- The elements of journalism
- Top Authors
- Writing for Journalists - Wynford Hicks, Sally Adams, Harriett Gilbert - Google книги
- English For Journalists & Writers
Retrieved 9 March March Discussion Paper Series D Retrieved 8 March The Seattle Times. Retrieved 1 February Committee to Protect Journalists. Retrieved 28 August Los Angeles Times. Retrieved 6 April Retrieved 18 November Journalism Studies. Telegraph Media Group Limited. Retrieved 7 January Reporters Without Borders. USA Today.
List of journalism articles.
- The best apps, communities & tools for writers and journalists.
- The Platform Sutra of the Sixth Patriarch!
- The Social Metabolism: A Socio-Ecological Theory of Historical Change.
Mass media, public relations , politics , sports , business.www.cantinesanpancrazio.it/components/hylygod/741-spiare-whatsapp.php
The elements of journalism
Typically a Bachelor's degree. Spokesperson , politician. Look up journalist in Wiktionary, the free dictionary. Writing Prompts. And with text prompts available in online or offline mode, an Internet connection is no longer required. Is sound social? Audioboo thinks so. Those of the corporate persuasion can join Audioboo Pro , a separate offering that lets companies add multi-contributors to a single account and enjoy extended recording time, among other features.
Sketchy memory? A user network of more than 35 million shares your pain. Accessible from almost every device, Evernote allows you to capture anything from drawings to web clippings and make it searchable from your laptop, cell phone, or camera at your convenience.
The result is a network that shares project notes, favorite websites, and story ideas, yielding happy news making. With built-in search and filter applications, tips for effective search results, database building techniques, and acceptance of tips on how to improve, this new tool has great potential.
Businesses have been using HootSuite to manage social media presence for years. Journalists who need multi-platform sources need look no further than Storify. Becoming a blogger has never been quicker. First released in , the free, open source blogging tool is now the most widely used system on the Web. The ability to run multiple blogs from one installation, tag articles, and be on the lookout for grammatical errors makes it a tried and true mainstay.
We use Contently at The Next Web to organize our feature production schedule. It allows me to upload a selection of assignments for each weekend, and writers from various groups can then claim pieces from the pool or I can assign them directly. I can go over changes with the writer and see various revisions come in via the app, and even edit the piece in there before bringing it over to WordPress. A gold coin can be something as simple as a carefully selected detail that surprises or charms. To use all the senses to build a tight, compelling scene takes both practice and restraint.
Such overwriting serves as a neon exit sign to almost any reader. They recount events and measure impact in the words of experts instead of in the actions of those either affected by policy, events or discovery of those who propel it. In this session, students will analyze and then apply the skill sets of the observer, the reporter who takes his place as a fly on the wall to record and recount the scene.
First students will discuss the passive observation at the heart of the stories assigned above. Why did the writers select the details they did? Are they the right ones? Why or why not? Then students will be asked to report for about 30 to 45 minutes, to take a perch someplace — a cafeteria, a pool hall, a skateboard park, a playground, a bus stop — where they can observe and record a small scene that they will be asked to recapture in no more than to words.
This vignette should be written in an hour or less and either handed in by the end of class or the following day. Reading: Blundell, Chapter 1, Stepp, pages 64 to Students will be assigned to read one or more feature articles built on the context of recently released research or data. The story might be told from the perspective of someone who carried out the research, someone representative of its findings or someone affected by those findings. Richtel told of the dangers of cell phones and driving through the experiences of Christopher Hill, a young Oklahoma driver with a clean record who ran a light and killed someone while talking on the phone.
In the first half of class, several students should be asked to read their observed scenes. Writing is meant to be heard, not merely read. After each student reads a piece, the student should be asked what he or she would do to make it better. Then classmates should be encouraged to make constructive suggestions. All students should be given the opportunity to revise. In the second half of class, students will analyze the origins of the features they were assigned to read. Conceiving stories, Blundell notes, involves more than clear and original thought.
Writing for Journalists - Wynford Hicks, Sally Adams, Harriett Gilbert - Google книги
Reporters need idea files and source files. They need to read prolifically in areas about which they know little. They need to look for areas that are under covered by their publications. They need to walk through their communities with the wonderment of tourists who have just landed in a foreign city.
English For Journalists & Writers
Conceiving a story is only the first step. The reporter must go deep to report and write the story well. This feature should not profile, or tell the story of, either of an institution or an individual. Profiles will be assigned later in the semester. Instead students should look for features that either look behind a news development, such as the BP backgrounders described earlier, or features that look at the impact of a news development on those most directly affected by it or those who would be expected to translate it into policy. Students should keep in mind that they are conceiving and finding a thematic thread for a feature, not reporting a policy story filled with expert voices only.
For example, if the Department of Defense releases data showing that suicides have increased in the military, the student might propose a feature like one published on page 1 of The New York Times in July It told the story of those working on a suicide hotline to keep anguished members of the military alive.
The stories that grow out of this assignment should be substantial in their research and be worthy of between 1, and 1, words. They will be due in four weeks Class 2 or Week 6. By the second class of Week 3 students will be expected to have identified a topic and a way of approaching it that allows each to:. Class 2: The importance of backgrounding starting the reporting process.
Too many students mistake reporting for a journalistic version of a police dragnet: They pull in everything they can find and then try to figure out what the story is. Such an approach results in stories riddled with holes and lacking any dominant focus. Reporting always demands lots of legwork. But that legwork must be informed by forethought, which, in turn, is informed by the process of backgrounding. Backgrounding moves a story from the conceptual stage to the point at which a reporter can draw up a well-established working thesis or plan, a focus which, while it might still change, sets the direction of future reporting and writing.
It means identifying and locating documents to help establish a line of questioning and lend authority to the story. In this class, students will begin with a discussion of the steps needed to background a story well and then apply those steps to the individual stories they have begun researching. Nearly every effective and interesting story is built around a single, dominant theme, using varied types of material to develop it.
Writers who fill stories with exhaustive documentation but fail to establish a clear storyline file copy that reads like a government report. Writers who cobble together a series of colorful scenes that are not connected by a clear story spine run the risk of confusing readers to the point at which they will turn away. The best features engross or entertain readers as they inform them. Surprise: compelling material and 3.
Stylishness: engaging writing. To arrive at 2 and 3, the writer must first establish 1, the storyline. It is difficult to write that limited tale, however, unless the reporter sets out on a course to report it. Most serious storytellers would agree with Blundell that writing such a theme sentence must precede the bulk of reporting. This does not suggest the journalist embarks on his reporting with a bias. It suggests he is reporting with purpose. If the reporter finds a better story along the way, he can recast the theme statement. But entering the reporting process without one is like running through brambles instead of along a clearly marked path.
The reporter who chooses the brambles may still get to the end, but only with multiple nicks and cuts. They also might ask themselves these questions, among others:. They then should compare their efforts, either in small groups or a discussion of the entire class. Students will read their theme or focus statements aloud in class. These will be critiqued by the instructor and class. Using the memos submitted by students, the instructor should work with them to sharpen the focus of their stories and troubleshoot the direction of their reporting. Reading: Blundell, page 95 four stages , to and to ; Zinsser, pages 55 to 58; Stepp, 99 to and to Journalism textbooks love to categorize lead types.
Categories aside, though, every lead serves the same purpose and has the same mission: To engage readers immediately and to do so well enough to keep them reading. They cannot afford to waste space or words. They must, in the words of E. The forms and style change. The mission remains the same. Leads must do something else: They must be honest.
A lead about a shark surfacing a few feet from a swimmer off Cape Cod likely would draw the reader to the next sentence. But if the story had nothing to do with sharks other than they were swimming in the waters near a controversial site where offshore windmills will soon be built, the lead would be deceptive and tangential to the story. A lead must fit the story — in its content, its tone and its direction. Readers will resent the writer who deceives.
The second most important sentence in a good feature is its last. The best endings both surprise and resonate. This is not the long windup of the college English essay. When an opening anecdote or scene introduces a broader theme, the writer often circles back or bookends the story to where it began. Stories that return to where they began offer a sense of symmetry, a sense of completion. Other stories end by looking ahead, to the future.
Or, in the case of narrative, they reach the solution readers have been seeking since they were enticed into the story in the opening scene. The best way to learn to write different kinds of leads and endings is to a read many writers and take note of their approaches and b to try multiple leads and endings to the same story.