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BROADCAST NEWS
HANDBOOK
WRITING, REPORTING, AND PRODUCING
IN A CONVERGING MEDIA WORLD
S

C. A. Tuggle
University of North Carolina
at Chapel Hill

Forrest Carr
WFLA-TV

Suzanne Huffman
Texas Christian University

Boston Burr Ridge, IL Dubuque, IA Madison, WI New York

San Francisco St. Louis Bangkok Bogot Caracas Kuala Lumpur
Lisbon London Madrid Mexico City Milan Montreal New Delhi
Santiago Seoul Singapore Sydney Taipei Toronto

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BROADCAST NEWS HANDBOOK: WRITING, REPORTING, AND PRODUCING IN A

CONVERGING MEDIA WORLD
Published by McGraw-Hill, a business of The McGraw-Hill Companies, Inc., 1221
Avenue of the Americas, New York, NY, 10020. Copyright 2004, 2001, by The McGrawHill Companies, Inc. All rights reserved. No part of this publication may be reproduced
or distributed in any form or by any means, or stored in a database or retrieval system,
without the prior written consent of The McGraw-Hill Companies, Inc., including, but not
limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may not be
available to customers outside the United States.
This book is printed on acid-free paper.
1 2 3 4 5 6 7 8 9 0 DOC/DOC 0 9 8 7 6 5 4 3 2
ISBN 0-07-285351-4
Publisher: Phillip A. Butcher
Developmental editor: Laura Lynch
Editorial assistant: Christine Fowler
Senior marketing manager: Sally Constable
Lead media producer: Erin Marean/Jessica Bodie
Project manager: Jean R. Starr
Production supervisor: Carol A. Bielski
Designer: Sharon C. Spurlock
Supplemental associate: Kathleen Boylan
Permissions: Marty Granahan
Cover design: Amy Evans McClure
Typeface: 10/12 Palatino
Compositor: Lachina Publishing Services
Printer: R. R. Donnelley and Sons Inc.
Library of Congress Cataloging-in-Publication Data
Tuggle, C. A.
Broadcast news handbook : writing, reporting, and producing in a converging media
world / C.A. Tuggle, Forrest Carr, Suzanne Huffman.2nd ed.
p. cm.
Includes index.
ISBN 0-07-285351-4 (spiral bound : alk. paper)
1. Television broadcasting of newsHandbooks, manuals, etc. I. Carr, Forrest II.
Huffman, Suzanne. III. Title.
PN4784.T4T76 2004
070.1'95dc21
2003046338

www.mhhe.com

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DEDICATIONS

From C. A. Tuggle
To my wife Tracey and children Brynne, Bethany, and Jenny, and to the
memory of my father, T. B. Tuggle, my inspiration to always do my
best.
From Forrest Carr
To the memory of Bruce Breslow, a good friend and the finest photojournalist I have ever known.
From Suzanne Huffman
To my husband August F. Schilling III and to my parents, Carrol Statton Huffman and Margaret Anne Byrd Huffman.

iii

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ABOUT THE AUTHORS

Dr. C. A. Tuggle began teaching at the university level in 1994 after a

16-year broadcasting career in local television news and media relations. He spent the majority of his career at WFLA-TV, the NBC affiliate in Tampa. He has held numerous newsroom positions, but spent
the bulk of his career reporting and producing. He covered both news
and sports, including six Super Bowls. Tuggle earned undergraduate
and masters degrees from the University of Florida in Gainesville,
and his Ph.D. from the University of Alabama in Tuscaloosa. He is currently teaching electronic communication at the University of North
Carolina at Chapel Hill. His research has appeared in nearly a dozen
scholarly journals and trade publications, and centers on television
news practices and procedures. He regularly conducts writing workshops for local stations, professional and academic groups, and high
school journalists. He has overseen student newscasts at three universities and his students have won numerous regional and national
awards. In addition, he helped to develop more than 50 interns during
his professional career.
Forrest Carr began his broadcast news career in 1980 as a radio
reporter but quickly switched to television, starting as a copywriter
and fill-in reporter before working his way into newscast producing
and eventually into management. After working in the Memphis, San
Antonio, and Tampa markets, in 1997 his travels took him to KGUN9TV in Tucson, Arizona, for his first news directors job. During his
tenure there, KGUN9 made waves locally and nationally with innovations in viewer service and community-responsive journalism, including a statement of news coverage principles known as the Viewers
Bill of Rights. Carr returned to Media Generals widely known converged Tampa news operation in 2001 as news director for WFLA-TV.
In 2002, the News Center partners launched what is believed to be
journalisms first converged statement of news coverage principles,
The News Center Pledge. Carr has contributed to numerous scholarly and trade publications, and has won or shared credit in four
dozen professional awards, including a regional Emmy for investigative reporting. He is a 1980 graduate of the University of Memphis.
Dr. Suzanne Huffman is an associate professor of journalism and
broadcast journalism sequence head at Texas Christian University in
Fort Worth, Texas. She earned her B.A. at TCU, her M.A. from the University of Iowa, and her Ph.D. from the University of Missouri at
Columbia. She has reported, anchored, and produced news at commercial television stations in Tampa, Florida; Santa Maria, California;
and Cedar Rapids, Iowa. Dr. Huffman taught at three other universities before joining the TCU faculty, and her former students occupy
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About the Authors

newsroom positions throughout the South and Southwest. Her academic research centers on the practice of broadcast journalism and her
research articles have been published in Journal of Broadcasting & Electronic Media and other academic journals. Dr. Huffman is co-author
with Dr. Judith Sylvester at Louisiana State University of Women Journalists at Ground Zero: Covering Crisis, published by Rowman & Littlefield in 2002, about the experiences of women journalists who covered
the 9/11 terrorist attacks on the United States. She is a contributing
author to Indelible Images: Women of Local Television, published by Iowa
State University Press in 2001.

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FOREWORD

Bob Dotson
Senior Correspondent
NBC Nightly News with Tom Brokaw

My grandmother always worried about my lifes work. The first time

she got a chance to see one of my stories on NBC Nightly News, I
called to see what she thought.
Did you like my story on Toms show tonight? I asked.
There was a long pause on the other end of the line. Then she said,
Bobby, I think you should learn a trade.
A trade?
Yes, theyre not going to keep paying you for two minutes of work
a day.
Well, they have. For 37 years Ive been traveling the world on
someone elses nickel. Ive been in more motel rooms than the Gideon
Bible.
And its been a wonderful life.
The ticket to that life begins on the pages that follow. They contain
the nuts and bolts of our businessthe basics that hold us all together.
This book will help you master our complex and challenging profession. It will also refresh your memory in the years ahead, so keep it
handy.
I went to college back when the earth was cooling. Every technical
thing I learned about is now in a museum. But the things youll find
on these pages are timeless. Theyre lessons that will last a lifetime.
So, read on. Have a good life. Call your grandmother.

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PREFACE

Dana Rosengard
University of Memphis

Broadcast news was born in the 20th century as radio and television
developed in the United States. Radio was something of a gadget at
first. Radio, or wireless telegraphy, was a technological improvement
compared to the wired telegraph that was widespread in the mid1800s. Telegraph lines were vulnerable because they could be cut, but
that wasnt a problem with wireless. Guglielmo Marconis experiments with a wireless telegraph in 1890s Europe led to the invention
of radio. Early wireless equipment was installed on ships at sea so that
they could stay in touch with each other and with the shorea better
system than flashing lights and flags. The sinking of the White Star
Line luxury liner Titanic in 1912 drew attention to the new invention
and led to more widespread use of it.
By the 1920s, individuals were tinkering with radio at home and
experimenting with what we know today as broadcast programming.
In those days, the programs were broadcast live and might consist of
sermons, musical performances, news headlines, election returns, or
play-by-play of sporting events. Filling hours of time every day with
live programming was problematic and station owners began to work
out ways to share programs with each other. Early networks of radio
stations began to form. Station owners were often individuals who were
exposed to radio at schools or newspapers or department stores who
decided to start tinkering with radio in their spare time. Visionaries
such as David Sarnoff at RCA/NBC predicted that radio would
become a household utility and he was right. Radio quickly became
a popular mass medium, and millions of individuals bought sets for
their homes. Radio was both an entertainment and a comfort to Americans in the years of the Great Depression and the First and Second
World Wars. Listeners grew to recognize and trust the voices of
reporters such as Edward R. Murrow at CBS.
Television was already in development in the 1920s when radio
became popular in the U.S., but the economic depression and the wars
overseas delayed its introduction. By the late 1940s and early 1950s,
television stations were going on the air, Americans were beginning to
buy television sets for their homes, and programs that had been popular on the radio moved to television. So did the network programming system. Early television programs were broadcast live and might
consist of cooking shows, comedy acts, news headlines, election campaigns, and sporting events.

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viii

Preface

Talk about television was everywhere in the early 1950s, and the
emergence of the medium was one of the defining elements of the
decade. The actual invention and mechanical processes that would
become the television known to the postWorld War II generation go
back to 1884 and German inventor Paul Nipkow, but it was not until
1923 that a man named Vladmir Zworykin, who started at Westinghouse and then switched over to RCA, developed the iconoscope
(from the Greek words eikon [image] and skopein [to view]). This
device aimed a beam of electrons across a target that had been charged
by light imprinting on it. What he had developed was, in effect, a camera tube. He also developed the kinescopethe TV picture tube. It
gave off a phosphorous glow with the electron stream. Together, his
inventions became the television we watch today.
But because of the initial production costs and the interruption of
World War II, it took a few decades (until the 1950s) for television to
truly arrive and begin sweeping the nation. Television set ownership
grew nearly 700 percent between 1950 and 1955, from 4.6 million to 32
million receivers.
Television news programming in the early 1950s came in the form
of sponsored 15-minute evening broadcasts. NBCs John Cameron
Swayzes Camel News Caravan and CBSs Television News with
Douglas Edwards fought the technological demands of the new and
growing medium and fought one another. Edwards led in the ratings
until NBC introduced The Huntley-Brinkley Report in 1956. In 1963,
CBS punched back, expanding its nightly network newscast to 30 minutes, incorporating longer reports and more film, and featuring an
interview with President John F. Kennedy on the premiere expanded
version of the broadcast.
Less than three months later, November 22, 1963, is the day most
believe television news came of age, and the new CBS news star, Walter Cronkite, bore the burden of being under the bright lights on that
dark day. People sat glued to their television sets through days of
national mourning as Cronkite reported the assassination of President
Kennedy. As news came in from Dallas by telegraph and telephone,
Cronkite brought the scenes from Texas as well as the procession in
Washington to the American public hour after hour after hour, almost
four nonstop days of coverage. Cronkites broadcast of the Kennedy
funeral and events surrounding it signified the growing power of television news and helped propel Cronkite to his most trusted man in
America title.
A big part of the power of the new medium was its ability to bring
word of events from across the world and country as well as from
across the town and region right into the American living room. In
many ways, local television news is the most visible element of the
local station in U.S. broadcasting. The news at the local level devel-

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Preface

ix

oped partly in response to the dictum of the Communications Act of

1934 to operate in the public interest, convenience, and necessity.
And so, the local newscast was born as a way for stations to demonstrate responsiveness to the local community and to ensure their
license renewal: 30 minutes of sights and sounds to keep cities and
towns and neighborhoods abreast of events in their areas, regions, and
nation.
But news was almost always one of the programs; and the voices,
faces, and images in the news became part of the public consciousness.
Americans alive in the 1930s remembered the voice of President
Franklin Roosevelt in his first inaugural address saying, The only
thing we have to fear is fear itself, in response to the economic depression then sweeping across America. That generation remembered
radio reports about the explosion of the dirigible Hindenburg as it
approached its mooring base in Lakehurst, New Jersey, in 1937. Americans in the 1940s remembered newsreel footage and still photographs
of the Japanese aerial attack on the U.S. naval fleet at Pearl Harbor,
Hawaii. In the 1960s, Americans remembered the televised images of
the assassination and state funeral of President John Kennedy. Later in
the decade, they remembered grainy video images of U.S. astronaut
Neil Armstrong stepping out onto the surface of the moon. And in the
1980s, they remembered the explosion at launch of the Space Shuttle
Challenger in Florida with Teacher-in-Space Christa McAuliffe on
board. Those twentieth-century sounds and images have been joined
in the twenty-first with the terrorist attacks against the World Trade
Center in New York City. News coverage of the two hijacked passenger planes crashing into the two buildings, the explosions and fires
that followed, and the debris cloud that formed as the Twin Towers
collapsed have become part of the public memory of the generation
that heard it on radio and saw it on television.
Its the job of reporters to observe and record such events. And its
the job of reporters and news writers to put them into words.
Reporters and writers and producers need to be concise, correct, and
clear in their observations and explanationsso that the listening or
viewing audience can understand and comprehend those events.

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PREFACE TO THE FIRST EDITION

A university professor once noted that a student told him she decided
to study broadcast journalism rather than print journalism because she
didnt like to write that much. It is, of course, a misconception that
there isnt much writing in broadcast journalism. Anchors and
reporters dont just stand (or sit) in front of a camera or microphone
and pour forth interesting information. To understand the real world
of broadcast journalism is to learn the step-by-step process involved.
Good writing is the heart of that process.
Pioneer stations put news on the air to inform their viewers, to
build their audiences, and to sell radio and television sets. Decades
later, changes in corporate ownership, the unrelenting need for corporations to generate profits for their shareholders, and a series of corporate mergers have led some news managers to talk about
convergence in their newsrooms. What this means can vary, but it
broadly suggests that reporters in the 21st century would be wise to
prepare themselves to write not only for broadcast, but for the Web
and newspapers as well.
Our Approach
With Broadcast News Handbook, our goal is to teach aspiring broadcast or
cross-platform journalists how to write, how to craft the language, and
how to be effective storytellers using all the technology available to
them without letting technology drive the process. Together, we have
more than 50 years of broadcast journalism experience. In the final two
decades of the 20th century, we saw many technological advancements
that affected how news is covered: videotape, microwave and satellite
technology, digital editing, and the list could go on. Technology has
changed and will continue to change. But the need to be an effective
storyteller hasnt changed, and wont. Regardless of what the tools are,
those who can use those tools well to impart interesting information
will always have a place in journalism. Foremost among those tools is
the language itself. We dont buy into Marshall McLuhans contention
that the medium is the message. We think the message is the message
and the medium is simply a means to get that message to an audience.
Technology and journalism are intimately connected in radio, television, and online applications, but content must always drive which stories are selected for coverage and how theyre covered.
Who Will Benefit from the Book
Weve tried to construct a text that will be useful to beginning broadcast journalism students as well as to those who have advanced in
their college training and education and even to those who have entered
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Preface to the First Edition

xi

the workforce. We believe the practical how-to sections of this text

and the real-world advice will serve students and early career professionals well. We hope the book becomes a resource for students as they
progress through their studies and for working journalists as they further their careers in the information business. We believe this book
could also be a valuable resource for news workers and managers in
traditional print and broadcast newsrooms as they face convergence
and the need to cross-train.
Special Features of the Book
The book is written by three people with decades of broadcast news
experience. Between us, weve held every newsroom position there is.
We approach this book from the perspective of what worked for us, as
reporters, producers, and managers, and what we know will work for
others. We believe the practical tips and guidelines weve included
will not only help you break into the highly competitive world of
broadcast news, but will also help you advance while remaining true
to the ideals that led you to pursue a journalism career.
Although the book is written using three different voices, and
although each author approaches the material from his or her unique
perspective, we are frankly somewhat surprised at the cohesion that
has emerged during the process of writing this book. There might be
minor differences in our approaches, but there is unanimity about how
the product of broadcast journalists should look and the steps necessary to get to that point.
To help readers understand and remember those steps, weve
included a DOs and DONTs box at the end of each chapter as
a quick study guide and desk reference.
Words in bold are defined in the glossary.
Producing and writing are so closely tied together in broadcast
news that a writing book would be incomplete without a
thorough look at producing. The chapter about producing was
written by the member of the team who is a working news
director. As with other chapters in the book, the producing
chapter is filled with practical tipsboth about how to become
an effective producer and how to make yourself stand out in
the producer ranks.
Broadcast writers write stories that are intended to be heard,
not read. Therefore, we place emphasis on the performance
aspect of radio and TV reporting.
Although the book contains a wealth of information about how
we do certain things, we have also included a chapter titled
Why We Fighta close look at the ethical component of the

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Preface to the First Edition

broadcast news business. We believe strongly in the power of

the media, but with power comes responsibility. We work in
and teach about one of the most important aspects of a
democracymedia that are free from government control.
Protecting rights as we deal with the publics right to know is
a vital part of journalism.
The book ends with a very important appendix. The appendix
is a look at some problem words that good writers must
master. Language is our foremost tool, and we need to know
how to use that tool extremely well. Material used in the
grammar and word precision quizzes that accompany this text
comes from the appendix.
In general, the book advances from the characteristics of broadcast
writing to the story selection process and writing tips that apply to all
broadcast story forms. Interviewing and writing for radio chapters
introduce us to the vital role of sound bites and natural sound. The
book then presents three distinct television story forms: VOs,
VO/SOTs, and packages. Chapter 13 is new to this edition and
addresses media convergence and how writers on various platforms
should approach it. We use what is arguably the worlds most widely
known converged operationTampas News Centeras our model.
The chapter is written by the news director of WFLA-TV, one of the
three media companies that are part of the News Center.
Supplements for the Second Edition
A brand-new CD-Rom is now included in the Second Edition. On it are
included numerous semi-raw video clipsboth b-roll and sound bites.
We also provide story notes that, along with the video, give students
the material they need to write VOs, VO/SOTs, and packages. On the
Instructors Resource CD (also new to this edition), we provide finished scripts that were generated by professionals. That way, students
can compare what they did to what working broadcast journalists did
with the same material. The same is true of a producing exercise,
which appears on the Student CD. Students can put together a show
rundown, then compare how they structured the show to how the
show actually aired on a network affiliate in a Top-20 market (with the
professional producers rundown available on the Instructors CD).
Both CDs also contain links to numerous examples of award-winning
broadcast journalism from student news competitions. The Instructor
CD features a brand-new Test Bank, with a mix of essay, multiple
choice, and true/false questions for each chapter, as well as grammar
and broadcast style/word precision quizzes, complete with answer
keys. Please contact your McGraw-Hill sales representative for further
information to obtain a copy of the Instructors Resource CD.

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Preface to the First Edition

xiii

Both CDs and the books expanded website, www.mhhe.com/

tuggle2, also contain
A brand-new chapter, What Television Producers Want: A
Quick-Reference Convergence Guide for Print or Web
Journalists Just Visiting a Broadcast News Platform.
Two updated chapters included in the first edition:
Writing Sports Copyabout reporting sports for the
electronic media.
The 21st Centurywhat broadcast journalists can expect in
the years ahead.
Tips about how to prepare your rsum and rsum tape from
someone who has reviewed hundreds of each.
The News Center Pledge, referenced in Chapter 13 about
convergence issues.
Suggested test questions and the answers to those questions.
Again, please contact your McGraw-Hill sales representative for
the access password for the Instructors materials available online.
Final Thoughts
Throughout, we acknowledge that radio and TV news is a business,
but also stress that its more than that. Its a calling, both work and passion, and a means to document and be a part of history as its made.
We hope that weve imparted some of our passion for the craft of
broadcast writing through this text.

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ACKNOWLEDGMENTS

The authors thank a number of people for their assistance in bringing

this project into being. First wed like to thank the following institutions,
employers, friends, and former colleagues who supplied script samples:
At WFLA-TV in Tampa, Florida:
General Manager Eric Land and Media General Director of News
Dan Bradley, for permission to use station scripts, and Assistant
News Director Kathryn Bonfield and Sports Producer Dave Cook
for their assistance in selecting them.
At KGUN9-TV in Tucson, Arizona:
Former General Manager Karen Rice, for permission to use station
scripts.
At KRLD News Radio in Dallas, Texas:
Mike Rogers, B. J. Austin, and Jack Hines, for providing radio script
examples.
At the Tampa Tribune in Tampa, Florida:
Senior Vice President and Executive Editor Gil Thelen, for permission to use story excerpts.
At TBO.com in Tampa, Florida:
General Manager Kirk Read, for permission to use copy excerpts.
At KERA Radio in Dallas, Texas:
Sam Baker for providing radio script examples.
At KFWB Radio and California State University in Los Angeles,
California:
Tony Cox for providing radio script examples.
At WNYC Radio in New York City, New York:
Beth Fertig and Marianne McCune, for providing radio script
examples.
At KUAF Radio at the University of Arkansas in Fayetteville, Arkansas:
Rick Stockdell and Kyle Kellams, for providing radio script examples.
Photographer Cliff McBride
Numerous industry professionals provided stories and insights that
added breadth, scope, and a personal touch to the work:
Melissa Antoccia of KLAS-TV in Las Vegas, Nevada
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Acknowledgments

xv

Chandra Clark of WVTM-TV in Birmingham, Alabama

Kelli Durand of WLIO-TV in Lima, Ohio
Dan Hicken of WTLV-TV in Jacksonville, Florida
Greg Kelfgun of KABB-TV in San Antonio, Texas
Joe Kovacs of WAMI-TV in Miami, Florida
Robyn Kinsey-Mooring, formerly of WTVD-TV in Durham, North
Carolina
Tom Loveless of WFAA-TV in Dallas, Texas
Terry Meyers of WCBS-TV in New York City
John Miller of KTVT-TV in Fort Worth/Dallas, Texas
Glenn Mitchell of KERA Radio in Dallas, Texas
Matt Morin of WPTZ-TV in Plattsburgh, New York
Diane Pertmer of WFLA-TV in Tampa, Florida
Jill Rackmill of ABC News in New York City
Several colleagues at universities throughout the nation offered very
helpful suggestions and insights that helped make the book useful and
relevant in a new millennium:
Dale Cressman at Utah State University
Pam Doyle at the University of Alabama
Sonya Forte Duhe at the University of South Carolina
Bill Knowles at the University of Montana
the late Travis Linn at the University of NevadaReno
Jim Upshaw at the University of Oregon
At McGraw-Hill, Developmental Editor Laura Lynch, Project Manager Jean Starr, and Media Producer Erin Marrean have been
exceedingly helpful in getting the second edition and all of the elements associated with it ready for publication and distribution. We
look forward to working with them on subsequent editions. Thanks
also to publisher Phil Butcher, his assistant Christine Fowler, Supplements Editor Kathleen Boylan, Marketing Manager Sally Constable, Production Supervisor Carol Bielski, and Designer Sharon
Spurlock.
Additionally, Forrest Carr would like to thank:
Bob Steele of the Poynter Institute for Media Studies, for invaluable
guidance in the preparation of the ethics portion of this book.
Al Tompkins, Jill Geisler, and Lillian Dunlap, also of the Poynter, for
their assistance, leadership and inspiration on the subject of ethics.
The 2002 Poynter Ethics Fellows and participants of the Doing
Ethics 99 Poynter workshop, for their advice and support.

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Acknowledgments

The RTNDAs Communicator magazine, in which earlier versions of

some of this material first appeared.
The many readers of Communicator and Shoptalk who have shown
steadfast support and encouragement through the years.
KGUN9-TV General Manager Ray Depa, for being one of the worlds
great bosses.
Lee Enterprises, Inc., the former owners of KGUN9-TV, whose corporate mission and vision created an environment in which vieweroriented journalism could thrive.
Media General, Inc., for its strong and unwavering faith and support for the ideals of quality journalism, community service, and
public accountability.
At the Tampa Tribune: Donna Reed, Morris Kennedy, Pat Minarcin,
and Malanda Saxton; and at TBO.com: Jim Riley, Peter Howard,
Clarisa Gerlach, and Adrian Phillips, for their invaluable assistance
in the preparation of this manuscript.
At WFLA-TV: General Manager Eric Land, for his steadfast enthusiastic support; Dana Tomlins for her great graphics work and support over the years; Julie Cowan, for additional graphics help;
Investigative Reporter Steve Andrews, for his example and inspiration on the subject of journalism, writing, editing, and ethics and,
above all, for showing that it is possible to be an aggressive reporter
and still treat people with professionalism and respect.
And, finally, his wife Deborah, who has allowed him to disappear
into his study for long periods. Whether she has found this to be a
burden or a blessing, shes graciously kept to herself.

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CONTENTS

CHAPTER 1

Characteristics of Broadcast News Writing 1

C. A. Tuggle
CHAPTER 2

Selecting Stories and Starting to Write 15

C. A. Tuggle
CHAPTER 3

Writing Great Leads and Other Helpful Tips 31

Forrest Carr
CHAPTER 4

Deadly Copy Sins and How to Avoid Them 53

Forrest Carr
CHAPTER 5

Interviewing: Getting the Facts and the Feelings 63

Suzanne Huffman
CHAPTER 6

Writing Radio News 83

Suzanne Huffman
CHAPTER 7

Television News Story FormsThe VO 99

C. A. Tuggle and Forrest Carr
CHAPTER 8

Television Story FormsThe VO/SOT 129

C. A. Tuggle
CHAPTER 9

Television Story FormsThe Package 145

C. A. Tuggle
CHAPTER 10

Producing TV News 163

Forrest Carr

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Contents

CHAPTER 11

The Care and Feeding of Television Live Shots 201

Forrest Carr
CHAPTER 12

Why We Fight 215

Forrest Carr
CHAPTER 13

The Brave New World of Multimedia Convergence 235

Forrest Carr
CHAPTER 14

So You Want a Job? The Art of the Rsum 265

Forrest Carr
APPENDIX

Word Usage and Grammar Guide A1

C. A. Tuggle
GLOSSARY
INDEX

I0

G1