Fran Weinstein

Fran Weinstein is an author, retired television director/producer and recovering celebrity-dirt miner. She’s worked for “Entertainment Tonight, “Lifestyles of the Rich and Famous,” and “Live with Regis and Kathie Lee.” She lives in upstate New York and St Croix, USVI with her husband and rescued “Bassador.” Currently, she is an aspiring beach bum.

Fran, Tortured Soles draws from your years working in television. What made you decide that now was the time to tell this story?

Well, first, I wanted to write my stories while I still had the mind to remember them. When I retired in 2013, I started reflecting on what I did and how I survived. And I would tell these stories in normal dinner conversation and people seemed to find them entertaining—funny even. Of course, everyone says, “You should write a book.”  But I decided to do it because I see so many young people breaking into the business as “influencers” on social media, and I felt I had something important to impart as a sort of matriarch now. 

The title Tortured Soles immediately gets your attention. What does the title mean to you, and how does it reflect the world your characters inhabit?

 It’s a double entendre. Tortured soles were not only the state of my aching feet after decades in 6-inch heels, but also kind of a characterization of most of the people and celebrities I encountered in this crazy business.

You had a front-row seat to the television industry. How much of the book was inspired by things you actually witnessed or experienced?

The entire book is based on my real-life experiences. All the stories happened, as wild as they seem. I did change a few names and small details, though, to avoid expensive lawsuits. 
Television can look incredibly glamorous from the outside. What do people misunderstand most about what it is really like to work in the industry?

Well, you know, it IS pretty glamorous a lot of the time. But what people don’t realize is that what they see is the shiny end-product of a lot of hard and challenging work. The hours are very long and unpredictable; you’re negotiating a lot of complicated personality styles before the fabulous outfits are put on and the red carpets are rolled out. The competition for these exclusive interviews is fierce and based on relationships that are painstaking to build. It takes years to feel you’re on solid ground and, even then, things change.

If a college journalism student told you today, “I want to work in television,” what advice would you give them?

Aside from knowing your subject matter inside and out, I’d say: Learn how to read a room—when face to face with a celebrity you have nanoseconds to pick up on their energy and navigate accordingly. Dress the part—I say this a lot and it’s true   You don’t have to spend a lot of money to look current and polished.  You won’t be taken seriously if you show up looking like you just stepped out of a workout class. Don’t be impatient and do be persistent. Getting a good story takes time and effort. Connecting the dots means sometimes chatting up the most unlikely sources —waiters, gym personnel doormen, dog walkers, etc.

The television business has changed dramatically since you first entered it. What skills do you think aspiring journalists need today that perhaps weren’t as important when you were starting out?

The most important skill today is mastering social media and the responsible use of AI. Way more than television these days, this is how many people get their news. We didn’t have that added element to contend with and in the race for eyeballs and exposure, what makes people click translates to disseminating information which, ultimately, determines the bottom line.

For someone trying to land that very first job in television, what matters most: education, internships, connections, persistence, talent, or simply being in the right place at the right time?

This is a tough question, Jane. Because what I’m going to say is not a popular opinion. You don’t need to go to a fancy journalism school to get in the door. They don’t teach the most essential skills, which certainly includes persistence in terms of knocking on every door and getting connected to anyone who is remotely attached to the business. I got my first job through a friend of a friend who knew someone else. And it was shlepping coffee and videotapes. Talent is important. But if no one sees you, it doesn’t mean a thing.

What mistakes do you see young journalists making when they’re trying to break into television? And what could they do differently?

The biggest mistake I see young journalists making is showing up unprepared. You must research every single celebrity who is currently in the news and be able to make easy banter. Even in an internship, you need to know what the lead story of the day is and how to efficiently support its advancement. Also, there is no time to be starstruck. You need to have the understanding that they are humans and operate with the same emotions you have. They just do it in public. Otherwise, you’ll freeze  and then you’re done. 

You worked in an industry filled with powerful personalities and enormous egos. What did television teach you about dealing with difficult people while still protecting your career and your integrity?

You know, ‘keep calm and carry on’ are really words to live by. You mustn’t show impatience, exasperation or frustration. No matter what, you must maintain a warmth and a willingness to play ball. These are BIG personalities—and I don’t mean in name and stature. But, for me, it was paramount to stay grounded and learn to listen. From there and only there, you can problem-solve and iron out wrinkles while standing in your truth. 

What is one thing you wish someone had told you before you began your television career?

Honestly, I wish someone told me how much I’d be sacrificing in my personal life. You can’t make dinner or vacation plans and hope to keep them. It’s so unpredictable, that schedules go out the window. So I wouldn’t have been quite so disappointed or maybe had a plan B in place when it happened—especially as a single mother.

For young women entering television and journalism today, is there any advice you would give them specifically about finding their voice and advocating for themselves?

Young women need let go of the predisposition to be “nice.” It’s a rough-and -tumble business and you need to stand up to the gaslighting and indelicacy that takes place every day. Don’t be afraid of the consequences of speaking your truth when your instinct tells you something’s not right. But you have to hone your diplomatic skills. It’s important to strike a delicate balance between being strong in your position and being somewhat personable, relational. Remember, in the beginning, it’s a learning curve. Give yourself lots of grace if you stumble but get right back up and keep going.

If you were starting your career today, with streaming, podcasts, YouTube, TikTok and traditional television all competing for audiences, where would you begin?

To be honest, if I were starting out today, I’d start posting my particular take on entertainment news du jour on my Instagram and TikTok page. Then I’d keep incrementally boosting the posts to get more visibility. Nowadays, it’s pretty formulaic in terms of what the algorithms tell you, which is like a treasure map to success. From there, you might become a known commodity and more attractive to a televison market, if that’s what you want. 

Is there a particular story or moment in Tortured Soles that captures the television business you knew especially well?

There are so many moments in the book that capture the television business as I knew it. But, for me, the story about the day Michael J. Fox announced his diagnosis of Parkinson’s Disease on David Letterman stands out as to what the  industry had become.  I had built a solid, wonderful working relationship with Michael through many years of covering his projects. On this day, I was assigned to ambush him, and therefore scoop Letterman, at the stage door of the Ed Sullivan Studio. I was really opposed to this BECAUSE of my trusted relationship, and I tried to reason with my producers that this would destroy it. But they were adamant. So I went. But in the end, I followed my gut and didn’t go through with it. Instead, I reported that Michael slipped through another door. I never told that story until I wrote Tortured Soles because I would have been fired for sure! 

What do you hope someone who dreams of working in television takes away from reading Tortured Soles?

My hope is that, after reading my story, young people see that no matter your station or upbringing in life the possibilities are endless. In other words, if you see yourself in a particular room, you can BE in that room. You do not have to follow the family fold. And there is no real blueprint. Don’t allow anyone or anything that gets in your way to dim your light.  

Finally, after everything you’ve experienced, would you still choose a career in television if you had the chance to do it all over again? Why or why not?

Oh! One hundred percent—I would choose my television career! Because the people I’ve met, the places I’ve been and the experiences I’ve had have far exceeded my dreams! They’ve all led me to a life I could never imagined as a little girl from The Bronx. 

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