The News Director's Office

Inside the News Director’s Office Steve Cohen Comments

Steve Cohen, News Director KUSI-TV, San Diego STEVE COHEN has been directing newsrooms since 1973 in Peoria. His journey from Peoria to Detroit, Boston and the venerable WCBS in the late 1970’s encompasses the history of the rise of local news in America. In those formative years he helped design the emerging Action News formats, offered mature formats and modes of coverage. With others, like editor Tom Petner, he pioneered long form sports and event coverage, trial coverage, and expanded investigative reporting as a staple of big market newsrooms. In later years, he collaborated on the launch of Court TV, as its founding executive producer, covering 150 high profile trials, including the trials of Rodney King, William Kennedy Smith and the confirmation hearings of Clarence Thomas. He developed independent news formats and designs for Chris Craft in Los Angeles, and for the fiercely independent news operation at KUSI TV in San Diego. While he has spent most of his professional life inside newsrooms, he also served as a General Manager in stations from Buffalo to Philadelphia. He is the recipient of the ordinary hardware of Emmy’s ,receiving his first in 1978 for best newscasts in Boston, and a drawer full of assorted others from 40 years of service as news director. His motto is the same as the one he stole from a colleague in Jonesboro, Arkansas , on his first full time job, “ Cover what matters most, and make it damn interesting.”

7/25/2011 The Reprimand Newsrooms are not like any other workplace. The entire enterprise is under pressure to a deadline on air or in cyberspace. Tempers may flair, arguments ensue, or acting out by one employee rub another towards even more disruptive behavior. As the leader of the room, news directors often need to take action against unacceptable behavior to reinforce commonly held values. Not taking action may result in a loss of credibility and undermine the ability to reach daily and long terms goals. The reprimand is an action that informs the colleague that the observed behavior is out of bounds in the newsroom. Spencer Tracy was notorious for rarely watching his work, and for eschewing notions of how an actor achieves perfection. However, he was clear about how anything authentic was ever achieved on screen. Tracy said, “behave don’t act”. Newsrooms are filled with behaviors that can railroad an otherwise well run outfit. If you can direct and control behavior, you can expect to reach your objectives with certainty. The challenge for most of us, is how to reprimand, change behavior, and allow the bad actor to perform better in the long term. The obvious first order of the reprimand is the ‘one minute” version. You observe a fellow telling an off color joke, or an argument breaks out between a photographer and a reporter, the noise level rises because someone is intent on listening to Blackeyed Peas on their desk top, and you take action. Often this requires a direct and lightly applied quip to the offender. The more “one minute” redirections, the easier it is to make good “newsroom citizens” out of small offenses. But when offenses are chronic, or endanger more than simple decorum, more is needed than a brief, well-meaning aside. Here are some considerations: Source of Behavior The outcome of any session with an offender is a change in behavior, and giving the person tools to avoid such behavior in the future. Chronic infractions often have deeper roots than what is revealed at the moment. I once had a sportscaster who refused to run scores in his segment, unless he had video of the event. He knew this was a direct failure to abide by accepted standards. He really had no interest in playing along. But, it had nothing to do with the issue. It was about who was in charge, and his need to push his independence and celebrity to the limit of our patience. He yielded the night I replaced him for one prime show with someone else, showing my resolve, brought him around. An iconic Miss America refused to stop treating producers, especially the young women in the room, with utter distain. This was about self importance, and an effort to hold onto her celebrity, as she slid into her middle age. This required finesse, some charm, and reviewing her humble beginnings, that finally created a calm around her visage. A photographer with extraordinary skills, lived most of his days in some state of anger. It had nothing to do with his work, or those around him. They were but triggers for his angst. Over a period of months, he was offered opportunities to review his tantrums, find their source, and remediate his behavior. In time, he could catch the triggers, and avoid them, but not without an awareness of what was causing the behavior. His need to be taught how to observe himself, control his psyche, and move on, saved a fine professional from being canned. Finding the deeper routes can facilitate behavior change. Most people, even the most distant, when given the opportunity will offer what is bothering them, as they search for common ground with you. If they know that you are being honest, and want to assist them in behavior modification, rather than setting them up for firing or other punitive action, behavior can change quickly. Stay Unattached Reprimands are about the offender, not you. Often, in an effort, to connect, too much is offered back to the employee. The conversation should flow from the actor, not from you. If you find you are offering a monologue, the session will end poorly. In fact, staying unattached to the outcome or the moment, gives you power to direct the conversation and the behavior. If a crew member is careless with their gear, or can’t get in for a 4am call, they need to change their behavior for themselves, not for you, or to avoid being fired. The rules are always the same. Performance derives from the most obvious good actions. Come to work on time; act as if you are enthusiastic and motivated, and you will be; employ the Golden Rule to colleagues; respect yourself as a significant part of the whole enterprise. A Checklist Before a reprimand meeting , review these targets for the conversation: 1. What is the nature of the offense? 2. Give it value from 1-10, ten being most offensive to the newsroom code of operation 3. Listen to story from employees perspective 4. Firmly assert the model of good behavior in this situation. For example: yelling at someone in the newsroom is unacceptable. If you have a beef do it between you, out of sight of the rest of the room or take into the ND’s office. 5. Offer insights into how to “catch” storms before they appear 6. Behavior change has to occur over what period of time, or is it immediate 7. Has anyone been harmed by the employee and remedy of apology is required 8. Will it require a written statement for the HR file 9. What action do want, and require before the session ends 10. Set target date for review of progress When to Alert the GM and HR Most reprimands do not rise to the level of involvement of the General Manager or Human Resources. As a GM, I found the daily petty arguments, minor league squabbles, and anything that was not a violation of policy, to be a distraction. But, if there was a chronic issue, I preferred hearing it form the ND, not HR. If it would result in suspension, termination, or harassment of any kind, I wanted to now about it early and often from ND and HR together. As a general rule, if the reprimand is about these issues, and is not resolved on your set time frame, then the GM and HR should know about: 1. Damage to property 2. Any acts that could create a “hostile” environment 3. Direct attacks on specific individuals 4. Violation of policy manual of corporation 5. Misuse of computer and other technologies 6. Alcohol or drug abuse 7. Physical symptoms that hamper work ( eg. Falling asleep during shift) 8. Using station equipment for personal use 9. Offering coverage for some quid pro quo for products or services 10. Communicating with competition about internal matters Be Cool Reprimands are taxing. They sap your strength. Nobody relishes telling someone what they are exhibiting is wrong. It is a revealed truth that most leaders, even the most heralded, like President Ronald Reagan, were not able to tell a colleague that a behavior needed to be changed. Reprimands only have value when applied by the ND. Delegating this weakens leadership, and shows that you are not prepared to face the hard matter of confronting someone about being a bad actor in your shop. Avoidance behavior here undermines the rest of the staff, who look to you for protection from behaviors that disrupt the operating calm of the workplace. And, you must be unattached to the employee, so you can deliver a clear message. Reprimands are not about situational ethics. There is a right and wrong to behaviors, and nothing mitigates bad action. If there is ambiguity about circumstances, a reprimand is not going to be effective. Arguing in an angry tone, pounding fists, and cursing at each other undercuts your objective. Good behavior is required everywhere, especially in the news director’s office. Editor’s note: If you have a comment or want to reach Steve Cohen, you can email him at scohen@kusi.com 5/11/2011 The Evolution of Los Angeles News It’s time to get serious and deliver news that matters Welcome to morning television news in Los Angeles. The news anchors and weatherman from KTLA play with an exercise device that gyrates forcefully with considerable hand-jerking action. It will help, they say - with not much repute - and it will tone muscles. Right. But the gyrating device’s motion, hand action and anchor banter are more suggestive. And to the chagrin of the hapless personalities holding them, video of these morning moves is destined to be lifted and seen by millions on social networking sites. Indeed, at this writing, the video is posted on YouTube and has already beeen viewed almost 1,000,000 times: (Update from the Editor: Here’s the opening image of the video only...it was apparently pulled Thursday from YouTube...I can’t imagine why? Embarrassing?) It’s the type of provocative, often silly, fare offered to morning viewers and passed off as news in Los Angeles and other markets. It’s meant as pure diversion from the otherwise standard news that flows through the morning hours from fires - to overnight murders - to high speed chases. But, whatever the intent, the stark reality is that local news in this market has changed dramatically through the decades. Spot news pushed out substantive material. Diversionary fare has overtaken morning programs that air instead of network news on Fox and KTLA, the long running independents. Treatment that would be unacceptable in more structured news programs is now the foundational material for these unstructured, morning talk and entertainment efforts. In the morning, the ethics are more situational and avoid the absolutes that mark later newscasts. When I ran KNXT, later KCBS, a traditional code guided all broadcasts. There were rules of story telling that were passed down in an actual book, called the ‘Blue Book” of CBS News standards. It offered an approach to news that regarded news about governance, malfeasance, stewardship of the public trust, and protection of the rights of have not’s, as priorities. That philosophy coupled with anchors of similar substance, Connie Chung, Ralph Story, Bill Stout, Jess Marlow, among others forced news gathering that included these “substantive” issues. It also enabled the expansion of investigative units, and the explosion of newscasts into other day parts. Connie began anchoring at 4 and stayed on the air until seven, with a variety of co- anchors, from the lighter, former Miss America, Sandy Hill to the formidable journalist, Marcia Brandwynne. Those days are long gone. Also long gone in Los Angeles – and from too many other markets across the country - are the investigative units that once differentiated news operations and stood as a station’s marque effort. At KNXT, we had four investigative units, two for consumerism, one for politics, one for following high profile screw ups, like John De Lorean. Each came to market on a schedule and filled hours of programming. And in time, we developed reporting from the Inland Empire, with Steve Kmetko, and took as many stories as we could get from Orange county, icon, Dave Lopez. The programs overflowed with material that Bill Paley or Frank Stanton would have blessed, as being right for CBS. And the icing on that cake was a hard hitting commentary from, the venerable, if caustic, Bill Stout. But change happened and along with it more choices for TV viewers. Change can be good. But that change also brought a gradual decline in a commitment to broadcasts about these issues. The next 15 years or so saw a number of format and content revisions at the local stations. Since no one could prove that all these units, produced ratings directly, they were gone - out the door. Also hitting the curb were news executives and GMs with backbone. Long form and civic minded elements were offset by other content. Enter the news chopper. Choppers evolved into effective newsgathering tools, and crime, always the mother lode of local news, became so easy to get, so emotional by its’ nature, that it dominated broadcasts. And early afternoon audiences, were so predominately female that news directors developed segments on women’s health, relationships, style, and eventually celebrity news that soon pushed out everything else. News directors fought back when they could. But early shows became programming vehicles, refined to appeal to audiences. Still when stories of fire, flood, and high profile trial occurred, news chiefs did their best work: the North Hollywood shootout, the riots after the Rodney King verdict, and the beating of Reginald Denny to name just a few. They were all covered admirably, in depth, and followed with devoted and aggressive reporting. By the time I returned to LA’s independent, KCOP, local stations were presenting serious, and thoughtful coverage of the O.J. murder and the trial. I thought I had gone back to 1981, as the news was filled with analysis, sharp reporting and insight. The advantage I had at KCOP was a full hour at ten to do the serious news; and, had competition at KTLA with Hal Fishman, and at Fox with John Beard and company that took the same tactics to heart. Even the late news, on the network stations, stayed on stories of importance, while we all fell prey to the allure of the high speed chase, to boost our ratings. Eventually, even the car chases became less valuable and too risky. The turning point was when a guy took his truck to an overpass, set it on fire with his dog inside, and then pointed the rifle at his face. Most of us could not get out of it fast enough, and the suicide aired on many stations. The next morning, I sat at KNBC doing a live talk back to Katie Couric about the dangers of such coverage. The NBC ND would not come forward, so I got the call, and anointed as the guy to be embarrassed and forlorn for all the other news directors in town. Everyone pulled back for a while after that, but not for long. Generally, when there were major events, they were covered fully. But, when the news flow trickled, crime filled the gaps – as it still does. It’s still the path of least, easy and lazy resistance for Los Angeles stations and at many stations across the country. Crime time aside, the name of the news game today is that you have to fight to get watched. Be different. Be relevant. Social networking, the internet, all can detract from the ideals of that CBS “Blue Book” I once had in my desk. Still, even in the morning where it’s the Wild West of content, some standards surely still apply. I’m certain that the anchors at KTLA holding the vibrating Toner device should not be damned for it – they were doing just what they were assigned - and allowed - to do. Unfortunately, they’re not alone. I have seen more provocative and distasteful episodes in morning programs, and not just in LA. Maybe the real critique of the changes that have taken place in the Los Angeles market should be approached differently and with a question. What does the future hold for local news in the market? Consider this a call to other news directors to fight each day to put at least one thing on the air that matters. It should not be about something that’s only ‘a good picture,’ or a juicy nugget in the 24/7 watercooler cycle, but something substantive - deliver something that matters. It can be done, of course. No one is stopping us as news directors, no one. We’ve become prisoners of our own formats, holding misconceptions about our audiences, and our own notions of what matters anymore. We know what is actually of value, and we should force it on the air, no matter how uncomfortable it may be. Editor’s note: If you have a comment or want to reach Steve Cohen, you can email him at scohen@kusi.com The Power of Praise and the Danger of Criticism 10/18/2010 Newsrooms are critique factories. Every word, action and utterance can be the target of review. And worse, criticism can come from a myriad of sources, often unfiltered and diffuse. A news director can complicate the process by allowing too many voices, on too many things, diluting the impact of the change desired. In the mid 1970’s, news director’s of their day often took to daily review of broadcasts, and offered personal critiques to the entire assemblage of the staff. I recall the utter fright of standing at one end of a small newsroom in Detroit as the venerable Phil Nye, playing the Alec Baldwin role in Glengarry Glen Ross, went over every piece of copy, every reporter track, and each anchor performance. It was a protean performance. Yet, I learned exactly was needed, as a young executive at WXYZ TV. And every writer, producer, and even the iconic anchors, like Bill Bonds listened up. Simple lessons really. Active voice; powerful verbs; no modifiers, emotional context. But, it was more powerful because it came directly from the news boss. Nye’s boss, Bill Fyffe, a former Marine, would offer the same drill, but spent his time more on demeanor of anchors, the attitude of a broadcast, and the overall e’lan of the newsroom. The object lesson never left me. A certain measure of direct, hands on, critic assists in forming a brand and translating the mission. But, I also added on to such withering reviews, praise, albeit, less obvious. I learned from master’s of praise , like Ron Tindiglia, who ran WABC as a wunderkind ,roaming the halls asking,” How are you doing Doctor,”, that pulling someone aside to say thanks, and explain what they did well, won hearts and minds, more than salary and the filtered praise of higher ups. My inclinations are : Praise generates more progress than critiques alone Make the balance of P to C, obvious , in favor of praise. All criticism should have a purpose that improves the product and the employee If you must delegate, follow up and personally touch the recipient of criticism. Wanton critiques are an indulgence that damage everyone The mathematician and philosopher, Bertrand Russell, asked that on his headstone, the words be simple and defining of his intent, if not, his actual actions in life. “He was a man of praise”. Not a bad epitaph for a news director. Editor’s note: If you have a comment or want to reach Steve Cohen, you can email him at scohen@kusi.com On Being a News Director What makes a great news director has not changed much, from the time I was given the title in Peoria in 1973. The multiple platforms and screens, HD pictures, and seven or eight competitors has not altered the core requirements of effective newsroom leadership. It is about “direction” , in the manner of a film director rather than as an administrator of a business and profit center. I do not know what the current models are across the nation, and don’t care much about them. News direction is about being a charismatic leader, who directs content, people, and helps the community understand issues, and seek solution to forces in conflict. Every city has it’s own karma, story flow, and heartbeat. Finding the genuine heartbeat of the city and portraying it with the same authenticity as a filmmaker , makes for newsrooms that resonate with the viewers. I am as much a student of icons of film direction as I am of Murrow and his boys. I have never thought there was much leadership difference between Eastwood, Lumet, and Stone, and Friendly, Salant, and Arledge. So here are a few path finders: Select your Genre A way to fight being like everyone else is to decide what type of news station you wish to become. When there were three stations, everyone was fundamentally the same. Now, you can select your genre. Thoughtful and insightful, fast with high items counts, live and local, tabloid, all have a place depending upon your view of the market. Everyone will cover the same newsworthy stories, but each can approach them from the perspective of the genre’. If you have no genre’ , viewers will be confused and at times so much so as to turn away from you. You can have an entire career in one genre. Mine has always been; thoughtful, in depth, tough minded. It did not always yield number one ratings, but it always produced a fair share of viewers. It’s About Story For all the technological changes, one man bands, and three screen psychology, the story still drives newsrooms. News directors that participate in daily and long term story development create a” plot based” environment that is about story, and has no time for the other vagaries of creative rooms, like drama about ratings, personnel, and what is for dinner. Selecting stories that align with your genre offers clarity to the public about your purpose. If you avoid story, you cannot direct content, and , you cede your primary influence to others. Casting Each on air journalist has a role to play, that allows the dialogue with viewers to appear natural and authentic. Personality, interest, and natural instincts all play a part in casting each to their own , obvious and specific role in the ensemble. Correspondents should be allowed to play to type. On occasion ,cross casting can offer interesting relief. For example having your crime reporter cover Ground Hog Day offers a creative break for the viewers and the reporter. Direct the Dailies The top priority is the daily agenda. Being present at the story conference and the blocking sessions offers direction and order. I am often alarmed when producers tell me of the lack of face to face exchange. Rundowns are sent via electronic systems, viewed remotely at café’s and rarely discussed in open forum. The set of our movie is the newsroom and the street, avoiding this regular contact can railroad efforts to protect and sustain a genre. It is also the place where mood can be set and altered. Humor, pathos, and emphasis emerge and infect the broadcasts. The news directors presence validates the decisions and mood of the moment. Be an Everyman Not every director who has an Oscar was a man of the people. Some were notorious for being imperial. News directors don’t have that option. Nothing we create on any given day will rise to being great art, worthy of being saved for viewing by generations that follow us. We deal in ephemera, but it can be meaningful and rich, if you attach your personality and direction to everyone from camera man , to anchor. This ability to speak to all of your creative staff makes for legendary news leaders. I am not such a Pollyanna to believe that being a news director is only about acting as if you were a great film director. But, it helps to see yourself in broader terms than the traditional view of the role, and being expansive in action eventually makes you more resilient to change, and better prepared for the daily battle to create hours of something from nothing. Editor’s note: If you have a comment or want to reach Steve Cohen, you can email him at scohen@kusi.com

Feeding the 24/7 News Cycle