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TOTAL SPORTSCASTING This page intentionally left blank TOTAL SPORTSCASTING PERFORMANCE, PRODUCTION, AND CAREER DEVELOPMENT Marc Zumoff and Max Negin First published 2015 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2015 Taylor & Francis The right of Marc Zumoff & Max Negin to be identifi ed as author of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notices Knowledge and best practice in this fi eld are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Zumoff, Marc. Total sportscasting : performance, production, and career development / Marc Zumoff & Max Negin. pages cm Includes index. 1. Television broadcasting of sports—Handbooks, manuals, etc. 2. Television broadcasting of sports—Vocational guidance. 3. Radio broadcasting of sports—Handbooks, manuals, etc. 4. Radio broadcasting of sports—Vocational guidance. I. Negin, Max. II. Title. GV742.3.Z86 2014 070.4′49796—dc23 2014008688 ISBN: 978-0-415-81392-1 (pbk) ISBN: 978-1-315-84840-2 (ebk) Typeset in Times New Roman By Apex CoVantage, LLC CONTENTS Preface and acknowledgements vii Chapter 1: A history and overview 1 Chapter 2: The production plan 28 Chapter 3: Research and relationships 41 Chapter 4: Writing 59 Chapter 5: Performance theory 75 Chapter 6: Reporter, anchor, sideline, host, sports talk 95 Chapter 7: Play-by-play and analyst 116 Chapter 8: Women in sportscasting 138 Chapter 9: Social media and the Web 152 Chapter 10: Producing 164 Chapter 11: Cameras and visual communication 178 Chapter 12: Audio 192 Chapter 13: Editing, replays, and post-production 202 Chapter 14: Graphics and design elements 214 Chapter 15: Directing and the fl ow of the crew 222 Chapter 16: The demo 237 Chapter 17: Career development 252 vi ■ ■ ■ CONTENTS Chapter 18: Finance 279 Chapter 19: Current trends and future possibilities 286 Index 303 PREFACE AND ACKNOWLEDGEMENTS It was cold and damp inside the press box of the Yale Bowl. This was November 15, 1980, and co-author Marc Zumoff was the fi ll-in color announcer alongside play-by- play man Howard David. The two were broadcasting Princeton University football on radio and at half time, David would leave the booth to take a break. Alone, Zumoff decided to let his eyes wander, peering outside of the ancient stadium. There, he saw a television production truck with a logo he’d never seen before. When David returned to the press box, Zumoff asked him about it. “Howard, what’s ESPN?” Today, young sports fans learn the letters E.S.P.N. shortly after learning their ABCs. The self-proclaimed worldwide leader in sports is largely indicative of the wild, sym- biotic growth of sports and media in the past 35 years. With it have come other all- sports networks at both the national and regional levels, as well as channels owned by leagues and teams at both the professional and collegiate levels. Add to that over-the- air television and radio stations that continue to serve hungry sports fans with cover- age of live events and sports news. Most if not all of these entities have enhanced and expanded their coverage utilizing the World Wide Web, mobile services, and social media. And have we mentioned the unlimited opportunities for individuals to set up their own video broadcasts, podcasts, blogs and social media postings, thus proclaim- ing themselves “sportscasters”? While all of this growth offers unprecedented opportunities in the business, the increase in aspiring sportscasters has been exponential. Associated with that are two things: the need for college graduates to be equipped with the expertise to thrive in a career in sports broadcasting along with the skills needed to break into such a competitive fi eld. viii ■ ■ ■ PREFACE AND ACKNOWLEDGEMENTS We believe this book is one of the primary tools to help you accomplish that. It offers the most comprehensive overview of the industry as it exists today. Performance aspects are broken down by individual discipline such as anchoring, reporting, play-by-play, and so forth. The same is true with the production side of the business such as produc- ing, directing, camera, audio, etc. Performance and production were both included in this book because they have become increasingly integrated. Performers are frequently called upon to exhibit abilities in the production area, not only in television and radio but also when contributing to digital content as well. The same can be said for being able to write for a particular entity’s website. Media are, after all, converging, so broadcasters need to know how to write while writers are being asked to broadcast. Another important aspect of the book, as we just alluded to, is career development. We often say that there are no career fairs for aspiring sportscasters because the pool of candidates exceeds the demand. After all, who wouldn’t want to be paid to cover some- thing that people pay good money to see? Because the competition is so fi erce, we felt compelled as authors to provide several chapters that will help with career development. Other chapters include a historical overview of sportscasting, another on what it’s like to be a woman in a predominantly man’s world, a chapter that examines the fi nancial aspects of the business, and a fi nal chapter where some of sportscasting’s more promi- nent names analyze current trends and future possibilities. Sportscasting (as opposed to broadcasting in general) has become its own area of spe- cialization, from performance to production and everything in between. As a business and as a fi eld of study, it has never been bigger. When asked by the publisher, Focal Press, to provide evidence of the need for a book such as this, the authors uncovered a study by Marie Hardin, the associate director of research at the John Curley Center for Sports Journalism at Penn State University. The study said in part: “As sports-related news has become a major cultural force in recent years— expanding its presence on television and the Internet and dominating the nation’s newsprint—it’s also become a staple part of many US journalism programs.” “A survey of 384 university programs in journalism and mass communication found that more than 40 percent offer at least one sports media-related course on a regular basis. 1 The most frequently offered are courses in sports journalism and sports broadcasting, representing 151 courses in 127 programs. In all, 155 programs offer more than 200 sports-focused courses . .” “Fourteen institutions report offering minors, certifi cates or other formal empha- ses in sports media. Thirty-six programs reported that they provide two or more PREFACE AND ACKNOWLEDGEMENTS ■ ■ ■ ix sports media courses, and seven—Penn State, Oklahoma State, Southern Cal, Marist College, Suffolk University, Boston University, and Utica College— reported offering four or more courses.” The concept of Total Sportscasting , allows the reader to wade at least ankle-deep into just about every aspect of the business, knowing that he or she may be called upon to dip into that knowledge base in many different situations. This is why we became co-authors, not only our combined half-century in sportscasting, but also our different perspectives (performance and production). Thus, readers are encouraged to take in the entire book, whether your heart is set on becoming the next great sports host, director, or sports programming executive. Here is a thumbnail of each chapter: Chapter 1: A history and overview: A history of sportscasting, from sports report- ing before the electronic age to the early days of radio, the advent of television, the impact of satellite and cable, and the innovators who helped to make the business what it is today. Chapter 2: The production plan: The overall scope of producing the broadcast of a sporting event or a studio show, including planning, storylines, coordinating talent and crew, and preparing for what could go wrong. Chapter 3: Research and relationships: How talent and producers determine the best sources of information, how best to gather that information along with what and who to trust. Chapter 4: Writing: The difference between writing for the ear versus the eye, script- ing good sportscasts for both radio and television as well as reporter packages and of course the paramount importance of being right. Chapter 5: Performance theory: How to become a good performer in each sports- casting discipline, including such topics as individual development of a personal broadcasting style, specifi c exercises for promoting certain performance and speech mechanics and working on having a good on-camera look. Chapter 6: Reporter, anchor, sideline, host, sports talk: The requirements necessary for excelling at each of these disciplines including interview skills, reading from the teleprompter and properly preparing for each of these roles.

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