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| Understand What Your Audience Needs | |
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| Who is watching, listening, logging on? | |
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| What audience research tells us | |
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| Traditional news values | |
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| Spoken news strengths | |
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| On-line strengths | |
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| Different approaches to news | |
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| Flow and rhythm of spoken news | |
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| The Enterprise Journalist | |
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| Research made easier | |
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| On-line Research | |
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| Making Major Changes | |
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| Writing for ears versus writing for the eyes | |
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| Start with short sentences | |
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| Eliminate long introductory phrases | |
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| Short intros | |
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| Misplaced phrases | |
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| Nested phrases | |
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| Elliptical sentences | |
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| Punctuation | |
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| What to exclude | |
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| Rounding off and writing out numbers | |
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| Reading copy | |
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| Grammar and Word Choice | |
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| Concise words and phrases | |
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| Wordy verbs | |
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| Negative verbs | |
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| Adjectives | |
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| Sensational language/loaded words | |
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| Buzzwords and jargon | |
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| Unnecessary words | |
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| Repetition | |
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| Phrases | |
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| Attribution | |
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| Active and passive voice | |
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| Changing the voice | |
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| Verb forms | |
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| Reference problems | |
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| Writing the Lead Sentence | |
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| Importance of the lead sentence | |
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| One night's leads | |
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| Avoiding hype | |
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| Categories of leads | |
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| Impact | |
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| New story/breaking news | |
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| Reaction | |
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| Folo, second-day, update | |
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| Perspective | |
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| Exception and irony | |
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| Segue | |
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| Feature | |
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| Leads to Avoid | |
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| Jammed | |
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| Cliche | |
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| Rhetorical questions | |
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| Un-attributed quotes | |
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| Completing the Story Essentials | |
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| Essential items | |
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| Scope | |
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| Controversy and cause and effect | |
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| The why or what | |
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| Future | |
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| Payoffs | |
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| Gathering Useful Soundbites | |
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| Actualities and soundbites | |
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| Planning interviews to get results | |
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| Selecting interviewees | |
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| Testing interviewees | |
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| Asking the right questions | |
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| Pulling bites | |
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| How short | |
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| Trimming bites | |
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| Ethical considerations | |
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| Using Soundbites | |
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| Adding soundbites changes the design | |
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| Placement within stories | |
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| Writeups | |
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| Rules for writeups | |
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| Identification | |
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| Short complete sentence | |
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| No repetition | |
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| Avoid throwaways | |
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| Tags | |
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| Writing the story with a soundbite | |
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| Building Packages with Soundbites and Tracks | |
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| Composing packages | |
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| Recognizing different approaches | |
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| Lead-ins | |
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| Classic models | |
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| Altered chronology | |
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| Particular-to-general model | |
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| Writing tracks | |
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| First track | |
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| Middle tracks | |
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| Last tracks | |
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| Writing to Still Visuals | |
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| Visuals as tools | |
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| Rules for writing to visuals | |
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| Partial screen graphics | |
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| Over-the-shoulder topic boxes | |
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| Full screen CGs | |
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| Length of visual on screen | |
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| Full screen graphics | |
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| CGs to display facts | |
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| Script notations | |
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| The reveal | |
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| The Video Sequence | |
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| Video sequences | |
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| Important sequence considerations | |
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| Establishing shots | |
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| Continuity | |
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| Alternate types of shots | |
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| Vary shot length | |
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| Use reaction shots | |
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| Avoid lifeless shots | |
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| Look for depth in shots | |
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| Never use the same shot | |
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| Sensationalism dangers | |
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| Writing Text for the VOThe VO's various forms | |
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| Steps to the VO story | |
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| Twin streams concept | |
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| Rules for writing the VO text | |
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| Common problems with the VO story | |
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| Writing the VO/Sound Story | |
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| VO/SOUND is complex | |
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| Production difficulties | |
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| Writeups and visual cover | |
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| A second VO or tag | |
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| Steps to the VO/Sound story | |
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| Breaking News Packages and Features | |
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| The news package | |
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| Breaking news versus features | |
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| Steps to building a package | |
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| What to do at the location | |
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| Standups | |
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| Reviewing field video | |
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| Tracks | |
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| Rules for tracks | |
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| Writing tracks with the lead-in in mind | |
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| Laying out the story | |
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| Live Shots and Remotes | |
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| Live remotes are popular | |
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| Pressure and live shots | |
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| Production and ethical dilemmas | |
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| Live shot production possibilities | |
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| Rules for live shot design | |
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| Producers Develop Stories | |
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| Gatekeeping | |
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| Producer's job | |
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| News of the day | |
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| Developing stories | |
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| Checking feeds | |
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| Assigning stories | |
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| Reviewing scripts for fairness | |
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| Producing Effective Newscasts | |
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| General considerations for newscasts | |
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| Non-commercial versus commercial | |
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| First third of newscast | |
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| Middle of newscast | |
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| Final third of newscast | |
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| Clustering | |
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| Headlining stories | |
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| Wraps | |
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| Segues | |
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| Single versus multiple anchors | |
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| Pacing | |
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| Predictability | |
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| Teases | |
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| Tosses | |
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| Junk pages | |
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| Stacking the newscast | |
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| Finding the news hole | |
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| Update the story pool | |
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| Choosing the lead stories | |
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| Assigning times and checking totals | |
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| Final rundown | |
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| Reviewing scripts | |
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| Accuracy | |
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| Plausibility | |
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| Backtiming | |
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| On-air decisions | |
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| On-Air New and Website Coordination | |
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| Internet's new delivery channels | |
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| Convergence of options | |
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| Shuttling stories to the website or podcast | |
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| Features done for website only | |
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| Internet tags for on-air stories | |
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| Live feeds or raw field video | |
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| Social media | |
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| Extending the playing field | |
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| Gathering feedback | |
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| Soliciting user submissions | |
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| Ethics and Legal Accountability | |
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| Traditional ethical questions | |
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| Ethics in the Internet age | |
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| The consequences of a news story | |
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| News agency policy books on ethics | |
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| Ethics questions | |
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| Reporting | |
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| Writing | |
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| Using video and interviews | |
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| Using audio | |
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| Exercise in ethical discussion | |
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| Defamation | |
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| Libel, slander and invasion of privacy | |
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| Why study defamation law | |
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| Conditions for libel | |
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| Negligence or malice | |
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| Private versus public persons | |
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| Consent | |
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| Privileged situations | |
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| Statute of limitations | |
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| Defenses | |