Coping with Change in Documentary-World

This might be mildly amusing ...     

When in 2003 I started doing commentaries for History Channel and National Geographic Channel, I greatly enjoyed traveling to New York, Toronto, Boston, and LA, where I met up with a director and a crew handling sound, video, and logistics. Usually there was a "black car" for pickup at the airport. This from the Inviting Disaster series:

The fun continued through the History Channel's "Titanic at 100" show,  my high point of seeing quality production in action. With 3D magic the Lone Wolf crew converted a surplus hangar in Maine to a parking spot for the wrecked Titanic, if it were to be hauled up from the deeps. I'm the tiny person on the left. 

But now it's 2024 and documentary TV has lost a lot of sponsors. They've become earnestly budget-minded. 

NHK, the Japanese equivalent of PBS, interviewed me on Zoom last year for their series "The Error," so I didn't get to travel any further than a table in my office. I don't have a wall-sized bookshelf of weighty volumes for the Expert's Background, so I settled for a wall and a poster. 

This photo is from my attempt to illustrate how frantic the situation was among technicians at Three Mile Island Unit 2, about 4:00 AM the day of the core meltdown. Not sure how well it translated to the Japanese audience ...

Luckier Still: More recollections of the writing life

Continuing the previous post, thinking of memorable times on the job and while researching a story:

• During an expediter run on a construction job in 1980, I was assigned to make a stop at a dynamite wholesaler. I left with my VW Rabbit carrying a hundred pounds of DuPont Tovex, sporting a nifty triangular sign on my rear window: DANGER - HIGH EXPLOSIVES - KEEP BACK 300 FEET;
• Accompanied an Austin police officer on a weekend-night shift. When he went into a house to check on a domestic dispute, he pointed to his shotgun and said "If there's trouble, feel free to use this;"
• Spent a morning with Moulton Taylor, inventor of the first practical flying car;
• Had a lengthy talk with Harrison Ford about his time in helicopters; 
• Climbed a tower crane during a construction-machinery trade show in Houston;
• Jumped out of a helicopter during water-rescue practice with the LA County Fire Department;
• Attended a reunion of Vietnam-era pilots who flew for the CIA front company, Air America;
• From Henry Kaiser's key man Clay Bedford, I heard how the shipyard at Richmond, California, built a 9.000-ton Liberty ship in less than five days;
• Joined an afternoon of counterfeit-product raids with a private detective, sheriff deputies, and lawyers from the Disney Corp;
• While doing stonemasonry, learned that hitting a big slab of limestone with a sledgehammer makes a very loud "bong", lasting less time than striking a brass bell but about as loud (This requires the slab to be perched atop other rocks, so the vibrations aren't dampened);
• "Rode the block" from the top of a Kansas oil rig, but declined the crew's invitation to join in heaving chain around a spinning drill pipe (this, after seeing one roughneck's mangled hand);
• Learned how to drag oak logs up a hillside with a choker cable and a winch;
• Spent many happy hours running a Case backhoe; 
• Rode with archaeologists in a Bell 206 helicopter doing fieldwork above the Arctic Circle; and
• Made a teeth-clenching drive up a New Mexico mountain hauling a trailer-mounted air compressor and drilling equipment:
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Lucky, Lucky: The joys of feature writing

These are frustrating times for nonfiction writers, between AI competition and advertising's massive shift from print to search engines, streaming, and social media. Many magazines no longer have the budget for long-form articles requiring lots of research and travel. 

Nonetheless! After 44 years of nonfiction writing, and well over a hundred articles and columns, I feel lucky to have started work before the Internet. With all the research and travel needed, it kept me in student-mode throughout.  

It's a time when the uber-wealthy are paying a lot for "experiential" events, like playing a bit part in a movie, hunting for treasure, or climbing Mount Everest along with a hundred others seeking that killer photo atop the summit.  

Meanwhile, feature writers on a beat like mine are paid to go into places not otherwise open to the public, and report back. Over the years I was allowed into locations including these: 

• To the top of a Texas radio tower under construction;
• Into a nitroglycerin factory in Missouri;
• Into the flight deck of the B-2 Stealth bomber, followed by time in the simulator that the pilots use;
• Ride on a training flight with the 160th Special Operations Aviation Regiment, the Night Stalkers;
• Drop into a deep tunnel under Brooklyn, to watch workers scale rock off the chamber's ceiling after a blast; 
• Ride on a helicopter doing maintenance on live, high-voltage transmission lines in Pennsylvania;
• Accompany firefighters into a burning trailer;
• Go into the Ohio State Prison to interview a safecracker;
• Go into Jet Propulsion Lab at 2 am to watch a transmission to the Voyager 2 spacecraft; 
• Spend days aboard an offshore drilling ship, 120 miles off Louisiana;
• Go into Cheyenne Mountain's "battle cab" command center;
• and to hear the terse command from my guide in the wreckage of the World Trade Center's Customs House: "If I say it's time to get out, just follow me!" (And good advice it was - a section we had visited collapsed a day later)