Radiolab’s recent podcast The Buried Bodies Case is a brilliant piece of storytelling. The producers’ newsgathering; the choices of elements and how they are arranged; the tight editing and use of silence — all these make for a masterclass in longform narrative that any journalism student would benefit from exploring.
But it’s not that which prompted me to blog about it.
The content of the podcast is perhaps the best exploration of journalist-source ethics I’ve heard, without it actually being about journalists.
Spoiler alert: if you want to enjoy the podcast without knowing where it goes, then stop here, listen to it, and then come back. Continue reading →
The Huffington Post’s UK editor-in-chief Stephen Hull has provoked a curious backlash on Twitter following an appearance on Radio 4’s Media Show where he was asked why he doesn’t pay writers, writes Alex Iacovangelo.
“I love this question,” he replied:
“If I was paying someone to write something because I want it to get advertising, that’s not a real authentic way of presenting copy.
“When somebody writes something for us, we know it’s real, we know they want to write it. It’s not been forced or paid for. I think that’s something to be proud of.”
Tweeters quickly condemned him for encouraging the tactic during a time when jobs are being cut and budding journalists struggle to financially survive.
“Sarah Koenig, the lead producer and narrator … used the tools of legitimate reporting — the right to public records, access to experts, the goodwill of interviewees, compelling soundbites, stylish storytelling … — to intrude into and disrupt real lives for the fun of it. It’s voyeurism, not journalism.”
Serialfollows Koenig as she attempts to get to the bottom of a murder conviction she suspects may be a miscarriage of justice. The fact that she does not know whether it is or not is the basis of Jones’s misgivings:
“Real-life stories hurt the peopled involved … When the reporting phase is exhausted, it’s crucial to understand what kind of a story it is, and maybe whether it is a story at all.”
I think Jones makes a mistake common to those used to traditional journalistic production practices: firstly to mistake the subject for the purpose; and secondly to misunderstand modern journalism techniques. Continue reading →
This latest post in the FAQ series answers questions posed by a student in Belgium regarding ethics and data journalism.
Q: Do ethical issues in the practice of computational journalism differ from those of “traditional” journalism?
No, I don’t think they do particularly – any more than ethics in journalism differ from ethics in life in general. However, as in journalism versus life, there are areas which attract more attention because they are the places we find the most conflict between different ethical demands.
For example, the tension between public interest and an individual’s right to privacy is a general ethical issue in journalism but which has particular salience in data journalism, when you’re dealing with data which names individuals.
“Before providing two journalists from the Telegraph with accreditation to attend the event House PR has asked them to agree to a number of requests about the coverage they will give it.
“They have even gone as far as to draft Twitter messages which they would like the journalists to send out – and asked that they include a mention of the marketing campaign #PricelessSurprises and @MasterCardUK.”
Do such messages fall foul of the ASA’s guidelines on “marketing communications” on Twitter?
The ASA’s press officer Matt Wilson said that they don’t have a precedent, but told me:
“If entry to the Brit awards was conditional on the journalist tweeting on behalf of Mastercard, we’d likely view that as a ‘reciprocal arrangement’ (i.e. the journalist receiving a benefit they wouldn’t have otherwise). Continue reading →
How can data journalists make sense of such quantities of data and filter out what’s meaningful?
In the same way they always have. Journalists’ role has always been to make choices about which information to prioritise, what extra information they need, and what information to include in the story they communicate. Continue reading →