Author Archives: Paul Bradshaw

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About Paul Bradshaw

Paul teaches data journalism at Birmingham City University and is the author of a number of books and book chapters about online journalism and the internet, including the Online Journalism Handbook, Mobile-First Journalism, Finding Stories in Spreadsheets, Data Journalism Heist and Scraping for Journalists. From 2010-2015 he was a Visiting Professor in Online Journalism at City University London and from 2009-2014 he ran Help Me Investigate, an award-winning platform for collaborative investigative journalism. Since 2015 he has worked with the BBC England and BBC Shared Data Units based in Birmingham, UK. He also advises and delivers training to a number of media organisations.

How to use FOI to develop good journalism habits

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Freedom of Information (FOI) requests are not only one of the best ways to get original and exclusive stories that set your reporting apart — they’re also a good way to develop core journalism habits like curiosity, scepticism, and creativity. Here are some tips on how to get started with FOI while developing those qualities.

Being curious: how often is this happening? How much has it increased?

Headlines: Rising numbers of hospital patients so fed up they discharge themselves Figures reveal how many lives firefighters have saved Welsh parents owe thousands in school dinner debts
Headlines: How the cost of paying up is sending bailiffs' diaries wild Council use of bailiffs to chase debts jumps 16% in two years Acid attack hospital admissions have almost doubled Student Loans Company overcharges 78,000 graduates Schools converting to academies cost councils £30m
All these stories involve asking the question “how much” or “how many” about an issue or event

Curiosity is the first quality I identified in my series on the 7 habits of successful journalists — and FOI is a great way to hone that.

One good way to get started with FOI is to identify an event or problem that you’ve read about, and get curious about it: how many times is that event happening? How much is that problem costing? These are perfect questions for FOI.

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6 formas de comunicar jornalismo de dados (a Pirâmide Invertida do Jornalismo de Dados – parte 2)

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etapas de comunicação (visualizar, narrar, humanizar, personalizar, sonorizar/materializar, utilizar).

A pirâmide invertida do jornalismo de dados mapeia o processo de utilização de dados na reportagem, desde a geração de ideias, passando pela limpeza, contextualização e combinação, até à comunicação. A fase final — a comunicação — apresenta uma série de opções: desde a visualização e sonificação até à personalização e ferramentas. Mas quais são as melhores práticas para cada uma?

(Também disponível em inglês, alemão e espanhol, russo e ucraniano).

1. Visualização

A visualização é normalmente a forma mais rápida de comunicar os resultados do jornalismo de dados: ferramentas gratuitas como Datawrapper e Flourish muitas vezes exigem apenas que você carregue os seus dados e escolha entre várias opções de visualização.

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A pirâmide invertida do jornalismo de dados: Do conjunto de dados à história

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Diagrama mostrando a pirâmide invertida do jornalismo de dados com duas pirâmides conectadas: uma preta com as etapas de produção (conceber, compilar, limpar, contextualizar, combinar) ligada por "questionar" a uma verde com as etapas de comunicação (visualizar, narrar, humanizar, personalizar, sonorizar/materializar, utilizar).

Os projetos de jornalismo de dados envolvem várias etapas, cada uma apresentando seus próprios desafios. Para ajudar a compreendê-las, criei o que chamei de ‘Pirâmide Invertida do Jornalismo de Dados’. Ela delineia as etapas que precisam ser consideradas à medida que a matéria avança desde a conceção inicial até a comunicação dos resultados, e como elas se relacionam entre si. Abaixo, explico cada etapa, identifico questões a considerar conforme o projeto avança e ofereço conselhos e dicas sobre como enfrentá-las.

(Também disponível em Inglês, Alemão, Espanhol, Finlandês, Russo e Ucraniano.)

Etapa 1: Conceber

O primeiro desafio que um jornalista enfrenta é conceber uma ideia viável para uma matéria baseada em dados.

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“I don’t want it to be easy” and other objections to using AI

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In September I took part in a panel at the African Journalism Education Network conference. The most interesting moment came when members of the audience were asked if they didn’t use AI — and why.

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How to stop AI making you stupid: hybrid destination-journey prompting

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A local map-style illustration where a pinned "answer" destination is visible, but the route is overlaid with checkpoints labelled “confidence”, “sources”, “counter-arguments”, “verify”, “edit” (image generated by ChatGPT).

Last month I wrote about destination and journey prompts, and the strategy of designing AI prompts to avoid deskilling. In some situations a third, hybrid approach can also be useful. In this post I explain how such hybrid destination-journey prompting works in practice, and where it might be most appropriate.

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Visualisation as an editorial process

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In the second part of this extract from a book chapter in the new Routledge Companion to Visual Journalism, I look at the editorial processes involved in data visualisation, along with the ethical considerations and challenges encountered along the way.

Decisions around what data to visualise and how to visualise it involve a range of ethical considerations and challenges, and it is important to emphasise that data visualisation is an editorial process just as much as any other form of factual storytelling.

Journalists and designers employ a range of rhetorical devices to engage an audience and communicate their story, from the choice of the chart and its default views or comparisons, to the use of colour, text and font, and animations and search suggestions (Segel and Heer 2011; Hullman & Diakopoulos 2011).

Chart types are story genres

The chart that a journalist chooses to visualise data plays a key role in suggesting the type of story that is being told, and what the user might do with the data being displayed.

If a pie chart is chosen then this implies that the story is about composition (parts of a whole). In contrast, if a bar chart is used then the story is likely to be about comparison.

Line charts imply that the reader is being invited to see something changing over time, while histograms (where bars are plotted along a continuum, rather than ranked in order of size) invite us to see how something is distributed across a given scale.

Scatterplots — which plot points against two values (such as the cancer rate in each city against the same city’s air pollution) — invite us to see relationships.

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Data, data visualization and interactives within news

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In this extract from a book chapter in the new Routledge Companion to Visual Journalism, I look at how the explosion of data as a source for journalists, and the separation of content from interface in online publishing, have combined to lay the foundations for a range of new storytelling forms, from interactive infographics and timelines to charticles and scrollytelling.

Although the term ‘data journalism’ is a relatively recent one, popularised around 2010, data has been part of journalism throughout its history, from early newsletters covering stock prices and shipping schedules in the 17th century, to The Guardian’s 1821 first edition front page table of school spending, US investigations of politicians’ travel expenses in the 1840s and campaigning factchecking of lynching in the 1890s.

The introduction of computers into the newsroom in the 20th century added a new dimension to the practice. After some early experimentation by CBS News in predicting the outcome of the 1952 presidential election by applying computer power to data, a major breakthrough came in the 1960s with Philip Meyer’s use of databases and social science methods to investigate the causes of riots in Detroit.

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7 técnicas de design de prompts para IA generativa que todo jornalista deveria conhecer

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Ferramentas como o ChatGPT podem parecer falar a sua língua, mas, na verdade, falam uma linguagem de probabilidade e suposições fundamentadas. Você pode fazer-se entender melhor — e obter resultados mais profissionais — com algumas técnicas simples de prompting. Aqui estão as principais para adicionar ao seu kit de ferramentas (Este post foi traduzido do inglês original usando o Claude Sonnet 4.5 como parte de uma experiência. Por favor, avise-me se encontrar algum erro ou traduções incorretas).

Técnicas de design de prompts para IA generativa Prompting de função Prompting de exemplo único Prompting recursivo Geração aumentada por recuperação Cadeia de pensamento Meta prompting Prompting negativo

Prompting de função

O prompting de função envolve atribuir um função específico à sua IA. Por exemplo, você pode dizer “Você é um correspondente experiente de educação” ou “Você é o editor de um jornal nacional britânico” antes de delinear o que está a pedir que façam. Quanto mais detalhes, melhor.

Há pesquisas contraditórias sobre a eficácia do prompting de função, mas no nível mais básico, fornecer um papel é uma boa maneira de garantir que você fornece contexto, o que faz uma grande diferença na relevância das respostas.

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At its best, AI can help us to reflect on our humanity. At its worst, it can lead us to forget it

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Frankenstein's monster and Maria

Almost all conversations around AI come down to these hopes and fears: that at its best AI can help us to reflect on our humanity. At its worst, it can lead us to forget it — or subjugate it.

When AI is dismissed as flawed, it is often through a concern that it will make us less human — or redundant.

The problem with this approach is that it can overlook the very real problems, and risks, in being human.

When people talk about the opportunities in using AI, it is often because they hope it will address the very human qualities of ignorance, bias, human error — or simply lack of time.

The problem with this approach is that it overlooks the very real problems, and risks, in removing tasks from a human workflow, including deskilling and job satisfaction.

So every debate on the technology should come back to this question: are we applying it (or dismissing it) in a way that leads us to ignore our humanity — or in a way that forces us to address our very human strengths and weaknesses?

No, the explainer isn’t dead. It just needs a reason to live.

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A collection of explainer headlines

Marie Gilot says the explainer is dead. Because AI.

“Today, our readers query AI for all that stuff,” she writes. “They like the AI answers well enough and they don’t click on article links.”

Here’s the type of content losing to AI: explainers, how-tos, evergreens, aggregated news, resource lists, hours of operation for government offices, recipes.

Gilot is right, of course. But only partly.

It’s right that the commercial imperative to produce explainers — low cost, high traffic — is going to come under severe challenge at one end.

But that doesn’t mean the explainer is dead. It just means they need to have a reason to fight for their life beyond money.

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