Journalists can sometimes present an inaccurate or false version of events by making a simple common mistake. We either try too hard to ‘balance’ a story then end up distorting the facts, or we assess contributors or actors in our story as being roughly equal when in fact they are not.

This module looks at ways of avoiding two errors, applying ‘false equivalence’ and ‘false balance’.

These two errors, which are about making inaccurate comparisons, crop up frequently in journalism.

False equivalence is when you say that two or more things are the same, when in fact they are significantly different.

An example of false equivalence is to state that “politicians are all the same”. They are not. They might have similarities and some common attributes but that does not mean they are the same.

False balance is when a report suggests that two sides in a dispute have equally valid arguments, when in fact the evidence weighs heavily in favour of one side.

An example of false balance is the treatment of the climate change debate. Scientists come down heavily in favour of the proposition that human beings are causing, or at least helping to cause, global warming. A tiny minority, perhaps as low as three per cent, disagree, and it is false to represent the dispute as evenly-matched.

Ironically, many cases of false balance happen because the journalist is trying to avoid being biased.

When reporting a controversy, quite properly the journalist does not want to take sides.  But sometimes it is necessary to show that one side’s arguments and evidence are much more persuasive than the other side’s.

An example here is Donald Trump’s often-repeated claim that he won the 2020 US Presidential election. He has failed to produce any evidence to support that claim and has lost numerous court battles challenging the result. So it is false to present his claim as a viable argument.

False equivalence and false balance can both be used deliberately to mislead people. They are often used in misinformation and disinformation campaigns.

Or they can be examples of lazy thinking by the journalist.

Either way, they are inaccurate and care must be taken to avoid using them.

Things to remember in order to avoid using false equivalence and false balance:

• When you are tempted to say that two or more things are equal, ask yourself if you can justify the statement.
• If the comparison is likely to be controversial, explain why you think it is valid.
• Do not accept or repeat other people’s statements of equivalency, without testing their validity.
• When covering a dispute, make sure you reflect accurately all sides of the argument.  If some of the arguments are questionable, explain why.

It’s important to keep in mind that it is not biased to expose deficiencies in an argument, as long as you subject all sides to the same level of scrutiny.

Take a look at these other modules on Media Helping Media to help you keep your journalism up to the highest standards.

Unconscious bias and its impact on journalism

Impartiality in journalism

Accuracy in journalism

The post False equivalence and false balance first appeared on Media Helping Media.

Journalists should not waste words. Their writing should be concise and tight. Adjectives and adverbs clutter up news stories and should be avoided wherever possible.

When it comes to writing – not just news writing but any kind of writing – adjectives and adverbs have a bad reputation.

Mark Twain said: “When you catch an adjective, kill it.” Stephen King said: “The road to hell is paved with adverbs”.

For many decades, the conventional wisdom in journalism has been that you do not, usually, need adjectives and adverbs. Your sentences will be better if you cut them out.

But wait! I just used “usually”, an adverb, and “better”, an adjective. If I cut them out, the first sentence will no longer be accurate, since I am trying to say that there will, occasionally, be a need. And the second sentence does not work at all if I remove “better”.

So you cannot ban the use of adjectives and adverbs.

But you should keep them to a minimum. Mark Twain, in fact, modified his advice:

“I don’t mean utterly, but kill most of them (adjectives) – then the rest will be valuable. They weaken when they are close together. They give strength when they are wide apart.

“An adjective habit, or a wordy, diffuse, flowery habit, once fastened upon a person, is as hard to get rid of as any other vice.”

Instead, make a virtue of economy: use as few words as possible. The newspaper guru, Leslie Sellers, in his 1968 guide, “The simple subs book”, put it this way: “fewer words, better sense”. Apply this across the board, but especially (a permissible use of the adverb in this case) with adjectives and adverbs.

Adjectives and adverbs are words that modify. Adjectives change the meaning of nouns. Adverbs change the meaning of verbs, phrases, clauses or sentences. You should always test whether the modification is necessary.

Here are a few examples of commonly-used but unnecessary modifiers, in which the first word can always be cut:

• completely untrue
• strictly necessary
• broad daylight
• considerable difficulty
• firm decision
• together with
• along with
• grateful thanks
• high-speed car chase

Adjectives to do with size are often too broad to add any useful meaning, like “big”, “huge”, “massive”, “astonishing” . They can be cut or replaced with something that adds to the understanding of the story.

Adjectives like “tragic”, “improved” “sad”, “incredible” “unfortunate” are especially dangerous since they include value judgements. Leave it to your readers or listeners to make their own judgements.

Two of the most objectionable words are “really” and “very”. They seldom add any meaning. Mark Twain suggested that every time you are tempted to write the word “very” in your story, substitute the word “damn” – then, as he put it, “your editor will delete it and the writing will be just as it should be”.

Mark Twain was also down on adverbs. He said they were the tool of the “lazy writer”. In their most common form they end in “ly” and are attached to verbs. Here are some sentences which would be better without their adverbs:

“She tiptoed silently into the room.”
“He glared aggressively at the traffic warden.”
“She knew perfectly well he was lying.”
“He completely rejected the allegation.”

In all these cases, the adverb states the obvious. The verb does the job without needing modification. Always try to let the verb stand alone – if it needs strengthening with an adverb, it is the wrong choice of verb.

Journalists choosing their words are the same as carpenters choosing a piece of wood or tailors choosing a length of cloth. We are all craftspeople and our success depends on using the right raw materials – in our case, words.

So be sparing in your use of adjectives and adverbs. It is one of the qualities that marks a professional.

For further reading on this subject, you might want to read the excellent “A journalist’s guide to the use of English”, by Ted Bottomley and Anthony Loftus. It was written in 1971 and has been updated for this website by Ted’s son John.

The post The use of adjectives and adverbs in journalism first appeared on Media Helping Media.

Many news stories are about action. You want to capture that in your writing and seize the attention of your audience. One of the ways is by choosing the active voice.

Strong verbs are the best words for suggesting action: run, leap, hit, accuse, rescue, build, explore, kick, ride, catch, etc. And verbs have two “voices”: the active and the passive.

In the active voice: I wrote this module.

In the passive voice: This module was written by me.

In the active voice, somebody is doing something. In the passive voice, something is being done.

They are both perfectly correct, grammatically, but the active voice is shorter, stronger and more direct. It works much better in news stories. There are exceptions, which we will come to later, but in the vast majority of cases, the active voice gives your story impact and vitality.

Here are two ways of writing the same story:

Passive voice: After several months of better trading conditions, the annual bonus to staff at the Fred Smith store group will be paid for the first time in four years.

Active voice: Staff at Fred Smith stores will get their first annual bonus in four years, after the group reported better trading conditions.

The active voice works better – it is less wordy and it puts the human interest angle first.

So the active voice is a basic part of a journalist’s toolkit. It is the default way of writing an interesting story. But the passive voice is not all bad! Sometimes it is the right choice.

“A lion has eaten the president” is much less effective than “The president has been eaten by a lion”.

This is because the overwhelmingly important subject of the story is the president, not the lion, and you want the president mentioned at the beginning of the story. The passive voice serves better in this case.

So the starting point for news writing is to favour the active voice – and to recognise the comparatively rare occasions when it will be better to use the passive.

But there is another reason to understand the use of the active and passive voices. They do not just affect style and impact, they can also affect meaning.

People in the public eye, particularly politicians, sometimes use the passive voice to obfuscate, confuse and mislead.

The classic example is “mistakes were made”.  From the politicians’ point of view that is better than “I made mistakes” because it sets up uncertainty about what happened.

“I made mistakes and I’m sorry” is a very different statement from “mistakes were made and I regret them”.

In the latter case, the politician leaves open the possibility that the mistakes were made by someone else and his regret could easily be about someone else’s error. Because of the way he has phrased his statement, we cannot tell.

It is the skilful use of the passive voice to evade accountability.

Notice that when politicians describe their successes, they say “We took swift action to deal with the situation”. But when they talk about things that have gone wrong, they use words like “it was considered that…”, or “it was felt necessary….”, distancing themselves from the decision-making process through use of the passive voice.

I remember a philandering politician was asked at his latest wedding whether he would now be a faithful husband. He replied: “When a man marries his mistress, a vacancy is created.”

He was saying, in effect, that he would continue to have extra marital affairs – but in his choice of the passive voice, “a vacancy is created”, he was implying that some external force was creating the new opportunities for infidelity that he would no doubt later take up.

Again, the passive voice suggests the politician is an observer of what is happening, rather than the author of it.

So when you are quoting some public figure, make sure to point out any ambiguities created by his use of the passive voice.

You might want also to look at these thoughts on use of  the passive voice by David Poulson at the Knight Center for Environmental Journalism.

The post The active and passive voices in news first appeared on Media Helping Media.

While delivering a training course at a TV station I noticed that all the packages were made in exactly the same way. The reporters would go out with a camera operator, shoot some footage and get an interview or two. They would come back to the office, decide what interview clips to use in their package and start typing.

The scripts they wrote would have worked fine for radio or newspapers – but they had no connection with the pictures. Apart from the interview clips, all the other pictures they used were just wallpaper behind the reporter’s voice.

This misses the point of television reporting; let the pictures tell the story, wherever possible. Here’s one way of making a TV package by thinking first about the pictures:

Pictures come first

When the pictures have been ingested into the system, make a shot list then show the editor the pictures.

Which are the most interesting shots? What is their optimum lifespan (in seconds)?

What is the right sequence to tell the story? (It is not necessarily the order in which they were recorded)

Do you have a good opening shot? Do you have a good shot for the end?

What is the best place for your stand-up (piece-to-camera) if there is one?

Agree with the editor how the package is to be put together and the key elements of the text

Agree the target length of the package.

Now do your rough cut. Each shot should be as long as it is visually interesting.

Do not use the same shot twice in the package, unless there is a compelling reason to do so (helping with the edit is not a compelling reason).

Does each shot join up smoothly with the next?

The points which attract the eye should ideally be in the same area of the screen at each shot change.

Avoid jump cuts.

If someone is walking, try to end with them walking out of the picture (especially if they are in the next shot in a different place).

With moving shots, only use the moving part, not the static beginning or end.

If you cut away from an interview or a press conference, don’t go back to it unless there is a good reason to do so (helping with the edit is not a good reason).

Don’t use the first question in an interview – start with the first answer.

Watch the finished edit carefully. Does it flow, is there anything that can be cut without damaging the overall package, is there anything missing, is it visually effective?

Now write a shot list with accurate timings.

Now write your script.

You might want to read our training module on ‘How to create a broadcast news package”.

The post Letting the pictures tell the story first appeared on Media Helping Media.

Planning is critically important in the news business. It’s the mark of professionalism and the essence of good coverage. But there are some things you can’t plan.

Big stories happen out of the blue. And when they do you have to spring into action immediately.

Your audience is counting on you to bring them the facts, quickly, and to answer all the questions that have immediately sprung into their minds.

They will be anxious for information – in some cases they might be worried that their loved ones are in danger.

You need to come up with high-quality, accurate, comprehensive reporting at a moment’s notice.

By definition you can’t be completely ready – you don’t know where, when or why the story is going to suddenly appear.

But there is a lot you can do to be prepared. And the old rule applies: fail to prepare, or prepare to fail.

The police and ambulance, fire and health services know this – that’s why they have rapid response teams or routines and resources that can be put quickly into place to deal with a major incident.

Just like the emergency services, the news media has a vital role to play when a big story happens. It is a time when the public turn to the media for good quality, accurate information.

So you need to be ready.

Media organisations should have their own versions of the rapid response team – a plan for how to use people, production teams, and communications to cover a big story. So what goes into the big story plan?

So what goes into a big story plan?

It is about ambition, organisation and the allocation of resources: people, equipment and space in your news product.

Ambition

In some ways this is the key to the whole exercise. You want to raise the effort, skills, production values and all-round performance of your team to the highest levels they have ever achieved. You can set an example by demonstrating your own energy, concentration, news judgement and determination to produce the very best content.

Space in the product

Depending on your product, you might need to:

• Order a bigger print run or extra editions
• Clear your radio or tv schedules for special programming
• Buy additional bandwidth so your website can cope with increased demand

People

One of your most important decisions is about the people. As in a World Cup final, you want to pick your best team to help you develop the plan.

Get them all together and tell them how you envisage it working. Take their input and go through scenarios: what if it involves personal danger? What if the big story happens in the middle of the night? What if it’s an environmental disaster and we can’t get to the scene? What if it de-stabilises the economy, or the country?

An important part of this preparation is to create the right calm and purposeful atmosphere that you need to prevail when the big story breaks. Journalists are human beings like everyone else and they will be equally shocked or appalled by what has happened, but they need to set that aside and operate in an objective, professional manner. The more you discuss the plan the better it will be.

Broadly, the roles and responsibilities can be split into two categories, Reporting and Production. Between those two categories sits a co-ordinating figure who has an overview of the entire operation. This can be the editor or someone else nominated for the task. The organisation chart looks like this:

Equipment

Reporters, photographers and technical crew depend heavily on having the right equipment. They should each have a grab-bag with them at all times, ready to use on a big story. The grab-bag should contain:

• At least one power-pack to re-charge mobile phones
• Extra batteries
• Extra memory cards
• Flashlight
• Bad-weather clothing
• Extra leads and cables
• High-energy snacks
• Bottled water
• ID documents
• Press credentials if appropriate
• Equipment for hazardous environments if available and necessary

For video camera operators, this our additional checklist:

• Tripod
• Mini tripod for table-top use
• 2 x Lapel mics with long leads
• Wireless lapel mic with hotshoe receiver
• Stick mic
• Cable for stick mic
• Cables for connecting to PA systems
• IT cables (USB, HDMI, FireWire etc)
• Headphones
• White balance card
• Lens cloth
• Lenses
• Filters
• Reflector
• Extra lighting
• Spare batteries for camera and wireless mic
• Spare memory cards
• Rain cover
• Multitool
• Gaffer tape
• Logo cubes

Your company’s vehicles, if you have them, should be fuelled up after every story as a matter of policy, so they are always ready to go. If you do not have them you need a way of acquiring transport quickly.

Communications

Your coverage of the big story is entirely dependent on having good communications, so make sure everybody knows how they are supposed to talk to each other.

Mobile phones are the default tool and some news operations like to use a special WhatsApp group. But what if the story happens in an area where there’s no reception? Then you need a back-up plan, which might involve walkie-talkie radios or runners and vehicles to take messages and content back from the scene to a place where comms work properly.

On the day

The first requirement on a big story is to get to the scene as soon as possible. Before you team leaves, remind everybody that their personal safety comes first. There is no time to do a big risk assessment so they will have to rely on their judgement, experience and instincts, but you should make it absolutely clear that their safety is more important than getting the story.

The second requirement of your team arriving at the story is to file something, quickly, so that the team back in the office has some material to work with. It can be a short written report, a bit of audio, a still picture or video.

It is worth stressing the role of the reporter as the “eyes and ears” of your audience. Some of the most valuable reporting on any big story is the simple descriptive piece. This is often the best thing to file in the early stages.

While your team has been making its way to the scene, social media will be alive with reports, pictures and gossip about what’s happened. It will be a confusing mess and impossible for your audience to know what is correct and what is pure speculation or outright nonsense.

Your social media researchers need to be across all of the activity and help you identify useful and accurate material that can be built into your own coverage.

Meanwhile your background researchers should be looking into the context, using our module “Story development, ensuring all angles are covered” as a checklist, so they can provide you with vital elements that help explain the story.

All of the output from the reporting side should come through the co-ordinating figure, who maintains a picture of what is available, understands the challenges on the ground and deploys the team to fill any obvious gaps in the coverage.

The production team, meanwhile, should be changing the basic structure of your news product to reflect the importance of the big story. They have to find extra space and use it to create maximum impact.

They will be looking for the telling picture, the dramatic fact, the raw emotion or anything else that conveys the power and significance of the story.

They will also be the people calling the authorities to check the basic facts – a task that should not be left to reporters in the field.

This is where the news media differs from “citizen journalism”. Your job is to clarify, to end the confusion, to establish the firm facts and the relevant context.

When people turn to your coverage, you want them to know they can trust it, above all, to be accurate. No matter what is being said elsewhere, yours is the reliable source of information – the gold standard.

The post Adopting the ‘big story’ approach first appeared on Media Helping Media.

In the first and second articles in this series we’ve demonstrated how to develop ideas for new products and how to create them using project management discipline.

These methodologies have been thoroughly tested and proven over time in numerous media houses.

But in the news business you do not always have time for the Gantt chart/whiteboard approach. Stories spring up so quickly you have to be flexible and find other ways of working in a planned and disciplined manner.

In this example, we were asked at short notice to help produce a televised debate between political candidates before a general election. We had three-and-half weeks to make it happen.

The importance and the risk factors were obviously high and we could not afford to spend a week or two planning.

For one thing, we needed to hire a venue and so we had to start checking availability immediately.

But we still needed to think the whole project through before making other commitments, and we decided to use the production schedule as a form of project plan.

The first step was a long meeting of all the key staff. For a show of this sensitivity and high profile, we were glad to have the Director General of the broadcaster at the meeting. This both underlined the importance of the task and gave the DG’s approval for the plan.

But we still needed to think it through before springing into action and we decided to use the production schedule as a form of project plan.

Every television programme should have a production schedule. The difference with this one was that it went into much more detail about what we needed to do to make the show happen.

Essentially it is a vertical version of the Gantt chart/whiteboard but it also identifies all the personnel, and includes all the main operational details.

Candidates debate

Staffing

• Producer/editor
• Deputy producer/editor
• OB (outside broadcast) producer
• Director of photography
• Presenters
• Candidate producers
• Scenography producer
• Graphics producer
• Titles producer
• Audience producer
• Sub-titles producer
• Picture editor
• Control room producer
• Make-up
• Internet content producer
• Floor manager
• Camera operators
• Lighting
• Sound
• Stagehands
• OB truck

Production schedule

TX (transmission) minus 25

• Discuss and plan
• Determine overall editorial remit
• Write brief overview document

TX minus 21

• Venue lined up
• Produce design brief (set, titles, endboard, graphics, captions, internet content)
• Appoint production and OB crews
• Appoint HQ-based staff
• Assign one producer to each candidate

TX minus 18

• Briefings for all producers
• Briefings for OB staff
• Briefings for HQ-based staff
• Candidate producers establish contact with candidates, arrange to meet to discuss plans
• Secure location for recording
• Reconnaissance of location
• Produce promotional schedule for TV, radio and internet

TX minus 14

• Produce technical requirements document (TechReq)
• Invite audience
• Plan titles
• Schedule internet content (web pages and social media)

TX minus 10

• Produce lighting plan
• Produce camera plan
• Define range of shots to be used throughout recording
• Source music for titles
• Record/obtain VT for titles

TX minus 9

• Edit titles and end-board
• Produce graphics

TX minus 8

• Production day off

TX minus 7

• Production day off

TX minus 6

• All-staff meeting to review progress
• Sign off titles and graphics
• Draft script
• OB crew briefing on camera use
• TV and radio promos start be aired

TX minus 5

• Script conference, approve script

TX minus 4

• All-staff meeting, final checks

TX minus 2

• 0900 – Call time for production crew and OB crew, briefing
• 0930 – Build set, dress set, install cameras, lights etc
• 1130 – Technical checks, studio, graphics, scanner etc
• 1200 – Rehearsal
• 1400 – Production and OB crews review

TX minus 1

• 0900 – iron out all remaining problems

TX 0

• 0900 – Call time for production crew and OB crew
• 0930 – Technical check, facilities check
• 1100 – Call time for HQ-based staff
• 1200 – Audience arrives, audience briefing
• 1215 to 1230 – Candidates arrive, greeted by presenter and the relevant producer
• 1230 – Candidates in their dressing rooms, make-up, final brief
• 1300 – Record debate
• 1500 – Record teasers
• 1530 – Edit teasers
• 1600 – Edit programme and insert sub-titles
• 1800 – Take clips for news bulletins
• 1830 – Take clips for internet
• 2000 – (or whenever) Debate transmits

TX plus 1

• Press release on audience figures
• Wash-up meeting to discuss lessons learnt

We circulated the schedule widely and referred to it constantly in the progress chasing. If something slipped (and several things did) we revised the schedule and re-issued it.

In this approach to project planning, you as the project manager need to keep the dependencies in your head – they are not identified so clearly on the schedule.

In the wash-up meeting we identified numerous lessons to be learned. For example, we should have included more operational detail about the arrival, on the day, of the audience and the candidates: they both came in through the same door which made filming the arrival of the candidates (for the opening sequence) problematic.

There were other lessons, too, but they all re-inforced the main point: every significant problem would have been avoided if we had planned in more detail.

The post An example of the media project management process first appeared on Media Helping Media.

In the first in this series of three articles we looked at the basics of project development for a media organisation in order to launch new products or refresh current output. That module included defining the target audience, setting out the unique editorial proposition, assessing the cost of the project, and calculating the return.

In other words, you have done the thinking. But there is a lot more thinking still to be done, if you are to turn your idea into a real-life product. To do that, you need to use the skills and techniques of project management.

Many books have been written on this subject.  There are detailed project management methodologies you could learn, if you wanted to do so.  A man called Gantt invented a useful chart that helps you manage your project.

But you can do without all that if you follow the basic rules.  Here they are:

1: Specification, time, and money

The three main components of any project are the specification, the time allowed and the money available. You want to finish the project to specification, on time and within budget

This speaks for itself, but it is vital that you understand the three components in detail before you begin work. Then you know, and everybody else knows, precisely what you are trying to achieve. Your whole project plan is based on that understanding.

The reason I make this point is that external forces often want to change the basic components after the project has started. They might (and often do) try to change the specification, bring forward the launch date or reduce the amount of money available.

They have to understand that any change in the specification, the time or the budget might mean a total re-think.

2: Planning

It is important that you plan everything before you do anything. If you forget all the other rules, do not forget this one. Your thinking time is your most valuable time. Get a complete picture of the project in your head before you allow work to start

3: Workstreams

Next you need to identify the workstreams involved in the proposed project. The workstreams are the pieces of work that all need to be done.

They might include recruitment, training, buying equipment and software, commissioning design work, writing technical specifications, producing guidelines or standards, renting space, getting permissions, booking travel, market research, rehearsing, printing, marketing, producing pilots or prototypes, testing – whatever.  You need a complete list.

4: The project plan document

Once the workstreams are in place you need to write down all the elements in a project plan document.

This can be a large piece of paper, a Gantt chart, a spreadsheet or a whiteboard in your office. Start by writing today’s date at the top of the left hand side, and the date you want to launch your product at the top of the right hand side (If you read right to left, invert these instructions).

Let’s say there are two months between today’s date and the launch of your product.  Divide the space between them into equal time segments. For example, you might have two months to complete the project, so your top line will be divided into eight segments representing eight weeks:

Below “Today’s date” you are going make a vertical list of all the workstreams – the things that need to be done.

In the row next to each workstream heading, you are going to write the critical milestones, in the week when they must be achieved.

Let’s say one of the work streams is Design. It might appear like this, showing the important milestones:

Do this with all the workstreams. In particular you are looking for dependencies: where one piece of necessary work can’t be carried out until another has been completed. Here is an example of a Gantt chart showing dependencies in an architectural project:

5: Plan for the unexpected

It’s important with any project to include a bit of slack to allow for the things that will inevitably go wrong.

Planning is the central to success, but as Mike Tyson said: “Everybody has a plan till they get punched in the mouth”. Things WILL go wrong. So you have to build a little slack into your project to allow for that: a bit more time than you think you’ll actually need; a bit of money tucked away in case an emergency arises that can be solved by throwing money at it; and one or more of the specifications that can wait until after launch, without drastically affecting the outcome, if need be.

6: Teamwork and collaboration

Ensure that you share the plan with your team, and let them improve it if they can.

The team will actually do all the work and they need to own the results. You achieve that by listening to them, involving them and respecting them. Make sure they are all absolutely clear and supportive of the objective. If people are doubtful about the wisdom of the project it would be better for them to find somewhere else to work.

7: Get started

Now the work can actually begin.  And you will soon notice the benefit of having thought everything through carefully beforehand.

8: Communication

Make sure you communicate with your team constantly and meet together at least weekly.

Set an example to the team by understanding what they are doing. If you are not interested in their work, they won’t be either. Know all the details of the project inside out. Be available to everyone and don’t ask anyone to do something you would not be willing to do yourself.

9: Chase progress sensitively

You need to ensure people are doing what they are expected to do, so a project manager must always chase progress, but it is important not to overwork people – that is not sustainable.

It is your job to make sure that deadlines are met and the weekly meeting is a vital checkpoint. Know exactly how you are going to react if a work stream is running behind schedule. It must be clear how any lost time is going to be made up. But it’s also your job to make sure they do not overwork.

I have seen people burn out trying their darnedest to hit deadlines. Their dedication is admirable but that way of working is not sustainable. So keep the workload within reasonable bounds and ensure they take some time off. It will be better that way in the long run.

10: Testing

Be sure to plenty of time for testing before launch.

Ideally, your product should be ready at least a couple of weeks before launch so that you can test if thoroughly. However well you have done your job, testing is sure to throw up problems that need to be addressed. Because testing is just about the last thing before launch, it is also the thing that gets squeezed most by delays earlier in the schedule. So be ruthless about getting into the testing phase on time. Otherwise the first thing you know about some problems will be when the product is launched on a startled public.

11: Learning

After launch, do a thorough wash-up, learning all the lessons from the project.

Typically, everyone is exhausted after launch. They want to go away and celebrate or lie down in a darkened room. They should have some time to do that. But it is important to do your review of the entire project while memories are still fresh. That way you can record all the lessons that have been learned and begin to schedule corrections or improvements to the product that the project has thrown up.

In the third and final part of this series we look at an example of a successful media project and the steps taken along the way.

The post The skills and techniques of media project management first appeared on Media Helping Media.

The public interest means anything that is relevant to the lives and well-being of all of us, to society and our communities. It concerns the “common good”, meaning matters that affect our health, livelihoods, quality of life, security, and our governance.

The public interest does not mean what the public might find interesting. Broadly speaking, the difference here is between what is relevant to members of the public, as opposed to what might merely entertain, fascinate or titillate some of them.

News journalism is reporting matters of societal relevance. Not gossip and titbits about well-known figures, or about personal events and circumstances of others that do not affect broader society, but which merely pander to voyeurism. A journalist with a brief to report news should therefore apply a public interest test before deciding whether to cover a story.

In most cases it is clear what is and what is not in the public interest. But in some cases, such as stories concerning the private lives and actions of public figures in positions of power, the distinction is not clear.

The public interest is in having a safe, healthy and functional society. In a democracy, journalism plays a central role in that. It gives people the information they need to take part in the democratic process. If journalists are good at their job, they hold governments and other institutions to account.

All serious journalism, then, contains a public service ethic. To fulfil this public service role, journalists must build and retain the trust of their audiences by behaving in an ethical and professional manner.

A journalist must have compelling reasons to deviate from standard good practice: if it is the only way to bring an important subject to the public’s attention.

For example, journalists should be honest about who and what they are; they should always give their names, and say for which news organisation they work.
However, there are times when a journalist might have to go undercover and hide their true identity and the real reason for their actions. Such cases could include the investigation of crime or political wrongdoing.

This is an act of deception, which is generally to be avoided, but if it brings justice and an end to criminal activity, it may be justified in the wider public interest.

Journalists should not intrude into people’s private lives – but there might be a case for doing so if the person being investigated is a public figure whose private behaviour is at odds with what they advocate in public life, especially when their position can influence legislation.

In this case, media intrusion – normally an objectionable practice – could expose hypocrisy and dishonesty. However, such intrusion must be clearly shown and clearly seen to be in the wider public interest.

Things become more difficult when the story in question may actually involve a journalist breaking the law, or encouraging someone else to do so. Here you need to have a serious discussion with colleagues about the circumstances, the public interest benefit in covering the story, the risks involved and the likely consequences.

Some countries build “the public interest” into their legal systems. So if you want to publish a difficult or controversial item because it is “in the public interest”, you should check whether the legal framework gives you the protection you need in each and every case.

In some countries, those in power might actively oppose journalists revealing information which, although in the public interest, might threaten their control of society. In such cases the public interest test takes on another meaning. How those in power define the public interest might be more about control than freedom of information. Here, extra care is required.

Some public interest justifications

If the decision is taken to publish, it is likely to be because the story would do one of these things:

• Correct a significant wrong.
• Bring to light information affecting public well-being and safety.
• Improve the public’s understanding of, and participation in, the debate about an important issue relevant to our society.
• Lead to greater accountability and transparency in public life.

None of this is easy. Journalists grapple with these issues every day. Many factors at play have not even been considered here, but if you get the public interest test right, you will be fulfilling the highest purpose of journalism.

Related training module

Public interest – scenario

The post Journalism and the public interest first appeared on Media Helping Media.

10 suggestions for journalistic success

Hard work and self-discipline are at the heart of good journalism.

Journalists should be accurate, first with news, trusted, easy to understand, straight, aware, disciplined and realistic.

They should always be contactable, and totally committed to finding original stories and telling them in a way that makes sense to the audience.

Here are a few tips from a lifetime of trying to get it right.

1: Be right

You are offering your journalism as a thing to be trusted. You have to build up trust with your readers, listeners and viewers. They want to know that they can rely on you to be accurate. Accuracy is the most important quality – even more than timeliness. Better to be second and right than first and wrong. But better still to be first and right.

2: Be first

Journalism is, by definition, timely. The best way to be timely is to be first. What’s the point of telling people things they already know? You are there to tell them things they don’t know. So chase that news and get it first.

3: Stick to what you know

It’s vital to stick to the facts that you know. Often you need more facts than you’ve so far gathered in order to tell a story properly. Instead, you may have only an incomplete picture. It’s unsatisfactory and frustrating. But don’t be tempted to speculate or – even worse – imply things you’re not sure about. Get the story out there in terms that you know to be true. You can develop it later.

4: Keep it simple

Journalism is not art. It’s important to present the story in an interesting way – but don’t waste time trying to fashion fancy sentences. Use simple language that tells the story as clearly and unambiguously as possible. Keep the sentences short. Be logical in the way you order the facts. Don’t impose on your viewers or readers or listeners. Make it easy for them to digest the information.

5: Play it straight

Journalism is a competitive business. Sometimes you’ll be tempted to cut corners. Don’t do it. Your trustworthiness is your main asset. Keep the journalism scrupulously accurate and your personal conduct ethical. Don’t do the dirty on your competitors – even if they do it to you. Always maintain your standards.

6: Know your market

Journalism is always aimed at someone. Who makes up your target audience? How old are they? Where do they live? Where do they work? What are their lives like? What interests them? What are they worried about? What do they want to know? What information do they need to take a full part in society? Remember you’re there to serve them – not to impress your peer group.

7: Be aware of the competition

Competition is what keeps us on our toes. With a bit of luck it will keep us honest. Always watch what the competition is doing. Judge yourself against its output. Try all the time to be better – get your stories faster, tell them better, find more interesting angles. Be willing to learn from the competition when it does a better job.

8: Be disciplined

There are all kinds of deadlines. With breaking news, the deadline is now: you’ve got to get the information out straight away, usually in very brief form, and add to it as soon as you get more. Then there are the fixed deadlines for TV and radio bulletins, and newspaper print runs. Respect them. An item for the top of the One O’Clock News is no good if it’s not ready until one minute past. A page lead for a newspaper is no good if you can’t get it into print in time to catch the delivery trucks. If you can’t meet deadlines, you are not fit for the job.

9: Be realistic

Think of when the story has got to be ready and think of everything that’s needed to make it work. Figure out how much time you can allow for each stage. Don’t set yourself impossible deadlines. Build in a bit of a margin, for safety. Deliver early if you can – but don’t sacrifice important content.

10: Keep in touch

Never underestimate the importance of good communications. It’s no use having a story if you can’t communicate it. Always know exactly how you’re going to be in touch with the office, whether it is by mobile phone, land-line, the internet, satellite phone or broadcast circuit. Whatever it is, try to have a backup. Check and double-check your communications.

The post What it takes to be a journalist first appeared on Media Helping Media.

This module was written for a journalism training course in south-east Europe which was dealing with the basics of newspaper reporting. Those attending had no previous journalism experience or training.

Reporting court proceedings

Reporting on court hearings requires an understanding of local laws and knowing what can be reported and what can‘t.

Some journalists choose to specialise in court reporting and become experts in the field.

Others learn about it through their basic journalism training courses and by covering smaller court hearings.

All need to understand the rules, constraints, the law, what can and cannot be reported, and how to deal with the public after the court hearing is over.

1: Operating within constraints

Courts of law are a controlled environment. Court reporters must operate within these controls.

2: Know who is in charge

The judge is in charge of the court and what happens inside it. The judge has to keep order and usually has the power to imprison those who show contempt of court. That could include you.

3: Know the local laws

Most countries have their own sets of laws covering court reporting. You must know them inside-out. Journalists need to act within the law or they may end up in the dock themselves.

4: Focus on facts

The most interesting elements in any trial are usually the verdict and the sentence. These will normally provide the lead to your story (assuming the trial has finished).

5: Avoid trying to do the judge’s job

In most countries there is a presumption of “innocence until proven guilty”. This should be borne in mind while a trial is in progress and reflected in your copy.

6: Accuracy, accuracy, accuracy

Ensure you get EVERYTHING right. Check names, spellings, titles and responsibilities. Fair and accurate journalism is the basic requirement.

7: Keep a careful note

In courts, as in all other reporting, you should make notes carefully and keep them safely. They may be needed later if your report is disputed.

8: Never take sides

The arguments used by the prosecuting and defence lawyers should be reported in an even-handed way, regardless of the evidence and what is said in court.

9: Courts are also theatre

Dramatic performances by the judge, lawyers, or witnesses make excellent copy. Make sure that you capture all elements.

10: Give credit where it’s due

Trials often hinge on a clever piece of detective work, or advocacy. Ensure you spot these and highlight them in your reporting.

11: Disciplined reporting

It is not particularly skilful to report everything that has been said. It is much more skilful to use only the most interesting and significant parts of a trial.

12: Be ready with the background

Big stories need big coverage. Before the trial, discover as much background as you can, and have it ready for publication after the verdict.

13: The trial may be over but the story continues

Some of the most important elements of your story may be the interviews afterwards with witnesses, family, police etc. Make sure you leave the court in time to get the interviews.

Related training scenario

Emotional pressure – scenario

The post Court reporting for beginners first appeared on Media Helping Media.