In addition to everything else he does, Krulwich now co-anchors public radio’s Radiolab, which this year won a prestigious George Foster Peabody Award for broadcast excellence. As the program explores science and technology, it’s also “rethinking and reinventing American radio,” says Ira Glass of “This American Life” in an appreciation of Radiolab posted at Transom.

Glass deconstructs how Krulwich and his co-host, Jad Abumrad, achieve their chatty on-air style that almost makes listeners feel they’re eavesdropping on an actual conversation instead of listening to a radio story.

They’ll come into the studio together with a script that’s halfway between a real script and a list of story beats they know they need to hit…They’ll ad lib their way through this so-called “script” a few times, rolling tape the whole time. Then Jad or one of the show’s producers cuts together a version. They listen to it. Then they’ll go back and re-record bits of banter, to make a quicker transition from one section to the next, or to slow down and explain some point more thoroughly, or to set up a piece of tape slightly differently. They’ll do this three or four times, jumping into the studio to make little improvements and adjusting as Jad and the other producers layer in the other production elements, the music and sound.

The result of all that effort is an effortless sound, with lots of back-and-forth between the co-anchors, as in the first story in this episode:

Glass notes that other public radio programs, like Planet Money, sometimes use a similar approach of having one reporter or anchor comment on another’s story. “Having two narrators lets them express amazement, underline what’s funny, manipulate the pacing, pause on a difficult idea and bring up opposing arguments in a very graceful way,” Glass writes.

Some commenters on Glass’s post say the presentation style he so admires feels contrived and forced. But I think he’s onto something:

TV news continually loses ratings. And one way we broadcast journalists can fight back and hold our audience is to sound like human beings on the air. Not know-it-all stiffs. One way the opinion guys kick our ass and appeal to an audience is that they talk like normal people, not like news robots speaking their stentorian news-speak. So I wish more broadcast journalism had such human narrators at its center. I think that would help fact-based journalism survive.

If you think public radio is a different beast and what they do there shouldn’t be tried in commercial newscasts, I beg to differ. Sure, Radiolab’s highly-produced techniques obviously would be difficult or maybe impossible to pull off live. But why shouldn’t TV anchors and reporters try a little harder to speak the way ordinary people talk?

Sourced from: NewsLab.

“If you don’t really love doing it, you’re not going to do well,” she said in an NPPA interview. “It’s such a monster that you battle every day. You have to be so many things in a day.”

Here’s one of Michael’s prize-winning stories, a story that she says changed her life because “it showed me a lot about what people are willing to give up and do for other people.” It’s also an example of the value of listening. Michael says she met the man in the story when he demanded to see her ID as she entered a government building. She had to put down all her gear to find it. She wasn’t all that happy to see him again on her way out, but when he asked if she wanted to hear his story, she stopped long enough to hear what he had to say.

Michael does plenty of stories like that without a stand-up, but when she does decide to include one she spends a great deal of time setting up and shooting it. The result is often a multi-part stand-up, like the one in this story.

Did you count the number of shots in that stand-up? How long do you think it took Michael to get that done, working alone? Here’s the answer, in a behind-the-scenes look at how she produced that stand-up:

Thanks, Michelle Michael, for sharing your work and showing what it takes to do it well.

Sourced from: NewsLab

Stand-ups can be an effective way of explaining complicated issues or concepts, especially if you can find a simple analogy to illustrate the point. How does a retention pond work? Kind of like a coffee filter. Show-and-tell stand-ups can compensate for a lack of video. Where did the children first see the bear? Right here, next to this tree. These kinds of stand-ups aren’t for every story, every day, but used judiciously, they can help viewers make sense of difficult subjects.

They key word is “judiciously.”Joanne Stevens of Stevens Media Consulting says it’s important to remember that a stand-up is not all about you. “More and more I feel I’m being distracted by reporter stand-ups rather than being further edified about the story,” she writes on the RTDNA website.

You are not in a contest to bring back the most clever or viral standup. Ideally you can show us something interesting in your standup, or you may ‘just stand there’ and explain where you are and why it’s significant. You are on camera to communicate with us personally, not to assume the Shakespearean role of ‘I’m on TV and you’re not.’

Another way of adding visual interest to a longer stand-up is to shoot it in multiple takes. This allows you to walk your viewer through a complex process by illustrating individual steps in a visual sequence. Create a simple storyboard in advance to ensure that you’ll have everything you need for editing purposes.

Can you do this as a solo journalist? Absolutely. KUSA’s Kevin Torres does it all the time. The short stand-up in this package is made up of three shots, all framed differently:

“Try to add some natural sound in your stand-ups,” Torres suggests. “This helps break up the piece a lot and helps with the flow.”

Before you shoot any stand-up you need a clear idea of your story structure—not a complete script but a mental outline. Sometimes, it’s helpful to shoot more than one version in case that structure changes. But if you wind up with a stand-up that really doesn’t fit, resist the temptation to use it anyway. Then promise yourself that tomorrow, you’ll plan and execute a stand-up that really works.

Sourced from: NewsLab

“I still record nearly every newscast,” says Ford. “Not because I like to watch myself, but because I want to critique myself and try to improve.”

Ford says successful on-air delivery can be summed up in three words: appearance, performance and preparation.

“It sounds shallow, but appearance is important,” Ford says. “You don’t want what you wear to distract from the message you’re trying to send. If they notice your clothes, they’re not listening to what you’re saying.”

In terms of wardrobe, Ford suggests that men wear solid color suits in blue, black or gray, and he favors white shirts. For women, he’s a big fan of red and says that solid colors tend to work best for them as well. Ford does recognize that it’s sometimes hard for young journalists to get used to such a basic clothing selection.

“It’s a uniform. You don’t have to wear it outside of work,” says Ford.

One other piece of wardrobe advice? Ford says you should always try a new outfit on camera before you cut off the tags — it may look great in person, but awful on the air.

When it comes to performance, Ford says you need to recognize you have multiple tools at your disposal — your voice, facial expressions and movement to name a few.

“When you do a stand up, don’t just stand – move around, gesture, use a prop,” suggests Ford.

However, he’s quick to add that the tools should not become a distraction. If you use your hands too much, for example, that’s what the viewer will focus on, not what you’re trying to communicate.

And the worst mistake you can make when it comes to delivery? Failing to seem like you are interested in the story you’re telling.

Most important of all these tips is preparation, according to Ford. He points to anchors who do sports play-by-play as the masters of preparation.

“They spend hours memorizing line-ups, talking to people, researching players,” says Ford, “but on the air it sounds like it’s all off the cuff.”

If you don’t do enough preparation, Ford says a live shot will expose you. He suggests that you jot down a few key points on a notebook or a cell phone to use as a guide for your presentation, but be ready to wing it as he did recently.

“I lost IFB, so I handed my iPhone to the photographer so the producer could give him my cues. Then I remembered that that’s where I had put my notes,” says Ford. Fortunately, he had done enough preparation that he got through the live shot just fine.

In the end, Ford says excellent on-air delivery can get you noticed, but you need more than that.

“The more things you can do, the more valuable you are.”

Media consultant Joanne Stevens says on the RTDNA website that the trick is to think about “cognitive chunks.”  According to Stevens, you should be deliver your copy as chunks of related information.

Here are her examples:

Example 1: “The alleged attack on a 32-year-old female maid at a midtown hotel occurred on Saturday.”  It should be seen and heard as one ‘cognitive chunk’ and spoken as such.  If your inclination is to… pause/emphasize  ‘attack’ or ‘maid’ or ‘hotel,’ you’re in trouble.

Example 2: “Strauss Kahn remains in custody until an 11 a.m. hearing in Manhattan criminal court.”  This could be one big chunk: or you might see it as two chunks: with ‘in Manhattan criminal court’ serving as secondary information.  It’s up to you.

Example 3: “The meeting will take place as officials discuss increasing a $155 billion loan package to Greece amid concerns the country may be unable to finance its debt next year.” Here you’d most likely see two chunks.

Stevens says that by putting in pauses because you think they should be there, or because you think it sounds professional, you lose the flow that keeps people listening to your information.

So, how do you test yourself?  Once you’re recorded your script, listen with a critical ear.  Are you over-emphasizing certain words or taking dramatic pauses.  Can you identify the cognitive chunks in each line that you read?

You may not like the way you sound at first, but by critiquing your own work, you can eventually improve your delivery.

Here are a few favorites:

INTEL

• Always pause and think before posting. That said, reply to comments in a timely manner, when a response is appropriate. But if it gives you pause, pause. If you’re about to publish something that makes you even the slightest bit uncomfortable, don’t shrug it off and hit ‘send.’ Take a minute to review these guidelines and try to figure out what’s bothering you, then fix it. If you’re still unsure, you might want to discuss it with your manager or legal representative. Ultimately, what you publish is yours – as is the responsibility. So be sure.
• Perception is reality. In online social networks, the lines between public and private, personal and professional are blurred. Just by identifying yourself as an Intel [replace Intel with any company name here] employee, you are creating perceptions about your expertise and about Intel by our shareholders, customers, and the general public-and perceptions about you by your colleagues and managers. Do us all proud. Be sure that all content associated with you is consistent with your work and with Intel’s values and professional standards.
• It’s a conversation. Talk to your readers like you would talk to real people in professional situations. In other words, avoid overly pedantic or “composed” language. Don’t be afraid to bring in your own personality and say what’s on your mind. Consider content that’s open-ended and invites response. Encourage comments. You can also broaden the conversation by citing others who are blogging about the same topic and allowing your content to be shared or syndicated.

KODAK

• Be external. You don’t have to be 100% internally focused. Link to other blogs, videos, and news articles. Retweet what others have to say.
• Post frequently. It’s a lot of work but don’t post to your blog then leave it for two weeks. Readers won’t have a reason to follow you on Twitter or check your blog if they can’t expect new content regularly.

SAP

• Separate opinions from facts, and make sure your audience can see the difference.
• Be engaged and be informed. Read the contributions of others. Know what the current conversations are and what people are saying in order to see if, and how, you may be able to contribute a new perspective. Participation is the fuel of social computing.
• … Provide links to other blogs, media articles or whatever sources you think are necessary. Make your content rich and interesting for others to read. Consider attaching documents when necessary.

And maybe the best one of all…

ZAPPOS

Be real and use your best judgement.

I’ve found a live phoner can feel even more unnatural that standing in front of a camera.  I usually try to think about the techniques I’ve heard cable news reporters use when they’re live from some remote place but in the end I’m never quite sure how I sound.

Perhaps because I started out in radio, I always found going live on the phone much easier than talking to a camera. For one thing, you can look at your notes without worrying about breaking eye contact. For another, talking on the phone is something most of us do all the time so it felt more natural to me than facing a camera, not less.

But since radio isn’t taught in many journalism programs any more, I suspect Pendergrass isn’t alone. So how do you get comfortable doing live phoners? Just like anything else–practice.

Try this: Call your own phone or a friend’s and record “live shots” on your days off. Start by telling where you are and why you’re there.  Get used to providing a little more description than you might on TV, when the pictures can help tell the story. Practice in lots of different situations–indoors and out. Take notes, organize them, and “go live” or just describe what you see. And don’t forget to listen to the recordings later and critique your work.

Another suggestion comes from commenter Larry Degala on the RTDNA blog:

I felt audio books were only for the visually impaired, but I find them to be a good research and practice aid for delivering information with audio only. Also, listening to sports on radio rather than watching on television will give you solid clues of describing events strictly through unscripted reporting.

If you have other ideas, feel free to chime in!

Hinkle says he had to re-learn a lot of technical skills when he took the job in Austin last year but he’s now shooting and editing his own stories daily. “I am expected to turn a package for the 5 p.m., file VO/SOTS for the 6 and 10 p.m. news, do a Web report first thing and update it throughout the day,” he says. “I do the same thing a reporter and photographer together would do.”

That includes demonstrative, multi-part stand-ups, which Hinkle produces on a regular basis. He decides what he wants to say and show in a stand-up and plans it out, selecting different shots or locations for each segment of the track.

“Sometimes, especially if it’s a multi-part stand-up with more than three parts, I draw out a very quick, rough storyboard on paper, so I remember exactly what each shot is,” Hinkle says. “The storyboard might sound ridiculous, but thinking about the stand-up as a movie instead of just a portion of the story has really helped me.”

Then he records the entire stand-up in every location, so he can use a single take if he doesn’t have time to edit.

Hinkle typically shoots with a 25 lb. XDCam and heavy-duty tripod. But on a couple of occasions, he’s shot entire stories with a Flip cam. On his blog, Living Off the Air, Hinkle describes covering a firefighters’ training exercise in a network of caverns. Photographers from other local stations couldn’t fit through the small opening, but Hinkle grabbed two Flip cams out of his pack and crawled in.Good thing he had two. The first one died.

Taking the camera apart, I noticed moisture was collecting inside around the lens cover. I hadn’t dropped the camera, but I figured the air was saturated enough that far down to cause something like this to happen. I wiped a film of cave condensation from my face and had an idea, as I replaced the out-of-service camera with the one from my pocket.

As we continued on our course, I would stop recording every two or three minutes. Next, I pressed my lips up to the camera lens and breathed in hard. Weird? Sick? Okay, whatever. It worked. I was able to suck away any moisture from inside to keep the camera running the rest of the trip.

A Flip cam also saved the day when Hinkle was overcome by pain that turned out to be kidney stones while on assignment. He couldn’t lift the big camera but managed to shoot this story with his Flip:

Hinkle says he’s often asked how he manages to do it all as a solo journalist. “Car time is phone time,” he says. While driving, he sets up interviews and looks for places to shoot. Like most solo journalists, he uses a light stand to help him frame and set the focus for his stand-ups.

What else? You’ll find the answers in this light-hearted video Hinkle showed at a recent journalism workshop:

Right. Don’t forget to have fun!

 Sourced from: NewsLab

It was my second week on the job and I got an email through my personal website (nikkiburdine.com). The beauty of my website is that people can contact me by using the little form, and it goes straight to me inbox. The bad part, those wishing to contact me do not have to use a valid email address.

Case in point, the email I got that sparked this blog post:

“I love Channel 18 and you have in a short period of time you destroyed my news. You look like you are constipated or had botox, your face never moves with expressions, your voice is monotoned and boring and your make-up is way too severe and you need to cover up your cleveage. I change the channel the second I see you and I’m not the only one that thinks this way. Kentucky doesn’t need you. You are so phoney and think you’re all that and a bag of chips…wrong honey.”

In the rest of the post, Burdine describes how co-workers helped her feel better by assuring her the e-mail attacker was all wrong, and the comments on her blog make it clear that many people in the media have had the same experience.

So, how do you develop a thick skin in an age when people feel within their rights to critcize everything from your hairstyle to your heritage?  It’s not easy, but here are some thoughts from veteran journalists.

“It’s unfortunate, but it’s part of the business,” says Victoria Lim, who works for Brighthouse Sports Network in Florida. ”If you’re going to be in front of the camera, you will be judged by your appearance to a certain extent no matter how stellar your work may be. (And yes, men get an extra pass – all the time!  They haven’t shaved, they look “rugged.”  They just throw a hat on or roll up their sleeves, they look like they’ve simply been “digging” for the story… women do that and it’s like, “ewwww!”)

Mike Walter, former anchor at WUSA-TV in Washington, DC, says he knows that nasty comments can hurt.

“My theory on criticism is this,” says Walter,  “if someone says this sucks…your hair or clothing or whatever…and then you get another complaint like that and then another…than maybe you should pay attention to it….but if it’s just random, just let it go. ”

The Web and  social media have, of course, made it even easier for wider audiences to give a broader range of feedback.   If you just can’t handle the criticism, Lim says there is another choice.

“If it’s too much to be judged in this way, maybe you need to do something OFF camera.  Sorry if that’s harsh, but heck – if I grumbled at all the mean-spirited criticisms I get/have gotten, I wouldn’t have made it past my first job right out of college.”

It depends in part on the cause. Some people only breathe audibly when they’ve really run out of air. In that case, the answer may simply be to write shorter sentences so you’re forced to breathe  more often and you’ll be able to take shallower, less noisy breaths. Marking your script for places to take a breath is another way to make sure you don’t run on too long without breathing.

But sometimes the cause of audible breathing is physical. Broadcast voice coach Ann Utterback explains how to tell what’s causing the sound and how to get rid of it.