Imagine the scene. You are a journalist covering a story on your own. You need someone to bounce ideas off in order to make sure you cover all angles. But nobody is available. So you turn to AI.

Would the results be any good? Would AI come up with the quality of editorial brainstorming that colleagues back in the newsroom could offer? Media Helping Media (MHM) put Gemini, Google’s AI conversation tool, to the test.

Gemini’s responses, and my follow-up questions (in large bold headings) are reproduced below. After each answer from Gemini I asked it to expand on points it had made in the previous answer. The conversation took place in September 2024.

I started by creating a fictitious scenario. I told Gemini AI that I am a journalist covering a protest at a refugee camp where asylum seekers are demonstrating about delays in their claims being processed.

I then asked AI the following questions. The answers were immediate. Gemini’s responses are unedited other than to change them from American English to English English  (MHM’s preferred house style).

MHM: Apart from reporting on the demonstration, what other related news angles should I cover?

Gemini AI: Here are some additional news angles you could consider covering, beyond the immediate demonstration:

Human Interest Stories:

• Individual Refugee Stories: Interview refugees about their personal journeys, hardships, and hopes.
• Community Impact: Explore how the refugee camp is affecting the local community, including potential tensions or positive interactions.

Policy and Government Response:

• Processing Delays: Investigate the reasons for the delays in processing asylum claims, including any bureaucratic hurdles or political pressures.
• Government Response: Examine the government’s response to the protest and any potential changes to asylum policies or procedures.
• International Comparisons: Compare the situation in the UK with other countries that have similar refugee populations.

Living Conditions in the Camp:

• Basic Needs: Assess whether refugees have access to adequate food, shelter, healthcare, and education.
• Security Concerns: Report on any safety issues or concerns within the camp, such as crime or violence.

Legal and Ethical Issues:

• Human Rights: Examine whether the treatment of refugees aligns with international human rights standards.
• Legal Challenges: Explore any legal challenges refugees or their representatives are pursuing to expedite the processing of their claims.

Economic Impact:

• Job Market: Investigate the potential economic impact of refugees on the local job market, both positive and negative.
• Integration Efforts: Report on government or NGO initiatives to help refugees integrate into the local community.

By exploring these additional angles, you can provide a more comprehensive and nuanced understanding of the situation at the refugee camp and its broader implications.

MHM: Could you expand on the ‘Human Interest Stories’ angle please?

Gemini AI: Human interest stories can provide a powerful and personal lens through which to understand the experiences of refugees. Here are some specific avenues you could explore:

Individual Refugee Narratives:

• Personal Journeys: Delve into the individual experiences of refugees, from their home countries to their escape and arrival at the camp.
• Challenges and Hopes: Focus on the specific challenges refugees face, such as language barriers, cultural differences, or separation from loved ones. Also, explore their hopes and dreams for the future.
• Coping Mechanisms: Understand how refugees are coping with the stress and trauma of their experiences.

Community Building:

• Social Networks: Explore how refugees are forming social networks and communities within the camp.
• Cultural Exchange: Highlight instances of cultural exchange or collaboration between refugees from different backgrounds.
• Support Systems: Identify any support systems or networks that are helping refugees to navigate their new environment.

Children and Families:

• Education: Focus on the educational needs of refugee children and any challenges they may face in accessing education.
• Family Dynamics: Explore how families are coping with the challenges of displacement and the uncertainty of their future.
• Child Protection: Address any concerns related to child protection or exploitation within the refugee camp.

Inspiring Stories:

• Overcoming Adversity: Share stories of refugees who have overcome significant challenges and achieved positive outcomes.
• Acts of Kindness: Highlight instances of kindness, compassion, or resilience within the refugee community.

By focusing on these human interest angles, you can help to humanise the refugee experience and foster empathy and understanding among your audience.

MHM: Could you expand on the ‘Policy and Government Response’ angle please?

Gemini AI: When exploring the policy and government response angle, consider these key areas:

Asylum Policy:

• Current Regulations: Examine the specific regulations governing asylum claims in the UK, including eligibility criteria, processing procedures, and potential grounds for refusal.
• Policy Changes: Investigate any recent or proposed changes to asylum policy, and their potential impact on refugees.
• International Comparisons: Compare UK asylum policies with those of other European countries or countries with similar refugee populations.

Government Response to the Protest:

• Official Statements: Analyse official statements from government officials regarding the protest and their commitment to addressing the concerns of refugees.
• Actions Taken: Evaluate any specific actions taken by the government in response to the protest, such as increased staffing for asylum processing or improved living conditions in refugee camps.
• Public Perception: Assess public opinion on the government’s response to the protest and any potential political pressure.

Bureaucratic Hurdles:

• Processing Delays: Investigate the specific reasons for delays in processing asylum claims, including any bureaucratic bottlenecks or administrative inefficiencies.
• Backlogs: Assess the extent of any backlogs in the asylum system and the government’s efforts to address them.
• Resource Allocation: Examine the allocation of resources to asylum processing and whether there is sufficient funding to meet the demand.

Ethical Considerations:

• Human Rights Standards: Evaluate whether the government’s response to the protest and its asylum policies align with international human rights standards.
• Compassionate Treatment: Consider whether the government is demonstrating compassion and respect for the rights of refugees.

By exploring these aspects, you can provide a comprehensive analysis of the government’s role in shaping the experiences of refugees and the effectiveness of its policies in addressing their needs.

MHM: Could you expand on the ‘Living Conditions in the Camp’ angle please?

Gemini AI: When exploring the living conditions in the refugee camp, consider these key areas:

Basic Needs:

• Shelter: Assess the quality and adequacy of the housing provided to refugees, including any issues with sanitation, safety, or privacy.
• Food: Evaluate the availability, quality, and quantity of food provided to refugees, and any concerns about nutritional deficiencies.
• Healthcare: Examine the accessibility, quality, and adequacy of healthcare services within the camp, including mental health support.
• Education: Assess the availability and quality of educational opportunities for refugee children and adults, including language classes and vocational training.

Safety and Security:

• Crime: Investigate any incidents of crime or violence within the camp, including theft, assault, or sexual harassment.
• Security Measures: Evaluate the effectiveness of security measures in place to protect refugees, such as fencing, surveillance, and patrolling.
• Vulnerable Groups: Identify any particularly vulnerable groups within the camp, such as women, children, or individuals with disabilities, and assess their specific needs and challenges.

Sanitation and Hygiene:

• Waste Management: Examine the systems in place for waste management and disposal, and any concerns about sanitation or hygiene.
• Water Supply: Assess the quality and availability of potable water, and any issues with water scarcity or contamination.
• Hygiene Facilities: Evaluate the adequacy of sanitation facilities, such as toilets, showers, and laundry facilities.

Community Infrastructure:

• Recreational Facilities: Explore the availability of recreational facilities, such as playgrounds, sports fields, or community centres.
• Community Spaces: Assess the availability of community spaces for refugees to gather, socialise, and participate in cultural activities.
• Services: Identify any essential services available within the camp, such as shops, post offices, or transportation options.

By exploring these aspects, you can provide a comprehensive picture of the living conditions faced by refugees within the camp and identify any areas where improvements are needed.

MHM: Could you expand on the ‘Legal and Ethical Issues’ angle please?

Gemini AI: When exploring the legal and ethical issues surrounding refugee camps, consider these key areas:

Human Rights:

• International Law: Examine how the treatment of refugees aligns with international human rights law, such as the Universal Declaration of Human Rights and the Refugee Convention.
• Fundamental Rights: Assess whether refugees are enjoying their fundamental rights, including the rights to life, liberty, security of person, and freedom from discrimination.
• Detention: If refugees are detained, examine the legality and conditions of their detention, ensuring they comply with international standards.

Legal Challenges:

• Asylum Claims: Investigate any legal challenges refugees or their representatives are pursuing to expedite the processing of their asylum claims or to challenge denials.
• Access to Justice: Assess whether refugees have adequate access to legal assistance and representation in pursuing their rights.
• Due Process: Ensure that refugees are afforded due process in all legal proceedings, including the right to a fair hearing and the right to appeal decisions.

Ethical Considerations:

• Compassion and Respect: Evaluate whether refugees are being treated with compassion and respect, regardless of their circumstances.
• Vulnerable Groups: Identify any particularly vulnerable groups within the camp, such as women, children, or individuals with disabilities, and assess whether their specific needs and rights are being adequately protected.
• Accountability: Examine the mechanisms in place for ensuring accountability for any human rights violations or abuses that may occur within the camp.

By exploring these aspects, you can provide a comprehensive analysis of the legal and ethical framework governing the treatment of refugees and identify any areas where improvements are needed.

MHM: Could you expand on the ‘Economic Impact’ angle please?

Gemini AI: When exploring the economic impact of refugee camps, consider these key areas:

Local Economy:

• Job Market: Analyse the potential impact of refugees on the local job market, both positive and negative. This may include their potential to fill labour shortages or compete for jobs with local residents.
• Consumer Spending: Assess the potential economic benefits of refugees as consumers, including their spending on goods and services within the local community.
• Entrepreneurship: Identify any entrepreneurial activities or businesses launched by refugees within the camp or the surrounding area.

Government Services:

• Cost of Services: Evaluate the costs to the government of providing services to refugees, such as housing, healthcare, and education.
• Resource Allocation: Assess whether the government is allocating sufficient resources to support refugees and mitigate any negative economic impacts.
• Long-Term Costs: Consider the potential long-term economic costs associated with refugee resettlement, including the costs of integration and social services.

Integration Efforts:

• Language Training: Examine the availability and effectiveness of language training programs to help refugees learn the local language and improve their employability.
• Vocational Training: Assess the availability and quality of vocational training programs to equip refugees with the skills needed to find employment.
• Integration Initiatives: Evaluate the effectiveness of government or NGO initiatives to help refugees integrate into the local community and participate fully in economic life.

By exploring these aspects, you can provide a comprehensive analysis of the economic implications of refugee camps and identify any potential opportunities or challenges associated with refugee resettlement.

MHM: Are there any other related news angles that you have not mentioned that would add value to the story and better inform the audience?

Gemini AI: Here are some more potential news angles that could add value to your story:

Health and Well-being:

• Mental Health: Explore the mental health challenges faced by refugees, including PTSD, depression, and anxiety.
• Physical Health: Assess the physical health of refugees, including any common illnesses or health conditions.
• Access to Healthcare: Examine the availability and quality of healthcare services within the camp, and any barriers to access.

Education and Skills Development:

• Educational Opportunities: Investigate the educational opportunities available to refugee children and adults, including formal schooling and vocational training.
• Language Barriers: Explore the challenges faced by refugees in learning the local language and accessing education.
• Skills Development: Identify any programs or initiatives aimed at developing the skills and employability of refugees.

Cultural and Social Integration:

• Cultural Preservation: Explore how refugees are preserving their cultural heritage and traditions within the camp.
• Intercultural Dialogue: Examine opportunities for intercultural dialogue and exchange between refugees and the local community.
• Social Integration: Assess the challenges and opportunities for refugees to integrate into the local society and build social connections.

Media Representation:

• Media Portrayal: Examine how refugees are portrayed in the media, and any stereotypes or misconceptions that may exist.
• Media Access: Assess the access of refugees to information and media outlets, and any challenges they may face in accessing accurate and unbiased information.

Future Prospects:

• Resettlement: Explore the prospects for refugees to be resettled to a third country and the challenges associated with this process.
• Self-Reliance: Examine any initiatives or programs aimed at empowering refugees to become self-reliant and contribute to their own well-being.
• Long-Term Goals: Explore the long-term goals and aspirations of refugees for their future, including their hopes for their children and their communities.

By exploring these additional angles, you can provide a more comprehensive and nuanced understanding of the situation at the refugee camp and its broader implications.

MHM’s conclusion

AI can offer real-time editorial brainstorming for the solo journalist who needs to bounce ideas around in order to explore all possible story angles. It does this in an instant, enabling the journalist to focus their news-gathering efforts on areas that will enhance their news reporting.

The post Using AI for story development first appeared on Media Helping Media.

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

This scenario was set out by Bob Eggington in “Adopting the ‘big story’ approach”.

Some media organisations have a system for assessing what defines a big breaking news story.

Such a system can help editors decide how much editorial focus should be allocated to the coverage. You can find out more about this system by reading our module on how to create a story weighting system.

A big story might be a recurring story (such as seasonal flooding or earthquakes) or one-off, unexpected events (such as public disorder or industrial disputes) where there is significant local, regional, national, and international impact.

When a big story breaks the following editorial considerations should be assessed.

The first three points in this list apply to all stories, both big and small. Points four to 12 apply to a big story.

While immediate response reporters and crews focus on points 1-3, you might want to assign producers and researchers to look at points 4-12 in depth, if appropriate and if those resources exist.

1. The story: This is fairly straightforward and is applied to all stories both big and small. We need to ask the basic journalistic questions of what, why, when, how, where and who.
2. The facts: Again, this is common to all news coverage. Every detail must be examined, tested and proven to be accurate by confirming with at least two independent sources, except those filed by your own reporters or others you trust.
3. Those affected: Personal accounts of how the story impacts on the lives of those involved is an essential element to all news coverage.
4. The data: Where it comes from and whether it can be trusted.
5. Responsibility: Who or what was responsible, and why did it go wrong?
6. The promises: Made in the past and previous measures taken.
7. The impact: Now and in the future.
8. The consequences: Changes in lifestyle for some and what happens to those who can’t change.
9. Accountability: Who knew and what preventative action could have been taken?
10. The future: What changes need to take place?
11. The follow up: Set a follow up date. Three or six months. List questions to ask.
12. Engaging the audience: Public and expert debate to dig deeper and seek answers.

The list above, which is explored further in our module “Story development, ensuring all angles are covered” can’t be applied to every story; newsrooms don’t have the resources for that.

But if you apply the story weighting system for breaking news you will be better placed to decide what is a general news story and what is a big story.

Exploring all the editorial angles of a news story is only one part of the coverage.

If your news organisation has introduced a converged newsroom approach, which is always helpful, then allocating shared resources and setting out roles and responsibilities when a big story breaks is so much easier.

Summary

• A media organisation needs to have a system for dealing with a big breaking news story in order to fully inform the public debate.
• That system must set out the editorial, technical, and human resources requirements.
• A converged newsroom, with centralised command-and-control, with a multimedia newsgathering operation along with a shared planning unit will help streamline such a system.

Questions

1. What is the primary role of planning in the news business?
2. Describe the challenges that arise when a big story happens unexpectedly.
3. Explain the importance of having a rapid response team in media organisations.
4. What are the key components of a “big story plan”?
5. How should media organisations handle communication during a big story?
6. Discuss the role of the reporter as the “eyes and ears” of the audience in the context of a big story.
7. Analyse the differences between traditional news media and “citizen journalism”.
8. What strategies can be adopted for ensuring accurate and reliable coverage during a big story?
9. Evaluate the significance of the production team’s role in adapting the news product for a big story.
10. Sum up the overall approach to handling a big story highlighting the interplay between planning, reporting, and production.

Answers

1. Planning is crucial for professionalism and good coverage in the news business.
2. Big stories require immediate action, and there is pressure to provide quick, accurate information despite the lack of preparation.
3. Rapid response teams ensure that media organisations can quickly mobilise resources and personnel to cover major incidents effectively.
4. A big story plan involves ambition, organisation, and resource allocation, including people, equipment, and space in the news product.
5. The text suggests using mobile phones, special WhatsApp groups, and backup plans like walkie-talkies for communication.
6. Reporters provide valuable descriptive pieces that serve as the audience’s “eyes and ears” during the early stages of a big story.
7. Traditional news media focuses on clarifying and establishing facts, while “citizen journalism” may lack this level of verification.
8. Strategies include verifying social media content, using background researchers, and maintaining a coordinating figure for information flow.
9. The production team adapts the news product to emphasise the big story’s importance, finding impactful visuals and facts.
10. The approach involves thorough planning, quick and accurate reporting, and effective production to ensure reliable coverage.

The post When a ‘big story’ breaks 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 this scenario we look at what a journalist should do with off-the-record information when it relates to a major news event.

Should they agree to conditions being placed on the information’s use? Should they ignore any conditions and do the story anyway? Or should they use what they have been told as background information and dig further?

Try our scenario and decide what you would do in the circumstances.

Dealing with off-the-record information

You are working as a reporter on a local radio station, which is situated in the city centre close to the police headquarters.

Journalists and police officers are often found mixing in the local pub after their shifts have finished.

In the city where you work the journalists have a lot of dealings with the police. Many are on first-name terms, having crossed paths in the course of their work.

The pub is a good place for journalists to pick up leads and background information.

You are having a beer with a couple of journalist pals, when two police officers you know join you for a drink. They, too, have just finished the late shift.

As you chat, one of the officers tells you that, earlier in the evening, vice squad officers working undercover in the city’s red-light district say they saw a prominent public figure driving his car slowly down a street which is well known for kerb-crawling.

Later they say the found the same car parked in a side street. When they checked, they found the man in the back seat with a woman. The woman wasn’t his partner.

The officer tells you that the man was given a caution, and says the police were “taking it no further”.

He names the man, describes the circumstances in some detail, but then says the story is “off the record”, and that it mustn’t get out.

He says a surveillance operation is continuing, and tells the journalists not to mention it to anyone else.

What should you do? The following are three options. There will be many more, but in this module we are looking at the following three.

Option 1 – run with the story

This has the makings of a lead story. The off-the-record status of the information has no legal bearing; you haven’t signed anything. If the officer gets into trouble that’s his problem.

You have the name of the man, you have the location of the incident, the time it took place, you have a description of the car, and details of what vice squad officers saw when they shone their light in the vehicle.

You have enough for a 30-second voice report for the next bulletin. You should tell the newsdesk you have a new lead, head back to the newsroom, and get working on it as soon as you can.

Option 2 – keep your mouth shut

You should respect the informal off-the-record arrangement you have with your contact in the local police.

The officer has given you the details only because he trusted you. He has told you that the story “mustn’t get out”.

If you break this confidence it will damage a productive relationship, which might take years to repair.

You need to preserve the close relationship your news organisation has with the authorities.

So you should agree not to mention the incident, not even to your news editor, but to consider it valuable background information related to an on-going investigation.

Option 3 – refer up and investigate further

You should call your news editor and share the information, making it clear that the officer had told you that he was speaking off the record after he revealed the details.

There is still so much missing from the story. Apart from the chat in the pub with the officer, you have nothing else to go on. You have one source only.

You and your news editor need to discuss the significance of the information. Together you will need to assess the public interest aspects of what has happened.

You will also need to consider why the police officer was willing to share the information.

Then you need to decide whether the alleged incident requires further investigation.

At this stage you should certainly not consider putting anything out on air.

Off-the-record briefings

Off-the-record briefings are common in journalism. They can be useful in helping journalists research background information, and they can provide context about the issues reporters are investigating.

But such briefings can also put a journalist in an awkward position.

It’s possible an off-the-record briefing is given because the person sharing the information wants the journalist to research the matter for a variety of unknown reasons. In that case the journalist might be being used by the information provider.

It could be that the person sharing the information is afraid it will get out and is trying to pre-empt the situation by sharing a version of events in the hope that the journalist will be content with what has been shared and distracted from a bigger story.

Or it might be that the journalist has simply witnessed some loose talk, that the person sharing the information has realised they made a mistake in sharing it, and they are trying to recover the situation by saying what they shared was off the record.

A lot depends on the circumstances.

Some off-the-record chats will take place formally, others will be chance meetings with contacts who have information to share. Most will involve information providers who don’t want to go on the record for having shared it.

Specialist correspondents and beat reporters often depend on receiving confidential information from their contacts as a valuable part of their research.

Most media organisations will have a policy regarding off-the-record briefings. Some will accept them, others will feel that they compromise their ability to seek out facts and tie them to a controlled version of events.

You need to know your employer’s stance on the issue. This should have been made clear when you joined the company and during your training.

This scenario is not about a briefing with a specialist in a particular subject, it’s a chat with a casual contact in a pub late at night.

How would you deal with the situation? Let’s look at the three options set out above.

Option 1 – run with the story

If you follow option 1, you would be broadcasting information which hadn’t been checked.

It’s late at night, the officer who told you about the incident had heard it second-hand from the vice squad.

What they told him was a colourful, off-the-cuff description of what they said they had seen. It was not an official report.

There is nobody to quote. You have simply been given a tip-off that something has happened. A man found with a prostitute has been given a caution. That is all.

If you write a 30-second voice report at this point, you will be at risk of defamation of character, based on unsubstantiated information. That is not journalism.

Option 2 – keep your mouth shut

In this option, the reporter is keen to preserve the cosy relationship they have with the local police.

The reporter knows that if they report what was said in the pub, the police might not open up to them in the future. That could damage future newsgathering efforts.

The reporter is quite content to let the police officer rule on what they can or can’t do with the information. But, in doing so the reporter has allowed the line between information-sharing and editorial control to be crossed.

That is not a healthy position.

Option 3 – refer up and investigate further

This is the preferred course of action.

You have been given background information, which you and your news editor now need to consider.

By applying the public interest test you will be able to assess what to do next, and how much effort should be put into further research, if any.

It could be that the man in question has been outspoken in the past about the need to clean up the sex industry in the city. Perhaps he’s been campaigning about sex trafficking.

If so, there might well be a public interest justification for further investigation.

You might consider putting a file together on the prominent public figure who is alleged to have been cautioned so that you are ready if and when the news finally breaks.

Such a file would be accessed by your online team, too, and probably contain a biography, videos and photographs of the man in public life as well as other background material.

But as for writing a piece for the next bulletin – no, there is nothing to report.

Not only because the information was shared off the record, but also because you don’t have any independent sources offering verified facts that have been double-checked to ensure that the information you broadcast is accurate, fair, and in the public interest.

This scenario dives deep into the complex ethical dilemmas journalists face when dealing with off-the-record information, especially in the context of potentially explosive news. Here’s a deeper analysis:

Core conflict:

• The crux of the issue lies in the tension between journalistic duty to inform the public and the ethical obligation to respect confidentiality and source relationships.
• It highlights the power dynamics inherent in information sharing, where sources may attempt to manipulate or control the narrative.

Analysis of the Options:

• Option 1 (Run with the story):
  • This option represents a purely sensationalist approach, prioritising speed and impact over accuracy and fairness.
  • It disregards the potential for misinformation and the devastating consequences of defamation.
  • This approach is highly risky, and damages the credibility of the journalist and news outlet.
  • It also disregards the very important aspect of the information being second hand, and not from the people who actually witnessed the event.

• Option 2 (Keep silent):
  • While preserving source relationships is crucial, this option demonstrates an excessive deference to authority.
  • It risks suppressing information that may be in the public interest.
  • It blurs the lines between journalistic independence and complicity.
  • By letting the police officer dictate what can and cannot be done with information, the journalist is giving up their editorial control.

• Option 3 (Refer up and investigate):
  • This option represents the most responsible and ethical approach.
  • It acknowledges the importance of verification, contextualisation, and public interest assessment.
  • It emphasises the collaborative nature of journalism, involving editors and other professionals in the decision-making process.
  • It shows the reporter is thinking about the “why” the information was given.
  • It allows for the gathering of more information, and the ability to verify the story.

Deeper considerations:

• Public interest vs. personal conduct:
  • The scenario raises the question of when a public figure’s private conduct becomes a matter of public concern.
  • Factors such as the individual’s position of power, their public pronouncements, and the potential for hypocrisy must be considered.
• Source motivation:
  • Understanding why a source is providing information is essential.
  • Is it a genuine attempt to expose wrongdoing, or is it driven by personal animosity or political agendas?
  • The scenario highlights how the source may be trying to “pre-empt” a story.
• The nature of “off-the-record”:
  • The scenario underscores the ambiguity and potential for abuse of off-the-record agreements.
  • Clear and consistent policies regarding off-the-record information are crucial for journalistic integrity.
  • The text makes it clear that just because someone says information is “off the record” does not mean that it is, legally.
• Defamation and legal risks:
  • The text highlights the very real legal risks involved in publishing unverified information.
  • It is vital that journalist understand the laws surrounding defamation.
• The importance of multiple sources:
  • The text makes it very clear that one source is not enough.
  • Journalists should always seek at least two independent sources.

In essence, this scenario serves as a valuable case study for exploring the ethical complexities of journalism in the digital age, where the pressure to break news quickly often clashes with the fundamental principles of accuracy, fairness, and responsibility.

The post Off-the-record chat – scenario first appeared on Media Helping Media.

In this scenario a journalist lets their own emotional assumptions colour their news judgement resulting in misinformation.

A young radio reporter is coming to the end of his first month on the job. He’s just been approved to drive the radio station’s news car, which means he can now go out on stories and broadcast live from the scene. He’s very excited.

He looks out of the newsroom window and sees a thick plume of smoke rising from the east of the city centre. He alerts the news editor who agrees he should take the radio car, get as close to the scene as possible, and report live into the next bulletin at 4pm.

The reporter arrives at the scene at 3:50pm. He parks behind two fire engines at the corner of a building which is ablaze.

The reporter has 10 minutes before he has to go live into the bulletin. He tries to find someone for a comment, but all the firefighters are busy trying to control the flames, while the police are trying to control the crowd.

However, one of the engineers operating the fire engine pump will talk. When asked whether there are any casualties, he says “Not that we know of, but there are still people in the building.”

The reporter sees a group of people carrying items out of the burning tenements. He presumes they are trying to salvage what they can from the flames.

He lives in a similar part of the city and in similar accommodation. He feels sorry for them.

At that point he decides on the top line for his live report – that people are still in the building trying to salvage what possessions they can.

He hasn’t even considered that he could be at a crime scene where looters are stealing items as residents flee their burning homes.

He raises the radio car mast. The vehicle is new. It has the radio station’s logo plastered all over it in red, white, and blue. The reporter can see the car is attracting attention.

A group of men, some with their faces covered, gather round the vehicle. Three police officers approach and try to block their way.

By now the reporter is sitting in the radio car ready to broadcast. It’s one minute to the 4pm bulletin.

He leaves all four windows half-open to try to capture the sound effects of the chaos outside.

The 4pm news jingle starts to play.

The news reader announces that there is a major fire at a city centre tenement block. He then says, “We are now going live to our reporter on the scene.”

The light on the reporter’s microphone goes green. He’s live. He starts his report…

“The fire has now spread to four floors of this five-storey building. Dozens of firefighters are trying to contain the blaze. Residents are still in the building. Many are trying to salvage what they can from their burning homes. Working together they’re stacking their possessions on the street.”

One of the police officers, who had been protecting the radio car while the reporter was broadcasting, bangs on the window and shouts, “They’re looting, you’ve got to move, it’s not safe here.”

Emotions and assumptions take over

What we have here is a situation where an inexperienced reporter, faced with a breaking news story, is expected to report live from the scene with little knowledge of what is really going on.

That is a common situation.

But the reporter has been carried away with the excitement of the event, and, in the absence of any credible information, and with no time for proper news-gathering or fact-checking, relies solely on his own emotions and assumptions.

And that is not good.

The fact that he lived in a similar inner-city area meant that he was unable to be objective; he immediately assumed those gathering possessions were similar to his own neighbours.

His emotions were high when he thought they were salvaging what they could. He made a false assumption and that polluted his report.

The story he had built in his mind from the moment he arrived at the scene was wrong. Not only was it wrong, but it was missing the importance of the event.

He was witnessing rioting and looting, not local residents working together to salvage what they could from their burning homes.

In such situations reporters must detach themselves from events, broadcast what they see, and avoid any assumptions.

If they are unable to find out what is actually going on from a reliable source, they should offer a situation report about what they can see in front of them.

There was enough eye-witness material to fill a 30-second report without adding guesswork.

Guesswork, assumptions, and emotionally charged observations are not part of breaking news reporting.

The report should have been limited to describing the flames, the smoke, the number of fire engines, the size of the crowd, and the number of police at the scene.

The reporter’s mistake was letting his imagination take over.

He was broadcasting false information to the station’s listeners.

This was before social media, but in today’s age of Facebook and Twitter, such an error could lead to a rapid spread of misinformation which would take on a life of its own as raw emotion and ill-informed reaction is added.

Lessons from this scenario

• A breaking news reporter’s job is to describe what is happening at the scene, you are not there to interpret without evidence. If you have facts that are sourced and verified, you should include them.
• It doesn’t matter what you think might happen next. Guesswork about the future has absolutely no value.
• You must avoid all assumptions when compiling a report. Assumptions are fine when you are trying to work out what the story is during the research stage, but they then must be verified or discarded during the fact-checking process – they have no place in live situation reports.
• Adjectives and adverbs have little value in live breaking news reporting. The facts are strong enough on their own. The audience doesn’t need your subjective take on things, or your own personal value judgements.

This scenario vividly illustrates the dangers of emotional bias and unchecked assumptions in journalism, particularly in the fast-paced environment of breaking news.

Core problems:

• Emotional bias:
  • The reporter’s personal experience living in a similar area clouded his judgment. He empathised too strongly, leading him to project his own feelings onto the situation.
  • This emotional connection prevented him from objectively assessing the scene.
• Premature assumptions:
  • He jumped to conclusions about the people removing items from the building, assuming they were salvaging possessions rather than looting.
  • This assumption was based on his emotional bias, not on factual observation or verification.
• Lack of fact-checking:
  • He failed to gather sufficient information from reliable sources. He relied on a brief, ambiguous statement from a fire engineer and his own assumptions.
  • He did not consider alternative explanations for what he was witnessing.
• Prioritising narrative over accuracy:
  • He constructed a narrative in his mind and then forced the facts to fit it, rather than letting the facts dictate the story.
  • He was more concerned with creating a dramatic story, than telling the truth.
• Failure to report what he saw:
  • Instead of simply describing the scene, he interpreted it, and incorrectly.

Key takeaways:

• The importance of objectivity:
  • Reporters must strive to maintain objectivity, especially in emotionally charged situations.
  • Personal experiences and feelings should not influence news judgment.
  • Journalists need to examine their own unconscious bias.
• The necessity of verification:
  • Assumptions must be rigorously checked and verified before being reported as fact.
  • Multiple sources should be consulted to ensure accuracy.
  • Fact-checking is essential.
• Descriptive reporting:
  • In breaking news, especially when information is limited, descriptive reporting is crucial. Focus on what you can see and hear, without adding subjective interpretations.
  • “Just the facts” is a powerful tool.
• The dangers of misinformation:
  • Misinformation can spread rapidly, especially in today’s digital age.
  • Reporters have a responsibility to be accurate and avoid contributing to the spread of false information.
• The power of words:
  • Using adjectives and adverbs add subjective opinion. In breaking news, the facts alone carry the weight of the story.
• The pressure of live reporting:
  • Live reporting is a high-pressure environment, but it does not excuse inaccurate reporting.
  • Reporters must be trained to handle these situations responsibly.
• Ethical considerations:
  • The reporter’s actions had ethical implications, potentially endangering the safety of himself and others, and misrepresenting the situation to the public.
  • Journalistic ethics are essential.

In essence, this scenario serves as a cautionary tale about the importance of journalistic integrity, objectivity, and accuracy. It highlights the need for reporters to prioritize factual reporting over emotional narratives, especially in the chaotic and fast-paced world of breaking news.

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The post Emotional assumptions – scenario first appeared on Media Helping Media.

In this scenario we look at how a journalist should act when they witness a tragedy unfolding and have to decide whether to help, or to stand by and report.

The scenario also looks at how senior editorial managers could, and probably should, support their journalists working in difficult conditions.

Becoming part of the story

Imagine you are a local radio news reporter working in a city whose football team has qualified for the 1985 European Cup final (later renamed the Champions League).

Your editor holds a planning meeting a month before the game. Three sports reporters are sent to provide commentary and gather interviews, while you are assigned to cover the news angles.

The brief is to travel with the fans, stay with them in the city where the match is being played, mingle with them at all times, and file regular reports on the atmosphere before, during and after the game.

You are also asked to gather enough material in order to produce a half-hour documentary to be broadcast in the station’s news and current affairs programme a week after the game.

You arrive in the European capital, where the game is being staged, a day early to soak up the atmosphere.

On the morning of the game, the fans invite you to join in a football match with the opposition fans in the street close to the stadium. The fans are enjoying themselves.

You record some of the atmosphere and a short piece for your programme. Mobile phones were not common in 1985 so you need to find a telephone box to send a 40-second news report on the build-up to the match.

You find a phone, dismantle the mouthpiece, attach two crocodile clips to the wires, and plug in your Uher reel-to-reel recorder to transmit your material.

At 4pm the police usher the fans into the stadium – more than three hours before the kick-off.

It’s cramped, the stadium is in a poor state. The concrete terracing is crumbling. The barriers are unsafe.

The fans become bored. Fireworks are thrown. They start to taunt each other either side of a thin wire fence separating the two sets of supporters. It starts to buckle under the pressure.

The police move in. Some in the crowd try to escape, others surge forward. The fence collapses, then a wall. Fans are crushed under the weight of the concrete. You hear screaming.

Many fans are trying to exit the terracing as more police arrive. You pass the wall which has fallen. Fans from both teams are trying to dig people out of the rubble. Some beckon to you to help them.

What should you do?

1. Help those who are trying to rescue the injured fans.
2. Try to capture some of the noise for your programme and record a situation report.
3. Keep moving, you need to find a telephone box in order to contact the news desk.

Suggested response

Reporters are often caught up in events. Most of the time we are just witnesses to incidents which we observe and report.

Occasionally, what we are seeing could be a matter of life and death. We have to make a decision, sometimes split-second, on whether it’s more important to report on the news, or whether we can offer assistance and help save lives.

It might be possible to do both, but sometimes the journalist becomes part of the story, making reporting difficult. In those cases their news priorities might have to come second.

Of course, each case has to be judged on its merits. In this particular case the reporter decided that his immediate job was to assisted fans and later paramedics in the rescue operation (and got hit with batons by police who misunderstood his motives).

He knew that his colleagues in the commentary box would be able to report on the unfolding scenes below them (which they did), and that the newsdesk would be supplied with updates – if not the first-hand experiences he was going through.

He was aware that the nearest telephone box was about 800m away but that riot police were already blocking the exits and that it wouldn’t be easy to get to a phone to file a report.

And he also knew that he might get reprimanded for not finding a way to file a live report about what was happening. But in that moment he had to decide.

He was still able to file a report three hours later about what he had witnessed that day (the only eye-witness account of what happened on the terraces to be broadcast), and he was still able to complete his documentary.

But he wasn’t first with the news, despite being the closest journalist to the tragedy that was unfolding.

Sadly, 39 people died that day; 600 were injured, including the reporter.

Reaction

In the scenario set out above, the reporter’s actions were appreciated by his managers both locally and nationally. Not once was he reprimanded for his failure to update the newsdesk.

Three messages of support are embedded below.

These are important, and a reminder for today’s senior editorial managers, because they show that those who manage the news understand the decisions reporters have to make, and the issues they often face, during the course of their newsgathering.

The text above presents a real-life scenario where a radio journalist covering a 1985 European Cup final finds himself witnessing a deadly stadium disaster. He must decide whether to prioritise reporting the unfolding tragedy or assisting in rescue efforts. The text highlights the ethical dilemma faced by journalists in such situations, emphasising the importance of human life over the immediate pursuit of a story. It also underscores the crucial role of editorial managers in supporting journalists who make difficult decisions in traumatic circumstances.

Analysis:

• Ethical dilemma:
  • The core of the scenario is the conflict between a journalist’s duty to report and their moral obligation to help those in need. This is a classic ethical dilemma that journalists face in various contexts.
  • The text correctly points out that sometimes, “the journalist becomes part of the story,” blurring the lines between observer and participant.
• Context of 1985:
  • The 1985 setting is crucial. The lack of mobile phones and instant communication tools significantly impacted the journalist’s ability to report quickly. This highlights how technological advancements have changed the landscape of news reporting.
  • The condition of the stadium, and the police actions are also important to note, and are very much a product of that era.
• Importance of editorial support:
  • The text emphasises the significance of supportive editorial management. The positive reactions from the journalist’s managers demonstrate the importance of understanding and empathy in news organisations.
  • This is a very important point, as reporters that work in traumatic situations can suffer from PTSD, and other mental health issues.
• Humanity vs. “the scoop”:
  • The journalist’s decision to prioritise helping over immediate reporting underscores the value of human life. It serves as a reminder that “getting the scoop” should never come at the expense of ethical considerations.
  • The fact that he was still able to file a report later, and to finish his documentary, shows that doing the right thing, does not always mean losing the story.
• The impact of trauma:
  • The text briefly mentions the journalist being injured. However, it’s essential to acknowledge the potential for psychological trauma in such situations. Journalists who witness traumatic events can experience PTSD, anxiety, and other mental health issues.
  • News organisations have a responsibility to provide support and resources to journalists who work in dangerous or traumatic environments.
• The evolving role of journalism:
  • In the age of social media and citizen journalism, the lines between observer and reporter are increasingly blurred. This scenario raises questions about the evolving role of journalists and their responsibilities in a digital age.
  • With the rise of “fake news” the importance of professional journalists, that are able to report accurately, clearly, and ethically is more important than ever.
• Lessons for modern newsrooms:
  • This scenario offers valuable lessons for modern newsrooms. It highlights the need for clear ethical guidelines, comprehensive training, and robust support systems for journalists.
  • It is also a reminder that news managers should value the human element of journalism and prioritise the well-being of their staff.
• The importance of eye witness accounts:
  • The fact that the reporter was the only eye witness to give a account of what happened on the terraces, shows the importance of having reporters on the ground.

In essence, this text serves as a powerful reminder that journalism is not just about reporting facts; it’s about upholding ethical principles and recognising the humanity of those involved in the stories we tell.

The post Covering a tragedy – scenario first appeared on Media Helping Media.

Here we look at ways to set up a strong newsgathering team from planning, production through to output.

In this article ‘newsgathering’ is discussed from the perspective of the TV news process.

Those involved in newsgathering include reporters, planning editors, camera people, assignment editors, field producers, and the news executives responsible for output.

The newsgathering process involves sourcing ideas, planning coverage, assigning teams, structuring packages, monitoring the web, working in the field – and coming back alive and well.

Planning

Planners are often the forgotten heroes and heroines of the newsroom; they are often elbowed aside in the rush for today’s stories. That’s a mistake. Planned material should not be dropped without good reason. Planners should be encouraged to keep coming up with ideas for special reports, background investigations, time-consuming graphics and other projects that require effort.

Editorial meetings

Balancing creativity with decisiveness is a difficult trick. Daily editorial meetings should be chaired by a senior figure, but all voices should be heard, not just those of the senior editors or the chronically verbose. The best ideas often come from the small voice at the back. Set a start time and begin punctually, irrespective of latecomers – they’ll get the message. Also set an end time – half an hour should be plenty.

Managerial oversight

To ensure that the planning team is following the agreed editorial strategy, managers must make their objectives known at an early stage in the creative process. News coverage should be discussed at least a week in advance, at a weekly editorial meeting, followed up by another meeting the day before transmission. Managers must attend these gatherings. There is nothing more dispiriting for journalists to see their hard work brushed aside at a late stage because managers have not been properly monitoring the stories being prepared.

Newsroom geography

Are you sitting comfortably? The simple geography of an input operation makes a big difference to its efficiency. The following should all be able to see each other, talk to each other and overhear conversations – assignments editor, web editor, show editor, technical/facilities bookers (dishes, feeds, studios etc) and ideally the show director. It’s amazing how often they can’t.

Breaking news

There is a simple set of rules for breaking news on TV – it goes like this. Once the story is out there, desks need to do the following:

• assign a reporter to monitor incoming information, and be ready to appear live.
• chase witnesses on the phone.
• seek video material from the scene.
• monitor Twitter, YouTube and other sources.
• deploy hardware and people.
• plan schedule changes, on-site anchoring and the like.

Has your news organisation ever written down a plan, because the day it happens might be the day when you have an inexperienced team on duty.

Monitoring

In a breaking story such as riots, demonstrations, bombings – social media will probably be ahead of the agencies. These sources have to be monitored. You must know which source to trust and which to follow. Ideally, you will have developed contacts in advance if you saw the story brewing.

Staff safety

If the story involves putting reporters and technicians in harm’s way, are you prepared? Journalists often get hurt covering street disturbances, political rallies, organised crime, even before they start working in wars and major conflicts. Employers and journalists need to take responsibility for safety, but sadly many don’t. You should reduce risk by training your staff for working in dangerous situations.

Organising the shoot

It’s surprising how disorganised some field teams can be. Camera crews sometimes don’t know what the story is, reporters haven’t requested graphics in advance, or a useful piece of extra equipment is left behind. The planning producer or reporter needs to think of all these things, such as extra lights, long lenses, graphics, and studio guests.

Lives

Most live reports still feature the reporter clutching a microphone and standing outside a government building. That’s sometimes appropriate, but with today’s lightweight equipment, live spots can be much more creative, with plenty of movement.

Packaging

Are the news packages on your show tightly crafted, with skilful editing, a minimal use of words, lots of natural sound and a simple narrative? Or are they overwritten, with words that don’t match the pictures, where the sound from the locations is smothered by the reporter’s breathless pre-recorded track? Ensure that your journalists know how to package properly.

The post Organising effective newsgathering first appeared on Media Helping Media.

Despite the influx of digital information, the foundational skills of “shoe-leather reporting”, involving direct contact, investigation, and verification, remain essential for journalists in the modern newsroom.

Journalists working in a modern newsroom benefit from a steady stream of wires stories, social media feeds, and messaging tools enabling instant collaboration with sources – all delivering information to the desktop.

But before the internet, reporters had to rely on other means for finding stories and verifying facts. And it often meant getting out and about, making contacts, following leads, reaching dead ends, turning round, and starting again.

A lot of the skills involved in so-called shoe–leather reporting still hold good today.

Shoe-leather reporting

If you turn up for the daily news meeting without a story idea, you’re in the wrong job.

News releases, diary events and the news wires play their part in the daily news diet – and, sadly, a large part for some media organisations – but the journalism resulting from such sources will always be stimulated and prompted by others.

A journalist should be living and breathing stories 24 hours a day, seven days a week and 365 days a year. This means that there is no excuse for turning up in the newsroom with a blank mind and no ideas.

Real journalism knows no shift patterns – they are there only to ensure that the newsroom works well. Journalism is a vocation, not a job. So, what were the sources of stories in the days before the web.

Here are 24 ideas for potential story sources to ensure that you will always have ideas and will never turn up at the morning news meeting looking for a place to hide.

All these suggestions come from the days I was a local newspaper and later radio reporter and was judged on what stories I found, rather than the stories I was given.

1. Your foot soldiers and spies
   • These are the people who, on your behalf, will spot changes and notice the unusual. They include those who are delivering mail, newspapers, milk and groceries. They are particularly useful contacts. But you have to invest time to get to know them – preferably on first name terms. Security staff at clubs, delivery drivers, post-room staff, and local bar staff are all useful contacts.
2. Window shopping
   • Local meetings, lost and found items; in fact all the standard hand-written adverts that appear in shop windows could turn into a story. Many are rich pickings, but you will probably have to jot down the numbers and make a few calls before that becomes apparent.
3. Everyone has a story to tell
   • Start with public figures, but expand to include everyone. Artists, retired academics, shopkeepers, business leaders, union leaders, a cleaner, a road sweeper. Draw up a list. Create a diary. Do at least one interview a week. Some may be rubbish and may never be used. Others could be explosive.
4. Daily calls
   • It used to be called “doing the calls” on my first newspaper. Every day, one of us would be sent to call at the front desk of the local police, fire and ambulance station. We could have done it on the phone, but we wouldn’t have got half the tip-offs had we not knocked on door and chatted about events over a cup of tea. This personal touch could also mean that you get an early heads-up when a big story is about to break.
5. What’s on at the local court?
   • You have to be careful here in terms of legal issues, but if you know your patch you will know some of the names listed. This source of stories is more about being aware and alert. Always ensure that you have the court listings. Once you have the listings you can do some background digging. You won’t be able to publish your background research as a story until the case is over and the verdict delivered, but once it is, you will be ahead of the rest with a background piece.
6. Planning and development
   • The local planning office is often a source of great stories. It’s there where you will be able to find out what’s been approved, rejected, and what is subject to appeal. Check the names of the developers. Look through the records. Jot down the areas where an appeal is under way. Go to the site and talk to residents about what they think about the decision. Keep digging; you will find some great stories in the local planning department. Look out for new building work and then go through the records to track the planning process. Look for the unusual.
7. Original surveys
   • Buy a cheap clipboard and write down 10 questions on a burning local issue. Then go out to shopping areas, railway stations etc and invite people to take part. Try to interview 50 people. If you can stretch it to 100 all the better. Read it all back and think through what the survey is telling you. Think about who you should talk to next to turn your research into a story. Make sure you ask those you question whether you can quote them. Some will want to remain anonymous; that’s fine as long as the quote is real and you can stand by it.
8. Local concerns
   • Again, get out in the street and ask people what concerns them most, what they would like to see changed, what annoys them the most, what they would like to see happen in the town. What they like, what they don’t like. Categorise the topics raised into issues. So, for example, if someone is concerned about the time it takes to see a doctor or get an appointment for an operation, list that under ‘Health’. If someone is angry that the last bus home is at 10pm, list that under ‘Transport’. Try to find 10 local issues with 10 local topics under each. Then work through them producing original journalism addressing local concerns.
9. A year ago today
   • Recording recent history: Keep your own news diary each year and jot down all the stories you covered along with relevant contact details. Then always look back at what you were covering six months and a year ago. Check with the contacts you spoke to in the past. Ask them whether anything has changed. A responsible journalist will always follow-up on important stories. Your follow up will probably present you with a new exclusive – and you will have some great archive material to support the news update.
10. Local statistics and trends
    • Turn numbers into stories. Think through how the town you are working in compares with neighbouring towns, such as whether it is growing, shrinking, has more or fewer people in work, has a younger or older average age, has more expensive or cheaper property etc. Talk to local politicians. Don’t just take the statistics at face value. Ask questions. Keep pressing until those with the information give you what you want.
    • Trends can also be a great source of news. Talk to academics, business leaders, the man and woman in the street. Get to know about how things are changing and find out why they are changing. What do the old think of the young and what do the young think of the old? What are the benefits, what are the risks, where are the opportunities, where are the threats? Keep gnawing away at the bone to ensure that you get all the meat off it.
11. Garden maintenance workers
    • Talk to the garden maintenance workers. They often have a van and a trailer stacked with rakes, spades, bits of trees and shrubs etc, and they usually take lots of tea breaks. Catch them at the right time and they will often be happy to chat. They have some great stories; treasures found, most unusual shrubs, biggest snakes, decline of one species and the flourishing of another. Perhaps there are invasive species taking over. Those working in gardens will be happy to tell.
12. Pest-control officers
    • There will be companies in your town specialising in pest control. The biggest wasp nest in the most unusual place, the fattest rats, the worst cockroach infestation – all are the makings of great stories. And those dealing with pests are usually well-informed and keen to talk about what they have found.
13. Rubbish and recycling
    • What are the trends? What is being reused? What is being thrown away? What are the door-to-door recycling teams looking for? What happens to the material? Who buys it? In what ways could people recycle more? Look for the extremes – the biggest, the most valuable, the strangest etc.
14. A day in the life of …
    • This can provide a rich source of local-interest stories. Everyone has a story to tell. Ask permission to follow someone around during their working day. Ask them questions all the time. Watch what they do. Look for the unusual. Their lives will touch on the lives of others, too, so bring them into the story.
15. Who goes where
    • Which airlines use the local airports? Where do they fly? Is travel on the increase or decrease? Who is travelling? Are they leisure or business travellers? What are the business links? The same with railway and bus stations. Who is going where to do what? Sounds simple, but this, too, can uncover some interesting leads that may be worth expanding on a slow news day. It’s amazing how much people will talk in the arrivals hall of an airport if they have had a) a great trip b) an eventful trip c) a bad journey.
16. Local infrastructure
    • Is the town expanding? If it is, how will it cope? Roads, schools, policing, hospitals, doctors, utilities etc. Good news for the politicians, the businesses and the banks may not always be great news for the community. Don’t get carried away with all the hype. Is the infrastructure sufficient? Is the water supply adequate? You will get a steady stream of PR (public relations) press releases. Don’t take what you are given on face value. Dig deeper.
17. Charity shops
    • Junk and jewels: Is trade up or down? What is most in demand? What is the most common donation? Have they found anything unusual? Money in pockets, rare stamps, expensive heirlooms. Charity shops are often a useful barometer of the local economic climate and can reveal stories of hardship and social struggles – as well as generosity.
18. DIY stores
    • What is selling most? You can then check out how that is affecting local tradespeople. Get permission from the manager to talk to staff about DIY disasters – these always make great stories. Talk to customers, too. They may be prepared to let you go round to their homes and take pictures. You are looking for the unusual. I once came across a man who had a fully plumbed bathroom suite surrounded by a hedge at the bottom of his garden because he liked to wash in the open air. Strange man, but he was happy to talk about it and it gave me a front page lead.
19. The marginalised
    • You should be representing the whole community. Find out if anyone is getting a rough deal. Are some shunned and avoided? If so, why? Who are they? What is being done for them? Visit them and get their side of the story. Then seek out any other side. Talk to people at the job centres or those hanging around during the day.
20. Local petitions
    • The usual stuff: speeding, accident black spots, dog mess, litter, bonfires, noise pollution etc. Find out who is campaigning, ask why, and then look for all sides of the story. Every town has local pressure groups. You need to know who they are, and what they are campaigning about.
21. Health and safety
    • Keep in touch with the watchdogs for alerts and ailments. Food standards agents carrying out restaurant checks, building regulations officers monitoring so-called cowboy builders, the trading standards officers who are keeping an eye on dodgy goods etc. Don’t wait for the news release. Make contact with those who carry out the checks and talk to them regularly. It can take such departments a couple of days to agree and write a news release, but they may tell you what they are investigating earlier in the process and you can get the exclusive.
22. Lost and found offices
    • There will probably be one at the local airport, the main railway terminal and bus station, there will certainly be a room at the local police station full of lost (and stolen/recovered) goods; the lost and found office is often a treasure trove of great stories. Ask for permission to be taken round, interview one of the staff and take pictures. If you get too many stories, keep some for a thin news day.
23. Hospitals and A & E
    • Many people visiting your hospital’s accident and emergency waiting room could be a potential story. People with their hands stuck in jars, children who have swallowed coins. Not all will talk, but it’s amazing how readily some people will tell you about their accidents. People can often wait for hours to be seen and might be happy to natter to you because they are bored.
24. Farmers, food and famine
    • Always try to find time to talk to farmers. This is a tip recommended by Jonathan Marks. Those working the land will always have a story to tell. It could be about a new pest that’s destroying crops, it could be about the benefits/unfairness of government policy. It could be about cheap imports destroying their livelihoods. Make time to talk to them to find out what is the story behind local food production.

Questions

1. What is “shoe-leather reporting” and why is it considered essential in modern journalism?
2. How did journalists find and verify stories before the advent of the internet?
3. Describe the role of “foot soldiers and spies” in gathering news stories according to the text.
4. Explain the significance of local planning offices as a source of news stories.
5. How can original surveys contribute to journalism, and what steps should a journalist take to conduct one effectively?
6. Discuss the importance of maintaining a news diary and how it can aid in follow-up stories.
7. Analyse how local statistics and trends can be transformed into compelling news stories.
8. Evaluate the role of charity shops as indicators of the local economic climate.
9. Examine the various methods mentioned in the text for uncovering stories related to local infrastructure.
10. How can journalists ensure they are representing marginalized communities in their reporting?

Answers

1. “Shoe-leather reporting” involves direct contact, investigation, and verification. It is essential because it ensures accuracy and depth in journalism, even with the availability of digital information.
2. Before the internet, journalists relied on personal interactions, making contacts, following leads, and physically visiting places to find and verify stories.
3. “Foot soldiers and spies” are individuals like mail carriers and security staff who notice changes and unusual events. Journalists build relationships with them to gather tips and insights.
4. Local planning offices provide information on approved, rejected, and appealed developments. Journalists can find stories by examining records and talking to residents about these developments.
5. Original surveys allow journalists to gather public opinion on local issues. To conduct one, a journalist should prepare questions, interview a significant number of people, and analyze the results to identify story angles.
6. A news diary helps journalists track past stories and contacts, enabling them to follow up on developments and potentially uncover new exclusive stories.
7. Local statistics and trends can reveal changes in demographics, economy, and social issues. Journalists can create stories by comparing these statistics with neighboring areas and seeking expert opinions.
8. Charity shops reflect the local economic climate through the types of donations and sales trends. They can reveal stories of economic hardship or generosity.
9. Journalists can uncover stories about local infrastructure by examining expansion plans, assessing the adequacy of services, and questioning the impact on the community.
10. To represent marginalised communities, journalists should actively seek out their stories, understand their challenges, and present multiple perspectives to ensure balanced reporting.

The post Shoe-leather reporting first appeared on Media Helping Media.

A converged newsroom operates like a ‘content factory’, with a centralised ‘command and control’ desk responsible for all news intake, production and output.

It gathers and processes raw material, creates different products, and then ensures they are delivered to the target audience. In this module we look at how it is done.

This module is about the workflows and roles and responsibilities that make a converged newsroom run smoothly. You might want to read our article on the strategic thinking behind newsroom convergence.

Central to the whole operation is that ‘command and control’ area, often called a ‘superdesk’ or ‘news hub’. The name you give it doesn’t matter as long as it performs the role of centralising all operations.

Below is a graphic setting out what a typical superdesk might look like.

The superdesk

• Both intake (everything that comes into the news operation), and output (everything that is delivered from the news operation to the audience on multiple devices) need to be close together.
• Ideally, representatives of both will sit around the same desk.
• If space is an issue, and one desk can’t be set up, then they need to be sitting close together.
• They need to be able to communicate and collaborate at all times in order to respond swiftly to changes in news priorities.

People give this desk different names. Some call it the news hub, some the news cog; it doesn’t matter what it’s called, what matters is what it does. For this series of training modules we are calling this desk the superdesk.

• The superdesk is the newsroom’s central command-and-control.
• It’s where all the main news decisions are made.
• It serves as a responsive, dynamic focal point for everything to do with the smooth running of the news organisation.

Seats at the superdesk

• Those sitting around the super desk need to be breathing the same air, hearing the same news alerts, and be taking part in impromptu news meetings, called to deal with the unexpected.
• Choosing who sits at the superdesk is up to you. That decision will depend on your overall strategy and who the main decision makers are in your news organisation.
• It will also depend on where you need to prioritise effort, the most popular platforms/devices used by your target audience, and the resources available to you.
• However, there are a number of important roles that should be represented on the superdesk.
  • These are roles, not necessarily individuals.
  • For example, the intake editor role will probably need to be covered 24 hours a day for a large news organisation. In that case, the intake editor position on the superdesk should be a seat, populated by different people as working shifts change.
  • The exceptions might be the planning editor and the cross-promotions roles. They might be positions that need to be filled during the daytime only.
• Intake editor role: This is the person who is responsible for everything coming into the building.
• Output editor role: This is the person who provide the quality control for everything going out of the building and who liaises directly with production.
• Interactive editor role: You will need someone from the interactive team. They need to ensure the website and all digital platforms are publishing all breaking and developing news updates. They will also report to the superdesk regarding all developments on social media.
• Resource manager role: You will need someone to manage resources, and someone representing planning.

There are other roles you could add, but let’s start with the main ones.

The intake editor

• The intake editor acts as the eyes and ears of your news business.
• They are responsible for all the material that comes into your news production process.
• This will include the news gathering efforts of your own team of journalists.
• It will involve responding to stories that are being fed by wires services.
• It will involve monitoring the stories being covered by the competition.
• The intake editor has the authority to call an instant, stand-up impromptu meeting when there is breaking news, in order to help the output team adjust to new developments.
• They are, essentially, looking out of the building at all the elements that will inform and feed your news operation.
• They are not responsible for output. This is an important point. That role falls to the output editor.

The output editor

• The output editor looks after quality control.
• They are also responsible for ensuring deadlines are met.
• They are the defender of the news brand.
• Nothing gets past the output editor that could damage that brand.
• They ensure the material is accurate, that it’s objective, impartial and fair.
• Their job is to focus on production values.
• They need to ensure all platforms are served.
• They can’t afford to be distracted by watching the competition, keeping up to date with the wires services, and responding to input issues and logistics.
• That’s why those tasks are the responsibility of the intake editor.
• However, the two work closely together, although doing different jobs.
• They are in constant communication.
• Between them the main news decisions for the whole news operation rest.

Planning editor

• We discussed the strategic role of the planning editor in the module about forward planning.
• The planning editor is responsible for managing the news organisation’s unique editorial proposition of in-depth, well-planned, investigative journalism, which provides your market differential.
• The planning editor will attend all the main news meetings held at the superdesk.
• They will offer at least one piece of original journalism a day, probably more than that.
• They will listen to what is happening on the day and will ensure that all the major stories are followed up. The shared planning calendar will help.
• The planning editors role will not only take the pressure off the journalists working on the daily output, but it will also guarantee that there is a continuous stream of unique content produced on all platforms.

Interactive editor

• Having someone from the interactive team sitting on the superdesk means that the online and mobile coverage will be able to respond faster to breaking news developments.
• It also means that the superdesk will be informed about how the audience is responding to developing news, and it will provide a different perspective on newsgathering and how news should be covered.
• Similarly, having someone from the social media team, will alert the superdesk to developments on the various social media platforms used by the target audience.
• This will ensure that the online and other digital versions of your output are not just an after thought but are a central part of all you do.
• And that will show through in your production values, which, in turn, might encourage the audience to engage with your content more.
• This will also help with cross-promotion because your on air presenters can be briefed to drive audience traffic to the online and on mobile versions for any added value content.

Resource manager

• This role is sometimes called the production manager.
• This is the person who is responsible for all the resources required to produce the journalism.
• This could be the camera crews, the vehicles, and the edit suites.
• The resource manager needs to respond quickly once the intake editor has alerted the superdesk of a new story development, and the editorial team on the superdesk decides that information is so important that resources have to be shifted from a lesser story.

Cross-promotions producer

• Some newsrooms have a cross-promotions producer.
• Their job is to ensure that all output areas are aware of what others are doing and that content is exploited for the maximum benefit of the news brand and the audience.
• They will work across TV, radio, print, online and mobile where appropriate.
• In some cases they will design teasers, in other cases they will make sure the material is produced by others.
• Essentially, they will ensure there are no wasted opportunities.

Next we look at the workflow for a converged newsroom.

Converged newsroom workflow

The roles and responsibilities outlined above are just a guide. You will need to design your own version of a superdesk so that it makes business sense for your media organisation.

But do try to keep intake and output as separate roles. And do ensure that you have a planning function. Once you have reorganised, the workflow is fairly simple.

As has already been stated, the superdesk is your newsroom’s central command-and-control. All the main news decisions are made here. It is responsible for intake, planning and output.

As you will see from the graphic below, once those decision are made the instructions are sent to production – ideally via a representative attending the superdesk meetings.

The production teams then ensure that the appropriate platform-specific value is added to the story based on audience needs, device/platform capabilities, and strategic business logic.

That means that if they are working on the web or mobile versions they will add interactive timelines, infographics, photo galleries, video, and other digital assets, where appropriate.

If they are working on the TV version they will create TV packages that can cross-promote the digital assets being offered on the other platforms.

Production will no longer be carried out in isolation but as a part of a coherent and coordinated presentation on multiple devices.

Questions

1. What is the primary function of a converged newsroom?
2. Describe the role of the superdesk in a converged newsroom.
3. Identify and explain the responsibilities of the intake editor.
4. What are the key duties of the output editor, and how do they differ from those of the intake editor?
5. How does the planning editor contribute to the newsroom’s operations?
6. Discuss the importance of having an interactive editor at the superdesk.
7. Explain the role of the resource manager in the context of a converged newsroom.
8. What is the purpose of a cross-promotions producer, and how do they enhance the news brand?
9. Analyse how the workflow of a converged newsroom ensures effective news production across multiple platforms.
10. Evaluate the significance of keeping intake and output as separate roles within a converged newsroom.

Answers

1. A converged newsroom functions as a content factory, responsible for the intake, production, and output of news content.
2. The superdesk serves as the central command-and-control point in a newsroom, where all main news decisions are made and where intake and output are closely coordinated.
3. The intake editor is responsible for all incoming material, including news from journalists, wire services, and competitors. They can call impromptu meetings for breaking news.
4. The output editor ensures quality control, meeting deadlines, and maintaining the news brand’s integrity. Unlike the intake editor, they focus on production values and output rather than incoming news.
5. The planning editor manages the newsroom’s editorial strategy, ensuring a continuous stream of unique content and attending main news meetings to follow up on major stories.
6. An interactive editor ensures that online and mobile coverage is responsive to breaking news and provides insights into audience engagement and social media developments.
7. The resource manager oversees the resources needed for journalism production, such as camera crews and vehicles, and reallocates them as necessary based on news priorities.
8. A cross-promotions producer ensures that all output areas are aware of each other’s activities, maximising content exploitation across various platforms to benefit the news brand.
9. The workflow of a converged newsroom involves coordinated production across platforms, adding platform-specific value to stories based on audience needs and strategic logic.
10. Keeping intake and output separate allows for specialised focus on gathering and producing news, ensuring efficiency and quality in both areas.

Lesson plan for trainers

If you are a trainer of journalists we have a free lesson plan: ‘Newsroom convergence‘ which you are welcome to download and adapt for your own purposes.

The post Convergence: workflows, roles and responsibilities first appeared on Media Helping Media.