Final Exam

1. Final Exam Paul McGrath

2. First … a little test Take out a sheet of paper. This is one last test of your wordsmithing skills. Write down your favorite color. Follow that by writing down three one-word adjectives that come to mind when you think of that color.

3. A little test … Now write down your favorite animal. Follow that with three one-word adjectives that come to mind when you think of that animal.

4. A little test … Now write down what your favorite vacation or getaway spot is. Be specific or general; this is where you go to relax or have fun. Follow that with three one- word adjectives about that locale.

5. A little test … EXCHANGE PAPERS WITH A PERSON NEAR YOU

6. A little test … This is not just a wordsmithing test … it’s a rudimentary psychological profile. How you describe your favorite color is how psychologists determine how you see yourself.

7. A little test … How you describe your favorite animal is how psychologists determine how you think others see you.

8. A little test … And last, but certainly not least … How you describe your favorite getaway spot is how psychologists determine how you view your love life.

9. FINAL EXAM • The final is take home. You can fax or email me your test by the prescribed deadline. My Chron fax number is 713-220-6806 and my home fax is my phone number, 281-374-6858. If you are faxing to my house, call me first so I can set up the printer. If faxing to the Chron, call me afterward to let me know it was sent.

10. FINAL EXAM • What it covers: AP style (20 points), fill in the blank off your notes and textbook (30 points, four short answer questions (20 points), story rewrite (30 points). Remember, all of you who showed up for “bonus points” day already have 3 points going into the final.

11. FINAL EXAM • How I grade the story rewrite: name and fact errors will be 15 points each with a maximum deduction of 30 points (getting the same name wrong three times will be 30 points, not 45). AP style and spelling errors are 2 points each. The rest is pretty subjective, but I will pay particular attention to the lede, transition, wordiness and what you list as missing information.

12. FINAL EXAM • Your overall grade is calculated like this: AP exercises (10%), story assignments (60%) with the current events counting as one story grade and the profile counting double, final exam (25%) and the remainder -- 5% -- is an assessment of your effort, improvement, participation (absences) etc.

13. Broadcast Presentation Paul McGrath

14. Credibility Issues Paul McGrath

15. CREDIBILITY ISSUES • Earlier in 2006, a number of Miami journalists were fired or disciplined for taking money to work for the Voice of America, the U.S. propaganda network. • Perhaps more insidious is the growth of “fake news,” video news releases done in the sheep’s clothing of a TV news story. Many government agencies and businesses send news releases to broadcast mediums that are barely distinguishable from news stories.

16. CREDIBILITY ISSUES The latest issue or hottest product is presented by a “reporter” in much the same format of a regular news story. The same “reporter” may have different names in different stories. The unwitting TV station, therefore, may run an update on No Child Left Behind that was actually created by the Education Department.

17. Fake News What you need to know as a broadcast news consumer What you need to avoid as a broadcast news reporter

18. THE PROBLEM WITH FAKE NEWS http://www.sourcewatch.org/index.php?title=Video_news_releases WASHINGTON (AP) - The Federal Communications Commission has mailed letters to the owners of 77 television stations inquiring about their use of video news releases, a type of programming critics refer to as ``fake news.''Video news releases are packaged news stories that usually employ actors to portray reporters who are paid by commercial or government groups.The letters were sparked by allegations that television stations have been airing the videos as part of their news programs without telling viewers who paid for them.FCC Commissioner Jonathan Adelstein said Tuesday the letters ask station managers for information regarding agreements between the stations and the creators of the news releases. The FCC also asked whether there was any ``consideration'' given to the stations in return for airing the material.``You can't tell any more the difference between what's propaganda and what's news,'' Adelstein said.The probe was sparked by a study of newsroom use of material provided by public relations firms.

19. THE PROBLEM WITH FAKE NEWS The study, entitled ``Fake TV News: Widespread and Undisclosed,'' was compiled by the Center for Media and Democracy, a Wisconsin-based nonprofit organization that monitors the public relations industry.When stations air video news releases, they are required to disclose to viewers ``the nature, source and sponsorship of the material that they are viewing,'' according to the FCC.The rules were prompted by payola scandals of the past, in which broadcasters accepted money from companies to hype their products without labeling the effort as advertising.Diane Farsetta, senior researcher with the Center for Media and Democracy and co-author of the study, said that did not appear to be the case in the study but that ``the main reason is economy. These are free stories that are given to stations that are continually under-resourced.''Farsetta said despite the publicity, stations are continuing to air releases without disclosure.Stations that received the letters have been given 60 days to respond. If the FCC decides they have violated the rules, punishment could include fines or license revocation.---On the Net:Center for Media and Democracy: http://www.prwatch.org/fakenews/stationlist

20. Ethical dilemmas • Fake news is certainly not the only ethical worry in the broadcast medium. • In her book, “Truth and Duty,” (pages 113-114) former CBS producer Mary Mapes -- she of the Bush National Guard story fame -- talks about how TV has contributed to a “culture of celebrity.” She warns against subjects who play to the camera.

21. Ethical dilemmas Specifically, she refers to the coverage of the Jonesboro, Ark., school shootings. In the aftermath, there was much competition for an interview with the father of one of the shooters. The father refused to commit, but one morning while talking with Mapes he told her that he had decided to go with NBC’s “Today” show. Why? Because it had the “best ratings among the top ten cities and the best coverage nationwide.” It was like a scene out of Oliver Stone’s “Natural Born Killers” -- the father of a teenage murderer negotiating with the national networks to get the best ratings for his son’s story.

22. Believability Paul McGrath

23. One demographic study indicates that the average age of the typical nightly network news watcher is 60.

24. BELIEVABILITY • From July 30, 2006, Pew Report on Media Believability

25. BELIEVABILITY • From July 30, 2006, Pew Report on Media Believability

26. BELIEVABILITY • From July 30, 2006, Pew Report on Media Believability

27. BELIEVABILITY • From July 30, 2006, Pew Report on Media Believability

28. BELIEVABILITY • From July 30, 2006, Pew Report on Media Believability

29. Lasting Images Paul McGrath

30. Lasting images The broadcast landscape has changed greatly in the past three decades, largely because of cable and the Internet. But like its print cousins, the broadcast medium is not ready for the grave just yet. Since we live in the age of converging communications skills, someday you might find yourself having to do a stand-up outside an apartment fire, then writing a story for the online news product and then producing a third piece for the print side. Radio and TV are mediums for the eye and ear. Think about some of the big stories from the past 10 years -- the Oklahoma City bombing, 9/11, the shuttle Columbia explosion, etc. It’s the images from the video that stick with us longest, not the images that were used in print.

31. Broadcast News Judgment Broadcast journalists view news a bit differently – they need pictures and sound

32. NEWS JUDGMENT One of the big differences between print and broadcast is how those mediums define “what is news.” The broadcast mediums have a narrower scope. There are four major criteria for shaping news judgment for broadcast mediums: 1. Timeliness: TV news magazines may have proliferated, but “the breaking story” still rules the day 2. Information or content: Broadcast stories have to answer the “what” question quickly because of the time factor; there is not much emphasis on the “why” and “how”

33. NEWS JUDGMENT There are four major criteria for shaping news judgment for broadcast mediums: 3. Audio/visual impact: Being somewhat of a slave to the technologies involved, TV doesn’t like stories without pictures; radio folks like sound bites 4. People: Humanizing the stories gives them greater impact. It’s a first cousin of some of those anecdotal lede approaches we’ve talked about.

34. NEWS JUDGMENT Of course, there are other differences between print and broadcast: -- Broadcast folks are more concerned with “time” rather than “space.” This time-forced focus on brevity fosters a lack of depth, which is one of the major criticisms of broadcast journalism. -- Also, the broadcast reporter is much more concerned with their appearance and manner of speech than print reporters. Voice and looks matter in their story-telling.

35. NEWS JUDGMENT Of course, there are other differences between print and broadcast: -- The print reporter may go into battle with tape recorder and a photographer, but the broadcast reporter has a microphone and generally has a “CREW.” At the networks, the person you see reporting a story may not have done any of the reporting at all -- it was all done by producers or assistant producers. The “reporter” supplies the star power. -- Broadcast reporters don’t have to describe sights and sounds -- they can let the technology do that for them.

36. NEWS JUDGMENT But there are also similarities … -- Both mediums are utilizing the Web more and more to fill in the gaps in their coverage. --The main similarity is the need for good writing.

37. Broadcast Writing Paul McGrath

38. CHARACTERISTICS OF BROADCAST WRITING Because news is weighed a bit differently at broadcast mediums, the writing takes on certain characteristics: 1. Immediacy: Focus on what’s happening now. --Broadcast writers try to achieve a sense of immediacy by using the present tense as much as possible. The price of gasoline hasn’t “gone up” it is “going up.” -- If there is no danger of inaccuracy or deceit, omit the time element altogether -- If you have to use the past tense in the story, include the time element -- Remember to update. The best way to avoid having “yesterday’s news” is to update with a new development, attempt to localize, etc.

39. Broadcast: 10 differences from print, PR • 1. Use a friendlier, more conversational tone (when appropriate). “Watch out for construction on the East Loop tomorrow as you’re headed to work.” • 2. Keep it short, simple and easy to follow. One idea per sentence; limit sentences to 20 words or fewer. Use simpler words. • 3. Say so long to the inverted pyramid. Broadcast stories need a beginning, a middle and an end. • 4. Use present tense. You want to sound new, fresh and immediate • 5. Contractions are OK. They generally aren’t in print.

40. Broadcast: 10 differences from print, PR • 6. Attribution, quotes get different treatment. In print, the attribution generally goes behind the quote or statement. In broadcast, it’s generally the opposite. • Print: Jones gave a confession, police said. • Broadcast: Police say Jones confessed to the crime. (note the use of present tense) 7. Use phonetic pronunciation where necessary. Barack (buh-ROCK) Obama (OH-bomb-ah) 8. Use punctuation to aid delivery. Avoid hyphenating in scripts or breaking sentences between pages. Use ellipses or dashes to create pauses. Use underlines or CAPS for emphasis.

41. Broadcast: 10 differences from print, PR • 9. Avoid abbreviations and symbols in scripts. Is “St.” street or saint? Is “Dr.” doctor or “drive”? • 10. Numbers: round them off, spell them out. Don’t use $497,457; use “about 500,000 dollars” or “about a half million dollars.” Make numbers easy to read: • 0: Write as zero • 1-9: Spell out as words. Maybe eleven also since it can look like two L’s • 10-999: Use numerals • Above 999: try to round off; use combo of words and numerals

42. CHARACTERISTICS OF BROADCAST WRITING Because news is weighed a bit differently at broadcast mediums, the writing takes on certain characteristics: 2. Conversational style: Write the way you talk -- Use simple, short sentences -- Use transitive verbs. Transitive verbs do things to things; they demand a direct object. -- Don’t use slang, colloquialisms or incorrect grammar

43. CHARACTERISTICS OF BROADCAST WRITING Because news is weighed a bit differently at broadcast mediums, the writing takes on certain characteristics: 3. Tight phrasing: Remember, your foe is time instead of space. Time is less forgiving -- Sentences should be no more than 12-15 words -- Cut down on adjectives and adverbs -- Using active voice over passive voices will trim some verbiage -- Concentrate on the bare facts; print and online folks will fill in the details

44. CHARACTERISTICS OF BROADCAST WRITING Because news is weighed a bit differently at broadcast mediums, the writing takes on certain characteristics: 4. Clarity: Unlike print and the Web, broadcast audiences can’t go back over the copy (unless it’s in the crawler!). The audience only sees it or hears it once -- or until the next news break. -- In addition to short sentences, use nickel-and-dime words. See above… -- Avoid too many numbers -- ** Don’t be afraid to repeat words or phrases. Repeat proper names rather than use pronouns. Be sure to “tee up” (use identifiers) for unfamiliar names. Longtime Houston businessman John Smith died Wednesday…… -- Avoid foreign words and phrases -- ** Keep the subject close to the verb. (NO: “Bagwell, who has been struggling at the plate recently, smacked a three-run homer in the ninth inning.”YES: “Bagwell smacked a three-run homer in the ninth inning. He’s struggled at the plate lately.”)

45. Broadcast Leads Paul McGrath

46. BROADCAST LEADS Here’s a surprise: Broadcast leads, just like their print cousins, strive to capture the attention of their audience. It has to have enough substance or style to draw attention but not so much information that it hinders comprehension. Unlike the print lead of 35-45 words, broadcast ledes should probably be fewer than 15 words -- 20 max. So, don’t crowd the lede with too much information. Waiting for certain questions to be answered will also keep the audience listening or watching. Also, just like the print lede, the broadcast lede must set the proper tone and mood for the story. Tragedies aren’t cute. Don’t mislead (TSU anecdote)!

47. BROADCAST LEADS Textbooks mention four types of broadcast ledes: • Single Act Ledes • Umbrella or Comprehensive Ledes • Chronological Narrative Ledes • Soft Ledes It wouldn’t hurt you to read about those types, but the two types you will most often deal with if you go into some form of broadcast are: -- the “single act lede” and the “soft lede.”

48. BROADCAST LEADS The single act lede: • Goes immediately into the “what happened” and “who” aspects. • The “what” is most important, followed by the “who.” • The time and place may be included. • The “how” and “why” come later in the story, if at all. Example: A Texas House committee voted today to ban gays and lesbians from adopting children.

49. BROADCAST LEADS Thesoft lede: • This is also called “cuing in.” • It is characterized by using a general statement that will pique interest before going into the specifics of the story. Example: Gay rights activists hit another roadblock today in the Texas House. (note there’s a bit of suspense here; you don’t know yet what happened, but you can deduce gay activists won’t like it.)

50. Story Structure Paul McGrath