Discovering a New World: Long-Form TV

By Charnee Perez
SBU J-School Reporter

“Dianne Sawyer, Deborah Roberts, John Stossel …” These household names were an inspiration for me growing up, and I could never have imagined myself actually meeting the people behind those names. But I did, thanks to my internship at ABC’s “20/20.”

Throughout my spring semester, I had the privilege of interning in New York City with the “Stossel Unit,” a dedicated and energetic group of producers and production assistants who worked exclusively on pieces for John Stossel, the host of “20/20.”

I always thought that television news stories could be no longer than a minute-thirty – short, simple and straight to the point. But after interning with the Stossel Unit, I discovered a world I never knew existed – long-form storytelling.

“The Age Of Consent” was my first long-form story experience. It was an hourlong special that examined the age of consent in the United States and evaluated the role that the law plays when it comes to consenting adults. Besides researching state legislation on the age of consent, I actually got to sit in on a few interviews that John Stossel conducted with Arizona state legislators on the issue. It was amazing to see John Stossel in action, as well as seeing the unique lighting techniques that the videographers used to make the scene come to life.

What I found even more fascinating about long-form was the extensive editorial process each piece goes through. It seemed as if a script was never finished until moments before the day of air. The process involves multiple changes and screenings, first with the correspondent and then by the executive producer and other executives, who make further changes.

I witnessed this extensive process firsthand, sitting in on the multiple meetings with John Stossel and executives, witnessing the magic of those finishing touches that really make a difference to the outcome of a story. More than anything, I was really amazed to see the amount of teamwork that went into editing a piece.

In addition to the hands-on experience, I attended weekly seminars organized specifically for ABC interns. One of my favorite seminars was on how to pitch a story. We were asked to pitch two story ideas every two weeks, with hopes that one might actually be selected. Although my pitches weren’t selected, the feedback I received from the staff that evaluated them helped me develop my pitching skills, which are essential to have in this industry.

But my experiences weren’t limited to “20/20.” I also went on a shoot with “Primetime Live” for a hidden-camera series called “What Would You Do?” I had to get up at 4 a.m. to carpool to Montclair, N.J., the site of the shoot, but the hands-on experience was well worth the loss of sleep.

Standing just feet away from the social experiment, with my IFB in one ear, I awaited orders from the staff to complete release forms from anyone who walked through our scenario. It was amazing to see a crew work together so seamlessly in such an intricate setting. I left home that day knowing that I wanted to work with them again, someday soon.

Nearly five months have gone by, and as I wind down to the final days of my internship, my departure is bittersweet. Bitter because I will no longer be interning with “20/20,” but sweet because I will start my first job, with “Primetime,” less than a week after I graduate.

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