE SINCE FORGOTTEN),” she said. “It shouldn’t take 10 minutes to get me there.”

Keep in mind, my wife has an exceptional attention span, as she reads hardcover books for pleasure that are large enough to kill a small pony. She will watch a multi-season documentary and mull the content. She is the BEST CASE you can hope for from an audience member on any topic, so think about how long and drawn out something has to be to really tick her off.

Now, imagine your audience being the Short-Attention-Span Theater Generation, where watching a whole movie at one time is too mentally taxing for them. There’s no way they’re hanging in there for you to spend 19 minutes thanking your sponsors, your parents and your pets, before veering into a sidebar discussion of why all of your geckos have names that start with the letter Q.

If you have a point, get there and do it in a damned hurry before people leave.

 

WAY TOO PERSONAL:  In a number of cases where people weren’t getting to the point, it was because they decided to be the star of the show to the detriment of the content. I’ve often argued that when it comes to media content, the journalist is like the frame around the painting, not the painting itself. We’re there to help display the things people want to see.

In other words, nobody goes to see the Mona Lisa and says, “Weird looking chick in there, but MAN did you SEE that cool frame?”

A number of the podcasts that Amy cut short involved people telling the audience all about their lives from the moment of egg fertilization until that afternoon, outlining some weird personal drama or otherwise not getting into the content people went there to see.

I was watching one of these with Amy where a podcaster spent FIVE MINUTES outlining why she changed the name of her YouTube channel from one name that didn’t make sense to me to another name that didn’t make sense to me. She was telling the audience, that the first title felt too restrictive in terms of implied content, and that she’s so much more than just a reader… We never did find out what she read or what she liked, as Amy “gonged” that one quickly.

 

STAND OUT (FOR GOOD REASONS): Amy zapped a couple podcasts in mid-cast, even though they’d seemingly been abiding by her first two “rules.” After about the third one, she muttered, “I heard that already…” Although she didn’t mention this on her list, it became clear to me one of the things a challenge like this can create is repetition that leads to boredom.

When a hashtag challenge becomes a big deal and EVERYONE is doing it, the question becomes, “Why would I watch your video instead of a dozen other people’s videos?” Amy listed a few reasons why she will at least give someone a chance:

  1. They are a known commodity: She favored the people she’d been watching all along and liked, so she went to them first (or stuck with them the longest) when it came to this book challenge.
  2. They pitched something “her style:” She skipped a couple because of the titles and went to others for that same reason. The skips were things about romance novels or other things that would make the Hallmark channel roll its eyes. She went into the ones where headlines promised a look at things she likes (I’m not even going to list them here, as I’m sure I’ll screw this up and get into trouble…). A headline that tells the viewers what they’re getting works well to attract the right viewers and allow the others to make smarter choices.
  3. They seemed novel in some way: I call this the “two-headed chicken” rule. If you are driving down a country highway and see a sign that says, “Two-headed chicken petting zoo. Turn left in 1/2 mile,” it’s a pretty safe bet you’re turning left. When headlines, influencers or other elements of the cast promised something out of the ordinary, Amy gave the video a look.

To make the cut, obviously it’s great to be the big kahuna out there that everyone just watches because you are well known, but beyond that, you need to find a way to provide some sorts of distinctions if you want people to give you a look.

 

TIME LIMITS: The benefit of online content is that it can be as long or as short as you want it to be. Traditional broadcast was always hamstrung by time limits, so it meant only so many stories could make a newscast or stories had to be kept “tight” on time to allow for more content to make it to air.  In these video podcasts, the influencer can do a quick one minute or go on for hours on a topic.

That’s not always a good thing, as Amy pointed out. Several casts she looked at had her pausing after two minutes, checking the time bar across the bottom and then moving on. “There’s no way I’m watching 55 minutes of this,” she said after cutting one video short. In other cases, the videos left her wanting more: “I never found out WHY they liked the book, so how will I know if I should read it?” she said more than once.

In teaching design, I often talk about “size versus value” when it comes to displaying elements. A headshot of a profile subject that runs at a quarter page provides no more value than one that runs at two inches by two inches. Thus, the size is out of proportion to the value. The inverse can also be true, in that running a photo of a daring fire rescue scene at 2 x 2 undermines the value of the photo because people can’t see what’s going on in there. Thus the size undermines the value.

The same thing applies here: If the video is too long, people will likely avoid it or stop watching after a few minutes. (If you happen to be extremely amazingly gifted, maybe you get a pass. The problem is EVERYONE out there seemed to think they were the exception to the rule of “Keep it tight.”) If it’s short, you might get the person to watch one of your videos, but not subscribe or pick up on a couple others for a look.

There doesn’t seem to be a real rule here in terms of what is or isn’t too long. Amy tended to favor 12-15 minute casts on this topic and I’ve seen research that says up to 18 minutes can work. The key thing is that you want the size to reflect the value, so 10 minutes of you thanking your cat for staying out of the video, followed by five minutes of the real content isn’t going to cut it.

(NEXT TIME: OTHER THINGS (ASIDE FROM ME) THAT ANNOYED MY WIFE…) 

Writing Tips in Sarcastic-Poster Form

While reading through a collection of contest entries, I took to social media to complain about a common failure of the pieces that didn’t make the cut:

A friend chimed in with a great suggestion:

“I need a poster series, please.”

Although we couldn’t come up with a list of things that were definitely irritating, I did manage to cull a few ideas and, thanks to the miracle of AI image generators, we now provide you with the first series of what might become an ongoing feature here on the blog: Writing Tips In Sarcastic-Poster Form.

Feel free to download, reuse and share whatever you want from this. These are also suitable for framing:

The original…

Here’s one for your sports-writing friends…

And, of course, my own personal gripe…

Feel free to hit me with any of your personal pet peeves in the comment section below or hit me up via the contact page. 

Vince (a.k.a. The Doctor of Paper)