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Narratives and Television News Editing
Unformatted Document Text:  Narratives and Television News Editing 19 expected to develop their speed in order to create more products, which results in an increase in profits for their station, but they are not necessarily expected to improve the quality of their work for the sake of the viewers. Whereas the NPPA created an editing competition to judge the value of the art of editing, editors are increasingly expected to treat editing as a business first and foremost. An interesting example of the compromising of the art of editing is cross-training. Nowadays, due in part to the accessibility of the technology, and the high demands on worker productivity, managers are cross-training their reporters, producers, photographers and even their anchors in editing. People who, otherwise, may have no interest in learning how to edit are now expected to possess the basic skills of continuity editing. According to Weister, the concern from the editors is that, “…they’re going to make it a skill for so many people, but it’s not their primary skill that I could see where…the quality might drop as far as editing goes.” Coincidentally, Harrity trained his anchors to edit this interview. He, “sat there and watched them cut their own VOSOT. Were they great VOSOTS? No. But appropriate for the air? Yes.” It seems that the news industry is repeatedly choosing quantity over quality. Narrative Editing and Social Responsibility Kehe describes an editing career as a ten year process. The first five years are spent honing continuity editing skills. The second phase is something that may be on the decline: …in a television station that embraces storytelling, the next five years you’re training and focusing on your storytelling and that’s a whole other area and that’s why we call them photojournalists…the best photojournalists are the photojournalists that can take an assignment take a concept and turn it into a story…

Authors: Henderson, Keren.
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  Narratives and Television News Editing      19
expected to develop their speed in order to create more products, which results in an increase in 
profits for their station, but they are not necessarily expected to improve the quality of their work 
for the sake of the viewers. Whereas the NPPA created an editing competition to judge the value 
of the art of editing, editors are increasingly expected to treat editing as a business first and 
foremost. 
An interesting example of the compromising of the art of editing is cross-training. 
Nowadays, due in part to the accessibility of the technology, and the high demands on worker 
productivity, managers are cross-training their reporters, producers, photographers and even their 
anchors in editing. People who, otherwise, may have no interest in learning how to edit are now 
expected to possess the basic skills of continuity editing. According to Weister, the concern from 
the editors is that, “…they’re going to make it a skill for so many people, but it’s not their 
primary skill that I could see where…the quality might drop as far as editing goes.” 
Coincidentally, Harrity trained his anchors to edit this interview. He, “sat there and watched 
them cut their own VOSOT. Were they great VOSOTS? No. But appropriate for the air? Yes.” It 
seems that the news industry is repeatedly choosing quantity over quality. 
Narrative Editing and Social Responsibility
Kehe describes an editing career as a ten year process. The first five years are spent 
honing continuity editing skills. The second phase is something that may be on the decline:
…in a television station that embraces storytelling, the next five years you’re
training and focusing on your storytelling and that’s a whole other area and that’s
why we call them photojournalists…the best photojournalists are the
photojournalists that can take an assignment take a concept and turn it into a
story…


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