journalism


26
Aug 15

Can I get $1.86?

There’s not really a lot to say about the events of the day that hasn’t already been said. Terrible as this was, the people in Virginia have covered their own tragedy with great aplomb. Media criticism will probably continue on with the New York tabloids tomorrow. But outside of that, it has been one of those days where the media somehow manages to rally around itself. Mostly because they think it could have been any of them.

To a degree, that is true. At least, I suppose, this horrible thing wasn’t entirely random, but that is surely coming. And it is a terrible thing to contemplate.

Watching media reaction is informative. How many times have we all stood somewhere doing a story, harmless or dangerous, and thought nothing of what might be lurking around the corner? How does a story like today’s change how we view remotes, covering violent crime or the privacy of others?

Something happier, then. The 10-year anniversary of Katrina’s landfall was the subject of today’s podcast. Specifically, this cool story from the New York Times.

Andre is such a fun storyteller, particularly about the role that “place” has in telling the story of “us.” I was pleased he took the time to join us for what became a pretty far-ranging topic. And that Times piece he chose is pretty impressive, too.

Having just celebrated the big Netscape browser anniversary and then the 10th anniversary of YouTube it is fitting that we lunge headlong into the next phase of the internet. First there was text, then the images, now video is yielding to streaming video … Why live streaming is important for Facebook. Don’t forget, meanwhile, the booms from Meerkat and Periscope. The market is clearly ready for live streaming.

And sometime soon thereafter, virtual reality for everyone. All of this that has come before is the foundation upon which that will be built. Exciting times.

Exciting for different reasons, even though it is just a picture of a sign:

Wallets everywhere, rejoice.


20
May 15

Visual journalism at the BBC

Today we had the privilege of meeting Amanda Farnsworth, and Bella Hurrell, the editor and assistant editor of visual journalism at the BBC. They gave us a tour of their new, amazing, newsroom. Here’s the overhead map:

Farnsworth told us the BBC will be merging more of their products now that their national elections are over. She said it is already happening in video “with a vengeance. You can see even at the technical level TV and the web are coming together. We are trying to make that happen everyday.”

Visual journalism at the BBC is staffed by TV graphics personnel, editors, online designers, developers and coders. They’re faced with eternal challenges and goals of standing out distinctively, being lively and modern and creating understanding.

Here’s a glimpse of the newsroom from what would be the top-left corner of that graphic above:

There’s a challenge the BBC has that you don’t see framed the same way at home. Everyone in the UK pays 145 pounds annually and gets the eight channels, radio and on demand. That drives a lot of programming, Farnsworth said.

“We have to produce content that appeals to everyone. We have to produce content that does appeal to a narrow group.”

One of three identical control rooms the newsroom can use:

Farnsworth showed us a few apps they’ve developed, and then discussed how they’ve used those to create web and television packages. They have some called “personal relevance calculators,” like the “What class are you?” app. They put a reporter on the street and stood up passersby, asking questions from the app which were derived by sociologists work. The data then tried to help the audience determine where they fit in the social strata.

Hurrell showed us the video. “For us what was important is that it worked across (media) platforms.”

And of course all of that is shareable, linkable.

“We think of something that tells a story that’s reusable. That’s where the personal relevance comes back into play. How much property do you have? What’s your health like? How much money do you make compared to big sports stars?

Farnsworth showed us their green screen room and the interactivity they’ve created from it. They put a reporter in there for a piece on “How to put a human on Mars.”

The Mars model was made by a TV 3D designer and the video was a 3D virtual reality design. Farnsworth said that’s something they’re looking to do more of in the future.

She showed us another video of an interactive video using TouchCast — which I have and love and should actually use — that helped tell the Deepwater Horizon story. This was an interactive video, using the TouchCast technology that lets you manipulate things within the video rather than clicking items outside of the video box.

Farnsworth says they’ve done a great deal of experimentation with that sort of thing, but they aren’t very successful. (Yet, I’d say.)

“They’re not very popular because, I think, people don’t know what to do with it, but we want to lead the way.”

Aside: Do you know what I hear from media entities everywhere I go? (No matter what country I’m in … ) “We’re behind in that.” Daily Mirror and BBC would each tell you, for example, that they were late into jumping into the social media pool. Farnsworth essentially told us that today. But now, here, the Beeb is saying they want to lead the way. When a humongous property like the BBC, or some other national/global property, decides to make the imprint, they’re going to dictate usability terms, rather than the users doing it from bottom up. This is going to be fascinating.

One of the boards they use to observe realtime status updates on stories. It is like air traffic control:

She talked about some ISIS projects they’ve built with an in-screen graphic overlay that promotes interaction. This is about “putting users in control versus watching, giving users choices.”

The BBC was a big part of this incredible, incredible, Bob Dylan project. You can’t embed it, and I can’t do it justice, but go watch this presentation by Dylan and Interlude.

That’s an amazing promotional, entertainment tool. But it isn’t all fun and games. The BBC, of course, still does the heavy lifting of traditional journalism and the even heavier lifting of data journalism. Hurrell said they’re crunching huge sets of data, often down the postal code level. She said they’re also doing one global data project each month. One of their recent projects had to do with tracking global jihadist attacks.

And all of this has to be done with an eye toward designing across platforms. Which device for this? Which device for that? Here’s the note that makes you stand up in take note. On the weekends, the majority of the BBC’s consumption takes place on mobile devices. That’s a trend that started in 2013.

An overhead view of a portion of the BBC newsroom:

Then Hurrell talked about #BBCGoFigure, which was one of my favorite things about the meeting — and there was plenty to love. But this is a social first infographic strand, atomized data journalism with just two data points. This is a daily infographic. You can see examples of it here. Why everyone isn’t doing this escapes me.

The plan with social media, Farnsworth said, is that you go to the best place. (This varies by time and circumstance.) The best social media, she says, is one that engenders conversation. (See the #BBCGoFigure note above.)

“During the campaign,” Farnsworth said, “we did a lot more social media because we could see how important it has become.”

And this impacted their TV work. They used similar color palettes for the web and television, and put movable, shareable policy cards into action to help explain the political parties during election season. The interactive cards looked the same as the ones you could see on broadcast.

Then there was election night. It comes once every five years in the U.K., so the BBC pulls out all of the toys. They shot Downing Street and then put it up on their green screen for wonderfully immersive segments on explaining the election results. Here’s a short clip:

Here’s another one from “inside” the House of Commons:

The BBC is a great trip. They had to get back to work, but I want to see the entire operation. You get the sense that this is, perhaps, what a modern newsroom should feel like. And you wonder how many of them there are. Not nearly enough.


19
May 15

Speciality public relations, with Clifford Beal

DC-3

Today we visited the Royal Aeronautical Society, where that toy above was on display. We met with Clifford Beal of Strix Consultancy. He’s a Vermont man, by way of Sussex, who is a former editor of Jane’s Defence Weekly and has worked closely with Raytheon for years. Strix is essentially a boutique public relations firm, providing strategy and extra PR hands (primarily) to weapons manufacturers.

This was a great meeting. I took a lot of notes.

Beal talked about the need for building relationships, every boutique firm talks about this. But he has a few points that stand out from the rest.

“My clients create serious products that often have life and death consequences. That sets them apart from other industries.”

One of the challenges they face is that there are often hostile perceptions of arms manufacturers. Historically, he said, that changed briefly during WWII “because that was the good war,” and then reverted. Those perceptions have large and small implications. For example, Beal said that robotics and drones are words that aren’t used anymore. Instead, the acronym UAV is employed. Similarly, the term “cluster bombs” posses an “emotive language that removes credible debate.”

Beal said it can be difficult to conduct a PR campaign or share a message against such a bow wave of public opinion. (Sound familiar to anyone in PR?) But there are good arguments. The economics of scale involved in the weapons industry makes production cost prohibitive. There’s the legitimate self defense aspect that each sovereign government would maintain. And the U.S. and U.K., he says, have the toughest export regulations in the world.

“You can’t just ship to anyone.”

Another challenge, though, is that all of the aeronautic agencies clients are governments. They often have a limited need for public relations at the national level. Locally, that’s a different game. There are work force/private sector concerns, employee safety issues and, of course, the environment. The clients and audiences are demanding different things there. But at the national level the topics are things like costs to taxpayer, cost to profit and safety and reliability.

So we talked about the F-35 boondoggle right there.

Beal looks at from the idea of talking to people directly to help guide or even turn an opinion. This is about helping to influence outcomes, but he’s taking this from a macro level.

“The media is a megaphone to your audience, not an end to itself. It is a conduit to decision makes. When it is done right, it will provide your message from a different corner,” he said.

We got started on a topic of useful tools and he said, straight up, “I wouldn’t include press releases any more.”

And my guess is you’re going to hear more of that in the coming years.

The inverted pyramid and subsequent style still holds, but the delivery has changed. This is about storytelling, which is what we’ve been telling our students for some time now.

Obviously social media is a part of the recipe now, but Beal said that aeronautics agencies, generally conservative creatures, are behind in that realm. There are control issues over subject matter. That makes sense, particularly in those very sensitive areas in which they often work. Because of that, he said, it is often stage-managed and not spontaneous.

Beal is a big believer in a successful network of contacts. This makes sense, it his defined his last decade-and-change worth of work at Strix. But that’s on the B-2-B side. He talked about the B-2-J side, specifically.

“Journalists are now under much more (time) pressure. They’re not going to give you a lot of time if they don’t know you, or until it is a really big story.”

The networking, he said, “gives you an incredible amount of good will. Bring them along from the beginning of the story, not just during the crisis.”

And then we got into the part of the media that applies to people working in aeronautics or corporate banking or non-profit PR. We talked of the many media channels now available, and how that fragmentation presents a challenge. This is the professional material and the guys sitting at home pecking away.

“You have to cultivate, pay attention to them as well … Each channel has its own ways of doing things. You have to tailor your message for each of them.”

Hmmm. Where have I said that before?

That’s not just in how they present media, though, but in what they’re looking for and, of course, what they’re asking about. The trade publications, Beal said “are asking questions that execs might not want asked.” Those trade pubs, though, (Remember, the guy was the editor at Jane’s. He knows what is going on here … ) are “reaching two different levels, but you have to reach both to be effective.”

He talks about a colonel or a major who is reading all of these trade pubs and then flagging the important material for general officers, where some real impact is being made. So if you think of it as middle- and upper-management, you have a lot of people to hit in one message, if you want to be successful.

Also, Beal said, those trade pubs know weaknesses and are being primed by plenty of other potential sources. Broadcasters, meanwhile, are looking for news hooks. Papers, the high end products at least, are often the outlets that “influence decision makers. They are noticed at a high level.”

Generally, though, in journalism, he is encountered by the same industry problems that we regularly bemoan. There is a continual decline in resource knowledge and institutional history. There are, he said, fewer defense correspondents and far fewer war correspondents than once upon a time. So often he is having to peddle Widget 101 to a general journalist. Of course, from his point of view, there are plenty of potential PR wins in a circumstance like that.

We discussed the future outlook of the weapons making industry, including budget crunches, technology costs and increasing development time and technology transfer offset trading. He had a few pointed geopolitical ideas about that topic.

He also talked about entering global public relations, generalized the quality of media across different regions of the planet and, of course, closed with the timeless nugget of crisis communication.

“If something went wrong and it was your fault, say so. Say so.”

So, yes, if there are typos above. They’re mine. Sorry.

Here, now, is another model on display at the Royal Aeronautic Society. And it is not a Manriot plane, but actually the Fokker Spin.

Fokker Spider


15
May 15

Meeting the Daily Mirror

We had the privilege of meeting some of the folks at the DailyMirror today. I took notes.

The tabloid, a part of Trinity Mirror, had a circulation of just under 1 million last year, putting it third in the United Kingdom.

Aidan McGurran is a deputy managing editor at @DailyMirror. He says DM is making huge strides in digital, doubling audience in recent years. The Mirror, McGurran said, “occupies almost a unique place” in the British media landscape, “unashamedly proud of their pro-Labour” leaning.

McGurran is himself a local councillor, which is odd to American eyes. And he was disappointed, like all of Labour, in the general election. But the results puts the Mirror as an outside critic, which is probably more fun to be from their perspective. McGurran: “we’re about to see massive, massive cuts in welfare,” antithetical to Labour supporters. So they get to publish about that and take shots at the government.

“Show business, human interest and sports are enormously important … Our sports coverage is among the best and we take it really seriously,” he said.

McGurran says the Mirror’s circulation has posted a year-over-year decline of six to seven percent. He says that’s one of the best bad numbers in British media. (I haven’t seen all of the data.) The average age of the Daily Mirror newsprint audience is thought to be 54. The loyal, solid sale core set, there.

We also met Ben Rankin, the Daily Mirror’s online editor. He says his team is publishing about 500 stories per day.

Ben Rankin

“You have to get stories up very fast,” Rankin said. “There are some stories that we don’t do in the paper, but work online.”

That has to do with quality and the readership’s ethos. Basic principles of good journalism, quick writing, good headlines apply.

Rankin says there’s a regular balancing act of engaging content versus what can be delivered quickly. Their efforts have them at about a million uniques per month. (Aside: We were doing about that number at al.com when I left in 2008. They are at 5.7 million uniques per month earlier this year.) They’re looking at read-time and engagement. We’d call it stickiness.

Rankin offered the 75th anniversary of McDonald’s as an example. That snuck up on them, but the online team dreamed up content: old menus/prices, 75 things you didn’t know and commercials. (Including the spots were my first idea.) He said that McD’s feature made it into print, calling it a happy crossover between generational audiences.

“We can’t put a story up without a picture,” Rankin said, and it can’t always be the same boring clip art.

That followed directly into his list of things that “work well” for them online: “The macabre, plane crashes, conspiracy theories, ghosts.”

He says “works well” a lot.

Daily Mirror

Facebook, Rankin says, provides the Daily Mirror with 30 to 35 percent of their overall traffic. They now have five people on social media. No one was working in that area last year. The plan, he says, is to publish to Facebook every 15 minutes.

“Any more turns off your audience. Any less throws away an audience,” Rankin said.

One of the best parts of our conversation: “We have a need for stories to be interactive, engaging” and not just 10 paragraphs. So if you’re only a writer …

Daily Mirror is publishing ~100 vids/day, 10-20 they shoot. When we were hanging out with the online folks the videos were of a guy only just avoiding being hit by a subway train and of Edge falling off the stage at a U2 concert. Behind the online crew there is a large flatscreen showing realtime analytics from the site. They can tell, at a glance, what is working and what isn’t. Based on the way we talked they promoted things that were successful, and pushed down things that were struggling, largely on feel.

In their videos themselves, the goal is to show few talking heads. Video, they say, is the story. The plan, then, is a good one, show people in action.

The Daily Mirror newsroom is one of the nicest ones I’ve ever seen. Busy and quiet and bustling, all at the same time. I found their late adoption of social media and their late dedication of serious online work to be a bit odd, but part of that is cultural. Newspapers are shrinking in London and the UK, but there’s still a strong readership, too. My guess, without seeing a bunch of crosstabs, is that the British media and their audiences are on a different part of the curve than their American counterparts.


6
May 15

End of the Crimson-year party

Two classes today. Stayed late to go over some things with a small handful of students before their final. Drove off to get the sandwiches I always buy at the end of the year: Roly Poly. Got stuck in traffic and when I got back on campus the end-of-the-year party was already underway.

We had two staffs in there this year, the outgoing and part of the incoming. It was a lively, chatty, fun affair. The has-beens told the up-and-comers secrets about the job. Some of them lingered and told stories about what it meant to them, which was lovely.

I walked them all to the door, and gave each one a little letter. Each one was different, but each said how thankful I was of the effort they’ve put in, how proud I was of the work they’ve done. I hope they are proud too.

And then there were just a few of us. And I realized that, with Sydney graduating, our newsroom lost its institutional memory of Purvis, the rock:

Crimson

The short version: On our way to a conference last year, Clayton, the then-sports editor, was reading interesting facts about every town in Mississippi we passed. Our favorite was Purvis, basically because of everything he read aloud from Wikipedia.

So on the way back from Purvis, and getting a bit punchy, we stopped there for this picture, Sydney, then-news editor, Zach, then-editor-in-chief and Clayton, who was the sports editor. Because we were punchy we dug up that chunk of asphalt from off the side of the road. Clayton or Sydney one named it Purvis. It now sits in a place of honor in the Crimson newsroom.

Crimson

And now they’re all off into the great wide world.

A little bit later Sydney walked out of the door. She was in the hallway looking in and three members of next year’s staff were in the newsroom were looking out. There was a joke or two and a bye and then she walked down the hall, through the fire door, down the steps and she was gone.

I closed the newsroom door. Emily, the new editor-in-chief who served so ably as the news editor this year, looked at me and we both took half-a-moment to compose ourselves.

And I thought, you get into all of this — the late nights, the too-cold office, dealing with people who don’t understand what you’re trying to do, thanking people who do understand, the good leads, bad headlines, working through stories you don’t care about, wondering each week what they left uncovered — you do all of this because you figure that you have something to offer students. It is something important, you figure, just as it was important when you learned the same things when you were in their place. It is important because the work they’ll one day do with it is important and civic and useful. And so, then, you are useful and maybe formative. And that is worth every 2 a.m. that you find yourself still in a cold office, because you are there for them. Only when you watch them go do you really realize what they did for you.

All of that was in my head as I cleared my eyes and watched Emily clear her eyes and then launched into the first meeting with the new staff.

I’ve taken to looking at this newsroom as both a laboratory and, these last two years, as a spectrum. Sydney and Zach and Katie before them started something these people will continue and improve upon. I have high hopes for that because here’s another group of young people who are sitting in the newsroom at 7 p.m. on the Wednesday of the last week of class.

That’s passion.