It has taken me a couple of weeks to write this post. No, scratch that. This has been years in the making.
I need to begin by stating that I recognize the importance of the NNAs – some have dubbed them “Canada’s Pulitzer Prize” (this kind of identifying through comparison with our American neighbours makes me cringe.)
On Wednesday, CNN’s John King reported that a ‘dark-skinned male’ had been indentified, then arrested in connection with the Boston Marathon bombings.
But over the next 90 minutes, King’s credibility – and the credibility of CNN – took a major hit.
I created this storify of how the race to be first, and the decision to report information from anonymous sources on live cable news affected CNN’s coverage and credibility in the days after the attack.
I’ve been hearing a lot about platform strategy in the news business lately, and I think before we create a strategy, we need to look at how people are using these devices to consume news – including what they want, and when they want it.
A funny thing happened during my Michener-Deacon research in Manitoba. Leonard Asper, CEO of failed Canwest stopped by the Winnipeg Free Press News Cafe to talk about the end of the company. I decided to pause academic research and live tweet it.
Quit your job in a traditional newsroom, and go it alone to innovate in journalism … or work within existing newsrooms, which have the most money to try new things.
These were the two messages that emerged from the Canadian Journalism Foundation’s panel on media innovation on Thursday night, in a talk entitled “Journalism, Disrupted: How to create media innovation.”
Marissa Nelson, acting director of digital media for CBC News moderated the panel.
Seward argued that innovation in journalism comes more easily when operations are in startup mode. Quartz was an example of this – he intentionally set operations up in New York while the Atlantic is based in Washington D.C., removing any geographical connection to the traditional media.
This is an I-love-technology piece, gird yourselves accordingly.
Fourteen years ago, as a journalism student, I recorded a lot of audio.
This set up (pictured left), included the latest technology: a smallish cassette recorder, and a giant ice-cream-cone-shaped microphone.
I was set. I recorded ‘tape’ of interviews for assignments, and eventually did a 30-minute radio documentary about women journalists working on Parliament Hill from 1966 – 1996. (Note to self: Find and digitize, some big names on there).
In my first year of journalism school, we were taught to edit tape using an Ampex, razors and tape. I’m not making this up.
The outcry on Twitter was almost immediate. Why would the Atlantic, known for its journalistic integrity, choose to run such a story on its site as regular content. To note: it included the label ‘sponsor content’, but this wasn’t enough.
Soon after it was posted, some readers noted that comments on the story were moderated, unlike other stories, which had comments posted immediately.
I got a lot of reaction after a mom reached out to me via LinkedIn looking to get her son, a journalism student, a summer job in our newsroom. (A few people suggested I hire the mom for her social media savvy.)
Sadly, it appears this isn’t the only student with parents more than keen to help.
This week, the Cape Cod Times issued an apology to its readers for the work of one of its reporters, Karen Jeffrey.
“There is an implied contract between a newspaper and its readers. The paper prints the truth. Readers believe that it’s true,” the paper’s publisher Peter Meyer and Editor Paul Pronovost wrote. “… so it is with heavy heart that we tell you the Cape Cod Times has broken that trust. An internal review has found that one of our reporters wrote dozens of stories that included one or more sources who do not exist.”
The paper did an internal audit of some of the stories written by Jeffrey, who had been with (“She no longer works for the Cape Cod Times,” her former employers wrote) since 1981. It was unable to verify identities for 69 people in 34 stories dating back to 1998, when it began keeping electronic versions of its stories.