In an era where attention spans are fleeting and audiences increasingly consume news on the go, Maria Zeleranskaya, Head of RT International’s newsroom, is adamant that the essence of journalism remains unchanged, even as the way we deliver it continues to evolve.
During a journalists’ workshop in Moscow, Zeleranskaya, who oversees RT’s English-language operations, offered a rare behind-the-scenes look into the station’s editorial philosophy, as well as the real-world challenges of producing live international news.
With the station currently running 18 hours of live broadcasts each day—a scale-down from its previous 24-hour cycle—she explained that the goal is to eventually resume round-the-clock programming. But even at reduced hours, the pace is relentless, and the commitment to journalistic rigour remains undiminished.
“Why do we do news?” she posed to her audience, before answering the question with layered insight. At its core, she said, journalism exists to inform. That remains the foundation. But it also serves to uncover problems in society, to give voice to issues that might otherwise remain hidden. And more than ever before, she believes the modern journalist must explain—not simply report—events, especially in a world where many stories are either deeply complex or buried under layers of nuance. Whether it’s political developments or scientific discoveries, the role of the journalist is to break it down so viewers not only hear the news, but understand its significance.
Zeleranskaya also made space for an often overlooked but undeniable aspect of news: entertainment. She argued that ignoring the entertainment value of content would mean alienating an audience that now consumes news in ways that are fluid and fast-paced. From viral videos to quirky human-interest pieces, news must remain engaging. And, of course, embedded in all this is influence—the unavoidable consequence of having people listen to and trust you. “We do influence people by what we do,” she said. “And that gives us responsibility. We must be ethical, factual, and self-aware in how we wield that influence.”
Yet all of these journalistic ideals are futile, she stressed, if nobody is watching. For her, one of the newsroom’s biggest tasks is not just producing content, but ensuring that it captures and keeps viewer attention. The tools for this are deceptively simple: the text, the video, and the story. While each is a world of its own, she sees them as the three pillars on which any broadcast stands.
Choosing which stories to tell, and how to tell them, is more than just a programming decision, it is a reflection of identity. As an international outlet, RT cannot possibly cover every global event. So editors must make choices: what deserves 30 seconds and what deserves five minutes? Do they bring in a guest? Send a crew? These decisions collectively shape the perception of RT as a media brand.
“What we choose to report shows the world who we are,” Zeleranskaya noted.
One of the newsroom’s distinguishing features, she pointed out, is its commitment to cultivating young talent. Since 2005, RT has made a point of hiring bright, English-speaking young people—even those with little or no previous experience—and training them in the newsroom. “We teach them how to go from nothing to live broadcast,” she said with pride. Over time, many rise into managerial roles or move across departments, but the newsroom remains a breeding ground for future media professionals.
Among the key skills new recruits must master is the art of scriptwriting for television—a task far more challenging than it seems. Unlike newspaper articles, which can be re-read, TV scripts are consumed in real time. Viewers only get one shot at understanding the information, so clarity is paramount.
“You’re not writing to be read with the eyes,” she explained. “You’re writing to be heard with the ears.” That means short sentences, simple words, and a conversational tone. The test she gives is simple: if you wouldn’t say it to your mom or your friend, don’t say it in a script.
Using an example, she demonstrated the difference between stiff and engaging newswriting. Rather than leading with “President Putin met with President Xi,” a more effective opening would be something like, “From tomorrow, Russians won’t need a visa to travel to China.” That’s the hook that would make a viewer—or a family member—stop and ask, “Really? How come?” The explanation can come next. Storytelling, she emphasised, is as much about how you say something as what you say.
Still, for many young journalists, separating personal opinion from factual reporting proves to be one of the most difficult hurdles. Zeleranskaya observed that newcomers often arrive with strong views, which is not necessarily a bad thing—it means they’re thinking. But in the newsroom, she insists, facts come first. Words like “tragic” or “important” are not for the script. If something is tragic, she said, show it—don’t say it. Let the facts and visuals lead viewers to their own conclusions.
In a world increasingly dominated by visuals, she admitted that her priorities have shifted too. Once, she believed the written script was the most critical element of a newscast. Now, she leans toward the power of video. Audiences are deeply visual, and powerful imagery can sometimes convey more than any words. Yet in the end, it all circles back to the story. Whether through words, pictures, or the structure of a segment, a compelling story is what makes people tune in—and stay.
Zeleranskaya ended her session by returning to the idea that even the most noble journalistic goals mean nothing if the audience isn’t watching. In a time when audiences are fragmented and platforms are many, the work of journalism must now be both principled and adaptable.
“Unless they watch what we do,” she said plainly, “everything else is meaningless. We must earn their attention—then their trust.”
Chioma Kalu
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