FREE GUIDE

THE NEWSROOM
SURVIVAL GUIDE

Six things I wish someone had handed me on day one — instead I learned them the hard way, on deadline, on camera, and occasionally in a parking lot.

A BLOCK

Sound Like a Human, Not a Newscast

The #1 note every young reporter/anchor receives is to "be more natural." Here's how.

01
Actually know your story. Not memorized — understood. That's what lets you sound like you're talking, not reading.
02
Gesture like a person. Use your hands. Don't overdo it, but don't freeze either.
03
Read out loud before you're on camera. If it's a word you would never use, it's not going to sound natural. Find appropriate synonyms.
04
Vary your pace and pitch. Don't read every sentence the same speed, and don't let every sentence end on the same note. That sing-song cadence is the fastest way to sound like a robot.
05
Punch the words that matter. Talk the way you would to a friend — with real emphasis, not flat delivery.
06
Watch people who do this well. Find one anchor or reporter who sounds genuinely conversational and study them.
07
Watch yourself back. Everyone hates this. Everyone gets better because of it.
08
Practice with a free prompter tool like CuePrompter.com before you're doing it live.
09
Use your peripheral vision. You don't need to dart your eyes to the prompter — train yourself to catch it at the edge of your sight line.
10
Use your natural voice: enunciate, project, from the chest.
Talk like you're speaking with a friend, relaxed. You're being yourself, but your best self. Buttoned up. Reliable but real.
B BLOCK

The 10 Commandments of Quick Storytelling

Turning a remarkable story on a tight deadline is a skill. Here's the whole playbook.

01
Reverse-engineer your time. Know exactly how long you need to drive, shoot, write, get approval, edit, and get camera-ready before you go live.
02
Write a skeleton script before you leave the newsroom. You already know the shape of the story — outline it.
03
Keep interviews short. Get the who/what/when/where/why, or get the one great soundbite. Then move on.
04
Ask for visual elements ahead of time: cell phone pics, video, anything useful — before you start editing.
05
Shoot in one location when you can. Don't burn your whole day driving across town.
06
Don't make art. Make air. Quality matters; a perfect NAT pop on a tight deadline doesn't.
07
Spend real time on your lede. The best storytellers in the business spend more time on the opening line than anything else in the package.
08
Pick your soundbites during the interview, not after. Listen for the moment while it's happening.
09
Know your opening and closing shots before you leave the scene — get those two first.
10
Be a great listener. It makes every other item on this list easier.
C BLOCK

How to Actually Find Stories

The fastest way to become invaluable in a newsroom is being the person who finds the best stories consistently. It's a muscle you have to build. But you can build it quickly.

Ask yourself, every day:

What's a potential lead right now? What's the big story tomorrow? What can we explain better than anyone else? What does our audience actually care about?

Where the actual digging happens:

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Read every tip email. Take every call.
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Localize national stories, but only if they genuinely affect your community.
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Live in your local Facebook groups and Nextdoor.
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Build a custom list of local voices on X.
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Build real relationships with PIOs: schools, hospitals, fire, police, government.
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Check PACER for new filings.
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Follow up with sources from old stories — don't let them go cold.
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File open records requests when you're curious about something specific.
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Read your competition. What did they miss? What could you explain better?
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Read city council agendas. Use AI to help flag angles.
The best storyfinders aren't lucky. They're curious, they're consistent, and they treat it like a muscle.

Build your bench before you need it

Business owners, elected officials, professors, nonprofit advocates, attorneys, real estate agents, farmers, student leaders, former teachers, school board members. The reporters with the deepest rolodex always appear to be the luckiest in the newsroom. Record scratch — they create their luck.

D BLOCK

Network Without Feeling Gross

I didn't know a single soul when I applied to KRDO in Colorado Springs. Here's what actually got me in the door.

Ten years ago I read a book by Steve Dalton called 2-Hour Job Search, and it landed me the job I still have today. His framework on how to network via email is eye-opening. The first takeaway? Know the three types of people out there:

TYPE 1
Curmudgeons
TYPE 2
Obligates
TYPE 3
Boosters
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Curmudgeons will never respond. Doesn't matter how good your email is. Don't take it personally.
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Obligates respond out of guilt, not genuine interest. They'll agree to a call and sometimes be helpful. Other times they will cancel last minute, or string you along. It looks like progress. It usually isn't.
→
Boosters are who you're actually looking for. They love their job, love talking about it, and genuinely want to help. Find them, and the rest gets exponentially easier.

The actual ask

Find the booster in the newsroom you're targeting and ask for an informational interview — just 20 minutes of their time to ask about the station, the city, and the job. Once that connection is made, they'll often hand-deliver your resume and reel straight to the hiring manager.

The right person to reach out to isn't the most impressive name. It's the "booster" who can hand deliver your reel to the boss.
E BLOCK

Read the Room Before You Sign

I've interviewed with just about every major company in this business. Some had neon-red flags. Here's how to spot them.

🚩
Ghosting. We're literally in the communications business. A follow-up email takes 60 seconds. If they go quiet after a Zoom interview, note it. That's not "busy," that's culture.
🚩
A scripted recruiter who warns you how overwhelming the job is before you've even accepted it.
🚩
What the in-person visit tells you. Transportation problems at midnight? A news director who won't speak with you until the very end of the day? A colleague who pauses too long before simply saying his boss is "greeeeeaaat." An anchor who admits they're looking for another job? All possible red flags.
✅
The green flags are just as readable. A warm, curious recruiter. Honest answers about the role. A team that actually follows up when they say they will. That vibe you get in the newsroom. Use your gut. It's often right.
After your next interview — before you obsess over whether you got the job — ask yourself one honest question: did I like the person I just talked to?
BONUS SIGN OFF

9 Worst TV News Clichés

It's hard for viewers to relate to words they'd never actually say out loud. Please, don't use these, for the love of the almighty.

"Wreaking Havoc"

Nobody's ever said this at a barbecue unless they're making fun of news.

"Sounding the Alarm"

Unless there's an actual alarm, just say what happened.

"Parkgoers, Beachgoers, etc."

They're all simply people.

"Verbal Altercation"

Say "argument." You're not writing a police report.

"Behind Bars"

He's in jail. Or prison. Just say that.

"In Stable Condition"

Stable is not a condition. A dead body can be stable.

"The White Stuff"

It's snow.

"Reeling"

Show us the shock instead of naming it.

"It Is What It Is"

The ultimate sign you've stopped writing and started coasting.

THAT'S THE GUIDE.

This is the best advice I can give that I was never given. But this just scratches the surface of surviving TV news. The knowledge that's actually specific to your reel, your market, and your career — that's a longer conversation.

AN ONLINE COURSE AND BOOK ARE COMING SOON.
Let's lift each other up. Let's be atypical.
Go get 'em, kids. — Josh