What piques your interest enough to stop flipping through your 300 channel cable or satellite system and watch a program for a while? Are you just looking at images or does something specific capture and hold your attention?

If you’ve had any exposure to the MEDIAdvise training material, either through this web site, or an on-site workshop, then you know that “storytelling” techniques are taught. The ability to engage a viewer—capture and hold a viewers attention is the single most powerful tool in developing a larger, more loyal viewer base. On the other hand, fragmented, directionless, conflicting or distracting visual information will certainly have the opposite effect.

We walk a delicate tight rope in the television industry. Our customers have more choices for entertainment and information than at any other time in history and let’s not even factor in the internet.

It’s been said many times and bears repeating. Those who manufacture a television product cannot simply guess at what might be appealing to viewers—we have to know! We must listen and learn from those who have had success and a willingness to teach and we must practice and perfect the ability to tell great stories—when time and opportunity permit.

I want to share an excerpt from an industry message board post I received recently. This person seems to have a clear understanding of the job of an editor:

“I've been a Producer/Director/Videographer/Editor in a medium market TV station for over 17 years, and regardless of the project, it all comes down to storytelling. Can you engage your audience and elicit an emotional response? The script, images, sounds, visual effects and graphics are all part of the content that the editor has to work with. If your content is great, you have a chance to create a piece of art, something that has the power to impact the viewer; to make them laugh, cry or go out and buy.

As an editor you must tell the story that your client wants the viewer to hear and see. If the client is happy and satisfied by the final product, you've done your job well. The experience in the edit suite that the clients walk away with is also important. Has the editor made them feel part of the process and found creative solutions to problems? An excellent, collaborative relationship with your client will ultimately give you greater satisfaction.

Staying on top of the technology of your edit system is a must. Time is money. An editor must be totally familiar with their system...more than a "button pusher," but a craftsman using a highly specialized tool. AVID non-linear systems are the systems of choice for thousands of editors for a reason. It's no wonder other manufacturers have tried to make their NLEs more AVID-like. The abilities to undo, redo, sort and organize dozens of bins, drag, drop and duplicate, import and export numerous file formats, batch digitize, consolidate, decompose and integrate third-party software, have given editors the ultimate in flexibility.

Has it made the job any easier? Definitely not. It's more complex than ever. The more you know your system, the quicker and more confident you'll be in your edit session and the more efficient and productive you'll be for your client.

The technology of editing may change, but the ability to create a quality product will still come from those artists and craftspeople that can tell an engaging story no matter what piece of hardware they are using”.

What does it take to be a better story-teller?

First and foremost, it takes a measured, reasoned approach. You have to approach your assignments differently than you have in the past. Go beyond the facts and look for the affect—in order to provide viewers with examples in which they can relate.

I like to call them human examples or central character. Look for the person or persons who have been or will be affected by the events you’re there to cover and tell their story.

Second, it takes applying technique to the way you shoot and edit the visuals. Shoot an event sequentially—the way you would see it without a camera. Shoot natural transitions. Capture concise audio. Eliminate all the visual distractions. If you’re not sure how to do that, ask for additional training.

Third, write fewer words in your script and use more sound bites and nat sound beds. If you have to cut for time—first try to cut something you’ve said.

Fourth, research and learn from other successful storytellers. Read the Wall Street Journal, the New York Times, the Washington Post, watch 60 Minutes, Dateline and 20/20 and notice how their stories begin and how they use central character.

For example, here’s a small excerpt from a story in the Dallas Morning News about an unclaimed Texas lottery ticket…

Andy Taing talked to dozens of millionaires Thursday, although none of them could prove it.

Mr. Taing is the general manager of the 7-Eleven in Dallas where a winning $9 million dollar Texas lottery ticket was purchased in July and which expired—unclaimed—at midnight Thursday.

By noon, Mr. Taing said he had received about 50 phones calls. ‘People said they had the winning ticket,’ he said. ‘I’d tell them, that’s fine, but they need to take the winning ticket to Austin—I don’t have the $9 million here.”

This approach leaves little doubt that the information that follows in the story in centered on the subject, the central character—Andy Taing.

People relate to other people and how they deal with issues. They don’t relate much to facts, figures and officials—which is why stories provide our best chance at engaging a viewer -- captivating and holding their attention.

Television training environments are often referred to as “a den of thieves.” There is little new information left to impart. What is taught today has made many trips around the sun.

So, when you go home tonight and flip on the TV, don’t just watch it. Make a conscious effort to watch how others are presenting the information that holds your attention. There’s usually something that could be learned and applied.