Getting more credit than it deserves

Thanks, Pulitzer. Thanks a whole bunch. Now, I’m seriously worried.

Not the nail-chewing, hand-wringing, garment-rending kind of worry, but the one emblematic of watching a lit match burn too close to my fingers. Because I believe that soon, something seriously bad is going to happen.

And it’s all because you bestowed the award for national reporting on The Huffington Post, America’s aggregator-general and chronic cut-and-paste punchline.

On Monday, the Pulitzer committee honored military correspondent David Wood’s 10-part series on the long-term affects of war on our wounded soldiers and their families. The heart-wrenching “Beyond the Battlefield” series comprised eight months of research and interviews of military men and women who, Wood said, “wanted to tell their story because they view their wounds as medals of honor, symbols of their sacrifice.”

The series and its award have lifted the 7-year-old Huffington Post into the pantheon of “serious” news publications, mostly print-based, that have for years looked down on their online brethren as ugly stepchildren — “HuffPost” in particular. That’s because since going live in 2005, the site has garnered more attention for what it didn’t do journalistically than what it did.

HuffPost has been called a safe harbor for pseudoscience apologists, a slap-dash content mill unaccustomed to crediting original source work, and a salary-free sweatshop offering false promises of credibility to aspiring bloggers seeking national attention.

Even its founder Arianna Huffington, perhaps the most powerful woman online today, has been hit with plagiarism charges regarding two books she wrote in the 1980s, with one claim settled out of court and the other not prosecuted.

Assorted running jokes imply that HuffPost is where journalists go to see how their stories were rewritten, and where business editors go to read the Wall Street Journal without paying for it. A gag on “Saturday Night Live” featuring an Arianna Huffington lookalike has her claiming HuffPost copied content directly from The New York Times on coverage of Prop 8, with knowing laughter instead of shock or dismay following the punchline.

And this is why I’m worried — not that HuffPost is too much of a punchline to warrant Pulitzer’s attention, but that the prize ascribes more credibility to HuffPost than it deserves.

Though the award went to one reporter and one story series, the fact that Pulitzer’s prizes have such distinguished reputations brings everyone involved to share in the honor. This is why, at nearly every publication that has won a prize, the award is displayed prominently as representative of the entire publication, not just one or more diligent reporters.

We see it elsewhere, too. When the Super Bowl trophy is handed out at the end of the big game, every player gets the chance to touch it, kiss it, hold it. One player may be the MVP, but winning the Lombardi Trophy is a team effort, so everyone shares a stake in the reward. So it goes at Pulitzer-winning publications.

The award also instills tacit vindication for the way newspapers go about their business. Not only the result, but also the process is cherished, and thus  journalism conferences often feature Pulitzer winners giving presentations on “How I did it,” or “How I won it,” or “What we did to get it.” These presentations are almost always the best-attended at these conferences.

But the impact goes deeper. The Pulitzer also is taken by winning publications as tangential proof that the psychology inside the operation is award-winning as well — that the way a publication conducts its internal affairs sets the table for Pulitzer’s praise. Thus, prize-winning operations see the Pulitzer as not just a reward for individual work well done, but also for the operational state of mind behind that work.

And thus, Arianna Huffington can now promote her company’s Pulitzer win as justification for all the questionable behavior either known to be going on or alleged to be going on inside her shop. After all, she’s bound to say with that award held up for all to see, isn’t this what it’s all about?

I’d like to think that hunk of metal has more significance. I’d like to think the ultimate symbol of responsible, ethical journalism is intangible, understated, yet prominent enough in the minds of American citizens that they choose to turn their attention to it every day, whether in paper or digital form.

A good, solid reputation in journalism is not something acquired from routinely borrowing or reinventing other’s work without giving due credit. With the attention of the journalism community squarely on her, Arianna Huffington has the chance now to change her publication’s ways and drive that point home. The alternative is for HuffPost to continue doing as it always has: serve as a punchline that gives serious journalism a black eye.

 

Further tips on self-editing

Ignorance is one of those things that doesn’t improve with practice. Yet a lot of writers in all corners of the craft insist their prime obligation is committing ideas to words, and whether it’s the right word is not always their concern.

“The first draft, I’m just trying to get everything down,” a book author told me. “After that, I leave it up to my editor most times to clean it up.”

This approach is fine for getting ideas down as fast as they come to mind; in fact, I endorse it. Lately though, I’ve seen more blogs, short stories, novels and non-fiction works come out in final form that suggest the commitment to clean-up was abbreviated or lacking altogether. What these shoddy pieces portend is embarrassment for the author, the publisher, and potentially the readers who expected professional work in the first place.

Blame this boom in boo-boos on the ease of electronic publishing, which has reduced the gap between writing and marketing to a barely perceptible slit and goads us into stream-of-consciousness creativity. We are all just a keystroke away from fame and fortune, we’d like to think. Thus, we’re inclined to rush the process.

In a previous post I broached a few basic tips for freelancers to improve their editing. Here, I offer more to consider, such as:

Creating a “mission statement” — Have reason and focus when writing. Don’t hang the hope that “something will come to me” on protracted banging of the keyboard. A goal can guide thinking, and clear thinking guides creativity. Establish goals at the beginning so that your purpose is obvious at the end.

Thinking about brevity when writing briefly — Writing space always is at a premium, even online. So, too, is the readers’ attention. Research has shown that readers flip through Web pages faster than printed ones, which means writers have less time than ever to make a good impression. Short, punchy words tend to help in this regard. Long words can trip up readers and force them to stumble through one’s prose, if they bother staying around long enough to finish.

Using active verbs — And speaking of brevity, active verbs take up less space than passive ones, because the passive ones are bigger and heavier and need modifiers to carry them along. Active verbs can stand alone and bear their own weight. Sure, passive verbs have a place in English — wherever slow, ponderous writing is a premium.

Avoiding redundancies — There’s really no reason to say the same thing more than once in writing. Let me repeat: There’s really no reason to say the same thing more than once. Unless you’re doing it for effect.

Trimming fat — Closely related to redundancy is excess verbiage — usually, the adjectives, adverbs and prepositions that pad our speech. Though it seems when first written that they help drive home a particular point, they in fact delay gratification or they overstate an idea. Use adjectives sparingly, limit adverbs to those times when it’s absolutely necessary to alter the verb’s definition, and make sure prepositions are always in their place, which is very close to, if not next to, the object they’re supposed to modify.

Doing the math — Just about all the journalists I know drifted into writing as a career in part because they were poor mathematicians, or had a natural aversion to numbers. Words were their passion. The thing is, good reporting often relies on making sure things add up the way they should, whether the scale of measure is math or logic. Take time to check the math. Or get someone else who’s good with numbers to do it for you.

Paying attention to personal quirks — This speaks broadly to everything said above. Our shortcomings are characteristic of our personalities. Detail-oriented people may miss seeing the big picture, while big-picture people may gloss over subtle distinctions. Still others have trouble in general with spelling or grammar or word usage. Subdue your ego long enough to gain perspective of personal writing or reporting flaws, even if it means asking other people about them, because those flaws could be the first things readers see in your writing.

Pacing yourself — Speed is essential in typing tests but not thoughtful writing. Sure, deadlines constrain our penchant for doing things in free-form ways, but taking care to prepare for a writing or editing project can eliminate scheduling and organizational obstacles that slow us down. With careful preparation comes time to think clearly and carefully about what we’re writing, and given adequate time we can pace our production. 

Editing more than once — In my line of work, however, speed counts. Newspapers never are casual places, and the closer to deadline my colleagues and I get the more prone we are to hurrying through our edits to news copy. This is not acceptable behavior, mind you, just one of the vagaries of deadline journalism. Freelancers, on the other hand, have rather more control over their schedules, and fortunately, more control over the editing process. They should understand that one re-read does not constitute a good edit; two, three, even four re-reads is much better. Because our minds slip into comfort zones as our bodies do, we’ll easily read past some errors while we’re keyed in to finding others.

If it helps, edit a piece at least three times taking three approaches: first, editing for story structure and clarity; second, for spelling; and third, for grammar. Dividing your focus on purpose improves the chances you’ll catch more errors and heighten your credibility.

 

Tips for conducting better interviews

The toughest task in good journalism no doubt is staying true to the facts.

 

The next toughest: getting them.

 

Whether coming from paper or people, information-gathering affords certain challenges not apparent on its face. Myriad nuances present both opportunity and obstacles; the clinching detail may drop easily within a journalist's grasp, only to become suddenly unreachable due to a computer glitch or an administrative oversight. Or, maybe, the people holding that key detail in their heads decide at the most inopportune moment to keep it to themselves.

 

For the first two problems, calling a tech-support specialist or a knowledgeable and sympathetic administrative staff subordinate may shake the facts loose. For the third, a finely tuned sensitivity in conducting interviews tends to do the same.

 

That sensitivity is not an emotional one; it's rooted in preparation and in paying keen attention to the interview subject, two things that require time and commitment in advance of the interview. So, before sitting down to question anyone at length for a story or news report, take care to prepare:

 

Do research — This, more than anything, makes a good interview. How much you know about the person you're interviewing and their expertise will be reflected not only in the questions asked, but also your attitude. There's a saying that goes, "Knowledge is power." Knowledge also evokes confidence, and a confident interviewer is a disarming one. Besides, doing the research also is a show of respect to the interviewee, and a little respect can leverage a lot of information.

 

List discussion points — Subsequent to the research, the pertinent questions become clear. But to be sure that clarity carries through to the interview, take along a list of discussion points or questions, if for no other reason than to help maintain the interview's focus should digressions or distractions crop up.

 

Put people at ease — A comfortable interviewee is an open one. So, if time permits, start off by explaining how the interview should proceed and encourage the interviewee to ask questions about it. Another good ice-breaker: mining one's natural self-absorption. Typically, our favorite discussion topic is the person we see in the mirror. If that isn't already the interview's central theme, start there to show you're interested in more than just the reason for the interview.

 

Once they're at ease, let them talk — Along that line, interviewees may wish to unburden themselves of pre-interview stress or whatever else they have pent up that makes them tense. This could require letting interviewees ramble until their defenses come down. Again, if time is short, the easing period will hinge on one or two key questions designed to hasten relief. Good research will determine what kinds of questions these ought to be.

 

Don't finish sentences — Patience is a virtue, and it's best to appear virtuous when plumbing for personal or sensitive information. Let people avail themselves of silence between questions to organize their thoughts and cultivate answers to questions. Filling in blanks for them only fosters ill will and frustration, and may close people up after you've worked hard to get them open.

 

Record the interview — Another distraction is note-taking, for both interviewer and interviewees. Scribbling forces interviewers to try doing two things at once. The interviewees, meanwhile, sit waiting for the pen to stop scratching before finishing their thoughts, during which they may forget what those thoughts were. Moreover, note-taking reduces eye-to-eye contact. Give interviewees all your attention, the better to also stay tuned to changes in facial expression that clue you in to answers possibly going deeper than words. However, feel free to jot down occasional details you'll want to revisit in the interview or make special mention of while writing the story later.

Editing tips for writers

The life of a freelance writer can be lonely, especially when it comes to editing one’s own work and trying to polish it until glowing. Hours, days, weeks spent on a project can infuse a sense of entitlement regarding the content, with every word in every line considered sacrosanct, and pruning too painful to contemplate. After all, these words came from a place deep inside, we think to ourselves, and they are as much a part of us as our own skin and blood.

Which is why Thomas Wolfe said what he did: “Writing is easy. Just put a sheet of paper in the typewriter and start bleeding.”

But prune we must, for as Wolfe and other writers of his ilk knew it’s the editing that makes fair writing good and good writing great. Rare is the successful writer who commits an unalterable thought to print. Rarer still is the one who does it without embarrassing himself.

Trouble is, for freelancers, effective editing first requires a sense of detachment from the work so as to develop a crisp perspective attuned to bias and fault. And when it’s just us writing and nobody else is around with either the skill or patience to perform a quality edit, seeking that detachment can be difficult.

However, there are a few tricks available to put freelance writers in the frame of mind they need to get the job done:

Walk away — That’s right, walk away from the story for a while. Put it aside and go do something else — exercise, house chores, yard work, whatever — for 20 minutes to an hour, deadline permitting, and don’t even think about the story during that time, the notion being that separation helps the brain reorder its thinking regarding what it has digested repeatedly over a long period of time.

You see, our brains are capable of filling in gaps in logic and order, so that many of us can read this ...

It dseno't mttaer in waht oderr the lterets in a wrod are, the olny irpoamtnt tihng is taht the frsit and lsat ltteer be in the rhgit pclae. The rset can be a taotl mses and you can sitll raed it whoutit a pboerlm.

 ... with little trouble, when in fact the corrected jumble says this ...

It doesn’t matter in what order the letters in a word are, the only important thing is that the first and last letter be in the right place. The rest can be a total mess and you can still read it without a problem.

 Because of this trait, even seasoned editors misread once in a while. That’s why they pour over their work two, three, four times to make sure they see what the writer intended to say. And that’s why the best among them take short breaks between re-reads, or longer ones before tackling another editing project.

Change the background — After writing in a black-on-white writing environment on a word-processing program, change the program’s settings to alter the colors, transforming the background to, say, blue, and the type to yellow or pale green. This, too, fools the mind into believing it’s seeing something entirely new and organic. Altering the screen font and font size also has somewhat the same effect.

Read aloud — Eyes alone are not the tools we use for reading; we also “listen” to words as we read. However, during the writing process, either the eyes or ears take over and subsume the other half of our collective perspective. Then, upon reviewing what’s written, certain words don’t “sound” or look right, or the sentence context deviates from what we thought we were typing. Reading a story aloud in the editing process helps the mind both see and hear the gaps and inconsistencies that developed while we were busy trying to get the idea nailed down.

Read backward — In other words, read the story from the end to the beginning, going against the flow of the intended narrative. This practice works remarkably well for parsing the true meaning of sentences and whether they were constructed well enough to make sense in the first place. It’s also effective for fact-checking, as backward reading tends to bring out whether there’s too much or too little of something in the overall narrative.

 

Good tools for the independent journalist

The two best tools for freelancing are a good idea and a comfortable place to write. Cobble together those things with confidence and conviction, and there’s no limit to a freelancer’s potential.

As far as the rest of the tool list, it varies for each writer. Some prefer pen and paper to keyboard when crafting first drafts; others are particular about the word processing software they use. Still others extend their devotion to include the hardware itself: PC or Mac, tablet or laptop or desktop system — it all matters only in the final product.

However, there are a few tools, mainly reference material, that freelancers probably should warm to before they sit down to write. These materials tackle presentation and precision, probe the law and explain the journalist’s right to information. Not every freelancer will need all of these, mind you, but those intent on practicing journalism alongside the best reporters out there will find them to be valuable assets on the journey to discovery.

Style guides — Clarity and consistency are hallmarks of good writing and reporting. Making sure copy is clean and crisp is the least that freelancers can do for their readers, and editors, as those qualities are what keep audiences engaged from first paragraph to last. No matter how good the story, if it’s not easy to read or understandable those failures will reflect on the writer long after the story is tossed in the trash.

Of course, a dictionary and a good thesaurus are crucial to have on hand. But consider, too, style guides and manuals that detail the writing standards established either for general good communication or for specific publications, such as medical and legal journals, academic and government documents, as well as magazines and newspapers. Freelancers should assess the style preferred by a particular publication before sitting down to write, because sometimes improper style is enough for an editor to shelve or discard a story.

Journalists everywhere tend to consider The Associated Press Stylebook as gospel and have now for decades. Though each newspaper or magazine may also publish a “house” style guide for reference points close to home, adhering to AP style should be enough. For general non-journalism purposes however, the Chicago Manual of Style is one of the oldest and most widely used guides on the market, and includes a wealth of detail the AP guide does not. And rising fast in esteem, the Yahoo! Style Guide covers a wide range of topics regarding digital and online media.

Among the field-specific guides are the MLA Handbook for Writers of Research Papers, the American Medical Association Manual of Style, and The Gregg Reference Manual for business writing. But to satisfy uncertainty about which guides are out there, a long list of links to them can be found at OnlineStylebooks.com.

Shield laws — Also known as “reporter’s privilege,” these amount to legislation existing in at least 40 states and the District of Columbia that protect journalists from revealing confidential information or sources in court. Essentially, they prevent courts from forcing journalists to testify about how they obtained information related to a story. The laws vary with each state; there is no broad federal protection. Some shield laws apply to civil but not criminal cases, while others prevent revealing sources but not other information. Freelancers should educate themselves on the law in their respective states and the states they may visit to do their reporting. The nonprofit Reporters Committee for Freedom of the Press is a good place to start.

Freedom of Information — Enacted in 1966 to promote and enforce government accountability, the Freedom of Information Act originally required unfettered access to much unreleased information and documentation that was in federal control but since has been amended several times. Consequently, variations on access exist not only in Washington, but also throughout the country, compelling many states even to establish their own “sunshine law” guidelines. As with shield laws, the degree of access can vary widely between states. The Society of Professional Journalists has a section of its website devoted to this topic and includes a drop-down menu listing links and contact information regarding sunshine laws in each state, as does the Reporters Committee.

 

Four ways journalists can use Foursquare

Just about everywhere these days, chances are good you’ll see walkers, talkers and (unfortunately) drivers with their faces tilted toward their smart phones as they text and tweet their every move. A byproduct of our digital lives has been an urge to let the world know where we are every moment, whether the world is interested or not.

This is a bane to the digitally uninterested but a boon to everyone else, particularly journalists, who are in the business of finding and talking to people. And topping the list of socially invasive tools with serious people-tracking capabilities is Foursquare, the 3-year-old location-based social networking site for mobile devices that now claims well over 15 million registered users worldwide.

Foursquare utilizes a mobile device’s global-positioning hardware to report where members are at a given moment when they “check in” at venues listed in the application database. The member can acquire “friends,” leave “tips” or advice about each location and post photos. Frequent visits earn travel points and the possibility of becoming “mayor” of that location. Furthermore, Foursquare awards “badges” for patterns of behavior, whether it’s visiting several coffee shops, seeing lots of movies or participating in product promotions.

The useful aspect for journalists is the digital trail Foursquare leaves; they can monitor member movements if they are “friended” by those members. In following this trail, it’s possible to track:

Frequent visitors — Foursquare lists real-time data on location, the current mayor, the latest tips posted by visitors, and the Foursquare identities of frequent visitors. Journalists can sift those lists for potential interview subjects if, say, it’s important to find interview subjects who are knowledgeable about particular locations or the clientele who visit them.

Personal behavior — When members check in at a location, all their friends can see where they are at that moment. Foursquare also displays lists of member badges, mayorships, tips, favorites and approximate arrival time at the last check in. Accumulated points hint at how often members are out and about, so it’s possible to guess an individual’s travel habits.

Trends — Besides seeing where people go, Foursquare shows how many other members are at a location. By clicking “Explore,” and then “Trending,” Foursquare shows potential social hotspots by listing all current check-ins, not just those by members’ friends. Want to find the most popular restaurant, the busiest nightclubs, the best concerts or surprisingly heavy traffic? Just watch where the Foursquare crowd is going.

Location information — Foursquare tips provide reasonably good detail from members about what’s going on at each location, whether it’s bad service at a restaurant or gridlock on the interstate. And Foursquare compiles the tips it receives, helping indicate whether a pattern of activity or potential news is breaking.

Foursquare isn’t the only geo-tracking social medium available, just among the most popular. Other tools worth trying are Gowalla, Loopt, Where, Yelp and, of course, Facebook, which added location-tagging about a year ago.

 

Are ‘aggregation’ and ‘curation’ journalism? Good question

 

One night over drinks awhile back, a old college chum confessed he chose journalism as his major because he thought it would be easy.

“My senior year in high school, I had no clear career interests and no prospects,” he said. “So, when we had a career day at school and a reporter came to speak, I listened and thought, ‘How hard can this be? People tell you things and you write them down. Cinch.’”

Many years and many more reporting awards later, he rolls his eyes when he thinks about that.

“If I really wanted ‘easy,’ I should have flapped my arms and flown to the moon.”

I think of that conversation now as journalism’s latest progeny compares news gathering to “aggregation,” or the more impressive-sounding “curation.” In more than one dictionary, the term applies to the preservation and maintenance of digital assets, or from far back in linguistic history, to cure an ill.

But just this decade, aggregation and curation have evolved into solid euphemisms for repackaging pre-published Web content — a boon to social media, which encourages users to share and trade information among private networks, and to “content farms,” or Web-based operations that generate large amounts of type intended to attract automated search engines.

Sure, Web-scraping serves a purpose by bringing together facts and figures  otherwise lost in the digital flood, allowing easier comparisons of those details for clarity and accuracy. Unfortunately, practiced aggregators and curators have compared themselves to journalists, saying that what they do is more efficient and socially responsive than journalism as it has been practiced in excess of a century.

Even seasoned journalists are swayed by the disturbing perspective gaining ground among the digital set and crystalized on the blog site GigaOm last week beneath the headline “Are aggregation and curation journalism? Wrong question.”

The GigaOm post by writer Matthew Ingram opened by taking to task the critics of an online piece in Forbes by blogger Kashmir Hill. She had summarized a long book excerpt about data and privacy from New York Times Magazine titled “How Companies Learn Your Secrets,” which Forbes recapped with the puckish headline “How Target Found Out A Teen Girl Was Pregnant Before Her Father Did.” The headline was sexier than the Times’ topper and certain to generate mouse clicks. And it did — almost more of them than the Times’s story.

Ingram called out the critics who bellyached about Hill’s “borrowing” content and Forbes recasting it better than the Times did. He insisted the recasting was a favor to the Times and emblematic of the new wave in attention-getting that traditional journalists must accept and surf readily if they are to survive in media. Ingram then surmised, correctly, that Hill’s product demonstrated the “new media ecosystem” where aggregation and curation can add value to news reporting and broadcasting.

(To Ingram’s credit, he highlighted a Forbes piece containing clear, precise attribution to the original source, a rare trait in aggregated Web content.)

But then Ingram’s train of logic derailed when it leapt forward to say this same aggregation/curation is identical to journalism, in that with both pursuits “information is provided that increases our knowledge about an important topic."

“Isn’t that a pretty good definition of journalism, not whether someone made a phone call or has a specific degree, or whether they travelled to a war zone or not?” Ingram asks.

In the end, he concludes, journalism’s top priority is “to serve the reader — either by informing them or entertaining them, or some combination of the two.”

Yes, journalism does have to serve the reader; that was the original point of it. But accurate, ethical and complete service can’t come from cut-and-paste tactics alone. It is, in fact, the goal of complete service that makes credible, responsible journalism much harder than it looks, and why my college buddy rolled his eyes at thinking journalism might be a “cinch.”

Any notion of simplicity my friend and I had was discarded in college. Where we attended journalism school, 90 percent of the studies had nothing to do with the physical act of reporting. It was a given that students coming into the program knew how to write, so much of the time we labored over law (the better for us to protect an interview subject’s rights and our own) and we labored over ethics (the better for us to be accountable to our readers by citing exact sources). We studied logic and policy analysis (the better for us to avoid having politicians and corporations pull the wool over our eyes), and we studied civil discourse (the better for us to conduct our interviews and research without fear or favor).

In other words, the professors were trying to develop something in all of us called “news judgment,” not just news gathering.

And we learned early a crude yet crucial truth about rooting out information: There are no stupid questions, only stupid answers. (Food for thought perhaps for GigaOm’s headline writers.)

A lot of those lessons have been honed for me by on-the-job experience over the years. And as I look back, I see that my schooling answered crucial questions that mere curation in today’s vein could not.

“Curation,” my friend muttered. “Sounds like another word for scrapbooking.”

Aggregation, curation — call it what you will — are just part of the whole in journalism. To truly serve readers and viewers, one must also understand where those should begin and end. Confusing those with journalism, or assuming a simplified method of information-gathering can fully replace it, is no service to anyone.