Kirstin Garriss Transcript — Sept. 5, 2025
Kevin Johnson, National Press Foundation (00:00):
So our next session, we’re equally lucky to have Kirstin Garris with us today when the networks or even C-SPAN call to feature your work on their broadcast, you want to be at your best, and I know that some of you work in broadcast or have worked in broadcast. This, I hope, will help you sharpen those skills. But Kirstin can show you how she is an award-winning political journalist based in DC with experience in both local and national newsrooms. More recently, she’s the creator and host of Here’s the Deal with kg, and I recommend that highly. It’s a Substack and TikTok series where she breaks down major national headlines into smart, engaging explainers that resonate with audiences across various platforms. Kirstin has served as a Washington correspondent for Cox Media Group, covering the White House Congress, the Supreme Court, and national politics for over a dozen local TV and radio stations nationwide. Most importantly, she is a Paul Miller alum who is always willing to reach back and share her expertise. Please welcome.
Kirstin Garriss, Here’s the Deal with KG (01:21):
Hey, thank you again, Kevin. Hi everybody. I know a couple of people so I recognize a couple of faces, but how’s everybody doing? Feeling good? Okay, last time I did this after lunch, so I had to get everybody to stretch out. So you guys, I get you before lunch. So yes, very excited about that. But let me just poll the room. How many people have done TV hits in a studio? OK. OK, a few. How many have had to do TV hits at home or on the road via Zoom? All right. Yep, yep. Very different experience, right? Well, and how many people have done Zero, but want to, OK, good. It’s a good mix. I like to see where we’re going with this. Hopefully this will help those who have been in studio improve your studio hits those who haven’t yet get you landing one and those who are on Zoom make the zooms look better, but also get you in studio because obviously it looks very different when you’re at home.
(02:06):
So a few things I want to focus on. A big thing is your background. How are you setting up when you’re doing these Zoom Live shots? Your setup? And yes, your look, I know it sounds superficial, but TV we’re superficial girlies, so that is the name of the game and just something you have to keep in mind. So it sounds obvious, but when you’re at home creating a zoom room or a place where you do these zooms, it needs to be quiet. People live with roommates. I get it. We have a lot of stuff going on, but find a quiet place because anything that is causing noise or extra stuff is going to distract you or it can mess up the shot. Another thing to think about, distractions, unintended distractions, things like artwork, things on your bookshelf. While it may look cool in person on TV, not so much.
(02:51):
And then lastly, always try to remember where your windows are. Now, if you’re doing an early morning hit at like 5:00 AM this doesn’t quite apply, but you may be on the road somewhere else. Different time zone. Think about that and try to apply these same tips as you’re in the field. I know a lot of times they’ll be breaking news, you’re on the ground somewhere. Last year this was more relevant with the campaign trail, but 2026 is coming up. So same concepts. Now I always like how many people know they’ll rate my Skype room on Twitter X. Okay, yes, that account honestly, goals, if you want to look at good and bad examples, please look at that. But these are just some screenshots and I just want people to see, because again, everyone’s different and different. The bookshelf, my favorite backdrop, super easy, something everyone has in their home in some way, shape or form.
(03:36):
And then also framing. So this is something where you’re by yourself. You have to think about what is the camera going to see on their end, especially if you’re on a panel in a little box. I mean that’s all it is. You’re in a little box, so you’re trying to make sure you stand out in those areas. So these are some good examples. I love this one because to me, this is an example of when you’re on the road, if you’re in the hotel room, you think about hotels, you can’t really change how they’re set up. You have no control over the decor, you didn’t pick the hotel. So these are things to think about as you are traveling and if you can, using plants and whatnot. However, like I said, there’s some bad things to avoid. My favorite one to talk about Tiger eyes again, I’m sure that looks really cool in person.
(04:21):
I promise you I would love to tour his house and be like, ‘bro, where did you get these from?’ On TV? I’m not really, I don’t know what’s happening, but this is all I’m looking at. And I don’t want that to happen to you because again, you’re up and coming, you’re trying to get these hits, and if someone to a project went away one day, you’re in, one day you’re out, you want to get a call back. I want you guys to get the hits. And also we want you to get you from in the zoom room to in the studio and stuff like this. People remember that. So I want you to avoid it. Even something like this, the chair, her shot otherwise isn’t too bad, but this chair is framing her, not in the best way. So think about that. And this is an example of Windows I wanted to point out to you.
(05:00):
While windows give you a lot of great light, you want to face the window, not have it behind you. So for TV, I know Corina, Spectrum News, see you understand windows, all that stuff. A lot of folks who are in print, you never thought about where windows are. That’s our business. In TV, we always think about that. The biggest, no-no, a white wall. Please, please for the love of everything, never, never use a white wall. So something like this, try to avoid honestly both of these backgrounds at all costs. So that’s why if you are in a hotel room, I’m thinking about, again, you’re traveling, you’re on the road, try to frame your camera any way you can, even if it’s possible, go to, if they have a, what is it, kind of the atrium or some kind of quiet place in the lobby, just avoid a white wall as much as possible because it drowns you out.
(05:45):
We never want that and you’re not going to have proper lighting to make it even pop. But even with a good camera, white walls are just horrible. So when I was a TV reporter, we avoided interviewing people on a blank wall because it just looks horrible. Another thing I wanted to bring up that one of my friends reminded me, I didn’t talk about last year headphones. For those who’ve done the home live shots, what have you used? AirPods headphones. What did you use as your IFB? If you needed one, AirPods. AirPods, OK, OK, keep that up. That looks a lot better. While this doesn’t look bad, obviously Dasha still has a great shot, but for some people that wire that cord can be distracting and literally with TV you’re trying to cut out every single distraction possible things will happen. But how many things can you avoid?
(06:33):
How many things can you kind of plan around to make sure that doesn’t pop up in your shot? So at all costs, I always tell people, AirPods, if you do have to use a wired one, actually hide it behind your ear and hide the wire behind your shirt or dress whatever you’re wearing. And also feel free to ask questions as I’m going things pop up. This is I want it to be helpful. If there are things that I haven’t talked about, also stop me as well or tips that you have found that helps. So I want us to be interactive. So feel free to chime in lighting. This is your best friend trying to tell y’all. I have a couple of friends, some of my fellow Paul Millers from 2023, one of them did a live shot. 5:00 AM just drown out because there was no extra lighting on her face and I told her to decide.
(07:15):
I was like, girl, I love this. I’m glad you’re on CNN. But no. So these things are super cheap. See if your job will expense it. If not, everything’s less than 20 bucks. I get it wrong. Reporter salary, this one clicks onto your phone. I use this every day for my tiktoks Works great. So you don’t have to invest in anything too crazy, but having just an extra light, especially for those early, early morning or late live shots, this changes the game and you can pack it with you like these two, you can pack with you on the road. So something to keep in mind. Now I’m going to get into wardrobe. I did ask Kevin to tell y’all to wear what you might wear on TV just to get a vibe of what are people working with. I see some black, not a bad thing, but black is not always your best friend on TV, again, especially by yourself at home I would add a pop of color.
(08:03):
So I would add a blazer to your look. I know I love the yellow in the back here. So if you wear again black, try to have a bright color that’ll make it pop for women. I want us to stick with these bright colors. It just listen, we already have a gorgeous face. We already have the hair going. Bright, bright colors make you stand out. I love your blazer in the back. What’s your name? Mia. Mia. Love that teal. This is a great look because it pops. The white is a great accent. So think about that as you’re picking out pieces. You don’t have to go overboard. Again, we’re on a reporter budget, but a couple of statement blazers will save your life. Also, limited accessories. I know I’m more decked out now. This is the post TV life. I’m wearing more rings and stuff, but keep it, try to minimize too many things that could be a distraction for men.
(08:50):
You thought you might’ve been left out. Oh no. You get the fashion chips too. Again, most of you guys actually I love what you’re looking. Again, love the black, but maybe I might do a different color just to make it pop a little bit more. But blues and grays are your best friend. Black might look good in the studio because the studio is usually more colors and whatnot, but again, at home we’re trying to bring you forward so a gray suit would pop at home. So things to think about as well. Now, makeup, it sounds crazy, but again, TV are a little superficial and it’s for guys and girls. Guys, you’re not left out either. Now I will say all these makeup tips I’m sharing, these are things you can find at drugstores, Walgreens, CVS. Because again, you may be on the road, get a call, Hey, CNN wants you on this story that you’re on in Iowa.
(09:35):
Okay bet. Go to CVS and look for these things. Now for me, these are very small things that will just help because on TV you want to look as mad as possible. So if you don’t have a good foundation, get a small one that you like. Men, even translucent setting powder that can help erase any creases you have on TV because again, what people don’t realize, you’re on camera, but then your face is seen through. Yeah, it has to go through the camera, it has to go through the lens. Your face is getting processed in so many different ways. That’s why we want to have makeup to make your features stand out after it goes through all this process. Process processing things. See, you can’t talk today online. And some of the things I always tell people, really simple makeup on the forehead, nose and chin, just places where we all shine the most.
(10:25):
And then even a little bit of bronzer. Now if you want to get fancy and do eyelashes, all that stuff, love it. Not a requirement, but some things that do help a little mascara filling in your eyebrows, men using an eyebrow pencil to fill in patches in your beard and whatnot. Again, everyone gets the makeup tips. No one is left out here, but these are things that consider and as you buy your makeup, buy travel sizes. Makeup is a chemical. It expires, it gets bad. So don’t spend all this money on the big sizes of this and that. Don’t have people saying, Kirstin told me to buy this. I did not travel sizes. So they expire. Throw it away. Try again. I love going to places like Sephora, Ulta, someone there can help you out. So think about that. In TV we have the go bag where we have everything we need in a bag.
(11:12):
So that’s why I tell people, get a few things for your makeup. Go bagg in that way and tools for your lips. Super simple. Again, you don’t want anything super shiny. I know we love our lip gloss for the ladies. We don’t want your lips to be a distraction. There’s too much gloss going on. Something simple is like chapstick. Even a tinted chapstick is all you need. But again, we want every part of your face to pop in some way. Now if you want more, one of my good friends, she’s actually an anchor here, WJLA, locally channel seven. She is a makeup with Jasmine styles and ironic, that’s her actual real name of styles. I was like, perfect. But she does makeup consultations on the side. So this is something you’re like, Hey, I want to invest more in this. She is someone you can talk to. Please mention this presentation. So she is taking now freelance clients, but that is if you want to go deep, deep into makeup. But for now, going to again an alto, Sephora and just saying, Hey, can you match me for this foundation will be well worth it. And when you go into the studio, ask them what they’re using on your face that can help you to match what you’re looking for. Any questions so far? How are we doing? OK. OK, I don’t bite. Y’all can ask questions.
Speaker (12:22):
Does that wash you out or –
Kirstin Garriss, Here’s the Deal with KG (12:25):
It depends on where you are. So if you have a darker background, white can work. I like, again, some kind of pop of color. A white collar shirt definitely won’t load back on TV, but make sure you check your lighting. And it depends on the timing as well. So early in the morning the white may reflect more, but during the day it will balance out. So it is a very, with TV timing and lighting vary based on also where you are. But if you can use natural lighting at any point, flipping your camera or your laptop, whatever you’re using, natural light will always be the best light. So try to use that before artificial. Now for those who have landed those in studio TV hits, how did that work? Did you pitch them? Is there someone at your job pitching you?
(13:09):
Just throughout? Both. Both. Okay. How many people have their job pitching you? Okay. Okay. Okay. And how many have had to pitch themselves, stalk everyone on LinkedIn? That is news gathering. Okay, that is. But no, that is where to go because I’ve talked to a couple of bookers and they have told me we want to hear from you. They want to hear from reporters, they want to get fresh voices on their TVs, but they need to hear from you. Something to consider. Shoot for the morning shows, the early, early morning shows. I know 5:00 AM is early to be on TV, which means a 3:00 AM call time, but when it’s early, early TV, it’s fewer eyes on the network. So they’re more open to newer voices, people who may have not done TV hits before. Also less pressure because again, you might be able to be one-on-one with an anchor versus on a panel.
(13:56):
I would also push to be one-on-one first if you can because it’s tough to have your first TV hit, be alongside two other people. And usually there are people who’ve been on that panel before, so you’re trying to fight to get an answer in. So try to push for opportunities that can give you a leg up to practice. Radio is a great one. So try to pitch yourself to the local radio stations or the TV or the radio roundups because with radio you can just focus on the content. You can focus on what are you trying to say, the bullet points versus all the other things that I mentioned like makeup, hair, all that stuff. Also looking at gigs that definitely don’t pay. C-span is never going to pay y’all, but it’s a great opportunity because there’s no expectation of like, I’m doing this to try to become a pay contributor.
(14:38):
Nope. C-SPAN is like we are the public media. OK, local TV is another one. DC is a great local TV market and I think this year in particular, even local stations are talking about what is happening at the federal government because it’s affecting DC directly. I mean the DC crime emergency is a great example of how federal is affecting local and people may want that extra analysis. So pitching yourself as an expert for a local TV hit is also a great experience as well because it’s far less eyes on channel four here locally than CNN. So something to consider there. Now when you book the gig, you’ve done it. We’re like, let’s go. Try to always ask for questions, topics so you can prepare accurately. Now for those who have gone in studio or been booked as well, how did that work? Do they send you topics in advance that you pitch yourself and say, Hey, here’s my story.
(15:30):
Shout out your experiences also before your hit. This is uncomfortable. Record yourself answering questions based on those topics, especially if you’ve never done it before. If this is your first TV hit, ever do this exercise. It is awkward, not even going to cold you. It is awkward, but it helps you figure out one, how long does it take you to answer a question? For a lot of folks who are in the print and digital space, you guys get to write for days and days and days in TV. Seconds we’re quick. So I think it helps for you to see, oh, it took me five minutes to answer this question. You’re not going to have five minutes to answer one question. So see what that looks like. Also, look at your facial expressions. I have expressive eyebrows. I sometimes will scrunch up my eyebrows to make a point.
(16:14):
I’m a hands talker. I know this, but I also know where to keep them if I’m on TV. But these are things I had to learn myself was what are my things? Another one, excessive. Say excessive because to me it’s natural to say things like or that’s natural, but you don’t want every word to be or that’s when someone’s going to be, Ooh, girl, I don’t know if we’re going to have you back. So get a sense of what are words that you lean on? And it doesn’t have to be those. It might be something else. You may be a basically, or essentially those are crutch words if you use them too often. So always be conversational, but think about words that you maybe use a little too often and recording yourself helps you do all that. Now, again, whose print? Lemme just got to print.
(16:59):
Digital. OK, this is for y’all with love, one thought, one breath, one sentence and not a run on sentence. Okay, I see the little commas and the ellipsy. Y’all OK, I’ve just gotten, I literally just got into the writing space. Y’all stay writing these long sentences. Okay, wrapping up. But no for TV, just one sentence, one thought, breathe, one sentence, one thought, breathe. Because also if you try to say a run on sentence, you’re going to sound like this and you’re going to run out of breath on TV and they will not call you back. So we want them to call you back. That’s was a thing. So one sentence, one, one sentence, one thought, one breath. So kind of like one band, one sound. Y’all remember that movie? Or maybe some of you may not. Okay, millennial moment, but so once you’re in the studio again, we made it through the zoom live shots.
(17:50):
We’re in here, we’re in studio. Take a moment, get centered. Also check in the producer, make sure the topics haven’t really changed too much. Check your little notes, whatever on your phone if you brought a notepad. Also, if there are other guests you’re going to be on set with, try to get to know them. So like, OK, this is so-and-so at this outlet, or whatever the case may be. And if you do get a chance to meet the host or anchor ahead of time, talk to them, make sure they know who you are and even get a sense of what are their social cues. If it is a panel, if I like, we’ll look to you or tap on my notebook, I don’t know. But it sometimes helps to get a sense of what am I getting into? Because it is tough to get your voice in there when you’re talking with three other people.
(18:33):
I’m often, this is for the women in the room. When I did these different roundups in Charlotte, that was part of my news career path. I was always the only woman on a panel full of men. And the host was a man too. Samo was like, hello, I have a point. But I had to kind of get a rapport of the host to know like, OK, he’s going to look to Dan a few times. And I would say, OK, yes, I have a point on X, Y, and Z, but sometimes you have to get a sense of how the host roles for those cues. Now for those who have gone in studio, what has that experience been like for you? Is there any interaction before they hit? And when you are at home again, it’s weird because you’re looking at this is you at home?
(19:12):
It’s weird, it’s OK, take some breaths, it’s cool. Look into the camera, do your thing. Now, when we did this presentation, a few folks told me, Hey, what happens when I can’t hear the other person and you’re at home? Keep talking, keep talking. The producer will dip out if they’ve lost your feed or something happened on their end. But don’t stop talking because if they do still have you up and you stop talking, it’s dead air. We never want dead air. So always keep talking. When you’re at home, it is weird. Someone will call you and say, Hey, we lost your feed. Cool. But always keep going. If you have a thought you’re trying to finish, just finish a thought, toss it back to the person and act like nothing happened. Even if again, you can hear in your ear something doesn’t sound right. So that’s always something.
(19:58):
Keep going. Obviously in studio you can see social cues and all that stuff, so very different. So that kind leads me into during the hit some things will come up. So I’ve had this asked before, what happens if I’m asked a question? I don’t know the answer, pivot, do not try to wing it. When we’re nervous, we’re trying to fill air. We say things that may not be correct. So always pivot to what you do know, but in a way that’s still conversational and also shows you still have authority. So try to avoid saying, I don’t know, blank on TV instead, I’m not familiar, but I do know this, that and the other. I’m not an expert on this, however I know this, that and the other. So always pivot, pivot, pivot. Something else that happens if you’re brought in as an expert, I know last year one of the Pauler fellows, she did a lot of coverage on overdoses and kind of just drugs and medicine, things of that nature.
(20:52):
Overdose deaths are not updated as regular as other things. And so she said one time she was doing a TV hit and the anchor got the information incorrect. She was like, I didn’t correct in the moment because it was like, what do I do? I was like, there’s a way to do it professionally where if you are covering something like a very niche topic and you are the expert, you’re brought in as the expert, you can say, Hey, thank you. And so however I want to correct you, the numbers actually X, Y and Z and this is why these scenes get updated last minute. I just got the new numbers today and now you sound even more like an expert in authority in what you’re talking about. So if that happens, there’s a way to correct in the moment that’s still professional. You don’t want the anchor to look like they’re unprepared, just kind of say, Hey, no worries, I got the new numbers for you. I brought them here for the show. So things like that. Now, discussion time, any questions? Any things you want to know more about? Any experiences you’ve had that are like, how would I handle this? Or I again, want to make sure you guys get what you need for your different hits?
Sophie Hills, The Christian Science Monitor (21:56):
My name is Sophie Hills. I write for the Christian Science Monitor and I’ve done just radio so far, or radio or podcasts. And I’m just curious if you have any advice on balancing being conversational with the anchor or the host and also not, I’ve often run into the host will kind of in their long lead up to a question, they’ll be making a lot of very editorial statements about something going on politically or sort of lamenting something, which as a reporter you don’t really want to do in a public setting. But how to balance acknowledging what they said and being conversational and not sounding removed from the conversation, but still maintaining some kind of neutrality, I guess.
Kirstin Garriss, Here’s the Deal with KG (22:45):
No, for sure. Because a lot of, some hosts, I mean we all know certain networks have little a slant one way or the other. I always try to say balance it with that is one opinion that’s out there. This is what I’ve been told on the ground or here’s information that I’ve reported about. Always try to bring it back to your reporting and show that if you’re talking about an opinion, it’s opinion you’ve reported on. Again, I use the campaign as a good example, but again, 2026 is tomorrow. So great lead up. I’ve been on the trail, people have told me X. So that’s a way I feel like you can stay neutral, but you’re acknowledging the opinion or you can say yes on social media. I’ve also seen that this is the opinion that people on social media have talked about, but in my reporting X, Y, and Z, always try to bring it back to your reporting and what you have reported on either experts, you’ve talked to people on the ground you’ve talked to, and even do it in a way that tells a story like, oh, I think again, the DC crime emergency is a great example.
(23:42):
I think all of us here have probably covered this in some way, shape or form. You’ve talked to a lot of people, a lot of real people when normally we’re talking to politicians and whatnot and you can then say, Hey, I talked to this one resident from Washington dc, native Washingtonian lived here all their life. Kind of build a story around there and kind of that’s how you can still stay conversational, like having a conversation with your friend, Hey, look at this story I just covered, but always try to make sure you’re using words that say, I reported, this is what people have told me, people told me this. That’s a great phrase to use where it shows, hey, I’m still being conversational, but also the information came from here. It’s not my opinion. Those are people I interviewed. But that is always tough. You kind of want to walk the line of I’m the reporter, not a pundit. So I think making that clear that, or even say as a reporter, this is what people have told me as a journalist, this is what people have told me when covering this situation. And I saw up front, yes, dude, you and then appear.
Michael Williams, CNN (24:44):
Hi, my name is Michael, I’m with CNN. How do we feel about accents? If you have one, should you try to neutralize it or –
Kirstin Garriss, Here’s the Deal with KG (24:53):
That is a tough one. And local news, they would say neutralize it. I think it’s like Midwest is the accent. I’m from the south and I feel like I don’t have an accent, but when I say the south, sometimes it comes out or y’all a rap. But I would say make sure, I mean this is whether you have an accent or not, enunciation is what you need to do in TV. Enunciate, just regardless of where you’re from, I would say make sure you, and it’s tough because at TV this is where TV gets very subjective. Someone may say, we love this, someone else will say they don’t. It’s also the same thing about your look. For the longest time, my curly hair was like, this is unprofessional. How dare you come to TV with curly hair? For real, that was, I was in J school and people told me I had to straighten my hair to be on TV.
(25:37):
I would not get a job. So TV has evolved a lot since then, but it’s still some subjective parts to it. I would say with the accent, make sure you are as confident as possible in whatever, in terms of whatever you’re talking about. But also that it is understandable to folks who may not be able to recognize your accent. It’s one of those things you’re trying to address a problem that may not exist, but also so many people are watching the news. So that’s a hard one. I still say lean in because I think a lot has changed since the old tropes of what TV should or shouldn’t be. And honestly, I feel like TikTok and stuff has helped with that, that we’re seeing different voices more often. So to me it’s get in the door, see how it goes. I think your accent in Nevada is beautiful. So if you’re not doing TV hits, please do just FYI and then you up front here.
Audrey Decker, Defense One (26:29):
Hi Audrey with Defense One, I cover the Pentagon. I haven’t really done anything live. I’ve done one radio hit where they invited me to talk about Golden Dome, which is this next gen missile defense shield thingy that Trump is building. And I practice so much, I practice my answers. I practice talking about it because it’s so much easier for me to write and organize my thoughts that way. But as soon as we got live, everything from my mind just disappeared. Even though I know this stuff, I get it, but I also just don’t have that much practice doing it. So does it really just come down to saying it over again or do you have any tips on how to not have that? Just fear and everything escaped my mind in that moment and I don’t even know what happened. So is it just as it just come down to repeating it or do you have any tips?
Kirstin Garriss, Here’s the Deal with KG (27:16):
Practice, but also with radio hits, put notes. You can have notes. The beautiful thing about radio and why I want people to try radio first. You can still have notes with you. No one sees that you’re looking at your notes. It’s a beautiful thing. I love it. TV is harder because you are sitting at the cool desk and they’ll see if you have notepads with you, but try to always have a couple of bullet points. And even the main, for TV, we always think in three thoughts, three big points. So try to just have those three points and be able to just elaborate on them. But practice honestly is also a big part of it. It takes my first live shots in my small, I was in Hagerstown, Maryland, which is really far from DC and also not a big place. My first live shot, horrible bowl and I’m on live TV doing it.
(27:58):
I’ve also blanked out on live TV where you’re like, the thoughts have gone, thank God people were not on TikTok and there’s no viral clip of me, what am I? But it’s happened. Just roll with the punches. The biggest thing is obviously not saying something incorrect. So even if you stumble and it doesn’t come out perfectly, as long as the facts are correct. That’s the biggest thing. I never want someone to be so nervous. They say an incorrect fact. If you do mess up, always correct it in real time right away. Anyone else? Yes, I have a question. Oh yeah, sorry. The mic. I remember those. It’s like, wait on it.
Mia McCarthy, Politico (28:36):
Hi, I’m Mia McCarthy. I cover the Capitol Hill for Politico. I wanted to ask, this is kind of niche, but I’m curious. So you talking about the wired headphones and tried and use AirPods? I feel like every live shot I’ve had, they’ve said AirPods sound quality is bad. I dunno if you’ve heard this. So I’m curious. I feel like I ran into, especially during the campaign and stuff last year and even sometimes on the Hill now, I run into the issue where I’m trying to do a live shot quickly in a place that’s public that’s relatively quiet or a place like a hotel lobby, like you mentioned.
Kirstin Garriss, Here’s the Deal with KG (29:11):
Yeah,
Mia McCarthy, Politico (29:13):
I guess what I know you said behind the ears, are there any other, is it better to just in even those public places to just not to have, I know most of the time I just use my speaker from my laptop or whatever and they say not to use headphones or AirPods. Do you think that’s OK?
Kirstin Garriss, Here’s the Deal with KG (29:30):
If you’re in a, I would say in a quiet place, it’s easier to go no headphones, then you can hear, but you don’t want, the issue is you don’t want to mishear a question. You’re like, what did you say? The look on TV is not in person. I can say, well, what did you say? I can lean in, but on your laptop you’re like, I can’t hear. So it is niche, but it’s one of those things. And some people may not care. Like I said, the headphone thing is kind of on the minor scale of things, especially if you’re getting hits consistently. And I think if you had context like, “hey, I’m outside of blah, blah, blah,” which is the story that adds context to why I’m looking or doing something different. So I know even so for example, when a lot of TV reporters were covering the big campaign rallies, people have the headsets on. It’s kind of like, I need this so I can hear you. And we don’t have to say it, the visuals are clear. But again, if you’re doing it kind of on your phone or on a Zoom, I think adding context if it helps, like, Hey, I’m outside this rally and so I want to be able to hear you as much as possible.
Mia McCarthy, Politico (30:26):
And do you know for the wire headphones too, you know how the mic is normally, I don’t know, the apple ones are right here.
Kirstin Garriss, Here’s the Deal with KG (30:31):
Yeah, they come back here.
Mia McCarthy, Politico (30:31):
Does that make a lot of noise or anything it being behind your ear or not?
Kirstin Garriss, Here’s the Deal with KG (30:35):
I’ve had to use it for live shots before really. OK, great. Yeah. On TV where it’s just because as long as the audio is coming from somewhere else, yeah, if the headphone is solely just for hearing, then you’re fine. If you do need –
Mia McCarthy, Politico (30:46):
I’m saying for the microphone.
Kirstin Garriss, Here’s the Deal with KG (30:47):
Oh yeah. As long as you don’t need the microphone part of the headphone.
Yeah, if they’re actually relying on the headphone, the mic part of the headphone, then yes, you do have to be conscious of where it is.
Mia McCarthy, Politico (30:56):
I’m not right. I think that was what I’ve heard in the past is my AirPods or wired headphones. Sometimes they were like, oh, you micro, maybe my AirPods are also just old.
Kirstin Garriss, Here’s the Deal with KG (31:04):
But that could be too. Yeah. But no, it’s definitely, it’s a trial and error situation. But I think it’s one of those things when the look of it, it’s finding ways to eliminate those distractions, but also find stuff that works. So I’ve seen some people who have the podcast set up with the big headphones and I’m like, Hey, that’s cool too. That’s a whole nother world. So I think it helps that we are getting more casual, but I think sometimes it’s like, OK, until you get to that consistency, starting out with what will definitely work is what I recommend to people. But again, once you start getting booked, it’s like, OK, cool, you’re proving yourself. I want to make sure that you can prove yourself on your content first. And then little things, it’s like, oh yeah, that’s fine. We know she’ll deliver on the shot.
(31:44):
We don’t care what some other stuff is. I know last year some folks talked about, at least for the men, I’m sure everyone knows Eugene Daniels dresses down every single time. He has a very flashy, great wardrobe for a man or a woman just like great. But I tell people initially, for men, I say, kind of go simple for the sake of, again, you want to get a chance to get your performance out there, but TV subjective, whether you kill it or not on your hit, someone’s going to email you. That’s the one thing when you do TV, someone will email you saying, praising your work or hating it. That is just how TV works. Unfortunately, we have keyboard warriors who like to let people know their thoughts. So you’re not alone. Take it with a grain of salt. Now if someone adds some constructive criticism that you’re like, all right, this was helpful. Definitely take into consideration if someone’s like, I didn’t like your hair, girl, go sit down. I didn’t like blah, blah, blah. But people are watching, watching, so that’s a good sign too, I think. Was there another question? Oh, few more. Yes, let’s go up here. Yeah, and then we’ll work our way.
Cybele Mayes-Osterman, USA Today (32:47):
Hey, I’m Cybele with USA Today. I cover national security. I’m just curious if you have any tips for kind of staying cool, staying above it if you’re in a combative type of interview situation.
Kirstin Garriss, Here’s the Deal with KG (33:02):
So more like the anchors being
Cybele Mayes-Osterman, USA Today (33:05):
Yeah, that
Kirstin Garriss, Here’s the Deal with KG (33:06):
Gotcha. That definitely. That can be tough because that’s personalities that you can’t control. I would say always stick to again the facts, why you’re brought on. You talk about national security, make sure you still remain the national security expert because someone can clearly say, oh, that guy was doing a lot, but as long as you stay neutral, you stay. We want people to walk away and say, OK, what’s your name again? Bel Bel. They want to say Bel did a good job in the midst of all that, she held her own. So it’s really like if you need to take a deep breath, reset in those situations when it’s clearly getting heated on the desk, it’s OK to kind of take a deep breath in that moment and wait to respond. Because if you are in a situation like that, and if it is, again, as women, sometimes men will like to overtalk us or outtalk us.
(33:55):
Take a moment. In those cases, it’s OK to take a breath because it’s very clear something else is happening. And even if it’s online, those situations take a breath because you want people to know that when you were on TV, you kept it cool. Don’t engage with that person. Don’t allow them to bait you into something because again, that reflects on you. The host is going to keep, or maybe not, but the host is a separate, that’s a whole nother thing. But for you definitely control everything that you’re doing because you want to get a call back or someone else may book you like, oh wow, she held her own even with that situation. So it could help you get another booking, but always kind of control your situation. But taking that pause definitely helps. And then up here,
Linley Sanders, Associated Press (34:35):
Yes. Hi, I’m Linley. I’m the polling reporter for the Associated Press. I have two questions for you. One is more big picture. I’m curious how you balance TV’s desire for big personalities with authenticity. I think that’s something that I’ve struggled with a lot is trying to be true to how I present information while also knowing that the people who talk about polls on TV are so animated. And so —
Kirstin Garriss, Here’s the Deal with KG (35:04):
Steve Kornacki, the khaki – No, I get you.
Linley Sanders, Associated Press (35:07):
And that’s what people often want. And then, OK, so that’s my first question. My second question is, it seems like, so studio step aside, everyone kind of has a studio in their hand. Everyone’s doing TikTok, everyone’s newsrooms want them to do the selfie videos and all that stuff. So I’m curious if you feel like these tips all apply directly to that, or if there’s anything specific to the phone experience that you would say. I was curious if you have any, for people who want a teleprompter or a place to put their polling notes, for instance, what’s a way that you recommend people do that?
Kirstin Garriss, Here’s the Deal with KG (35:43):
I’ll start with your last question first. We’ll just start there. Where my brain is going. So actually, so in my tiktoks, I actually will joke that I have notes. Literally, I’ll use that as part of my thing because I want to say as authentic, I feel like when you’re following a script, that’s where you can get robotic and mono to. And I was even guilty of that when I was in TV. I always told people when I was in the field, oh, gem’s dropping all the time. But in the studio, something about it would even make me kind of freeze up a little bit. I would still be natural, but would, if I’m looking at a prompter, I’m trying to hit every word exactly as I’m saying it. And for something like polling, you want to make that more conversational because it can be dense, but it’s really important.
(36:23):
So I always tell people, it’s OK to acknowledge you have notes because then as a viewer, I know this reporter is telling me the facts, checking them, she’s referring to them. She’s not just making up numbers. And I think in this era of still some fake news, but misinformation, people are just saying anything I have found, it helps to be very authentic of like, yeah, I’m checking my notes to make sure this information. So I think it’s OK to just have a notepad, have some cue cards with your numbers on it and say, this is it. Or the great thing about TikTok, you can edit that. If you need to read, you can edit over that part and show a graphic or something. So I think that’s the beauty of TikTok. Now we can edit certain things out that maybe show us reading or whatnot.
(37:05):
But honestly, in all my videos I say, I got my notes, let’s talk about it. So people know, look, I’m like, I’m a millennial, I need to read my notes. I need to keep up and I’ll look down and read from them in my tiktoks. And I think people like that because it’s like, oh, she’s getting the facts. So that’s one way I would answer that question. And yes, I think a lot of those tips do apply to social videos. Now, social videos very different. You can hold the camera differently. Some of the lights I mentioned, those are good for cell phones, they will stay on. But I know I’m still getting the wing of social videos myself. Some people like walking ones, they’re very casual. So some of the more professional, I haven’t worn a blazer on my tiktoks, so this is for in studio doing a CNN hit from home.
(37:48):
But my TikTok I’m wearing, I feel like that’s what I’ve seen that people are like, we want you to be casual. Some people are in their bed doing it. I’m like, that’s a bit much, but that’s what’s on. Y’all seen it, that’s TikTok. But for the personalities, some people are doing be more, again, I mean, everyone loves Steve. I think now that’s like I know John or John, I cannot think of his last name right now on CNN Brain is falling. But some people will try to imitate. But Steve Kki is the wall guy with polling. We all know this. Try to, whatever your niche is, make that yours, that’ll be authentic. I don’t think he was trying to become the wall guy in khakis, but he just wore khakis all the time with a button up shirt. And now it’s the thing. So whatever your thing is, that is what’s authentic to you. So again, if it is, hey, doing notes or hey, here are three things, three polls you should know about or whatever. Find your niche that makes you comfortable and then that will be authentic for you. So I hope that helps. Yay, over here.
Cady Stanton, Tax Notes (38:48):
Hi, I’m Cady Stanton with Tax Notes. I think we actually sat together at the end here.
Kirstin Garriss, Here’s the Deal with KG (38:51):
Yeah, definitely. See, small world. It all comes back around.
Cady Stanton, Tax Notes (38:55):
Before my question, I did want to say to what you were asking my company, when they do social videos, I’ve been doing a couple with them. They’re really specific about sticking to the script. So I actually use a teleprompter app that lets you record through the app and it scrolls for you, which is really helpful. So just might be an option depending on,
Kirstin Garriss, Here’s the Deal with KG (39:13):
And that is helpful too. Yes, definitely go by your office.
Linley Sanders, Associated Press
I love to be more conversational and relaxed, but they’re like, no, you have to have the wording.
Kirstin Garriss, Here’s the Deal with KG (39:20):
Yes, and definitely follow. I should say office politics are a thing. So if your job is like, we need X, Y, and Z, follow what they say. But as you get better, try to add your personality. But no, there are apps. I again personally haven’t used it. I like for me, in my work, it’s easier to be just kind of off the cuff, but always with the facts still for
Cady Stanton, Tax Notes (39:37):
Sure. Yes. So I am a Capitol Hill reporter. I cover taxes specifically, and I run into
Kirstin Garriss, Here’s the Deal with KG (39:43):
Which Godspeed, that’s a hard topic to cover, just print or TV.
Cady Stanton, Tax Notes (39:46):
Yeah, very nuts. And I’ve run into a couple of issues in terms of the PR people my company has hired to pitch me are not doing a good job of pitching me in the sense that they’re often pitching me to other Capitol Hill reporters or other print outlets to be an expert source. And that’s not how it works for me. And so running into that, I think I’m starting to realize I have to do a lot more pitching for myself.
You gave some really great tips about reaching out to bookers on LinkedIn, networking, et cetera. But especially for me being in a little bit of a specific beat, I don’t think I could pitch myself in the way of, I can do the news of the day on Capitol Hill because I’m so specific. So do you have tips about both pitching yourself, because I can’t really do that. My company’s not doing a perfect job of doing that and then also just being the person that comes on when there’s tax news or when there’s something I can specifically speak to.
Kirstin Garriss, Here’s the Deal with KG (40:38):
Yeah, well first, make sure your job is cool with you pitching yourself. Just get, and that’s, I should say, out the gate, make sure your job is cool with you, pitching yourself in general. We don’t want anyone to get fired. There are too many layoffs happening. So as long as they’re cool with you going out of your road, make an elevator pitch and end your elevator pitch in your email quickly. Like, Hey, I can break down these three taxings easily and make sure you can do it confidently. Practice that and kind of say, Hey, I want to be your tax expert, obviously, honestly, this is a great time. We are about to go shut down. Again, we love a shutdown story. How do you make the shutdown story in taxes more relatable for me? If you’re pitching yourself as an expert, what makes you different? Sell that to a booker because they’re trying to craft a show based on different voices.
(41:24):
They have their usuals, but why should they make you a new usual person? So definitely pitch how you’re the expert and pitch often. So I actually talked to a former CNN booker yesterday before this presentation, and she was like, some people had to reach out to her three times before they got a response. So it’s OK if you get no response. It’s not a no. But eventually she was like, wait, I’ve seen this email before. So it comes, and if you can, again, this is where you have to talk with your office. If you have an exclusive or a different element that you can then present like, Hey, I have this really cool tax exclusive, I’m willing to share it with you. Only it drops on our website at 12. I can come on at eight. That’s another way to kind of get yourself in the door, like, oh, we have an exclusive, this is adding to our show.
(42:06):
How can you benefit the show as well? But that’s one of those you got to coordinate with pitching folks, make sure they’re cool with it. But if you can give them something new, that also helps you. But I think honestly, pitching yourself is how do you make taxes make sense? That’s helpful because like I said, when you mentioned you cover taxes, I’m like, that’s dense regardless of how you do it. So pitching yourself in that way is helpful. And I would even pitch yourself to local news first even because a lot of local stations are covering more news because what’s happening, it’s a different DC local is now interacting with federal so much more than we ever did. So pitching yourself to the local news stations, pitching yourself to the local PPS station, those are ways to get out there. And then as you try to pitch to the bigger networks, you can say, Hey, here are my clips.
(42:50):
Doing just that. Sometimes that’s what it is too. You need clips to do an audition, and you kind of talked about that. You put in previous clips. Some people need an audition to say, oh, alright, I will give her a shot and always say yes. I think I mentioned this. Say yes to every hit no matter how early it is. I know say yes if you can. Obviously the job comes first, but if they’re like, we need you here at 3:00 AM guess where you’re going to be there at 3:00 AM. Alright. Because that is just, they want people who say yes. If they can depend on you to say yes for 3:00 AM or 11:00 PM that stands out too. Everyone wants to be on at 6:00 PM duh. But again, if you say yes to the odd times to the last minute times, if someone texts you at noon saying, Hey, can you be here at four, 4:00 AM the next morning? They remember that. So as you start booking, try to build those relationships with the producers and see how that goes as well. I think we have one more over here or next to you. There we go.
Shauneen Miranda, States Newsroom (43:43):
Hi, Shauneen Miranda with States Newsroom and I focus on education policy. I’m curious what advice you would give to your younger self, both as a reporter in general, and then also when reporting on TV.
Kirstin Garriss, Here’s the Deal with KG (43:57):
Oh, reflective. All right, now TED talk. Ooh, that’s a good one. I think being more authentic earlier, because again, at least when I was in journalism school 2007, 2011, there was very much just like the news voice, the news woman, the newsman kind of vibe. And even local, I would watch local news as a kid. They gave that just, yes, that voice. But I think leaning into just being authentically who I am. So again, there are some quirks. I’m a little corny at times, leaning into that when you can, obviously if you’re covering a hard news story, be serious. And then showing empathy as much as possible. That to me is a skill that took time. Showing empathy in your reporting, in your live coverage, even showing some emotion. I think that’s the one thing in TV, it was like show no emotion, some, but we are just objective observers.
(44:52):
But I think now it’s like if something really is just you’re seeing a scene that just can’t believe it. Again, thinking about education. We had another school shooting last week talking about, I think even exerting, we’re just seeing this raw emotion if you just even sigh. I think letting people know we’re human too. I think that’s something I wish I’d done earlier in my career. I got there, but I think it’s one of those things even I’m still improving, but I think reminding people, we’re humans too. This is tough stuff that we cover, it’s intense or we’re watching the fights or whatever. But again, thinking about education, that’s a tough beat when we’re talking about another elementary school, another high school, another this, it’s OK to kind of say, we’re here again, this is it. And I’ve even seen some network anchors, actually, Craig Melvin is a great one.
(45:41):
Whenever he’s called to a school shooting, I feel like he, or just any kind of tragedy, he brings emotion in a way that to me is still professional, but really authentic. So that is something like to consider as well. But that would be being more authentic early on. So I think again, when I was in J School, it was like, here’s the mold, here’s the runway you’re following. So yeah, so now that’s why we have, here’s the deal with kg. I’m KG on my little TikTok. So subtle plug, subscribe all around. Anyone else? I think we had a couple. Oh, let’s get one up front and then yeah, we’ll go to the front first and then go back. It was Mia. It was it Mia, right. Okay. I’ll make sure we get everyone. Yeah, definitely. I’m here to help. Exactly.
Corina Cappabianca, Spectrum News (46:20):
Hi, Corina with Spectrum News. Just curious. I work in local TV. If you’re pitching yourself for bigger networks, do they typically pay for hits? And is it something that they will say, will the booker say that?
Kirstin Garriss, Here’s the Deal with KG (46:38):
As far as I know, most times it is free. You are volunteering the goodness out of your heart and for the sake of wanting to be on TV. But those who have done it, you’re shaking your head. And again, this is where I have not been in that world directly because I was like you in local news. And actually my old company, we couldn’t even pitch ourselves. So we to can only be on our local stations. I would say go in knowing is not paid. But if you do want to go down a contributor path, I know those contracts are strict where you can only be a contributor for CNN or only for MS Now or whatever they’re going to call themselves. So no shade just, we don’t know their name now, but they take in consideration that if you do get a contract with someone, it’s another contract TV contracts.
(47:20):
So it limits where you can do your hits now. So I say that’s one of those things you, it’s a gift and a curse. Like yes, it’s free. Yes, it’s early hours, but it’s exposure and knowing we’re all trying to move on to the next thing that could just help you move on to the next job and it brings you a new skill for your resume and whatnot. But I think the biggest thing is expecting that this won’t be a paid, this is definitely for exposure. At least that’s how I tell people, this is an exposure thing. It’s great for your resume. If you wanted to work for that network, that helps too, because it’s like, Hey, I’ve done 20 hits for CNN. They might be like, oh yeah, we do like that person. But yeah, I would go in assuming it’s not paid. And I’m thinking everyone has the same experience. Yeah. Oh yeah. Oh yeah. Oh yes. Which yes, no, because you said you were a producer.
Shrai Popat, The Guardian (48:08):
I would just say one thing. If anyone does get a contract with a CNN or an MS now, or CBS or whatever to make sure that you have a public media carve out in your contract. Because generally speaking, everyone will give you a public media carve out for NPR, PBS, and that means you can still do those.
Kirstin Garriss, Here’s the Deal with KG (48:26):
See? Dropping gems. All right, thank you. Yes. No, because good to know. I think that’s one of the things, contracts, being in TV most of my career, we’ve always had strict contracts, so that’s why I said I’ve never been able to do these kind of hits, at least in DC because I was told I couldn’t. In Charlotte, I was a government reporter there, so I was on the PBS and NPR stations there all the time because I was actually with Spectrum. It was then something else, but they were fine with that. So every shop has their own policy, so that’s why I’ll say check with your job. I don’t want anyone getting fired trying to be on TV. That is not the message here. And I think we had up here. Anyone else? Yes,
Nicholas Anastacio, National Journal (49:02):
I’m Nicholas Anastacio. I cover senate campaigns for National Journal and Hotline. I’m sort of interested in being more multidisciplinary. We do do podcasts every now and again. I got radio hits every now and again. We mostly write for our website and for our newsletters, but I am sort of interested at some point parlaying into being more multidisciplinary where I’m writing digital or also being on television, but I don’t necessarily want to go back. I don’t want to go to grad school for journalism. How’s the best way to transition from, let’s say strictly writing online, strictly writing print to then maybe being more multidisciplinary?
Kirstin Garriss, Here’s the Deal with KG (49:46):
Yeah, doing honestly. Doing the thing. So getting out the cell phone and saying, Hey, do you guys have a TikTok?
Nicholas Anastacio, National Journal (49:53):
No, but I wish we did.
Kirstin Garriss, Here’s the Deal with KG (49:54):
So maybe a starting one. So maybe talk to your digital team, but you get the best experience from practice. To your question, how often does it, you just got to do practice, live hits, practice, practice, practice. The more you do it, the more you get better at it, and you’re starting to get the recipe down because the first time you do anything, the first time you try to edit a video, it’s going to take you a while. So you have to do it to get that experience. I would say try to lean on the folks in this room. Obviously you have Spectrum News here. There might be some other TV. Try to figure out what systems you guys need to get so you can learn how to edit. But I would say it’s really just getting in there and trying it, because I agree, I don’t think you need to go back to grad school, and I wouldn’t have recommended that anyway because listen, student debt is too real.
(50:38):
And in this business, unfortunately, we’re not always paid for extra education. So it’s like don’t take on student debt just to do it, but it’s really just using the materials. And TikTok, I don’t want teaching that at grad school, and I’m only pushing that because that’s where I’ve seen people are using TikTok, YouTube shorts. That’s where video is going. And so I would say trying to learn that stuff now is really, really helpful. And it’s just trial and error. So it’s trying to figure out, OK, what digital story? Can we turn into a video? Do we have access to Getty images? Do we have access to something else? Because video, there is, we call it B-roll, but basically it’s just footage to cover up or to kind of add a visual to whatever story you have. So I would say talk with your digital team and see, maybe it’s a YouTube shorts series you guys start, but that’s where I would say you become multi-platform is just trying these different platforms.
(51:28):
But those are the two things I would try. And it’s also free, so it’s an easy, it is very low cost for your job because we’re talking about YouTube, TikTok, Instagram reels, maybe Instagram is now limiting how their algorithm is really weird. But TikTok and YouTube shorts, I feel like are now really kind of driving the conversation online for video. So I would start with that. So I hope that answered your question a little bit. Okay. But yeah, it’s just trial and error. Trial and error. I mean, my first TikTok video, I was like, I am going to make a masterpiece. And it was like, why did it take two hours? Now I’m like, OK, 30 minutes, but it just takes time. I’ve only been doing it for two months. You can see in a gap in my thing where it’s like I was on TikTok during the campaign.
(52:08):
I stopped. I was like, ah, I don’t really care about this app. And then when I launched my substack, I was like, OK, let’s get back. Yeah. And then consistency. That’s what I’ve noticed too. If you put out something like if your job lets you start the TikTok or the YouTube shorts, be consistent. So talk about how you guys can build out maybe a few weeks of content. So once a week you guys are posting too, then that will get you into a rhythm that meets the need online, which is people want something once a week. If you post once a month, it’s like, where was that guy with a national journal? How can you be consistent if you do take on a multimedia role? So yeah. Anyone else? We used to have a studio. Oh, go ahead and back. There used to be a studio where we would actually have y’all go into the studio, but the studio isn’t here. But you guys have had some good questions, so I won’t have you guys interview each other today, but just know that was on the list. You got spared.
Mia McCarthy, Politico (52:59):
I have a question about the pitching yourself to bookers. Maybe this was naive of me. I didn’t know that you were allowed to do that.
Kirstin Garriss, Here’s the Deal with KG (53:06):
Yeah, but no, it’s fair. You’re like, I don’t. New world.
Mia McCarthy, Politico (53:09):
At Politico, we have a booker and she just text me and be like, can you do this tomorrow? And I’ll say, yes. I thought that was the only way. So could you just walk me through, I know you said on LinkedIn and emailing. What does that email kind of look like?
Kirstin Garriss, Here’s the Deal with KG (53:25):
Well, I’ll have, remind me of your name again. Skyler. Skyler. Actually, walk me through what your email looks like and I’ll tell you what I would do. I mean, some people I wouldn’t even reach out. I just add them on LinkedIn. Oh yeah, sorry. Yes, microphone. Just kidding. I know I’m adding,
Skylar Whitehouse, Bloomberg News (53:39):
I just send a LinkedIn, what is it? Like request to kind of be friends or whatever. And then sometimes I’d message them, but then I kind of would think if I’m becoming a connection, then they’re probably seeing who I am just by my title. But I would just be like, Hey, I’m Skylar Whitehouse, support of Bloomberg would love to be considered to join a show that you’re working with. And here’s my recent, it’s in my byline link, like my Bloomberg thing, and then a previous clip that I have. Very short. Yeah.
Kirstin Garriss, Here’s the Deal with KG (54:15):
Yeah. I would definitely say keep it short, because based on the feedback I’ve gotten from booking producers, there’s so much happening that you all don’t see because they’re talking to producers, they’re doing this, they’re trying to figure out the show. There’s probably breaking news. So they need something quick where it’s like, OK, Mia can talk about taxes, blah, blah, blah. Okay, cool. Think about your writing to someone who’s very, very busy. Also, I would suggest pitching to booking the bookers, not producers.
Very different. Yeah. Yeah. The producer is trying to build a show and they are, you are one small thing and they are not concerned, but the bookers, their sole purpose is to book. Yes, I would definitely go that route. And I think he has something to add too. We’ll go Skylar. And then
Skylar Whitehouse, Bloomberg News (54:58):
Just because we have to get every external thing approved. So on the off chance that they would be like, oh, we’d love for you to join, then I would immediately then connect with our newsroom person to be
Kirstin Garriss, Here’s the Deal with KG (55:09):
Like, yeah. The biggest thing I would say is communication. So I’m always big on over communicate what you’re doing with your bosses or whoever’s in charge so that no one’s like, how did Mia end up on CNN? It’s like, yo, we cleared this out. Again, the biggest thing is making sure they know you’re actively doing it. So if it’s new, just everyone’s aware. Even giving them, I mean, depends on your relationship, but hey, I’m reaching out to these shows. So if they are pitching you, you’re not double pitching. You want to make sure you’re not duplicating work. So I mean, for your case, I think because that is, it sounds like they are pitching you to some degree, make sure you say, Hey, I’m pitching myself for way too early tomorrow. Do that. So they know, OK, we don’t have to pitch Mia doing it kind of thing. And then I know in the back you had a comment.
Shrai Popat, The Guardian (55:53):
Yeah, I was just going to agree with everything that Skylar said. But also one thing that I found was really useful was when reporters would pitch themselves or flag that they’re around during holiday season. You have a lot of people and a lot of correspondence who are a lot more senior who no longer have to work Thanksgiving and Christmas.
Kirstin Garriss, Here’s the Deal with KG (56:11):
Absolutely.
Shrai Popat, The Guardian (56:11):
And there’s a show that needs to be filled, and there’s also just moments where we know that you’re reliable to do that. So two weeks before Thanksgiving, I’m around for Thanksgiving and I’m covering from Monday to the Sunday, so you can bug me if you need. And summer months as well. Generally you have my executive producer always whine to me that there would be weeks on end where all of our correspondence were working, we on holiday and we needed someone to fill in. So if you have a congressional reporter that needs to step in, that’s always helpful.
Kirstin Garriss, Here’s the Deal with KG (56:42):
No, that’s a great one. And weekends, I know we love our weekends, but if you can always, I mean, the weekend shows, that’s still TV. So always say yes if you can to a weekend show even maybe add that to your rotation first, because anything else, the weekends have less eyes. So that’s a great place to get your start. And it’s not going to be like, oh my God, I messed up. It’s like, no, someone’s grandma was watching. It’s all good. It’s totally fine. But yeah, that’s a great tip, especially with Thanksgiving and Christmas coming up. If you are based here in dc, totally let people know because yeah, producers are, and forgive me if I’m overstepping, but I know you’re planning far in advance, especially with holidays, because even as a reporter, the news never stops. So in local news, we had to plan, what am I covering on Christmas day when I can’t cover the parade or something. So that’s definitely a great addition to add. But anything else? I know, I think lunch is probably here. Anything guys? Yay. She is here. But said, you guys have been great.
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