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   G Spread – The spread is the difference between the bid and ask prices of currency pairs. Whenever you go long on a currency pair, you’ll get the ask price. Similarly, if you decide to close your long position or want to go short on a currency pair, you’ll get the bid price. This difference between the bid and ask price is your broker’s profit. While some dealing desk brokers offer fixed spreads, most of the time spreads are variable and depend on the current market conditions. If there are important and unexpected news in the market, spreads can widen significantly and increase your trading costs. During normal market conditions, spreads tend to be quite low with most brokers, reaching around 1 pip for most major pairs. For day traders, the New York / London session overlap usually has the lowest spreads during the day. Commissions/Fees – Besides the spread, some brokers may also charge you a fixed commission or fee per trade. This is especially true with ECN brokers. However, commissions and fees tend to be quite low due to the high competition among Forex brokers. For example, a broker may charge you a $1 commission for a pre-specified lot size, such as 1 lot or 10 lots. Trading Platforms – The next major income for Forex brokers are trading platforms. While many brokers offer free in-house developed and third-party trading platforms, some of them may also charge you for additional features. If you’re a professional trader, you may look at the offer of Forex trading platforms provided by your broker and look for features that could help you in your daily trading. The main point to consider is that the offered feature increases your profitability and efficiency more than the cost of the service. Beginner traders, on the other hand, are likely fine with the range of features offered with free trading platforms. Additional Services – Finally, some brokers may offer additional paid services. For a small cost, you may get access to a larger range of tradable instruments, professional market research, trading signals and market depth information, to name a few.
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   Z The pool of talent is thin. Anchors such as Mike Wallace and Ted Koppel don’t come along every day. Nor do executive producers like Don Hewitt and Tom Bettag. It’s interesting to note that today’s network “stars”—Wallace, Koppel, Rather, Jennings and Brokaw, or Hewitt and Bettag behind the scenes—came of age during the era when TV news was hard-news oriented and shaped by the old values of public service. Each served long apprenticeships covering breaking news: Jennings and Koppel spent years overseas, Rather and Brokaw covered Washington when government and politics were more important to the networks, and Hewitt and Bettag polished their craft producing CBS’s flagship evening newscast. Such training is now largely a thing of the past. Many young producers and correspondents are rushed into prime time where the values are market-driven. It is telling that when ABC decided it had to try and save “Good Morning America” it turned to familiar faces, Charles Gibson and Diane Sawyer, who were trained in the old school. New programs need time to develop. From network executives, new programs require patience, a faith in the eventual audience and, often, a willingness to experiment. “60 Minutes” took nearly a decade to ripen into a hit show; the show was tolerated for years because CBS was so profitable that it didn’t need to maximize revenues during every hour of the broadcast day. “Nightline” arose out of the Iranian hostage crisis, when ABC was willing to commit to late night coverage in order to grab attention and enhance its news image; such a scenario would be highly unlikely today, with networks having all but ceded extensive special-events coverage to the all-news cable networks. Quality programs depend on a special bond between the networks and their viewers. In essence, viewers need to believe that the networks are the place to turn for intelligent, thoughtful television journalism. This is the notion behind “branding,” which is so valued in business today and has been an important part of the tradition of network news. For all their flaws, the network news divisions for years differentiated themselves from local TV news or syndicated programs because they promised and delivered a product that was perceived as having integrity and quality. The success of magazines such as “20/20” and “Dateline” stems partly from the power of their network brands; viewers who trust NBC News or ABC News, after years of watching Brokaw, Jennings and Koppel, believe that they can expect the same quality in prime time. The danger, of course, is that the primetime feature and infotainment programs will fail to meet those expectations, and the value of the network brands could erode.   E

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