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Guiding Principles for Journalists Handout courtesy of Kelly

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Mc Bride. Ethics Group Leader, Payn rer Institute questions from Bob Steele, Poyn ter Institute

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Seek truth and report it as (lilly as pos sible Inform yourself continuously so you in turn can inform, engage and educate the public in a clear and compelling way on significant issues Be honest, fair, and courageou s in gathering, reporting and interpre ting accurate information Give voice to the voiceless Hold the powertbl accountable

2. Act independently Guard vigorously the essential stew ardship role a free press plays in an open society Seek out and disseminate com peting perspectives without being unduly influenced by those who would use their power or position counter to the public interest Remain free of associations and activities that may compromise your integrity or damage your credibility Recognize that good ethical dec isions require individual responsibil ity enriched by collaborative efforts 3. Minimize harm Be compassionate for those affected by your actions Treat sources, subjects and coll eagues as human beings deserving of respect, not merely as means to yourjournalistic ends Recognize that gathering and rep orting information may cause harm or discomfort, but balance those negatives by choosin g alternatives that maximize your goal of truth-telling

Doing Ethics: Ask Good Questions to Make Good Ethical Decisions


I. 2. 3. 4. 5. 6. 7. 8. 9 10.

liandout country o,f Kelly McB ride. Ethics Group Leader, Poynter institute questions from Bob Steele, Poyn ser Institute

What do I know? What do! need to know? What is my journalistic purpose? What are my ethical concerns? What organizational policies and pro fessional guidelines should I conside r? How can I include other people, with different perspectives and diverse ideas, in the decision-making process? Who are the stakeholdersthose affe cted by my decision? What are their motivations? Which are legitimate? What if the roles were reversed? How would I feel if I were in the shoes of one of the stakeholders? What are the possible consequences of my actions? Short term? Long term Ur ? are my alternatives to maximize my trut h-telling responsibility and minimi Can! clearly and fully justify my thin ze harm? king and my decision? To my colleag ues? To the stakeholders? To the public?

nter Institute ride, Ethics Group Leader, Poy llandow courtesy of Kelly .tIcU

Ethics on Deadline

e about Name the issue. Is this a conflict of interest or a cas vocabulary that will serve you. Develop a mised? listic independence being compro minimizing harm? Is your journa List your ethical concerns. issues. Too often r concerns, not just journalistic s list should include all of you Thi ourjob to our realm of concern. Its not lists dismiss criticism as outside lt of my journa family if he gets tired as the resu ut how a source will feed his worry abo story. ldentifr the stakeholders. another colleague. Brainstorm with your editor or Write down a list when possible. l as individuals. Think in broad categories as wel es. Find at least three alternativ newsroom. with the decision-makers in your The more the better. Share these te editor, a copy desk might include your immedia Depending on the situation, this ic in the spirit of aging editor. Approach the top chief, a photographer or a man ut this... inquire: Have you thought abo . This could Get input from an outsider. clear thinkers in your community ability a list of wise people and good Develop they need nothing more than the ple with particular expertise, but include peo s. to help you think through problem Jot down your justification. your answer ahead your decision? Think through What will you say if challenged on of letting your lishing it with the story as a way e. Write it down. Consider pub of tim s. readers or viewers in on the proces

-Mat Canton, 1O/3t2008, Hudso n Valley Community Colleg m.cantore hvtt.edu e (The iludsonlan)
Theres no I in NEWS I and you are two words tha t should NEVER appear in a newspaper, except within in a quote from a source. In a new s story, anything outside of a quote MuST be fact, or supported by a statement actual ly made by a source (it goes without saying we do NOT fabricate quotes). ExamDle: John Q. Interview says, I think education is worthless, and all funding should be cut

WRITING NEWS

INCORRECF WRITEUP: While John Q. Interview says he thinks education is worthless, I disagree completely, and so should you. John Q. Interview is against fundin g education: I think education is worthless, and all funding should be stopped. INCORRECT WRITEUP: John Q. Interview is strongly agains t education. I think education is worthless, and all fUnding should be cut Why Lr this incorrect? ft uses the wo rd strongly, which is a Judgment that cannot be directly supported by his statement. Ha d he sold Jam strongly against education.. that would hav e been acceptable.

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to inject personal opinion. Instead, find sources to give quotes that support (or oppose) a specific position and print THOSE as fact A tru ly GOOD news story attempts to present BOTH sides. Examle: Reporter Sally Scoop decides to cov er a story on the decision to put additional parking on campus. However, she herself thi nks the location is inconveni ent and a bad idea. mxcoruta APPROACH: The new parking lot proposed by the administration is a poor solution to the parking shortage. There are many studen ts against the proposal. The new par king lot proposal is just a bad idea all around. This iv rife wit

News stories can be given an ang le, however, resist the temptation

News is purely about fact

h judgment without just were interviews that support U, Vication Even f there this is the reporters opinion unt il quotes cite used to support positions.

CORRECT APPROACH: on to the parking shortage on proposed parking lot as a soluti Students oppose the Jim Student, representing wont have enough spots, said agreed with that. Its campus. Its too far away, and dents students. However, not all stu the sentiments of several other issue, said John Parker. It , and it attempts to address the vice better than what we have now could find, said Anne Murray, xpensive, viable solution we was the most ine president for Student Affairs. ked to Jim, JoIm, cmdAnne, andfound the students tal Note: This implies factually ts I talked to. their quotes based on other studen
opinions represented by erntt ted and written from the Int with copies of News cannot be Investiga of a computer screen, or even ed within. Its gether too easy to sit in front Its alto ry based on the facts contain ers, and piece together a sto ect the local/national pap ts to report on events that aff lism. A real news story attemp also very poor journa y as to be relevant to your capturing stories in such a wa ans readership directly. This me readership.

Example: views on education. The story sidential candidates, and their s, CNN, A story is needed on the pre pulls up the candidates Web site Marvin Martian. who promptly is assigned to eral articles, stories and ideas. w York Times, and reads sev the Ne favor of increasing taxes INCORRECT APPROACH: tic candidate for President, is in , we cannot compete in Alexander Hamilton, Democra ing for education. Without school htly and increasing fimding slig b site. Thomas Jefferson. says in a key statement on his We Jefferson supports a global market, Hamilton ch. sident, offers a different approa Republican Candidate for Pre ion, saying it would reduce the overall load on public cat ective system. Why is this increased privatization of edu ces and making for a more eff our readers wont school, thereby freeing up res e that can t be read on a Web site. hing In her ackage worth Inconect? There s not II simply see it as a cheap rep my paper; If they do; they read this in
nothing.

Alexander CORRECT APPROACH: mocratic Presidential Candidate e need of dents reacted Thursday to De Several stu ht on, public schools are in dir on education. 1 think hes rig Hamiltons stance an. Local public school Irons, I S-year-old HVCC freshm more fimding said Jeremy ve forward without increasing d Theres rio way we can mo officials also agree principal of Iansingburgh se kids, said Charles Barkley, n would resources, and protecting the ting what we need, and Hamilto t here at home, were not get candidate] ELementary, Righ her see [Republican presidential r schools tying Not everyone agreed. Id rat from poo fix that because it takes away the burden Thomas Jeffersons approach, ior and political science sen n Peeper, 21-year-old HVCC to raise rich kids, said Presto es are represented The story Is relevant because local th sid major. Again Balanced Bo eral story. trate the local Impact ofa fed react, and demons people

News means getting out there and asking questions We cant theorize on what people think and feel, or hope we will find out whats goi ng on. We only know what WE think and feel, but when were writing a new story, our opinion doesnt count News happens everyw here BUT the newsroom, so get out ther e!

Example; Four staff writers are sitting in the office whe n up in three vehicles, jump out of the vehicles, suddenly five public safety officers drive and race into the building directly across the campus quad.
INCORRECT ACTION: Wow, I wonder what just happened, say s one student. I dont know, maybe well hear something about it later, says another. Ye ah, we can call Public Safety tomorrow if we dont hear anything. What are we doing for lunch. Im hungry? says a third. RRECT ACTION: One student grabs a camera, another student gra race over to the building. They clearly identif5r bs a notebook, and all four immediately themselves as members of the student press, and start asking questions of anyone they can find public safety officers, nearby witnesses (students, staff, and faculty). The y write down everything they can, take pictures of everything they can see, and afte r things quiet down, return to the newsroo m. News reporting requires valid infonna tion, and lots of It, and reporters cant be shy. One of the most critical things to do when inte rviewing someone for a story is get thei r vital information. Name, age, address, contact information and position that makes them qualified to speak on a subject. This could mean they are a vice president of a college , a witness to an event, an expert on a specific sub ject, or even just a neighbor who knew a person.

Example:
A story is done on a fire on campus and three people are interviewed as witnesses to what happened.

INCORRECT ACTION; Only first names are recorded, along with quo tes regarding the fire. Why is this a problem? What Iflater on, follow-up questio ns need to be asked about the event? There Is no way to get in contact with the people.
CORRECT ACTION: The first questions should always be: What is your full name, and how do you spell it? How old are you? What is your official title ? What is your current address? Some of these pieces do change a little depending on the story. For some type ofofficial (elected appointed, corporate, etc.) Age and address Is not necessaiy, but always helpfid. Officia l title may mean neighbor, orfriend too, but then age and address are requfrei

By Gregg McLachlan

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never

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misspell another name again
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Tips to

Misspelled names
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Why do journalists get names wr ong? I Failure to double-cheek at the point of interview 2. Assumptions 3. Sloppy note taking Getting nam After all, readers will wonder If es wrong affects your credibility and the newspaper. you cant get a nam e right how can you get anythi else right? How many of us have ng received an invitation, trophy, plaque or letter with our name misspelled? Remember how you felt? Enough said. Tips to Never Misspell A Name Again I. Spell back the name to your subject 2. Show your subject the spelling in your notebook 3. Double-check the name in the phonebook 4. Never assume: Smith isnt always Smith. it can be Smyth. Trisha can be Tricia. Linda isnt always isnt always TriSha. It Linda It can be Lynda.

Author John Q. Fuddyduddy onc e wrote that petunias are Gods gift to gardeners. Its the type of lead which should make newspaper reporters cflnge , especially ones who are tuned in to their audience. Fir stly, reporters are taking a hug e risk that th readers have ever heard of John Fuddy duddy. Secondly, why would rea Q. der Before you write a lead that goes something like En the Hollywood s care? Ate Uncle Joeys Tomato, actor Gin movie, My Mother o Pasquale said a tomato is a work of art, be aware that you may be failing to connec t to a large portion of your aud ience. Once again, maybe Gino Pasquale said something abo ut a tomato at some point in tim e. But ask yourself; will my readers care? Will my rea ders even know of a Gino Pas quale? Will they have seen the movie My Mother Ate Un cle Most often, these types of leads are keys Tomato? derived from a reportei9s own interests. Perhaps, they are from a reporters favorite movie , book or show once seen on tele vision. The pitfall with many of these types of leads is that they represent what interests readers. & careful. More times tha the reporter, not the n no, the obscure (FILL N TH E BLANK) once said, lead doesdt work. its a good reminder that youre wr iting for readers... not about wh at interests you.
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When a reporters interests get in the way Weve all seen this type lead ove r the years:
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Failure to attribute. Its a sou duced by a journalist at another a fellow editor point out a feature pro ma Just recently, I had es and quotes that were verbatim fro spaper. The story contained passag daily new tion. To the readers eye, it was a e bylined work contained no attribu press reLease. Th s eye, it was a case of a

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urnalist. To an editor by feature written and reported by ajo l readers that the work was written g unethical and attempting to foo journalist bein the him/her. s are the reporter slipped one past by anyone? Probably not Chance Was it caught although theyll never know it ed es does editor. And readers got hoodwink this today is a worry. How many tim that reporters are continuing to do The fact lists finally get the message about ke national headlines before journa the issue have to ma credibility? Quotes from press releases are see a failure to attribute on occasion. s are As an editor, I still . Quotes and content from wire storie
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ss release used, but never attributed to the pre . Its a serious issue. used verbatim, but not attributed r was terminated orters one left his position, anothe In Canada in 2004, at least two rep ir work to other sources. for failing to attribute parts of the ive review of a columnists work y in the U.S. reported that an extens credit A major metro dail er news outlets without giving proper he sometimes used quotes from oth found the writer had the writers columns, the paper said After going over more than 600 of hout showing that programs or other publications wit used quotes from newspapers, TV he got the material elsewhere. ies. They press releases and wire service stor quote most common issues! see relate to The s. During a hectic day, that helpful e of the easiest traps for journalist represent som m comes when mean one less phone call The proble e the a press release or wire story can in , into a story. The editors will be non material are just plopped, unsourced quotes or wiser, some reporters will think. orters will be quickly called on it. Wrong. Editors do notice. And rep ing verbatim paragraphs from a els policy on attribution forbids lift ices were The Orlando Sentin shirttail pointing out that wire serv vice story without attribution or a wire ser of used in compiling the report of accuracy and credibility, quotes policy also dictates that in the interest The douts, press releases, other stories) from intermediate sources (other han individuals taken should be soured. Star in Nebraska Its policy states: ch the same at the Lincoln Journal newspapers, The policy is mu ss releases, literary works or other ial from other sources, such as pre Mater en we modify wire service attributed in the body of the story. Wh e significant changes and even must be clearly ine only when we mak material, we should change the byl ice in the story at the end. being then we must credit the wire serv slipping one past editors. Its about a game of trying to foci readers or Its not credible
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ote Give special attention to your lead-in paragr aphs before you quote people. These can use up valuable space when you have a 450-wo rd limit If youre just recycling the quote by using different words to create an intro par agraph, youre wasting space. Example: John Johnson is angry at the coll ection agency over the seizure of his car Monday and said he will challenge the action in court. The agency says Johnson owe s $10,000 in outstanding fines. Im really mad about this, Johnson said. 9Thsey had no business taking my car. Im going to fight this in court. Word count: 54 Space is at a premium. Double check your lead -in paragraphs to quotes. Ask yourself: Am I progressing the story, or just repeating wha ts coming next? Dont over attribute in lead-in paragraphs. If its a fact, let it stan d alone. And then make your quotes do thei r own work. Example: The collection agency seized Joh n Johnsons car Monday over unpaid fines totaling $10,000. Im really mad about this , Johnson said. They had no business taking my car. Im going to fight this in court. Word count: 34
A reporter, starting a phone interview, says: Hi, Im a reporter from the Anywhere Tribune. Theres a story in todays edition of the Big City Star, Im not sure if youve seen it. Im doing a story for the Anywhere Tribune. Unfortunately, this can be a common openin g line for reporters in small markets. Its almost like insecurities force some reporters to justil to the public why he/she is doing a story by mentioning the Big City Star. Hey, if I mention a real newspaper theyll thin k the story is important! a reporter might thin k. Remember, your newspaper is important. In fact, a small-market newspaper is arguably more important to its community than a big city paper. Your readers share a unique closeness with you. They seldom have local radio or TV news to fall back on. Youre it for local news. Next time youre on the phone, forget the Big City Star. Make it clear: Youre from the Anywhere Tribune and youre working on a story thats of interest to your community

The lead-in paragraph and the qu

Dont downsize the importance of your newspaper Over the years, Ive witnessed this scene
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practical journalism tips

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ped because the Getting scooped by your competition is one thing. Getting scoo w up (are you following competition followed up your story that you neglected to follo yourself the key this?) is a gaffe. Remember to read your stories the next day. Ask questions: Whats still to be resolved? Whats the next step? Have I missed anything? Have I reported on how this affects people? w up the story. Its your duty Take ownership: If you broke the story, then be sure to follo to your readers. them the following weeL A Tollow-up file Keep a weekly ifie of your stories. Revisit rarely leave their readers few phone calls can reveal a follow-up story Good reporters wondering, Gee, whatever happened to...
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Dont forget the follow-up

Dont be a thingamajig reporter Dictionary)

Thing: An unspecified object or item (Oxford of things. Like that thing you Want to frustrate your readers? Tell them about things. Lots be its a thing youve been did last weekend. Or that thing that drives you crazy. Or may thinking about doing for months. about the thing. Heres die thing Unless you elaborate, nobody has a clue eres that thing! left ova Have you ever stomped around your house or office yelling Wh uerer What thing? comes the response. The file folder on contact names, you reply. n answers. Oh, that Yes, I saw it over by the photocopier, the other perso Life is so much easier when were clear not vague. g? Cant Remember the TV show The Addams Family? Remember Thin remember Thing? Well, Thing was a hand. The hand in the box. Oh yeah! Now I know what Thing is! The message is simple: Explain your things

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At work or in your personal life, wha t happened the last time you only got one side of a story? Did you make a decision and then regret not getting more informa tion from ano

If so strongly that one-source journalism is acceptable, youre invited to hos workshop, Why One-Source Stories ta Are Good Journalism, at an upcoming journalism career development day at a university . Each reporter received the telepho ne number of the professor hosting the event Not surprisingly, no reporters accepted the challenge. Fact is, we know multi-source reporting is essential. But sometimes one-sou rce stories still get filed. Maybe iVs the end result of our hectic days juggling multiple assignments. When starting your reporting, develop a list detailing the sources you nee d to contact to write a balanced story. Your credibility as a reporter hinges on your efforts to produce balance d copy. Readers cant make informed decisions about a topic if they are not given both sides of a story. Remember, readers are skeptical abo ut what they read, hence the cliche: Doth everything you read. Lets not add to that stereotype by limiting viewpoints believe in our Today, getting second, third and fourth opinions is routine. For major home ren stories. ovations, we get multiple estimates. People get second opinions from doctors. Whethe r we want a new roof, or knee surgery, we want the facts before we make a commitm ent Readers want the same from reporters. Journalists carry much responsibility with their reporting: Unbalanced reporting can mislead Unbalanced reporting can create und ue fear Unbalanced reporting can manipulate Unbalanced reporting can harm you r credibility ther source?

There are two sides to every story. Its a cliche, yes, but its a piece of wis dom that can be forgotten by rep orters. Years ago, I remember some young journalists questioning the need for more than one source in stories. I used every piece of ammunition I had: Its Journa lism 101, there are two sides to every story, different view points engage the readers... Etc. In the end, the most powerful tool pro ved to be a challenge I issued to the reporters: you feel

Balanced reporting = credibifity

You will only be informed if you seek to get informed. Do it for you r readers. Do it for yourself. Do it because a good journa list never believes just one side of a story until he/she checks it out, gets other view points,

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practical journalism tips


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in er to use one of the most effective words Next time you do an interview tzy to rememb the history of conversation. Why? (read on) ns. Theyre great at forcing adults to say Kids are great at asking open-ended questio it usually takes is one word: Why. something that means something. And all Daddy, I want some ice cream! Sony son, you cant have any! Why? Because I said so! Why? first! Because you have to eat your vegetables Why? Because theyre good for you! Why? l t be getting all those good vitamins that wil If you dont eat your vegetables you won r Dad. make you grow up big and strong like you taken command of the above conversation ld has Its strange to admit it, but a five-year-o been done with one word in a follow-up (interview) in pursuit of answers. And it has question: Why. , little child can be a bit painful, but eventually OK. the process between the parent and stance. In your interviews as a reporter, you Johnny gets an answer with some sub ts and that it annoys someone. Pick your momen certainly dont want to use why so often places. atitcanoftenbcoverlookedby thatissobasicalmostchildlike-th Whyisaword produce 1,001 answers. reporters? Its a one-word question that can er rviews with why, why, why, why and nev Nobody is suggesting you pepper your inte n. Its a value in why. Its not a stupid questio ask an intelligent question. But see the ow-up r interviews. Its a brilliant word for foll brilliant word for getting more from you should the y would you say such a thing? Why questions and/or starting questions: Wh ing? interested in this idea? Why is this happen public care? Why should the public be Etc. toolbox of interview skills? Why is why so important in a journalists Because it works. Thats why.

The No. 1 problem the public has with new spelling or grammar mistakes. The Free spapers is it sees too manyfactual errors and Pre these errors. John I. Miller, Detroit Fre ss checklists are designed to fry to eliminate e Press public editor REPORTER CHECKLIST 1. Have you double-checked all names, titles and places mentioned in your story? Have you tested from the screen and CQ d ALL phone numbers or Web addresses? 2. Are the quotes accurate and properly attr ibuted? Have you filly captured what eac h person meant? 3. Is this story fair? Who or what might be mis sing from the story? Have they been called and given a chance to talk? 4. Have you run spell check and checked the math? 5. Have you fact-checked your information given to graphics or photography? Have you seen the completed graphic or pho to?
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ASSIGNING EDITOR CHECKLIST I. Did the reporter double-check all names, titles and places mentioned in this story? Did the reporter properly CQ all phone number s or Web addresses? 2. Are the quotes accurate and properly attr ibuted? Have we fully captured what each person meant? 3.Is the story thir? Who or what might be mis sing from the story? Is the lede or nut grap h sufficiently supported? 4. Are there visual elements possible? Have they been assigned? Have you seen and approved the completed work? 5. Are the background and context complet e enough to tell readers why the story is relevant? 6. Did the reporter sign off on changes made in the story? COPY EDITOR CHECKLIST 1. Is the headline accurate & balanced? Do all aspects of the story and headline seem factually accurate? Is the story fair? Who or what might be missing? 2. Is the background and context complete eno ugh to give readers a sense of why the story is relevant? 3. Is the lead sufficiently supported? Is the story fair? 4. Have all phone numbers and Web address es been CQd? Have you checked the math? Have you checked the spelling? 5. Have you checked photo captions and gra phics information against the story? 6. Have you proofed the display type? PHOTO EDITOR CAPTION CHECKLIST I. Are you familiar with the story, reading it in AlEX when available? Do the photos chosen accurately represent the event or per son? 2, Is the caption complete and error-free? Are the quotes accurate and properly attributed? Do they filly capture what the per son meant? 3. Is photo cropped for maximum impact? 4. Have the photo proofs been delivered to des igners in enough time to allow thoughtful design and careful copy editing of captions

Thou shalt not concoct thy quote Suprem


Masson v. New Yorker Magazine reversed an earlier ruling that the quotes attributed to Jeffrey Masson by Janet Malcolm were allowable. By Steve Weinberg In this libel case, a public figure claims he was defamed by an author who, with full knowledge of the inaccuracy, used quotation marks to attribute to him comments he had not made. Masson v. New Yorker If Janet Malcolm had let Jeffrey Masson read her profile of him for The New Yorker ahead of publication, a law suit recently sustained by the U.S. Supreme Court probably never would have progressed to its current dangerous stage. Most journalists oppose pre-publication review (PPR, for short) on ethical and legal grounds. They wont show an entire story or even part of it to a source in manuscript form. They wont participate in telephone readbacks. They wont check direct quotations for accuracy and context. But that journalistic taboo is misguided. I have practiced PPR as a newspaper staff writer, a magazine freelancer and a book author, Never have I regretted my practice. What I do regret is failing to do it during the first decade of my career because of mindless adherence to tradition. I started using PPR occasionally while working as a project reporter on the Des Moines Register in the mid-70s. It was the lint time I had the luxury of writing nondeadline stories and therefore the opportunity to check for accuracy. Many sources had feared talking to me, knowing when I called, it usually meant theyd be part of an investigative piece. But promising them the chance to check my manuscript gave them the self-assurance to talk after all. It was nearly 10 years ago that I started making PPR my normal practice. The story

e Court decides on the rules of the quotati on game


that played a major role in my decision was the same one that led me to forever abandon relying on anonymous sources. Ironically, it was not an investigative piece but a fairly light feature for a leading journalism magazine. The topic: computer-assisted reporting, something very new in 1982. My peg was a Washington correspondent for a major. metropolitan daily whod devised marvelous techniques for building computer databases that yielded interesting pieces. Some of the reporters colleagues, however, disliked this newfangled journalism. I quoted one of the detractors, anonymously. My point: to show that anybody considering such a high-tech method might run into newsroom doubters. That anonymous quote started a witch hunt within the newsroom to identify my source. The Washington bureau chief begged me, then angrily ordered me, to reveal the name to him. I refUsed. The anonymous source was upset, too, because of the witchhunt and because he/she felt Id failed to use strong enough criticism. Dining the midst of this brouhaha, I attended my first journalism ethics conference and realized the stupidity of anonymous sourcing and of risking inaccuracy unnecessarily. Journalists have lots of ethical obligations; at or near the top of the list is accuracy. And accuracy encompasses a great deal, including getting facts straight, quotations verbatim, paraphrases in proper form when eschewing exact quotes, and providing context. PPR allows reporters and editors to accomplish those goals without surrendering control over the ultimate story. Maybe Janet Malcolm will become a convert. Her main outlet has always been The New Yorker, which was previously renowned for its fact-checking. But her profile of psychoanalyst Masson was checked only part way. If hed been permitted to review his quotes, he and

Malcolm might have worked out their differences. Instead, theyre enmeshed in a multi-million dollar, multi-year, unnecessary libel action that could seriously erode journalists First Amendment protections. s reading this By now, numerous journalist raised this topic in are likely apoplectic. ive enough newsrooms while conducting investigative reporting workshops to know Ill get hate letters and enraged phone calls. But the prospect of the Malcoim-Masson dispute going to trial is reason enough to subject myself to the ire once more. And every time L raise the subject. I hear from journalists who prnctice PPR but fear coming out of the closet. PPR has many benefits, First, it often gets rue access to suites otherwise reluctant to talk because theyve been misquoted or because they have a vested interest in keeping quiet, or both. My written promise of pre-publication review puts someof their fears at rest Of course, I spell out that the review is for purposes of accurAcy only and to that I retain total control over whether make alterations. s Second, PPR has occasionally caught error which is the point. of fact or interpretation, Third, PPR has jogged the memory of sources, who often offer me even better quotes, even more compelling evidence, than during the original interview. The objections I hear from journalists fall into four broad categories: r Sources might deny direct quotes or othe story before information, thus censoring the it appears. My reply: If the denials ring true, its time to reevaluate the evidence. 1f on the other hand, my shorthand notes, tape recording and/or documents confirm my version, 1 change nothing. s Sources might place pressure on higher-up story in the news organization to kill the before publication. This is a melodramatic objection that almost never happens and has Id certainly never happened to me. If it did, r or present my evidence to my edito whomever and if he or she failed to back also me,,ld never work for them again. Vd make sure my colleagues knew of their cowardice.

Sources might threaten to sue upon reading the manuscript. So what, I reply. Courts almost always reject pre-publication censorship. Besides, if a source is angry ce enough to make that threat, the same sour le beforehand might who hasnt seen the artic sue after publication. Should that occur, many judges and juries would be impressed that the reporter offered an opportunity to check accuracy. Ike-publication review is unprofessional. think Reply: No matter how much we like to ct, this is wishful journalists get stories corre thinking. Every journalist I know whos been quoted but not afforded PPR has later complained about being misquoted or taken out of context Using PPR might spare media the necessity of running corrections and clarifications almost daily. It is shocking that some e magazines, The New Yorker included, som rity of newspapers and perhaps the majo broadcast stations afford no opportunities for setting the record straight short of litigation. Any journalist condemning pre-publication because it just isnt review reflexively ought to try it at least once. In the done unlikely event it backfires, then there is cause for debate.

Now a freelance writer in Missouri, Steve Weinberg was a staffwriterfor several newspapers and magazines and executive director ofInvestigative Reporters & Editors. Source: fineLine: The Newsletter On Journalism Ethics, voL 3, no. 7 6July/Augusr 199!), pp. 3-4. This case was producedfor FIneL Inc. a publication ofBilly Goat Strut Publishing, 600 East Main Sweet, Louisville, Kentucky 40202. Reprinted with the permission of B,iy Goat Strut Publishing. This case may be reproducedfor classroom and research purposes. Publication ofthis case in electronic or printed form requires written permission from the publisher and Indiana University. An exception is ranted for use in readers designed for spect/ic academic courses.

Culling the Anonymous Sources


THE PUBLIC EDITOR By CLARK HOYT The New York Tinier June 8, 2908 A study that I requested by students at the Columbia University Graduate School of Journalism suggests that The Times has made progress in its effort to set higher standards for using anonymous sources, the lifeblood and the bane ofjournalism. Anonymous sources have provided some of the most important information in The Times, like the disclosure of the Rush administrations extralegal bugging of international communications. Rut they have embarrassed the newspaper too, as with unsubstantiated suggestions that John McCain had an extramarital affair with a lobbyist. Vital as they can be, their use is sometimes silly: a CBS producer talking about Katie Couric could not be quoted by name because management did not want anyone criticizing her. The producer said people who work with her like her. Readers hate anonymous sources because they cannot judge the sources credibility for themselves. How does a reader or a viewer know if the high-ranking official simply has an ax to grind and may even be the janitor or imaginary? wrote James R. Poling of Laguna Niguel, Calif., who said he discounts stories with unnamed sources because he does not trust news organizations and thinks they are biased. Because the painful Jayson Blair scandal involved articles containing unnamed sources who apparently did not exist, The Times tightened its standards in 2004, Bill Keller, the executive editor, and Allan Siegal, then the standards editor, wrote a policy declaring. We resist granting sources anonymity except as a last resort to obtain information that we believe to be newsworthy and reliable.
...

The policy requires that at least one editor know the identity of every source. Anonymous sources cannot be used when on-the-record sources are readily available. They must have direct knowledge of the information they are imparting; they cannot use the cloak of anonymity for personal or partisan attack; they cannot be used for trivial comment or to make an unremarkable comment seem more important than it is. Although the purpose of the policy was not explicitly to reduce the number of anonymous sources, Keller said last week. It you tell the editing system to be more challenging of anonymous sources, it ought to reduce the number. Not long after I arrived as public editor last spring, I asked a class at Columbia to study The Timess use of anonymous sources to see how well the newspaper was living up to the 2004 policy. A group of 17 students under the direction of Professor Richard C. Wald, a former president of NBC News, read every word of every article in six issues of the newspaper published before the policy and six from last fall. Here is what they found: The number of articles relying on anonymous sources fell by roughly half after the policy was introduced. Most anonymous sources nearly 80 percent were still not adequately described to readers. flow did they know their information? Why did they need anonymity? But that was still better than before the policy, when nearly 90 percent were inadequately described. The use of anonymous sources to air opinion not fact, increased after 2004, even though the policy would seem to discourage that. Anonymous sources were much less likely to appear on Page I under the new policy, perhaps because tbnt-page articles got more scrutiny from editors. The use of anonymous sources declined in virtually every part of the newspaper, except

the Business section, where they inexplicably shot up. Stories from Washington, where anonymity is bred into the political and government culture, accounted for roughly a third of all anonymous sources in the newspaper before the policy and declined to roughly a quarter of them afterward. The findings suggest that The Times is policing the unnecessary use of anonymous sources better than the students or I expected but that it still has a long way to go to help readers understand the reliability of an unnamed source and why that source cannot be identified. Ive worked in newsrooms, said one of the students, Jim Edwards, who hopes to be an investigative business journalist. I was expecting that there would not be a very dramatic effect, and it surprised me there was. The study highlighted something else. It is easy to say, in the abstract, that anonymous sources are bad. But when the students started discussing them, the judgments were very difficult. Cassandra Lizaire said the students had a lot of debates over whether a particular anonymous source was necessary and even what constituted an anonymous source. The students decided, for example, to count quotations from the Defense Ministry of Sri Lanka or a Ford spokeswoman as anonymous sources, because an individual was not named. Keller did not agree with that, and I agree with him that these clearly are official statements that an institution is standing behind. The study highlighted something that bothers readers and that Times editors were already trying to fix: the common but uninformative explanation that a source could not be named because he was not authorized to discuss the matter. Sanjay Arwade, a reader from Amherst, Mass., wrote recently to ask if such explanations really mean anything more than that the source did not want to be quoted by name. They seem like empty justifications to me.

In an in-house critique to the staff in April, Phil Corbett, the deputy news editor in charge of the style manual, said that relying on such standard formulas works directly against our goals in accounting for anonymous sourcing. lie said that if the source is afraid of getting in trouble with the boss, that is what the explanation should say. But the more important thing to tell readers, Corbett said, is how reliable the source is, The Columbia students found that The Times failed to do that quite often. Wald, Edwards and Lizaire presented the findings a week ago Friday to Keller, Jill Abramson, the managing editor for news, and Craig Whitney, the standards editor. The full study will soon be posted on the Web site of the Columbia Journalism Review. Abramson will answer readers questions about anonymous sources on the Web site of The Times this week. Keller sent a memo Wednesday telling the newsroom that the Columbia study presented an excellent opportunity to remind ourselves that unnamed sources are not to be used lightly. But he said it was high-minded foolishness to suggest that The Times or any newspaper forswear them altogether. The ability to 011W protection to a source is an essential of our craft, he said. We cannot bring readers the information they want and need to know without sometimes protecting sources who risk reprisals, firing, legal action or, in some parts of the world, their lives when they confide in us. That is why it is so critically important that anonymous sources not be used lazily or out of habit, and why, when they really are necessary, readers need to be told as much as possible about why the sources cant be identified and how they know what they know.

What are the ethics of online journalism?


The ethics of online journalism are, ultimately, no different than the ethics ofjournalism. The Society of Professional Journalists has articulated a comprehensive policy of journalism ethics that can help guide any conscientious online writer. That said, here are some basic qualities that any good online writer ought content ought to demonstrate: No plagiarism By now, youve likely discovered that writing is hard work. You certainly dont want someone else swiping your effort and presenting it as his or her own. So dont steal others work. Such theft is plagiarism. It includes not just cuffing and pasting whole articles, but copying photos, graphics, video and even large text excerpts from others and putting them on your Web page as well. If you want to reference something on another Web site, link it instead. If you are concerned that the page youre linking to will disappear, give your readers the name of the publication that published the page, its date of publication and a short summary of its content. Just like news reporters used to reference other content before the Web. (In a Sept. 20 report, the Wall Street Journal reported When in doubt, do both. Theres no such thing as too much supporting information. Disclose, disclose, disclose Tell your readers how you got your information, and what factors influenced your decision to publish it. if you have a personal or professional connection to people or groups youre writing about, describe it. Your readers deserve to know what has influenced the way you reported or wrote a story. Dont hide whom you work for, or where the money to support your site comes from. If your site runs advertising, label the ads as such. Let readers know if you are making money off links elsewhere on your site, as well. No gifts or money for coverage One common way journalists avoid conflicts of interest is by refusing gifts or money from sources they cover. Writers who accept gifts, payments or honoraria from the people or groups they cover open themselves up to charges that their work is a paid advertisement for those sources. Or, at the very least that those writers are too close to these sources to cover them honestly. You can avoid controversy by politely declining such offers, Most major news organizations do allow their writers to accept free admission to events for the purpose of writing a feature or review. But most of those organizations bar their writers from junkets, where groups provide free travel and hotel rooms in addition to attendance at their event.

Ethics:Journalism Underpants

Bob Williams, ft rmer Repontrftr she Rak News & Observer, July 3. 2007 I consider my ethics to be my journalistic underpants. I put them on every day and I &el very uncomlhrtable without them. They need to fit at well and move as I do. If they are too tight they will bind and chalk. If they are too loose they will droop down, either tripping me up or exposing my ass. Like most men, I hate to throw away my underpants even when they become old and a bit frayed around the edges. It takes a long time to break them in properly. And my ethics, like my underpants. arc very personal. I can wear the same style, color or size as someone else, but it is a bad idea to actually wear their underpants. I need to examine my underwear every day and make sure it is clean and relatively free ofholes. I know I could probably show up (hr work without my underpants (hr years and most people would never notice. But then again, you never know when you might be in an accident. All of this is not to say that ethics are simple. Good journalistic ethics are complex and require constant care. They are definitely not something you should let your mother pick out (hr you. Ethics fhrm the thundation on which is built the basic social contract that has to exist between the credible journalist and the public he or she serves. The stronger that (hundation, the stronger the ties between writer and reader. But that strong Ihundation is rarely obvious to the reader, or (hr that matter the writer. Ethics almost always remain in the background. usually only becoming evident when there is a problem. So what are the values that comprise and hold together our journalistic underpants For me there are many. Some are vital, while others appear to be little more than decoration. But they arc all necessary (hr at to kd confident and competent in my role as a daily newspaperman.
-

FAIRNESS. I believe this is the most important value I have as both a journalist and a person. I am constantly questioning whether I am being Sir to the people I am writing about. Have I portrayed their thoughts and words &irly, or have I adulterated them in some way? Would I be comknable reading my story to the people involved? I think one of the biggest compliments a journalist can receive is to be called tough but Sir by someone he has written about in an uncomplimentary way. BALANCE. Many journalists think balance and fairness are the same, but I am not one. I believe it is possible to write a per&ctly balanced story that is totally un&ir. To me, balance is what you have to SI! back on when you are not able to be totally Sir. It usually involves calling the so-called other side to get their expected response. Technically, that provides balance, but it rarely enlightens the reader or advances the public debate. ACCURACY. To tnt, accuracy is much more than simply making sure I quote someone correctly or spell his or her name right. It also means I put their words and opinions in the proper context. It titans I dont embellish. It titans that I report on people and events as truthfully as possible. I dont tidy up what happened to fit neatly into whatever angle me or my editor might want the story to take, It means my writing is not tainted by whatever personal &elings I might have about the selected subject or people.

Obj ectivity Guidelines


Stick to the facts. Be neutral. In a news story thats supposed to be objective, keep your own
opinions out of it.

Be fair. Present all sides as best you can, giving people a chance to respond to charges or criticism. Be impersonal in a hard-news story. Dont try to sound creative or original or write in your own unique voice.

editorialize intr.v. editoriaFized, ed+toriaFiring, e&i1oriaFizes l. 1. To express an opinion in or as if in an editoria ve 2. To present an opinion in the guise of an objecti report. editorialization n. edFtoriaFizer n.

ish Language. Fourth Edition copyright The American Heritage Dictionary of the Engl ated in 2009. Published by 1-loughton Muffin 2000 by Houghton Mifflin Company. Upd Company. All rights reserved.

Main Entry: editoriaFize r--a-, liz\ Pronunciation: \ ,e-da- Function: intransitive verb Ilring Inflected Form(s): editoi[aFized; editoria Date: 1856 orial I to express an opinion in the form of an edit facts 2 : to introduce opinion into the reporting of issue) 3 : to express an opinion (as on a controversial n editorialization \-,to r-e-a-Ia-za-shan\ nou editoriaFizer noun ng

ry/editori from http://www.nierriam-webster.comldictiona

alizi

editoriaFize (-Ti) ized, editorializing transitive verb, intransitive verb editorialized izing ng) to express editorial opinions about (somethi s article, etc.) to put editorial opinions into (a factual new Related Forms: editorialization editorialization noun editorializer editorializer noun g, Inc.,
-.

yright 02005 by Wiley Publishin Websters New World College Dictionary Cop Wiley & Sons, Inc. Cleveland, Ohio. Used by arrangement with John

What Is News?
Charles A. Dana. who ran the New York Sun from 1869 to 1897, said: News is anything that interests a larg e part of the community and has nev er been brought to its attention before. John B. Bogart, one of Danas editors said: When a dog bites a man, that is not news, because it happens so often. But if a man bites a dog, its news. Stanly Walker, city editor of the New York Herald Tribune said: News is based on the three WsW omen, Wampum and Wrongdoing.

So just what is news? Base your ans wer on these two general guidel ines: 1. News is information about a break from the normal flow of events, an interrup
in the unexpected. 2. News is information people need to make sound decisions about thei r lives.

tion

Here are the Traditional Qualities of News Stories (Otherwise Known As News Values) 1. Timeliness (immediacy)Why are you telling me this now? 2. Proximitynearby or local aspect of a national or international event 3. Unusual natureman bites dog; man walks a lizard 4. Celebritiesprominence of per son 5. human interestspecial problems, special issues 6. Conflictpeople against governmen t; people against people 7. Impactmore people involved, the better 8. Helpfulness how-to, consumer health and well being 9. Entertainmentamusing, make you feel good 10. Issues or problems in the community also usually include proximity and conflict 11. Trends-patterns or shifts in issues There are two basic categories of new s: Hard newsfocuses on timely, conflic ts, something just happened; tends to be crime, fire, meetings. speeches, court testimony; what happened, why it happened, how readers are affected Soft newsentertains or informs, emp hasizes human interest and novelty; profiles, featurespeople, places or issu es and things

MCu 1303 Nora Rich. 5 Edgion

News Story Rubric


4 Competent Writer Includes a problem. Contains at least three news elements, 3 Developing Writer 1 Unsuccessful Writer Addresses no prObICIZ contains no news elements.

CATEGORY

5 lary Writer Exemp

News Value

May or my not address a problem, Contains at least two news elements,

2 Underachieving Writer Does not address a problem. Contains at least one news elements.

Details

Provides enough detail to convey meaning but reader may feel detached from the event. 5 senses used inadequately /inappropnately.

May or may not use sensory details. A tan-bones story. Tends toward vagueness,

Vague to the point thai reader might not understand the colt issues under discussion.

Writing is general and lacks any level of detail.

Lack.s recognisable news story structure. Lacks appropriate lead or nut graph. Paragraphs consistently longer than 35 words.

Story Structure

May lack lead or nut graph. Paragraphs frequently longer than 35 worth..

lila I

Opinion

Explicitly states a problem being ad&e&,cd. Contains at least Ibur news elements. Provides ample detail to allow reader to experience an event as though s/he were there, Uses 5 senses as appropriate. Begins with engaging lead of <25 words. Contains nut graph and quote at or near top of stoiy. All graphs <35 worth, with varied graph lengths. Contains none of the write?s opinion. All information is directly aurihuted to a source. Begins with engaging lead. Contains nut graph and quote at or near top of story. Seine graphs may be more than 35 words. Graphs may not be varied an length, leading to a somewhat monotonous read. Contains none of the writers opinion. Most information is attributed to a source.
Writers opinion evident. Attribution tacking in many instances.

Largely opinion; could be considend an editorial. Contains little or no attribution.

Copy-editing

oiuatns no errors of AP style, gjamniar or

Contains a few etrors of AP style, grammar or mechanics

So many errors as to consistently interfere with reader Ci iniprehensitni


-

May imply writers opinion. Reader may not know where wnter obtained some information. Contains several eitoa of AP style, gnsnmar 01 mechanics.

Errors exist throughout the story. interfering with reader comprehension.

OwLs Ey.sgu, (Jniwera sty of Vernwns

Curiosity and Reporting


A good reporter possesses a trait you had in kindergartencuriosity. You need to ask questions that the rea der will want answered in the sto ry.

Whofull names, correct spellin g, preferred reference Whatsequence of events Whennote day and time Wherelocation; describe the sce ne Whywhat caused the event; wh at was the conflict Howmore information on how it occurred So whatImpact; what makes thi s newsworthyif you dont answe r this question, people will get bored What does the reader need to kno w to understand and care about your story. YOU must understand the event you rself to be able to explain it to oth ers via story. DeveIopin2 your curiosity: Role-playingput yourself in the role of the reader Using timelineswhat is happen ing now; in the past (old papers); in the future (campus calendar) Being a detectivewhat questio ns would you ask to solve the cr ime Curiosity will help you as you wo rk your beat and develop story ide as.

Investigative Reporting Tips


educator who won the 1958 lawyer. reporter. columnist, and offimds by Clark Mollenhoffwas a overing racketeering and mis use ter but zefor national reporting for unc Pulitzer Pri mostly at the Des Moines Regis During his long career, spent llenhoffwon 25 some labor unions. to President Richard Nixon Mo r the able stop as a special LOUnSel with a not ks He died in 1991 Each yea awards and wrote a dozen boo wards for major journalism presents the Clark MollenhoffA estigative te on Political Journalism (IPJ) Institu his Seven Basic Rules For Inv Investigative Reporting. Here are Excellence in Reporting: ness if you off 50 percent of your effective ns itical partisanship. You will cut I. Avoid pol cial leaning toward mvestigatlo political party or even have a spe investigate only one of one party. determined effort to be equally wers make a conscientious and trust You 2. in seeking facts and ans ed are people you admire or dis ether the public officials involv aggressive wh ause you will be him tough, direct questions bec l do your friend a favor by asking wil held accountable. demonstrating that he will be nt nty, state or federal governme er it is a problem of city, cou area or 3. Know your subject, wheth If you are in a highly technical olves big labor or big business. ntional mistakes or whether it inv situation, you may make uninte ling with a complicated fact are dea erstand what you heard. simply because you did not und l discredit law, Efforts to sensationalize wil ggerate or distort the facts of the 4. Dont exa run. your investigation in the long e Don s and investigation subjects alik oss the board with your source e or identity or 5 Deal straight acr guardS Dont use a false nam of your ks or pretense to get people off use tric deal straight with your subjects n at law enforcement officer, If you impersonate a t sources of inside informatio likely that they will be your bes in estigation, it is quite some time in the future. y time you g to take the consequences. An y your violate the law unless you willin 6. Do not a vulnerability that can destro ain information you develop violate the law to obt you are pursuing. credibility as well as the story e adversely upon anyone and giv en writing a stoty that reflects testimony is 7. Use direct evidence wh to the questions raised. Direct opportunity for a Oil! response that person an erest, and the chances for error the witness has no personal int the event often unreliable, even when oved one, two or three steps from trically as your source is rem increase geome

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THE STUDENT PRESS LAW CENTER GUIDE TO FAIR USE

2009 Student Press Law Center, Inc.

1.

WHAT DOES COPYRIGHT PROTEC T?

CopyrIght protects works in any medium literary works, sound recordings, artworks, musical compositions, computer programs, architectural designs provided
that they are:
> ORIGINAL: The author must have shown at least a small spark of creativity not just

> FIXED IN A TANGIBLE MEDIUM Onl : y works preserved in a tangible form (a book, a website, a DVD) not just

arranging the names in a phone book alphabetically). existing in the artists mind.

(i.e.,

Copyright does not protect:


Slogans, titles, names, words, short phr ases, instructions, lists of ingredients, or familiar symbols or designs (Just do it, The days of our lives, Fair and balanced). But slogans may be trad emarked to foreclose commercial use in a competing or confusing manner. > Facts, statistics or ideas only the manner of presentation is protected.
r

Copyright protects the rights to: (1) reprod uce, (2) adapt. (3) distribute, (4) publicly perform, and (5) pub
licly display the work. 2. WHO OWNS THE COPYRIGHT?
> GENERAL RULE: The copyright belongs to the creator of the work. EXCEPTION: Works for hire the cop yright belongs to the employer.

a work is for hire will depend on:


o o o

Whether

o
o o o

LOCATION OF JOB PERFORMANCE SPECIALIZED SKILL DURATION I PERMANENCE OF EMPLOY MENT SOURCE OF SUPPLIES AND EQUIPMENT
CREATORS DEGREE OF CONTROL OVER WORK HOURS EMPLOYERS DEGREE OF CONTRO L OVER ASSIGNMENTS

TAX rREATMENT OF THE PAY

3.
.

How

oo YOU

KNOW THAT MATERIAL IS PROTECTED ?

For works Created March 1, 1989, no format notice/filing required the work is copyrighted from the moment it is reduced to tangible form. IN

with minimal exceptions, all For works created before January 1, 1978 (and must give notice: the those created before March 1, 1989), the creator e of the copyright copyright character the creation date and the nam owner. re January 1, 1923, is in o For published works, anything published befo the public domain. ary 1, 1978, copyright lasts o For unpublished works created before Janu for the life of the creator plus 70 years. and January 1, 1978, the o For published works between January 1, 1923 rule is the same life of the author + 70. right extends either 95 years o For works after January 1, 1978, the copy r comes first. from publication or 120 years from creation, whicheve rcing the copyright but > Registration with the Copyright Office is helpful in enfo Copyright Office has no not mandatory a work can be copyrighted even if the record of it.

4.

RIAL? WHEN CAN JOURNALISTS USE COPYRIGHTED MATE consent but make > By CONSENT: Copyright-holder can (and often will) give to consent (e.g., a sure you are dealing with the person who has the right er; the person who took the person pictured in a photo is not the copyright-hold photo is). simply to credit the o BUT It is never enough without consent source (courtesy of Herald.com) out consent of the > IN A PARODY: A copyrighted work can be parodied with copyright-holder provided that the parody:

...

Is obvious mind l Uses no more than necessary to conjure the origina to l Does not devalue/destroy the market for the origina they are in the public PUBLIC DOMAIN: Works are fair game for use when statute (e.g., federal domain, either by age, by consent of the creator, or by cies, such as GAO = court opinions and documents published by federal agen o feeds of Congress not copyrighted) [note that this also includes C-SPAN vide in sessionj. right to enforce the o BAil a copyright owner does not waive the ssible copyright merely by placIng an Item on a publicly acce waive website (YouTube, MySpace, Facebook) any more than you ownership of your car by parking it in a public lot recognized categories of fair LjtJs: Newsgathering and commentary are otherwise be use, allowing 1IrnII reproduction of material that would copyright-protected.
o o o

5.

WHAT IS FAIR USE?

Journalists and educators may use lim ited portions of copyrighted materia l without infringement depending on:
>

Non-commercial uses (news reporti ng, criticism, commentary) are more likely to be fair. tive works (novels, films).

PURPOSE AND CHARACTER:

> NATURE OF THE WORIC Highly factual works (maps, lists) get less protection than highly crea

> QUANTITY OF THE WORK USE D: No more of the work than is necessary may be used but there is no formula for the acceptable quantity, percentage or duration. The key is, was the core or heart of the work re-used? > EFFECT ON THE VALUE OF THE WORK: The most important fact or is the new use a substitute that harms the market for the original?

FOR REPRODUCING ALL OR PART OF A WEB PAGE the newsworthin ess must apply to the website, not its underly ing content: > Screen capture from www.c bs.com to illustrate story about CB S use of internet to attract viewers YES > David Letterman photo from fan site l_heart_dave.com to accompan y your profile of Letterman NO

TO ANOTHER URL => OK DEEP LINKING TO DOCUMENT WIT HIN WEBSITE =>

LINKING

PROBABL YOlK

[RULINGS VARY]

PENALTIES FOR INFRINGING A COPY RIGHT A prevailing copyright owner gets to cho ose the greater of actual or statuto ry damages:
r

6.

Actual damages: The actual amount of money lost by the copyright owner due to the unauthorized use plus any profits made by the infringer. Statutory damages: From $200 to $100,00 0 per infringement depending, in part, on whether in the judges view the infringement was innocent or wil lful. A court order to stop violating a cop yright. Court may also order confiscation of the copyrighted material and the machinery or too ls used to create it.
WHATS THE DIFFERENCE BETWEE N COPYRIGHT AND..,

7.

TRADEMARK!NFFUNGEMENT: Tra demark protects unique symbols, nam es or other marks that businesses use , and consumers rely on, to disting uish one product or service from another (the Nike Swoosh, the Golden Arches , Mickey Mouses ears). A violation arises when a mark is used commer cially in a way that would confuse a potential consumer or devalue the mark

vent the use of slogans or images in (dilution). Trademark law does n pre news coverage or commentary. novel process or machine against > PATENT INFRINGEMENt Patent protects a on to make, sell or import the same inventi infringement by anyone attempting information about a new invention or You do jg violate a patent by publishing how something works. Literary explaining even in very specific detail works are not patented l term It is a term for the academic or > Pi,piisM Plagiarism is not a lega creator of words, ideas or methods that professional offense of posing as the iarize Shakespeare but not to violate are not ones own (It is possible to plag public domain.) Plagiarism is his copyright, since his works are all in not in a court of law punishable by professional sanction,
-

RESEARCH HELPFUL RESOURCES FOR FURTHER


yright Basics, available at > U.S. Copyright Office, Circular 1: Cop

http:/lwww.copyright.gov/circs/circl .pdf in Copyright, available at > University of Texas System, Crash Course lpropertylcprtindx.htm http:l/www.utsystem.edulogcfintellectua ation Calculator, available at > Student Press Law Center Copyrsht Dur righL7l 112. asp http:/twww.splc.orglvirtual_tawyer/copy de to Copyright Law, available at t Student Press Law Center Gui 32#25 http:/Mww.splc.org/legalresearch.asp?id=
For more information: Student Press Law center
1101 WIlson Blvd., Suite 1100 Arlington, vA 22209 703407-1 904 sptc@splc.org

www Spit org

Getting The Most From Your Inte rviews


By Slew Buuy, Director of Tailored Programs American hess Institute I. Preparation Select the right person to interview. Early in your research on a story, you might need to talk to someone who can give you general background. Later, you might seek som eone with a particular experience or viewpoint to till your last hole or two. Use all the resources you can to find and connect with the right character s: Directories, colleagues, your own libra ry, other sources, the Internet, Profnet. In parti cularly sensitive stories, a mutually trusted third party might help you connect with someone . Research before you interview. Learn as much as you can about the character and the topic before your interview, Re honest abou t what you dont know. Youre talking to this perso n because you dont know everything. If you fake knowledge, you probably wont fool your character, and you will deprive yourself ofa chance to learn from him. Plan your questions. An actual scripted list of questions is stilted. But you might benefit from rehearsing some questions in your head or even aloud in the car on your way to the inter view, Consider in advance what follow-up ques tions you might ask, depending on how the char acter answers a question. Its a good idea to have a checklist of topics you want to ask about. Dont be a slave to the list during the interview , but glance at it toward the end, to see if youve overlooked something important. Use the elements of story as a checklist in plan ning your questions: What questions will help me understand the conflict? The character s motivation? Write what you can before the inter view. If you write as you report, you will generate impo rtant. specific questions for later interviews. Your stronger sense of where your story is going will give a strong focus to subsequent interview s.

thats convenient for the subject. A lunc h or dinner interview works sometimes, but also has disadvantages: interruptions for food and service, subject talks so much she has little time to eat, its more difficult to take notes. When you can, a moving interview is effective: Start out in the workplace, go out to eat, ride home in the characters vehicle, ask her to show you the house and the yard.
Honesty. Tell the subject up fron when t you arrange the interview and again when the interview starts, what you are working on. This doesnt mean you ask the tough questions first. But you tell the subject honestly what the story is about and what you will be asking about, so the tough questions dont feel like an amb ush.

Complaints. The person may have som e gripes about how you personally, your paper or the media in general have covered somethin g in the past. Listen to the complaints. Dont feel an obligation to respond specifically. If you do, dont respond defensively or argumentativ ely. Dont apologize if youre not sorry or if you were not responsible. The best way to handle most complaints is simply to listen and acknowledge, with brief explanations offer ed sparingly where appropriate.
Personal connection. Seek ways to establish a personal connection with the character . Do you have a child the same age as one in the picture on the desk? Ask about his children and commiserate briefly about car seats or car pools or car insurance, whatever stage the child ren are. Is the diploma on the wall from your scho ol? Chat briefly about professors you might have shared or how bad the football team is now or whatever interests you might share. Don t fake a connection or stretch for one, but be alert for genuine ways to make a connection. If you have little in common with the person, connect by showing genuine interest in the character beyond the narrow focus of your story.

2. Rapport- Help the subject relax by addressing various elements of comfort: Setting. If possible, do the interview in the subjects environment: home, workplace, school. church, place of leisure or recreation. Allo w plenty of time and choose a time, ifyou can,

Control. Unless your character is used to being interviewed, she probably feels uncomfor table facing you and your notebook. Early in the interview and again toward the end, give her some control. Sure, youre asking the ques tions, but answer her questions if she asks any. Listen

Caitlin ODell The Compa.cs Gainesville State College

Asking the questions that count when they count

Overcoming Introverted-ness

One thing Ive noticed about print journalists is our shyness. That shyness is probably the reason we chose print journalism rather than broadcast or radio. But often, we do have to interact with the public and ask questions. Sometimes were asked questions by the general public. Were the news people; were supposed to know everything, right? My first real assignment during my internship last year with a professional newspaper was to call people and find out about boating trends for the summer. Firstly, I dont enjoy talking on the phone. Secondly, I have a bias against boaters because I participate in nonmotorized water sports on the lake, and the boaters have a reputation for messing us up. Thirdly, Im very shy with new people and I had no idea what to do. With shaking fingers, I dialed the first number. I ended up not being able to reach many people, and the story didnt run, but I felt a little bit better and more assertive from that experience. As Ive done more stories with interviews, I have learned that my shyness does matter, but its not that big of a deal. I put on my journalists cap and go for it. One thing thats really helped me to overcome my introverted-ness is to focus the attention on the other person. Ask another question, probe a bit deeper into them, riot me. Stories are also a lot easier when youre hiding behind a big camera.

The major event itt my journalism life that completely broke shyness for me was a sporting event. I was covering a hockey game for our campus newspaper. Hockey is a violent sport. There are no quiet self-contained people who truly enjoy hockey. The fans bang on the Plexiglas separating us from the players. They yell and scream and its very loud. I had to interview people about the game. When I talked to them, I listened and took notes, Then, as if I was getting to know a character in a book, 1 asked another question, probing deeper. asking for clarification. I even interviewed two of the players, and they were realty cool about it. It seems that people love to be interviewed and talk about themselves and how they feel and think about things. Thats just fine with me because I do not, and Im sure most print journalists can relate, open up quickly to strangers. Since then, Ive become more confident in class and during debates (with the debate team on our campus). The confidence from speaking out in class or about what I believe in has made me a better journalist. Now, since Im the editor of the newspaper at a relatively small school, people talk to me a lot. [hcy ask about ads, the paper, deadlines and letters to the editor, among other things. It can be overwhelming and from time to time I do want to run in the office and lock the door. But Im not a shy journalist any more. I smile, nod, act confident and ask a lot of questions about them.

Reporters Check List By Donald M. Murray (Reminders of the questions you should have asked.)

WHO, WHAT, WHEN, WHERE, WH Y & HOW A

WHO
Full name correctly spelled Age Address Job and title Name and address where employed Sex Height Weight Hair color Distinguished physical features How dress How speak How move How behave flat believe Who friends Who enemies flat special skills Who is responsible Who isn t here Who is affected

WHAT
What happened in specific, accurate detail What came before What came after What was seen What was heard What was felt What was the smell What was the taste What was said What was the central act What was the central reaction What is the context

WHERE
Country State County City, town or village Street Building Room Size Shape Light (or dark) Color Sound Smell Taste Feel Atmosphere (in specific terms) Typicalness Uniqueness Temperature Special Characteristics History of place Future of place Reason for place

WHEN
Hour and minute and, perhaps, second Day Month Year How long since last time How long til next time Flow frequently How infrequently flow long (lid it take Flow short did it take How long does it usually take How early How late Time of day as told by weather: sky, sunrise, sunset, etc. Sounds: commuter traffic in morning and night etc.
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WHY

What is the conflict Who will gain Who will lose What will be gained What will be lost What forces pushed it forward What forces held it back What limits existed What limits changed Why did it happen now What will be different because it happened What attitudes are involved What traditions are involved What beliefs are involved What problem is central What conditions existed What was the catalyst What was forgotten What might have been done What happened in the past What rational factors were involved Where or when did it happen before and why Where or when did it not happen before and why

Was it expected or unexpected Was it fast or slow What was it like/not like What was it not like Was it hidden Was it crude Was it subtle Was it legal Was it easy Was it hard What was the problem HOW was it solved Was it done well Was it done poorly Was it done wisely Was it always done this way Wifl it always be done this way Was it expensive as T % it dangerous

HOW

Witherspoon iowa State University

A SHORT COURSE IN INTE RVIEWING By Mark

How to Screw Up: 1. Turn off the source; being ill pre pared; asking questions you should have looked up; being fearful; being argumentativ e; carelessness of appearance. 2. Not defining your purpose bef ore you go, resulting in an aimless interview. 3. Asking yes-no questions, vague questions. 4. Not listening; filibustering. 5. Failure to probe, to ask why and how. Background to the Interview: 1. Be sure you understand your ass ignment. From that, define the pur pose of the interview. 2. Conduct a background search. Re member, youll get out of an interv iew what you put into it. Surprise the interviewee wit h your knowledge of him and/or his field. Be prepared to make him think. 3. Request an interview appointment. Ask in a way that appeals to the ir self-interest, stokes their ego, excites their cur iosity. Tell the interviewee what youre working on and how he fits into the picture. Tell them about how much time youll need. Give them some time parameters, if possible, and then let them set the exact time (My story is due Wednesday, so Ill need to interview you on Tuesday. I am free beginn ing at II am. When would be convenient for us to get together?)
The Questions: I, Try to get a least 10 good questio ns before you go to your interview. These 10 questions should lead you to your ultimate interview goal. But be prepared to take the interview off in another direction if you need to. This ability will com e from your preliminary research.

2. Use the GOSS formula Goal Revealing Questions, such as What are you trying to accom plish? or Whats the real purpose of your organization ? Obstacle Revealing Questions, such as What problems did you face ? Solution Revealing Questions, such as How did you handle the pro blem? or What plans do you have for resolving the conflict? Start Revealing Questions, such as When did the program have its beg inning? or Whose idea was it?

something theyre wearing use his/her name; pronounce it right current events in his area of interest mutual acquaintances 3. Your goal is to put the interviewee at ease and cause him to like you and trust you. 4. Gently work into the interview after no more than five minutes of small talk. Your goal is for the interviewee not to realize when the visiting ended and the interview began. 5. As you ease into the interview, pull out your note book or turn on the recorder. But dont announce that the interview has begun. One reporter said: Flipping out the notebook the minute you flush the quarry has never worked too well for me. it scares some subjects. The best excuse i find for breaking out the pad is a big gush of blue-eyes admiration for some happy observation theyve just made. I may try, Say, thats good. I want to be sure I get that down just right. And write . The notebook now spells reassurance. 6. Especially as a college student, you must impr ess the source. Flow? The way youre dressed, your professional attitude, your knowledge of him or his subject matter, your lack of fear. This gives him a sense pf trust in you that will prompt openness. Taking Notes: I. Dont worry if you continue writing after he finishes talking. 2. Sit where the source cant see your writing. 3. You can largely control the interviewee by the way you use your pencil. If you stop writing, hell stop talking. If you want to keep him talking on an area, but you know youll not use it, takes notes anyway-thisll keep him going.
Concluding the Interview: 1. Request documents.

2. Ask if he has any final thoughts. Ask if theres a question he expected but you didnt ask. 3. Ask if you can call back. 4, Stroke him; thank him; if you know when itll run, tell him. 5 Be alert for post-interview quotes. 6. Divert any requests to see the article. Its against the papers policy.

News Elements
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The concepts that make news news.


There are facts that are newsworthy, and there are facts that are not newsworthy. There are facts which might be newsworthy in one town or at one school, but not in another town or another school. There are facts which might be newsworthy today, but not tomorrow. What makes a fact newsworthy is how it affects the people in your locality, the people who would read your publication, If the fact is not interesting to them or does not affect them in any way, it is not newsworthy. Among the most common news elements are: Proximity: This has to do with location. If the event is happening close by, it will impact your readers more than if it is happening across town, or across the world, all other considerations being equal. A dance at your school, for instance, is more newsworthy than a dance at another school. Prominence: This has to do with how well known the people involved in your story are. If the person or persons are well known to your readers, the story will impact your readers more than a similar story involving people they do not know. Timeliness: If something is happening NOW, it has more impact than something that happened yesterday or last week. Often, the most recent development is the feature of the story. Oddity: If something is unusual, the oddity alone can make it newsworthy, because people want to know why it has hap pened. Consequence: If the impact of an event on your readers is major, they want to know all about it. For instance, they might not care that a particular street is being shut down for repairs, until it is brought to their attention that this will reroute the major portion of the traffic into their residential areas. This will affect them in a significant way, and they will want to know about it. Conflict: Readers have an interest in disagreements, arguments, fights and rivalries. If an event has conflict attached to it, many readers will be interested on that basis alone. Stories that involve conflict are those about sports. trials, war. politics and even Congressional debates. Human interest: If a situation makes you angry, sad, happy or overjoyed, it contains the news element of human interest. Some stories are newsworthy on this basis alone. Most news stories will have a combination of news elements.
compiled from wothshop handouts

Quotes:
What sets a professional journalist apart is knowing what you can say/write/report as well as how to say/write/report the story. A lot of people can pretend to be journalists, photographers and even filmmakers. Are they good? Some are and some really suck. The modern age of computers and software has just made it easier for people to pretend or at least try. Trying isnt bad either. American Idol is popular, in my humble opinion, because it removes/lowers barriers for the average Joe to become a superstar. VouTube can do the same thing as well as a good blog. Nothing wrong with that. The Internet also lets me do a lot of research on health issues. Still, it cant replace a GOOf) doctor, nurse or care provider or the training of a GOOD journalist. Brad A rend!, barendt:hoisestate.edu
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With great power there must also come --great responsibility Stan Lee, originally in Amazing Fantasy #15 (August 1962) With great power comes great responsibility. Stan Lee,frorn later Spider-Man storks and the 2002 movie Too often reporters seem to view their professions ethos of objectivity as a shield from criticism rather than a demand for self-criticism. Journalists, being human, have opinions on the subjects they cover. Objectivity challenges them to be vigilant about distancing their reporting from their opinions. James Taranto, Rest of the Web Today, Feb. 25, 2008 I think we advisers do need to take some responsibility for long-term, recurring quality problems. because those may speak to how well we are training our students. True, the staff changes from year to year. but the adviser can establish a standard of training and expectations that live on from one staff to the next. That doesnt eliminate every dumb mistake, but it does raise expectations and the level of journalism. We certainly dont have to meddle with content to accomplish that. If a football player fumbles once, its pretty hard to blame the coach. If a team fumbles live times every game. then you legitimately start to wonder whether the coach is teaching players how to hang onto the ball. Jim Killam. Adviwr Northern Star, Northern Illinots University

And other useful stuff


hiipi!y:wwjiewsrosim 101 ,com/ for AP and grammar exercises hqp maconstate du the college \\eh ste for names titles rhone numbers itid information about the college and the people you will be covering htpu rnatonstateeda studtntlifc stu&ntmtdi iasp br information ahou s-our student media and where some of the handouts will he

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