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Team America

2 May

Unless you’ve been in a cave, you know the news. Special forces killed public enemy number one, Osama/Usama bin Laden this morning and recovered his body. A spontaneous crowd flooded to the front gate of the White House and just after President Obama’s address to the nation, we started seeing some shots of the revelry on the T-V. So, being the news junkies that we are, Mr. Hu-Stiles and I drove the three miles to 1600 Pennsylvania Ave., illegally parked and literally ran to check out the action. The air was thick with the smell of winning and weed. The crowd was dominated by drunk, fratty types and what appeared to be foreign journalists. We heard lots of “U-S-A, U-S-A” chants and an occasional rendition of the national anthem. A quick slideshow:

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Jobs, Jobs, Jobs

5 Apr

“New jobs, and more jobs, good-paying jobs.” -Haircare magnate and former Democratic candidate for Texas Governor, Farouk Shami

Want a job in journalism? Have the patience to deal with me and Ken Rudin? Apply to be a part of the NPR project I’m working on! It’s called Impact of Government (for now) and it’s a local-national collaboration between member stations and NPR to do broadcast and online news focused on how state government affects people. So far, four states are hiring for digital and/or broadcast reporters, and their job descriptions will tell you more (or I can, too). Here’s what we have so far. Questions? Email me.

FLORIDA
Digital Reporter (WUSF Tampa)

PENNSYLVANIA
Multimedia Reporter (WHYY Philadelphia)
Multimedia Reporter (WITF Harrisburg)

OHIO: Cleveland
Broadcast Reporter
Digital Reporter

NEW HAMPSHIRE: Concord
Broadcast Reporter
Digital Reporter

INDIANA: Bloomington
Broadcast Reporter
Digital Reporter

More jobs in more states coming soon.

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Stuff I Love: Creative News Interactives

16 Mar

On Saturday after I spoke on a panel called “News as Infotainment,” two lovely ladies from Frontline (FRONTLINE!) came up and asked me for examples of interactive and “infotainmenty” news presentations I really loved. I didn’t have time to go over them in person, so here you go, ladies:

New York Magazine: It’s Time to Play ‘Sheen, Beck, or Qaddafi?’


The ramblings and rantings of the actor, the pundit and the dictator have collectively compelled us as a nation, and while the three men are from vastly different backgrounds, the words that come out of their mouths are strangely similar. As the magazine wrote, “To demonstrate just what a struggle it is to distinguish between the mad ramblings of an entertainer, a despot, and a newsman another entertainer, we’ve put together this quiz. If you get them all right, you are some kind of savant.”

 

Vanity Fair: Qad Libs

Qaddafi is leading to all sorts of creative inspiration. Vanity Fair’s “Qad Libs,” based on the childhood word game “Mad Libs”, allowed readers to “create a realistic hard-line speech by inserting your own bizarre words into the colonel’s actual defiant address.” The magazine allowed readers to fill in a string of nouns, adverbs and adjectives in their interactive form to create their own Qaddafi rants. Amazingly, every customizable rant seemed right on.

 

Budget Puzzles, by The New York Times, Sacramento Bee, American Public Media, and more


In response to the nations gazillion trillion dollar deficit, and the frightening shortfalls of state governments around the country, media companies have followed in The Times’ footsteps with interactive budget puzzles that allow the user to find ways to balance the budget. Poynter’s recent piece discusses the limitations of these puzzles (the game writers get to set the parameters of what to cut or revenue to increase) but this is a great way to make real the budget troubles of governments, teach readers about the decisions that have to be made and allow for audiences to prioritize what they think is important.

 

The Chillout Song, by Ze Frank (my hero)

Frank’s project teaches us a beautiful lesson about how technology and social sharing can enable human connection. As you’ll read in the story he lays out, he received an email from a girl named Laura who was stressed out and felt hopeless; she asked for a song to help calm her nerves. Frank asked her to describe her feelings, which then led to a sketch of a song that he then asked his audience to record themselves singing. It led to a gorgeous result, no pitch correction required, that you can now purchase online.

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SXSW 2011: Interactive Narratives

14 Mar

Our panel this lunch hour would pair well with the panel featuring Ze Frank that we attended yesterday. The premise:

Literature need no longer be defined and combined by the objects that contain it—books and magazines and pages. New Media technologies like Augmented Reality, Transmedia Storytelling, and Interactive Stories offer new ways for narratives to be created and experienced. How can writers work to create new forms of storytelling? Experts who are committed to this vision will talk about examples of work and discuss the opportunities in this emerging field.

Old Model: Story is fixed (print story, for instance), and audience is captive and submissive.

New Model: A dynamic story that allows for personalized engagement and narrows the gap between writer and reader.

How?
Do more than connect text and images on a page, i.e. a children’s book. Let’s try and make it into a “digital book.”

1.) Asset Assessment. Know what text assets you have, and which audio characteristics would accompany it.
2.) Visual Layout. Start with changing orientation to horizontal instead of vertical. When photos take the large part of the screen, put a text box on there with some opacity to see the image behind it. Or, since HTML5 allows it, you can write directly on the screen, without a text box.
3.) Interactive Elements.
- Allow the audience to move the photos on the page, personalize the scale, etc.
- Allow the audience to record into the book
- Allow the audience to color in a photo

Or, Use Social Media as a Narrative Platform

Character/scene development can happen with social profiles and blogs, creating an emotional connection. For example, illustrate the characters with profiles on Facebook. Use status update and photos to deepen the plot or introduce backstories. Use blogs to shift story perspective, highlight internal dialogue.

Activate audience participation by using microblogs like Twitter and Tumblr to create engagement and build community. It’s an opportunity for readers to share ideas about the story that can later be integrated into future story development. As feeds are shared and you’re having dialogue, you’re pulling more people in.

“With interactive storytelling, I feel like we have so many story tools to choose from,” said presenter Esther Lim. “Consider your audience and how they consume content. Design the level of reader participation you want to build. ID the best social media platforms for your story.”

Prepare for your audience, as different people engage in different ways. Typically, you’ll get three tiers of content consumers:

Passive Consumer
Occassional Participant/Lurker
The Die Hard Fan

Going Forward…
Just start with what you know, if you’re new to this. Why bother? On the business side, you can lower costs since marketing is built into the product. On the creative side, this is addictive and fulfilling.

Make it easy for people to participate and make it worthwhile with some sort of reward or personal satisfaction that someone could gain.

Example:
Lowlifes.tv: A transmedia story told over a book, blog and video series. One of the characters said “If you want to help, send me an email.” They started giving the reader a series of tasks to get the reader to participate. QR codes would offer additional subplot.

 

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SXSW 2011: Unexpected Nonfiction Storytelling (with Ze Frank!)

13 Mar

The Nonfiction Storytelling Panel

The Panelists: Ze Frank, Caspar Sonnen (a Dutch guy, natch), Tommy Pallotta and Rob McLaughlin with the National Film Board of Canada.

So we’re here to learn about new ways to tell nonfiction stories, which duh, winning, can be applied to news. Pallotta started making documentaries but switched to animation and now primarily makes media for the internet. Frank has been toying with online media for many years. “I don’t consider myself a documentarian, I work with lots and lots of people to find moments and find a way to bubble them to the top,” Ze Frank. “I have to compete with the rest of the world to find the best way to tell my story.”

Buzzwords and examples (!) from this session:

TRANSMEDIA (noun): Cross-platform storytelling.
Example: Creating a gaming aspect to put you in simulations/give a hands-on experience of the energy crisis. At the same time, having a documentary shown on television but also broken up into clips onto YouTube. To create an emotional anchor, filmmakers then take abstract ideas and embodied them in characters and stories. The combo: a documentary, a fictional part, and an interactive. How to tie it together? In a Pallotta film, they designed three panels at once, that slides left to right with interactive on left, fiction story in the middle, and more info with documentary talking heads and text info on the right. It’s annotated storytelling. “It’s interactive in that if you want to engage more with it, you can,” Pallotta says.

CLOUD EDITOR:
Encouraging people to crowdsource their own projects, by putting up various video archive elements online and putting up an online editing tool to allow the community to take part in storytelling. “I think so long as they’re talking about it, that’s a good thing,” Pallotta says.

INTERACTIVE PARABLE:
Example: The Test Tube: with David Suzuki, which examines what we’d do with our global sustainability problem in an interactive. It involves an online video,  with people contributing on Twitter with their reactions, what they would do with only one minute left in our biosphere. That data that comes in will then get visualized in bubbles that show the community reactions. “Sleep” was the largest bubble.

See also: Welcome to Pine Point, a 25 minute experience that you click through and read and experience the overall story with video elements. This is allowing the print and publishing world to open it up to new possibilities. Nieman StoryLab coverage of this project is worth a read as well.

INTERVENTION STYLE: (aka the Ze Frank style) Not so much telling stories but creating small, weird little engagements that get people to experience something particular or take risks. “When you start saying you’re going to interact with audiences, the problem is it’s really hard to even interact with one person,” says Ze Frank. “The translation to online work is how do we hyper hyper simplify the goal of these interactions?”

Examples:
youknowi.ly: Heavily moderated due to porn. But this is a simple way to share an interaction.
star.me allows you to give stars to people you think are awesome. Your desktop is then filled with appreciations with other people.
zefrank.com/youngmenowme recreates photographs from your childhood. “There’s something wonderfully special in that,” Frank says. With these submission projects, then it’s hard to get meaningful text from the users. He then has to ask questions in a “sneaky” way to get people to open up in a way that’s useful to getting a story.
Pain Pack: Frank opened up a hotline for people to leave their painful experiences. Audioclips were given to sound editors, and they cut them and chopped them into a library of discreet sounds. And those sounds were then given to music makers to create songs just from sounds from the Pain Pack. “The audio of the original recordings is super compelling, the project itself, I cannot figure out how to make it compelling.”

GUIDANCE FOR GOING FORWARD:

- Having a “voice is important to interacting with your audience. If it’s playful, it’s playful, if it’s serious, serious.”
- To finance these things or monetize them after the fact, there’s no pat answer. You have to be creative with the resources you have. “Don’t worry about it right now,” says Pallotta. “Just make it.”
- Scale your idea. If you have a small amount of resources do a soft launch to get people excited and interested in your idea.
- In every industry landscape, the leaders are afraid they are missing something. If you can create a project and pitch it like “this is what they’re missing,” you can make some money.

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SXSW 2011: Open For News

13 Mar

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SXSW 2011: Bloggers vs. Journalists

12 Mar

@JayRosen_nyu and Lisa Williams from Placeblogger.com are here to talk about bloggers versus journalists. The pitch:

I wrote my essay, Bloggers vs. Journalists is Over, in 2005. And it should be over. After all, lots of journalists happily blog, lots of bloggers journalize and everyone is trying to figure out what’s sustainable online. But there’s something else going on, and I think I’ve figured out a piece of it: these two Internet types, amateur bloggers and pro journalists, are actually each other’s ideal “other.” A big reason they keep struggling with each other lies at the level of psychology, not in the particulars of the disputes and flare-ups that we continue to see online.

I’ll try my best to liveblog the action.

3:35pm:“You learn to wear the mask, if you want to join the club,” Rosen says about the psychology behind journalists and the “club” we’re part of.

3:36pm: Disruptions by the internet threaten to expose conflicts within the press. Internet exports inner conflicts to the world outside the press.

3:39pm: On Bill Keller’s piece, which ribs aggregators like Huffington Post and others for “derivative work”, Rosen concludes that there’s something about bloggers vs. journalists that permits the display of a “preferred” or idealized self among people in the press whose work lives have been disrupted by the internet. “Spitting at bloggers is closely related to gazing at your own reflection and falling in love with it again,” Rosen says.

3:40pm: Yikes, I feel like I’m back in journalism school. Jay’s quoting people from Europe and stuff. This is so … academic. My brain is too small.

3:42pm: We’re focusing a lot on this notion of bloggers “replacing” journalists. That there is, or was, a view by mainstream journalists that bloggers versus journalists is a mutually exclusive arrangement. I’m assuming this builds toward the argument (now pretty widely accepted) that we’re not one or the other, but both.

3:47pm: What do bloggers get from hanging on to this divide? “By raging at newspaper editors, bloggers manage to keep themselves on the outside of a system they are in fact, part of. It’s one internet, people. The system now incorporates the people formerly known as the audience.” Bloggers and journos are each other’s ideal “other.” The conflict, for bloggers, helps preserve the ragged innocence by falsely putting “all” power in “big media.”

3:49pm: The press is us, not them, Rosen argues. Bloggers and journalists who refer to the word “traditional” — that tradition is 80-90 years old. But our experiment with is is 250 years old. Whole chapters of that history were rejected in order to claim “elevated status.” “With blogging, they have come roaring back,” Rosen says.

Not Jay Rosen. Lincoln Steffens.

3:52pm: “Something dropped out of journalism between 1902 and 2002. The bloggers are the return of the repressed,” Rosen says. He argues bloggers are the return of muckrackers like Lincoln Steffens and bring back what was lost in the transition from journalism to a business.

3:55pm: So, people become journalists largely for some social justice reason, i.e., making the world a better place. But then the professional codes in place often prevent this. “It’s hard to fight for justice when you have to master he said, she said. Voice is something you have to take out when you want to succeed in the modern newsroom,” Rosen says.

3:56pm: Bloggers, on the flip side, jump straight to voice. Points to dumping on Dave Weigel by WashPo staffers as an example of bloggers vs journalists struggle absorbed into newsroom.

3:57pm: Rosen gives us a helpful heads up that he’s almost done with his general expository talk. “I’m coming in for a landing. Five minute and we’ll have questions.”

3:59pm: In pro-journalism, the terms of authority have to change. The practice has to become more interactive, and this has to happen during a time of enormous stress. The story the press has been telling itself has broken down. It no longer helps journalists navigate the conditions today. We have to tell ourselves a new story about what we do and why it matters. Bloggers vs Journalists struggle is a refusal to change. “It’s fucking neurotic,” he concludes.

4:04pm: HEY it’s Q and A time! He says he’s for “mutualization.” We have something to contribute to journalism (as we’ve seen with all the video of the earthquake, etc), and journalists have something to contribute, namely, discipline, to bloggers.

4:06pm: Rosen: If you are accurate, and fair, and deal in verifiable information, you can write with voice or practice institutional voice. There’s no separation from truthtelling and attitude. The people telling us about the world must understand importance of accuracy, transparency, intellectual honesty. “Whether or not you voice your opinion in my view is a stylistic question.”

4:08pm: On the rise of Fox News’ agenda-driven journalism: We have to hope for building trust is more important than grabbing mindshare. This is a permanent tension.

4:11pm: Are we ever going to get beyond the conflict between bloggers and journalists?, Stacey from Paid Content asks. “In psychology, you don’t get over the things that have wounded you. You don’t dismiss the neuroses that formed you. Instead, what we can hope for is to create a lot more room for maneuvering so we aren’t trapped by these things anymore. By going right at this conflict, I’m hoping we can transcend it.”

4:16pm: We’re on shield law now and how the law should protect acts of journalism instead of journalists. Unpacks the notion that the journalism profession is the only one protected by the First Amendment.

4:18pm: This is so meta. Clay Shirky asking a question of Jay Rosen. Question is about the role of journalism schools. Rosen essentially argues there are two kinds of journalists – those educated in j-school, and those educated in the school of life. “[Journalism school] about taking something that was a working class trade and elevating it to the status of a profession,” Rosen said. “That’s where the notions of objectivity come from.” … Then we get a comparison to the phone sex industry.

4:21pm: A question from Twitter on the projection screen is about “the NPR vs. sting video fracas”. Waiting…

4:25pm: Rosen says James O’Keefe is a blogger in terms of using tools of self publishing. But he thinks of O’Keefe as a performance artist whose work objective is to create panic in institutions. “NPR gave into his performance by panicking and firing its CEO,” Rosen says. (See his argument on PressThink.) Rosen argues that if NPR doesn’t realize there are enemies out there, they won’t do enough to counteract it. “I think there’s lots of people in public media who know that, but it’s the people at the top who don’t know how to reconcile that.”

4:29pm: Rosen gets a paywall question. He says he’s not religious about it. He thinks it’s a practical question. “It’s really hard to tell people who are producing commodity content that they’re producing commodity content, so that’s a huge barrier right there. He says we need journalism to bring attention of something to the community of the whole. But paywalls threaten to make journalism, which is about informing the public, more like private newsletters. That then creates the “insider class.” What’s at stake is that if we go to a world where newsletter model supports professional journalists, then we say that informing the public as a whole is something we’ve left behind.

4:34pm: More Rosen advice for NPR, namely to embrace transparency of individual views and “pluralism,” which is explained in his post linked above.

4:38pm: With our remaining time, we look at how money relates to blogging and bloggers. “What makes a big difference is whether you need to keep doing what you’re doing. An accidental journalist who doesn’t need to continue to do that, is in a different position than a person who’s trying to make their living at it. The investment needing to pay returns changes the relationships with the user.”

4:41pm: Something about phone sex workers again. AND WE COME FULL CIRCLE!

I think that does it for me … off to SXSW parties galore. More to come tomorrow.

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SXSW 2011: Community Engagement Strategies

12 Mar

The actual panel is called “Community Engagement Strategies: Rational Debate or Herding Cats?” The panelists are from Drew Curtis from Fark, Erik Martin from Reddit and Tucker Max (you know who he is.) “I’m usually concerned about offending people on panels, but I’ve got Tucker with me, so I’m safe,” Curtis said.

WHAT IS A COMMUNITY?

Max: Something real and tangible that accomplishes something that’s of value to people’s lives. Rotary club, web activist group “Anonymous”, etc. A group of people who have common goals and are accountable to each other to take action that adds to people’s lives.

HOW IMPORTANT IS THE QUALITY OF THE COMMUNITY?

If all you care about are numbers, and you don’t care if it’s shit, then the community is useless. If your comments suck and detract from your website, people won’t want to go there. Chicago Tribune or Sun Times just shut down their comments section on their comments pages.

LOGISTICAL ISSUES

How are the comments sorted? Chronological or reverse chron? Who replied to my comment? Where are my comments? Why I am hitting “recommend” when it does nothing? What is the point of recommendations if they don’t affect the order or filter of the comments?

TIPS FOR SUCCESS

Strong community sites have FAQs or user agreement pages that are updated frequently, linked out, actively something you can refer people to. They’re user-centered.

Writers should participate in comments. Interact with the audience, update their stories based on comments. “If they’re not bothering to also communicate, then why do you need to even have that section.” Read your feedback. Roger Ebert goes into people’s comments and responds to them. He’s going to argue about movies, spends the time and does it. So his blog is so great.

Care about quality comment sections and the community of commenters. Rageful comment sections give you cheap traffic, and so then mainstream media take less chances. Panelists feel like news organizations dependent on ad revenue have no incentive to improve user experience. “Improving user experience costs them money,” said Max, about news orgs that don’t prioritize user engagement.

Re: Moderation. Have published rules and your unpublished norms. What’s your ethic? Nice? Dickish? Communities are like five-year-olds. Whatever baselines you set, you have to enforce them. The guidelines you set will create the community that you want.

THE DEBATE OVER ANONYMITY

Some people need to have an honest debate without using their real name, but Max argues having ID attached to comments is important for “meaningful debate.”

“Do you see a lot of meaningful debates in the comments sections of political blogs?” Max asks. “What’s the signal to noise ratio? It’s not worth it for me, negotiating with all the angry rageful trolls to find something useful. You cna clearly have a good community where everyone’s anonymous, but toward creating meaningful discourse in a comments section of a political site, name and face are key. Then there’s at least a modicum of accountability behind it. This person can now look at what I look like and know where I might be coming from. I don’t feel like it’s a crucial for a community, but it depends on what kind of community you want to have. You want to have a meaningful debate, you gotta hold people accountable for their opinions.”

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This is NPR…

16 Feb

Josh Ritter, photo by Andy Carvin

Some initial observations:

-Diving right into work means traveling on the fourth official day on the job. We’re off to God’s country to talk journalism with a member station. Looking forward to the team adventure, especially since my partner-in-crime is Ken Rudin, resident political junkie and jokester.

-Josh Ritter tiny desk concert on my first day! It was the same day I received a package of bacon-flavored chocolates from Stiles, and I had planned to use the chocolate as an “in” to talk to Ritter, but totally forgot when it was time to report to the fifth floor for el concert.

-Still not quite over sitting in the newsroom right behind the newscast folks, the voices we hear every half hour with updates on the latest headlines. Paul Brown! Jack Speer! And wait for it… Lakshmi Singh!

-But here’s one oddity I could do without: hearing NPR programming in the bathroom stalls. The ladies room has speakers built into the ceiling so you don’t have to miss a single second of NPR programming, not even during your bathroom break.

-Everyone here is more organized than I am.

-Unrelated to the new work environment, but it must be said. Really missing my Starbucks baristas, Mike and Orlando, at the 10th and Congress location in Austin. If you go by there and see them, please tell them I say hi.

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Change is Hard, I Should Know

18 Jan

“Ten decisions shape your life,
you’ll be aware of five about…”
-The Strokes

I get to (finally) make it official. We are moving to Washington D.C., a.k.a. the great nemesis of Governor Rick Perry,  home of the lamestream media, and the land of taxation without representation. (That poor congresswoman doesn’t get a vote! WTF?!)

This means, of course,  I’m leaving the proudest professional project of my 28 years, The Texas Tribune — and Texas, for that matter — just before Valentine’s Day.

One more twist came at the end of 2010, the year I thought would never end. In mid-December, I got an unsolicited call from NPR in DC. They had “done some research” on me and had a job for which they thought I would “be an interesting choice.” A few days later I was at the DC HQ, meeting smart people who cared about journalism, and I wound up accepting the job, which calls for leading the digital side of NPR’s new StateImpact, or the project formerly known as the “Impact of Government.” (There will be someone else heading up the radio side, and I recently learned that the broadcast counterpart is Ken Rudin, longtime NPR Political Director and the original “Political Junkie” blogger.)

IOG will aim to expand state government coverage by eventually hiring 100 reporters, two in each state, devoted to reporting the multi-year effects of government decisions. (The first eight pilot states will be announced in the coming weeks.) Taking on this project means working from Washington, conceptualizing the digital platforms, creating new story forms, helping stations hire and train reporters, etc.

After getting the offer, I spent days talking myself out of and then back into and back out of the opportunity. I would have never been able to stretch and grow across platforms without the vision of John Thornton, the friendship of Ross Ramsey and the trust of Evan Smith, who’s basically the George Clooney character in the “Ocean’s 11″ of journalists who came together. I feel a deep, deep attachment to what we’re building here. After all, this is born of our actual sweat and tears. (Many, many tears, in my case. Ask my multimedia partners-in-crime Todd or Justin.)

I wasn’t (and am still not fully) ready to leave our baby, or my real-life friends that helped build it, or the city that quickly became my home. I prefer Austin’s four seasons – mildly hot, medium hot, sauna hot and surface-of-sun hot – over actual seasons. But I decided to take this leap into another public media unknown because I’m sold on what a special opportunity this is to grow and learn, and on NPR’s commitment to being on the cutting edge of web journalism, which is of highest importance to me.*

So off I go. I’m counting on you to bring me a case of Shiner, and if you’re a really good friend, some Tito’s, when you visit. Both are nearly impossible to find inside the Beltway.

*That’s the official line, anyway. I was really most swayed when my soon-to-be boss said that if I went to DC, Nina Totenberg and I “could be BFFs”.

RELATED:

Ch-Ch-Ch-Changes (July 2009)

Emerging from the Hole (November 2009)

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