An elusive art in the news lab
There is very little written about how educators can be better coaches to broadcasting students. Perhaps it's too narrow a topic to warrant exhaustive study. Perhaps it's too elusive an art to be dealt with effectively in scholarly research. But I submit that some attention to developing effective coaching techniques can go a long way toward improving effectiveness in the broadcasting lab.
The value
'Some folks make the same mistakes over and over again because no one tells them differently as their career moves along.'
DON FITZPATRICK, CONS LITANI DON FITZPATRICK ASSOCIATES SAN FRANCISCO
Broadcast educators enjoy a privileged position when it comes to nurturing talent. Unlike news directors in the marketplace who often must attempt to guide those resistant to change, educators typically work with students who are receptive and eager for instruction. Students, by definition, are predisposed to learning new ways of doing things. So 'growing talent' in a school setting ought to be easy. It is anything but that.
The process gets complicated perhaps because it has less to do with journalism than it does with ego and self-esteem. Coaching in a student newsroom can, at times, be very much like tip-toeing through an emotional mine field.
The less stalwart among us avoid any significant coaching because of the potential risks. We might, after all, hurt someone's feelings, or crush a fledgling career. But I suggest that we ought to be fully involved in meaningful, constructive criticism with our students-if for no other reason than it may be the last such help they receive.
In a professional broadcasting environment, even in smaller markets, managers seldom nurture neophytes. My personal professional experience includes almost 20 years in TV newsrooms-half of that as on-camera talent working for eight different news directors. While there is no doubt that I could have benefited from some coaching, particularly in my early years in small markets, I received none. Even on the one occasion when outside consultants were brought in to help us better our product, the one-on-one 'coaching' session resulted in no specific suggestions for improvement (and I assure you that there was room for some.) Instead, my performance improved largely by imitating those whom I believed were more accomplished.
Dave Goren, sports anchor in Winston-Salem, N.C., has had similar experiences. He says he's worked for six news directors so far, and every one of them has avoided any attempt at coaching. 'I've found that news directors have left me alone. The ones I've worked for either have no knowledge of sports, or don't care. I can't think of one instance in which a news director has tried to help me improve. Does that mean I'm perfect? Highly doubtful. The lack of input from above can be looked at in two ways: I'm glad they're not butting in; or, why don't they care?'
Broadcasting consultant Bill McMahon, president of Mediavision Ltd., San Diego, suggests that it comes down to ineptitude. 'Management doesn't really know how to coach,' since they themselves have never been trained to do it, as they worked their way up the ladder.
Looking back on the bosses I've worked for, I tend to agree with McMahon. I believe that they simply felt inadequate and unprepared for the task, and deeply uncomfortable about broaching what could have been an emotionally risky encounter.
Establish trust
'There has to be absolute trust and respect.'
BILL MCMAHON MEDIAVISION LTD. SAN DIEGO
During my years in TV newsrooms, I found myself occasionally cast in the role as mentor to interns and newcomers. In that environment, it would have been inappropriate to tell the beginners that it was okay to admit uncertainty, or to make mistakes. In fact, the stakes were very high and weakness or errors could have been fatal to their budding careers.
But the academic environment is dramatically different. Tolerance and reassurance ought to be stressed. I am convinced that the most effective technique that I now use in the TV lab is this: I specifically and repeatedly reassure students that it is a safe place; that there are no heavy penalties for booboos or less-than-stellar performances. I tell them that this is the place to experiment with different performance styles, to stretch and to grow creatively, where 'it's just us watching' (even though we do have a sizable public audience). I remind them again and again that they should try out and perfect their act here, in this safe place, before they get where the stakes are high. It is remarkable how this mantra relaxes my students, so that they can do their best in front of the camera. It also renders students much more receptive to constructive criticism.
This is not to say that failures or inadequacies shouldn't be discussed. Performance should be analyzed dispassionately and non-judgmentally, concentrating on technique and specific suggestions for improvement. Getting past hurt feelings
'No ego is more fragile than a news anchor's.'
MIKE ARCHER EXECUTIVE PRODUCER WWOR-TV, NEW YORK
Among those who have already achieved some measure of professional success, vulnerability levels are high. Apparently it doesn't get any more comfortable at the top. Consultant Bill McMahon says 'all talent is fragile, no matter how much experience.' He tells the story of the broadcaster who had a no-cut 5-year $5 million contract, who was the most insecure person McMahon had ever worked with. McMahon's theory is an intriguing one: some people don't really know or understand how they succeeded - it just happened to them. Consequently, they don't know how to avoid failure. They walk on eggshells, never knowing how or when it will all end, which results in tremendous insecurity.
But most students are, by definition, eager to learn and open to suggestions, like Christopher Taylor, one of my students: 'I think in this profession you need to have thick skin and be able to take lots of criticism. It's all good with me as long as it's a fair critique.' And Meredith Vinokur, SPJ president at Syracuse University, thinks tough criticism makes her stronger. 'My broadcast journalism professor treats the classroom as if it is a newsroom. He is our news director. He is preparing us for a career short on praise, but high on criticism. I take his criticism constructively. I would much rather get it now than when I am in the 'real world.' Every suggestion he makes, I use to improve my next package. I really value his teaching strategy. I would feel cheated if he told me that I was doing everything perfectly - then why would I need to take the course?'
I believe the most effective way to prepare your students for such criticism is to get them to separate themselves from the task. Remind them over and over that you're criticizing their performance, not their character.
Humboldt State Professor Charles Di Costanzo puts it another way: 'Depersonalize the process. Let them know that this, their work, is not them. It's about the work. Make that separation.' And point out that work that is analyzed, is the only work that stands to improve.
Good with the bad
'Motivational research finds that praise, if honest and realistic, will never hinder motivation. So use praise when you can.'
CHRISTINA FREDERICK PSYCHOLOGY PROFESSOR SOUTHERN UTAH UNIVERSITY
People who are paid for their advice to broadcasters tell us that there is an important rule when it comes to criticism: don't mention only the negatives, always say something positive, too. Of course, that's not always easy to do. Don Fitzpatrick says 'Many, many of the tapes I look at are downright terrible. So I try to find the one thing positive about the tape and hone in on that. Then one by one I point out the negative points. Then I'll usually offer suggestions on how it could have been improved.'
Dana Levin, chief photographer at KFMB-TV in San Diego for the past 10 years, says 'it's just common human psychology. I always go for some positive aspect in the work, even if it's really bad. Then point out specifically what's wrong, and offer specific solutions, or ways of getting around the problem next time.'
I go so far as to organize my critiques into good news/bad news sections. My students always know that they're going to get a little of each; I will praise what they did well, and then specifically articulate the ways they can improve.
Here's another technique that serves to accentuate the positive. From time to time I'll ask my students to resurrect one of their very early tapes to compare to their current performance level. It's a graphic illustration of their growth and accomplishment, and they always feel satisfaction from the comparison.
To group or not
'I love group critique sessions! Constructive criticism is helpful in learning how to make myself and the staff better.'
MIKE CAUDILL BROADCASTING STUDENT HUMBOLDT STATE UNIVERSITY
Is it a good idea to point out flaws in a public forum? It is definitely more dangerous for the fragile, as one of my students, Carole Morgal-Bumgarner, observed. 'The worst thing is when you know your work isn't up to par, and everyone tries to make you feel okay about messing it up, or vice versa, when you think you've done a good job, and someone tears it down. That's always kind of gut wrenching.'
Consultant Bill McMahon is adamant about keeping things private. 'We all like to be praised in public; but criticized? That requires much strength and confidence. It's awfully difficult to be stripped naked in front of everyone. I would opt for the one-on-one.'
But some of my students find public critiques quite valuable. John Wolf says they're 'cool because there are more people thinking, which yields more ideas...it makes people want to perform better.' James Geth says, 'I value every criticism that I'm given, public and private, because broadcasting is such a public business.' Victor Meier also likes the group sessions; 'I enjoy the input from my peers. Group gives you a variety of opinions and feedback, different views.'
The challenge for me is knowing when to push, and when to back off. Most of my students have been traditional college age, not yet having achieved full emotional maturity. So I always try to be sensitive to individual tolerance levels. My colleague Charles Di Costanzo gave me good advice: 'It's always important to push them as far as you can; but you have to look at how much they can take. You want to push them to the brink, but you never want to push them over, Some people can take more than others, some need lots of encouragement, some need razor-sharp rigor, and you have to find out which is which. You can only do that by working with the students and seeing what they respond to. Coddling is demeaning and patronizing. Respect your students, assume that they're intelligent and that they'll listen. Some people like the honey, some like the vinegar.'
Coaching tools
'Every talent wants to believe (whether they admit it or not) that they can achieve network stardom.'
CRAIG BREWICK, CONSULTANT CRAIG COMMUNICATIONS FOLSOM, CALIF.
When Brewick makes suggestions to talent, he's very methodical. 'I use my talent coaching forms where every element of anchoring or reporting is broken down into microprocesses. Concentrate on what they do right and then slowly develop them in the weaker areas. I like using the Socratic method. Once the student starts thinking, they'll understand the reasoning behind the coaching.'
Significant progress can also be achieved when the stress level is reduced, according to Terry Green, who works with students at KHSU-FM, Arcata, Calif. 'I would suggest keeping in mind how big a role performance anxiety (a polite term for stage fright) plays with new people.... It's hard to process the learning you're trying to do if part of your brain is in hyper drive because of performance anxiety. As trainers, I think many of us could benefit from knowing how best to ameliorate this stress.'
Once coaches create a more comfortable environment, they can incorporate additional techniques from Brewick. 'When coaching anchoring (news, sports, weather) make sure the talent has completely read the copy before taping. Find the mood of the story and actually write it on the hard copy (or computer if using TelePrompTer). Underline key words and phrases. If possible, the anchor should write his/her own copy and make sure it is written actively and conversationally.'
But good writing isn't enough for Don Fitzpatrick, who has critiqued more than 10,000 tapes in his career. 'Even before I look at a tape I tell the folks that my background is in radio and the first thing I do is listen to the delivery. I also tell them beforehand that I recommend some voice training (speech pathology, voice coach, etc.) to about 65 percent of the tapes I hear/view and not to take it personally.... I then tell them that I will critique their tape on what a news director would say (superficial things look, dress, hair). And finally how the tape is constructed (writing, reporting, overall construction of the piece).....
That may mean that teachers ought to be brutally honest with students - on some distinctly non-academic topics. For instance, what do we do when a student simply lacks the telegenic qualities necessary for success in a glamour-based industry? 'I think the question you're really asking is `How do you tell them they're ugly?'' according to Brewick. ' First, you never will, and I'm not sure they would choose to believe you. If they have solid journalism skills, I would tell them about the excitement and advantages of off-camera work. Most people get the idea. Or, you might suggest they won't find the financial success they would like going oncamera. Pray they don't ask you to elaborate. If they do, let them know many talented and attractive people are trying to get on TV and this individual will probably find the competition to be too formidable (then there was this guy named Howard Cosell...).'
In the relatively short time that I've been an adviser to university TV stations, I've struggled with whether and how to talk to one student who was too fat, another student who had serious acne, and a third student who talked like he had a clothespin on his nose. All of those people were quite talented and able, with bright futures in broadcasting ahead of them, were it not for their physical anomalies. Part of me wanted to ignore those shortcomings, and concentrate on the positive and the journalistic qualities that they demonstrated; taking the high ground, as it were, and avoiding the chance of hurt feelings. That part of me was also a coward, doing no good service to those who expected honesty and good counsel. So I decided to be direct, and state exactly what needed to be overcome.
In each case, the response was positive. The overweight student said 'Yeah, I know, I'm gonna lose some weight.' The one with acne now uses make-up without apology. The allergy sufferer thanked me without embarrassment for the helpful suggestions, and has since announced that he'll be seeking a behind-the-camera job. In these difficult coaching dilemmas, it's useful to remember advice from Di Costanzo: 'Be clear. Be rigorous. Be fair. And tell the truth. It shows respect for the person and respect for the process.'
The lost cause
'As I view tapes from kids in small markets, I become more and more convinced that anyone with a pulse can be on TV.'
CRAIG BREWICK, CONSULTANT CRAIG COMMUNICATIONS FOLSOM, CALIF.
If we are to tell the truth, might that not mean directing people away from the profession, if they show little aptitude or talent? Is there such a thing as an incorrigible? Who has the right to make that pronouncement? Bill McCloskey has a definite opinion. He logged many years in the media before joining BellSouth Corp. in Washington D.C. as Director of Media Relations. 'The lost causes become pretty obvious pretty early, I've decided. I have looked for what they do well and tried to guide them to other areas. If they've gotten in the door with no qualifications, that's partly my fault as the employer. You may not have that luxury as a teacher someone in the admissions office opened the gate and let in the dud.... There are far too many people in this industry, thus the low pay. We owe it to the profession to weed out the duds early by NOT nurturing them.'
Dave Silverbrand is the news director at KVIQ-TV in Eureka, CA, where he works with a steady stream of student interns. If the intern seems headed for failure, he says gently: 'If you want to succeed at this, and if you want it badly enough, these are some things that you have to overcome. Sort it out; this may not be the best profession for you.' He says when they realize their choices, they sometimes choose to drop out.
Charles Di Costanzo, the professor who routinely runs into varying degrees of talent and ability, uses diplomacy. 'Tell them: 'You're not a natural; but I really appreciate your perseverance. If this is what you really want to do, I'll do everything I can to help you do it. But I want to tell you right now, you do not have a natural ability for it, so you're going to have to work extra hard.' If they actually are not suited for it, they will eventually discover that for themselves.'
Consultant Adrienne Laurent refuses to make such judgments. 'I never, never, say someone is a lost cause. I have seen so many people who I thought were lost causes, only to see them advance in this industry.' She's in agreement with Rob Sunde, senior editor with CNBC Television. 'The career pathways are studded with men and women who have been told at the start of their journeys that they weren't good enough to succeed. The truth is that no one can ever be sure.'
What I do know for sure is that the judgment ought not to be made prematurely. I have watched students who started out extremely poorly as talent blossom into quite accomplished performers. So I highly recommend patience.
But there are times when you know improvement just isn't going to happen. Perhaps I am overestimating my responsibilities as a broadcast instructor, but I think that it is my duty to actively guide my students toward professions where they have reasonable prospects for achievement. I believe students expect me to give honest feedback about their performance, particularly because I've 'been there' and have seen plenty of successes and failures along the way. So if it is obvious to me that 'talent' isn't a particular student's calling, I will simply tell them that they're probably better suited to producing, or directing, or....
Final thought
If you ever doubt how important your personalized coaching is to your students, remember the words of Don Fitzpatrick: 'I have reporters working at the network now whose tapes I critiqued right when they got out of college. When they see me at a RTNDA or an AP meeting they always come up to me and tell me exactly what I said to them 15 years before. So being honest, but sensitive, is very important. They'll never forget what (and how) you told them.'
[Author Affiliation]
Kozak (LK2@AXE.HUMBOLDT.EDU) is assistant professor of journalism at Humboldt State University.
