Small Versus Big Market

The main difference between small and big markets is help (and pay)!!!

With small markets, you are struggling to write the show yourself, make sure you know what's going on with the reporters, are we covering that shooting?, etc., etc. Basically, you have your thumb in everything. The higher market you go, the more help you get and the more narrow your job description becomes. So for example, in Phoenix, I had two or three writers and an Executive Producer. The EP and I split duties. I might look through the scripts the writers wrote and the EP would take reporter scripts. Or vice-versa. Or some of each. I'd write opens and teases and give them special treatment. We'd both be on the phone with reporters. We'd both take care of anchor concerns, depending on what it was. I was VERY lucky in that all the EPs I've work with have been rock solid and taught me a lot. Also, we were generally of the same mind so that I never felt like I wanted to do something and then got vetoed. My writers were pretty sharp too. Some wanted to be reporters, others wanted to be producers. Either way, it was nice to have the help. I would still write, but I'd be able to focus on other things a little more.

The higher up you go, the more you are concerned with the overall look and feel, concept and content of the show. You're not just cranking it out, you're also trying to give it an overall brand, graphics, etc. In my opinion, you should also be the catcher of potential tragedies, double-checking everyone's work (including your own) to make sure everything is running smoothly.

When I got to Philadelphia, I was a field producer (I filled in on a show a few times and did a couple specials). The show producers were still more focused on overall show stuff. There was one manager to run the crews (so 15 people aren't calling each crew), one manager to approve reporter scripts, and one manager who oversaw all other show scripts. There was also a staff of professional writers (meaning people of the producer's experience or more who chose to write instead of show produce). Each reporter would be assigned a writer who's responsiblity, in addition to everything else, was to write the intro for the reporter as well as make sure their pkg came in ok.

The Philly station was also interesting in that it was a union shop. As producer, in the booth, you didn't talk to talent. By that I mean, you couldn't give them direction (like wrap!!). You talked to the person who then talked to talent. That part seemed a little goofy, but in larger markets (including Phoenix) you often have someone who handles your liveshots for you in the booth. The thinking is that you have a lot of them and must manage the rest of your show. This is especially helpful when you have major breaking news and you're doing a lot of juggling.

Also in bigger markets you get better toys (chopper, multiple live trucks, sat truck, killer studios with a million fun places to put your anchors, editors dedicated to making your opens and teases look like they have rock star quality).

But the best part of bigger markets is you finally get paid. After years of eating Top Ramen and Peanut Butter, you may actually be able to buy a house and take a (well deserved) vacation.

That said, if you are a control freak (and most of us are) it can be hard to let go of some responsiblities.. and transition away from skills (like writing) that got you interested in producing in the first place.