It’s a journalists dream: getting paid good money to travel the world or live abroad. Travel Journalism still remains one of the more glamorous genres inside the trade and with good reason. But it’s been hit hard by the changes as much as anywhere else; is there still a good business in it?
The answer from the seven journalists who attended the second Future of News Business Bootcamp this week was a wholehearted ‘yes!…but you have to be clever about it.’
If you’re not familiar with how the bootcamps work then check out the explanation here; but essentially they work on the premise that smaller numbers, an informal location and some bottles of wine equals good ideas and creativity.
Joining the bootcamp this week were Sarah Warwick, Rosamund Hutt, Will Peach, Patrick Smith, Lexi Mills, Tony Fernandes and James Carr; all of them have done the travel journalism thing and want to keep doing it. So how did we do?
The right questions
We frame the bootcamps by asking a series of business orientated questions, applying them to a specific area of journalism.
What’s the value? The team suggested things like inspiration & escape as well as basic language and currency information. Patrick Smith made the very good point that the real financial value in travel journalism is the fact it is actionable: people will buy holidays, for example, off the back of an article.
What are the target markets? We broke into two groups to come up with creative and unusual niche markets for travel journalism. Very popular was the expat market inside a given country (a model proved successful for hard news reporting by MexicoReporter.com); business travellers; the PAs of business travellers; the children of diplomats and even servicemen & women looking for things to do in their various locations.
Where’s the pain? This final question is the basis for many of the most successful businesses of the last century. What pain can you solve with your idea? For us, we’re looking for pains which can be solved by a travel journalist’s information, writing or multimedia. Some great ideas emerged, including products for old people who want to do adventure holidays, a way to help people avoid getting ripped off at the airport and even for people who are ‘bored & abroad’.
It’s not the journalism, stupid
I think the greatest realisation at the end of the evening though was agreeing on what makes money on a website or mobile device. Now, this might seem shocking or controversial to some of you; I suspect others realised this long ago. But collectively we pretty much agreed that on any “news” product, the journalism itself doesn’t make any money. It never will. It never has. It never should.
Instead it facilities a wide variety of other products which do make money; a subscription service, a shop, a sponsored mailing list, events etc. They cannot make money without the journalism, but the journalism cannot exist without them making money.
It’s an interesting symbiotic relationship which I think would form the base of any future news business in the online world. What do you think?
Either way, most of our bootcampers left with new ideas and optimism, so that’s mission complete! We’ll be doing one more in August, before the public meetups return in September.
Thanks very much to Patrick, Lexi, Tony, James, Sarah, Will and Rosamund for taking part in the experiment!
What happens when you ask a film maker or a musician about the future of journalism? What skills can the next generation journalist learn from a coder? As part of Fresh Eyes experts in non-journalism fields cast their eye over the digital revolution and offer their wisdom.
Jon Moss, Marketing Consultant
After nearly a decade working for a FTSE100 company, Jon decided working for other people sucked and now runs his own marketing consultancy, theappleofmyi. He specialises in branding, online marketing and social media, and is the founder of the Hull Digital group, a meetup of tech lovers in East Yorkshire, UK. Check out the HD website, for some great talks from the likes of Audioboo, TechCrunch UK and the BBC.
Would you choose your brand?
“Your brand is formed primarily, not by what your company says about itself, but what the company does.”
Jeff Bezos, Amazon’s CEO.
Except when you are talking about a journalist, blogger, freelancer or anyone for that matter, it’s not the company, it’s you. That’s the big question.
What are you doing?
Brands have an incredibly powerful, emotive and frequent part to play in virtually every buying decision we make. Day in, day out, we are making decisions based on our current or historical perception of a brand, or a brand experience. It can be a good experience, a bad one, or a mediocre one. They all play their part. Whether using a Mac or PC, which toothpaste you choose, what pair of trainers, and what car you drive. Brands.
Brands used to be tied, or rather cemented to TV advertising and perhaps big billboards. Of course with the onslaught (and make no mistake, it is an onslaught) of digital communication and the rise of the connected online world, brand experiences have changed forever.
You probably haven’t considered TV advertising, but you almost certainly use the web. Which means that you compete with the big boys, the multi-million dollar companies. The internet is a great equaliser, nearly everyone uses it, and it is not going away in a hurry.
The way you answer the phone, your answerphone message. Your business card, your website, your blog, your email signature. You name it, it is all part of your personal brand
65% of consumers report having had a digital experience that either positively or negatively changed their opinion about a brand. Of that group, a nearly unanimous 97% say that their digital experience influenced whether or not they eventually purchased a product or service from that brand. Digital is not only a place to build a brand: it can also make or break it. (Source – 2009 Razorfish Digital Brand Experience Study).
So, we’ve set the scene on brands and digital brands. You are starting to understand that brands and brand experiences are not just for Apple, Coca Cola and Nike.
Your brand matters. It matters a lot, and, critically can help in your marketing flow. Marketing is simple. 5 words simple: know, like, trust, use, recommend.
So having a good brand can most certainly help with getting known, getting liked, gaining trust and being used. The web can exponentially accelerate it.
Your personal brand is something you should be considering, building and adding to on a daily basis, and it is not only online. Remember that your personal brand encompasses every single touch point that a client, friend, colleague, prospect or family member could have with you, or something that represents you. The way you answer the phone, your answerphone message. Your business card, your website, your blog, your email signature. You name it, it is all part of your personal brand.
Nine questions to ask yourself
How people perceive you, your service, your business is all part of your brand. There are a few questions you may like to ask yourself to see how your brand measures up…
- Q. Can people find you easily online?
- Q. Have you got an interesting and extensive web presence?
- Q. If they can, is it professional?
- Q. Are you valuable to people?
- Q. Do you influence or are easily influenced?
- Q. Do people remember you for the right reasons?
- Q. Do you have an opinion?
- Q. Do you contribute and participate?
- Q. Do you listen and learn?
You must socialise with your peers, clients and prospects. It cannot just be push. You need to join in, contribute and have something to say, an opinion or view. People want to work with people who are doing something, that have ideas, that are joining in. It’s important to be practicing what you preach.
Ten things to do in 2010 to improve your brand
If you only do a few things in 2010, this is what you should consider as a minimum:
1. Own your name online (you do own your own domain name, don’t you?)
2. Make it easy for people to get in touch with you
3. Be memorable, and not for bad things
4. Contribute and engage
5. Do something different
6. Decide what you stand for, what makes you special and different
7. Start something
8. Meet people and volunteer your time
9. Be polite and enthused – ask, because if you don’t, you won’t get
10. Treat others as you would like to be treated
P.S. Have some fun🙂
Jon Moss is a marketing and branding consultant based in East Yorkshire, UK. He runs theappleofmyi.com and founded the popular Hull Digital meetup group.
What happens when you ask a film maker or a musician about the future of journalism? What skills can the next generation journalist learn from a branding expert? As part of Fresh Eyes experts in non-journalism fields cast their eye over the digital revolution and offer their wisdom.
Christopher Ave, musician
Christopher runs the excellent Music for Media blog where he profiles great examples of music being used in multimedia pieces and shares advice on how to do it. A life long musician himself, Christopher is also a journalist with the St Louis Post-Dispatch.
Music and Journalism
Many if not most of us journalists who create content for the web came from a print background. Naturally, we are most concerned with quotes and images — things we can see.
Things we can hear? Not so much.
So when I talk about using music in a journalistic multimedia project, I often get blank stares — or outright opposition:
Music? That’s…. manipulative! How dare we FORCE viewers to feel something!
It’s not surprising that so many journalists fear using music in multimedia storytelling – a reluctance expressed here by legendary writing coach Roy Peter Clark and again here by Poynter’s Regina McCombs. Many journalists who come from newspaper backgrounds are by nature suspicious of new storytelling tools — especially those used by radio or — gasp! — television.
But the very attraction of multimedia is that it can engage all the senses.Think about the great documentarians like Ken Burns, who used original music so effectively to help tell the story of the Civil War. Does anyone feel they were manipulated by the lovely, plaintive “Ashokan Farewell”?
In an increasingly fractured media world where we find ourselves competing for eardrums as well as eyeballs, I would argue that we ban such a powerful tool at our own peril.
Still, can’t overwrought music manipulate listeners’ emotions? Can’t jarring music detract from the story narrative? Of course – just as badly chosen words or images can distract viewers.
It’s just as manipulative to lard a narrative with mournful adjectives, or to quote sources from only one point of view, as it is to use music badly.
So the real issue, in my view, is this: We should use such tools properly.
Five tips on using music for journalists
But how can a journalist without significant musical skills do that? Here are some suggestions:
01.First, this is not about the music. It’s about the story you’re trying to tell. The music MUST fit within the tone established for the story (unlike, say, a music video, where the images serve the music).
02. Don’t imply that the music you’re adding is part of the scene you’re documenting (unless of course, it is). That’s like using Photoshop to add something to a news photo. This can be a fine line, and might seem to conflict with No. 1. If you’re in doubt as to whether you’re misleading the audience by choosing a piece of music, always leave it out. Go with something else. Risking your credibility isn’t worth it.
03. Don’t steal someone else’s music. This seems obvious, but in the cut-and-paste age, the temptation is there. Don’t yield to it. Do some research – know the law when it comes to fair use, trademarks and the like.
04. So where do you find just the right music for your project? There are scads of people selling pre-recorded music online (search “royalty-free music” for an idea.) If you’re looking for something in particular, find someone who can create it for you. MySpace, despite what you’ve read, is STILL full of bands and composers who are looking to distribute or license their music; perhaps you can find the creator of some music you like who will allow you to use it for free, in exchange for the exposure. Just make sure you get the agreement in writing. Or…..
05. Can’t find precisely the right music? Try creating your own. With tools like Garage Band and Acid, plus the plethora of free and low-cost loops out there, this might be easier than you think, especially if you have some time and the inclination to play around.
Here’s some music composition advice from Jon Patrick Fobes, a picture editor for the Cleveland Plain Dealer and a talented musician who often creates original music for the newspaper’s website:
Have a beginning, middle and end. Vary the instrument voices. Don’t be afraid to change gears. And don’t be afraid to go minimal. Let the music serve the visuals, not overpower them. Don’t be afraid of silence! Put in some drama.
And here’s some excellent advice from MediaStorm’s Eric Maierson, one of the most thoughtful users of music in the multimedia world.
So yes, be careful when using music in any nonfiction project. But I believe we journalists should embrace music – that is, music used with skill and restraint. As we fight tooth and nail for viewers and readers, I believe it’s a tool we can’t afford to do without.
Christopher Ave, who directs political and government coverage for the St. Louis Post-Dispatch/STLtoday.com, is a lifelong musician and career journalist. He blogs at christopherave.wordpress.com and creates music for a variety of uses at www.christopherave.com.
Tomorrow: what can journalists learn from a coding expert?
Journalism students and even older journalists struggling for work are being encouraged to get entrepreneurial and launch their own startups.
And damn straight too – let’s hope more of them take the leap and start launching products. I’m sure the most popular ideas for news businesses in someway mimic the mainstream media – for example an online magazine, hyperlocal website or production company.
All businesses with potential, but there are traps to fall into too. Here are some ideas (I came up with) which will never even get off the ground…and why.
1. Twat!: The risque new music magazine for young people in London
Twat! Magazine is a montly print magazine and website for young people in London that “really gets under the skin of culture” and “isn’t afraid to offend”. It features interviews “with upcoming artists the other magazines haven’t even heard of” and crazy mental features.
It won’t work. Why?
Referring to my Journalism Startup checklist it fails on the first four questions: it is not a new idea, and most importantly it does not have a defined target audience. Who are “young people in London?”. As it happens they’re incredibly diverse from postcode gang members to city bankers. None of them can identify with the ‘lifestyle’ the magazine is trying to sell and therefore have no reason to pick it up.
It’s not a new idea, because pubs, bars and student unions are flooded with “edgy, cool, underground” magazines all the time, usually made by Magazine Publishing students. Going for print alongside web brings in large overheads – and bootstrapping becomes harder.
2. WorldTV: a video website that showcases the best films about “the issues which matter.”
This website pays to licence video journalism pieces from around the world and put them into one place. They’re after films about “under-reported” issues for example Darfur, Sri Lanka and Bangladesh. It will also allow users to upload their own video which gets voted on by other users. The site will have an “international feel” and be for people who “really care about politics”.
It won’t work. Why?
It’s a noble idea – but why would you want to visit this site? Again, WorldTV suffers from a poor grasp of a well-defined target audience. It is probably aiming for young people around the world, but again they are incredibly diverse. No-one will feel a need to register and therefore hopes of building an active community will fall through. The films themselves are likely to be long, worthy affairs and bore most people after two minutes.
The site wants to pay for video commissions, and so will need to cough up cash to video journalists. It may get some venture capital at first, but the rates will steadily slip from $800 to $500 to $200, to nothing. Viewing figures will be low: creating something worthwhile and expecting the masses to come is a poor business model.
3. DoleItOut: a multimedia magazine for unemployed people in Birmingham
DoleItOut is a regularly updated multimedia website for people out of work in the Birmingham area of the UK. As well as feature interviews and interactives about life on the dole, it also has plenty of video advice guides on how to find work, video diaries and an active forum. Plans are underway to develop an iPhone app.
It won’t work. Why?
Hurrah! Finally an idea with a well defined target audience! Problem is they’re a bad target audience for running a business. Why? Because they got no money. If the editors of DoleItOut were hoping their readers would pay a minimal subscription they’d be wrong. Advertising is possible, but you’ll be left selling ads for evil loan sharks and 1000% loans. And what unemployed person can afford an iPhone app?
The idea also struggles with question 13 of the startup checklist – it doesn’t really scale. Although it’s good to be geo-specific, are there really enough unemployed people in Birmingham?
Too many news startup ideas fail because they take an upside down approach. Journalists think of a product and then decide who to make it for. Instead you need to define your audience first – and then ask “what do they need?”.
Photo Credit: Curious_Zed on Flickr
The fifth in a series of 6 blogs, each with 6 tips for the next generation of freelance multimedia journalists.
Audio is one of the most powerful mediums available to the multimedia journalist. Whether its radio, podcasts, on video or audio slideshows, audio brings a piece to life. So why is it almost always an afterthought? Too many good films and audio slideshows have been let down by bad quality audio. Here’s 6 tips to make sure that doesn’t happen to you!
01. let sound breathe
…as soon as a voice comes out of the speakers, the listener attempts to visualise what he hears to create in the mind’s eye the owner of the voice…unlike where the pictures are limited to the size of the screen, radio pictures are any size you care to make them.
Robert McLeish, Radio Production
In other words, with audio your limit is the size of the imagination. Last time I checked, that was pretty big.
So for the love of God, show audio some respect. First off a piece of audio does not have to consist entirely of voices with no gaps in between. In fact that sucks. When you’re out recording, take a moment to listen for sounds – in radio it’s called actuality and it is a key ingredient in bringing sound to life. Doing a story about some people on a boat? We want to hear the water lapping up against the bow. Is your scene in a cafe? Let’s hear the cups clinking, the chatter of everyday conversation, the whoosh! of the coffee machine in action.
This more often than not recorded as wildtrack. After filming, taking photos, interviewing, whatever, record at least 60 seconds of actuality. It’ll make editing a lot easier too.
Let the audio breathe. Give it a few seconds just to play in your listeners imagination and don’t talk over it. It’ll do more to paint a picture than overladen voice over will.
02. invest in a good microphone
Audio is so often an afterthought for video and photo journalists alike. This is mostly manifested in using a crap microphone. VJs – don’t use your camera’s onboard mic unless you’re lucky to have something nice like a Canon XL2, Sony EX3, Z1 etc. If you can, buy an external microphone to attach to your cameras horseshoe. For interviews, it is worth investing in a lapel mic.
Rodemic do some pretty decent offers, including a camera mic for under £100 ($180). For radio journalists, or photo journalists doing audio slideshows, there are a good range of digital audio recorders you can look at. The Marantz PMD620 is small, easy to use and so reliable you’d let it babysit your kids. I took it out to Iraq earlier this year and it was great. It starts at around £300/$500.
The Edirol R-09HR (£211/$349) has had produced some great sounding audio for freelancer Ciara Leeming and journalists are raving about the Olympus DS-40(£82/$135)
03. get the mic in close
Microphones do not have selective hearing like our ears do: they won’t pick out the voice across the room you’re pointing them at. So get in close to your interviewee – really close – like a little under their chin (if they’re ok with that). It eliminates a lot of background noise, like air conditioning, traffic, squeaks of chairs and all that. And more often than not it gives the recording a richness and an intimacy.
Compare, for example, the effect of these two recordings: the first with a mic held too far away in a large room, the other with it right in close.
Another great tip I picked up: if you can, record your interviews outside – it eliminates that shallow echo you get in peoples’ offices and living rooms.
04. let the characters talk
A bit of a personal bugbear this, but often the temptation with multimedia projects is to talk all over them, y’know, like they do on the TV and that. But new media means new ways of doing things. And I think one of the great new trends emerging is the silencing of the journalist/reporter voice over.
If you’ve recorded some great audio for your story, let it breathe – let the characters tell their own story. We don’t need to hear you saying “Angie is a mum of three struggling to make ends meet” when we can hear Angie saying “things are really hard right now, tryin’ to support three kids, y’know, payin’ the bills…every days a struggle.”
This takes some planning in the interview stages – most of all, you need to ask open questions, so your interviewees answers start as full sentences. It has been industry practice for many years to ask interviewees to include your question in their answer:
Why are you finding it so hard to make ends meet?
I’m finding it so hard to make ends meet because….etc.
05. use pauses
If you’re new to using audio, especially if you’re moving from print or photo journalism, the first thing you will notice when you listen back to your interviews is yourself. Going “uhuh, yeah, hmmmm, sure…” all over their answers.
Ask a question – then keep shtum. This pays dividends in some interviews – especially emotional ones – where your interviewee finishes their point. There’s a pause…you would normally fill it by asking a question…but don’t. Stay silent – and let the interviewee fill the pause. It’s a bit mean, but it gets them to reiterate their point, and in the process show what they’re really thinking.
And then keep those pauses in your piece. They are a natural part of speech and often reveal more about your character than their words.
06. take them on a journey
There are times when it’s right to bring yourself into the piece. But try not to use it just for dry voice overs recorded in a studio. Your voice is best when you’re somewhere your audience wants to be, and you can show them what it’s like.
To achieve this, you’ll need to be very descriptive in your writing. Tell people where you are and what you’re doing in vivid detail.
For the best examples, we have to go way back, to the first broadcast journalists:
I began to see what was happening to Berlin. The small incendiaries were going down like a fistful of white rice thrown on a piece of black velvet. The cookies-the four thousand pound high explosives-were bursting below like great sunflowers gone mad.
And then, as we started down again still held in the light, I remembered that the Dog still had one of those cookies and a whole basket of incendiaries in his belly. And the light still held it, and I was very frightened. I looked down, and the white fires had turned red. They were beginning to merge and spread, just like butter does on a hot plate.
Ed Murrow, on a boming raid over Berlin, 1944
There were perhaps a 150 of them, all so thin that their skin glistened like stretched rubber on their bones. Some of the poor starved creatures whose bodies were there looked so utterly unreal and inhuman that I could have imagined that they’d never lived at all. They were like polished skeletons, the skeletons that medical students like to play practical jokes with.
At one end of the pile a cluster of men and women were gathered round a small fire. They were using rags and old shoes taken from the bodies to keep it alight.
Richard Dimbleby at Bergen Belsen, 1945
Try to use old words, words that reach into the very core, the very oldest part of the language. They have the most impact….beware of adjectives. This is a rule I keep breaking and I have to exercise great vigilance to rein myself in. Adjectives are fine in moderation and when they genuinely add to the meaning or clarity of the image being conveyed.
The final word…
From award-winning multimedia producers Duckrabbit, the combo of a great photographer and a great audio producer:
Many great photographers make really bad audio slideshows because they treat audio as afterthought, or they try to do a voiceover without having any presentation skills. They might as well not bother.
Actually I’d go further then that. When you put your photos together with poor audio you actually diminish the value of your photos. Good audio is like a bad dog. It gets its teeth into you and won’t let go.
Next time: making things happen!
The walls of the debate are shifting. People don’t want to be reminded how bad the newspaper/journalism sector is right now; they don’t want to read more introductions to articles reeling off the various nails in the coffin.
In the last couple of months we’ve started to see more articles looking forward. And that’s a positive thing.
Six articles, each with six tips for the journalist of the future. They’re going to be focused on the down to earth practical stuff, and cover six broad areas the next generation freelance journalist will need to be familiar with:
- Business skills
- Making things happen
Some of them are new skills, which are just emerging; others are some of the oldest. And that last one isn’t a journalism skill, but I think it’s vital for freelancers if they’re not to end up sitting at home staring at their computer screen.
It starts on Monday with Branding – and as always, it’s never a complete list so feel free to add your advice in the comments!
Lisa Williams knows what’s going on. C’mon journalists, its time to start thinking like an entrepreneur!
More on this from me later this month…
It’s been a busy few months on here! Here’s a wrap up of the journalism related posts since my last summary back in April.
The future of journalism
This is why we’re entrepreneurs :: an inspiring video which makes any creative want to leap off their seat, start a production company. NOW!
Why Journalists Deserve Low Pay :: Richard G Picard’s article makes me realise the utter foundations of journalism have changed and are no longer economical
Life After Newspapers? :: the newspaper journalists who are reinventing themselves after being made redundant
Future of Journalism presentation :: in June and July I gave a couple of presentations outlining the crisis in journalism and it’s possible future. You can watch it here.
Noded working: a new way to do journalism? :: how noded working can help the new generation of freelance creative entrepreneurs
Introducing: the journalist of the future :: some of you said it was great, others naiive, others optimistic; others said it was rubbish. Whatever you might think, if you haven’t read it yet, here’s my picture of the skills and abilities of the journalist of the future.
The Journalist of the future: your reaction :: a neat summary of what some of you guys said about that article
One Week In Iraq :: how I put together my small multimedia piece reporting from Iraq
History Alive! :: two brilliant examples of how multimedia can be used to bring history to life
Choose your multimedia, wisely :: a look at the individual strengths and weaknesses of video, audio, images and interactivity. Now choose it wisely!
Open Source for multimedia journalists :: a brief skit over popular open source software the multimedia journo should have in their armoury
What does #digitalbritain mean for journalism? :: why Lord Carter’s Digital Britain Report is a massive FAIL for journalism
There’s been enough talk about the cancer spreading through modern journalism. The cutting of jobs and money, the shedding of audiences and advertising, the invasion of PR guff and the medium’s failure to reject it; and vitally, the disappearance of time for journalists to do some proper journalism.
I’m tired of talking about the past and want to know what’s coming next. Here’s my picture of a future journalist, based on books, blogs, a couple of talks I’ve given recently and all the noise on Twitter. As always, it’s by no means comprehensive – so let me know what’s right and wrong in the comments box!
Introducing: the journalist of the future
This combines the technical skills the new journalist will need (plus the old ones), new ways of collaborating with audiences and journalists across the globe; and most importantly an entrepreneurial edge to create an army of “creative entrepreneurs”.
The Jack of All Trades
Let’s get the obvious ones out of the way first: the journalist of the future is a reporter, a video journalist, a photo-journalist, audio journalist and interactive designer, all-in-one. They shoot and edit films, audio slideshows, podcasts, vodcasts, blogs, and longer articles. They may have one specialism out of those, but can go somewhere and cover a story in a multitude of platforms.
They may start off hiring the kit, but eventually will become a one-person news operation, with their own cameras, audio recorders and editing equipment.
They don’t just do it because it potentially means more revenue; they do it because they love telling stories in different ways. And let’s get another thing straight: they still live and breathe the key qualities of journalism: curiosity, accuracy and a desire to root out good stories and tell the truth.
The Web Designer
It goes without saying the journalist of the future should know several languages, two of which should be XHTML and CSS (and the more spoken ones the better). Their ability to design interactive online experiences will give them an advantage over competitors and a chance to charge more for their work.
They have an amazing portfolio website which shows off their wares.
They understand audio and video for the web does not follow the rules of radio and TV. They know what works online and what doesn’t. They can use social media to drum up interest and audiences in what they do, and are members of LinkedIn, Wired Journalists, Twitter to name just a few.
And it also goes without saying the journalist of the future has been a blogger for a long time.
The journalist of the future doesn’t belong to the world of “fortress journalism“. They don’t sit at their desk in a newsroom all day – in fact, they work from home.
They use Noded Working techniques to find collaborators for different digital projects; picking the most talented people from around the world. There are no office politics or long meetings. They market their work well enough to get chosen to take part in other projects.
And the journalist of the future aspires to the ideals of Networked Journalism set out by Charlie Beckett. They are not a closed book obsessed by the final product. Their journalism is as much about the process as the final product and they use social media technologies to get reaction to stories, find contributors, experts and even money. To top it off, they share their final product under the ethos of creative commons so others can build on it.
The internet has shown we’re just not prepared to pay for general news, especially when someone else is giving it away for free. The decline in newsrooms killed off many correspondents and specialists, but the journalist of the future knows there’s more money and more audiences in a niche. So they become more of a specialist in some areas, or use a current specialism to build an audience around what they do.
Science journalist Angela Saini, for example, uses her qualifications in the subject to get her work with a whole host of TV and radio science programmes.
Business, showbiz and sports news I think have a paid-for future – but so do other specialisms.
The Flexible Adapter
The journalist of the future will be born out of this recession and the death of traditional journalism. They’ll succeed now because they adapted, re-trained and were prepared to change their ways. And that is what will help them survive the next downturn too, and the next media revolution. They are flexible, creative and not stuck in their ways.
Mark Luckie, writing over at 10,000 Words says this ability to reinvent is really important:
…being a Jack of all trades is only the starting point. Journalism and its associated technologies are changing at a rapid pace and to learn one skill set is to be left in the dust. Sadly some of the technologies…will be obsolete in just a few years time. To survive in this industry means continuously evolving along with it.
They embrace new technologies, rather than view them as a threat. When a new social media tool or technology comes along, they ask themselves how can I use this?
And they are prepared to live light for a bit. They can live cheap, which means they can charge less and get more business. As David Westphal writes, describing journalist Jason Motlagh:
He lives modestly and accepts that there may be periods in his work where he’ll have to do something besides journalism to pay the bills.
The journalist of the future is a Creative Entrepreneur. Their business is their talent, creativity and knowledge. They are a freelancer, yes, but not a slave to the odd newsroom shift or rubbish PR story; instead they are in command of their destiny by creating content people will pay for. They discover stories and generate new ideas and sell them.
Back to Charlie Beckett in Networked Journalism:
“Entrepreneurship must be part of the process because every journalist will have to be more “business creative”…Journalism and business schools should work more closely together as information becomes more important to the economy…”
Their multiple skills means they can pitch countless ideas in several formats, for a wide variety of clients. They run their new start-ups in the get-rich-slow mentality described by Time Magazine as Li-Lo business:
It means that your start-up is self-sustaining and can eke out enough profit to keep you alive on instant noodles while your business gains traction.
And they think outside the small journo bubble: their clients aren’t just Cosmo or Radio 4, but B2B publications, charities, NGOs. They get grants from journalism funds to pursue important and under-reported stories.
Evidence has shown several sacked newspaper journalists have made a new career by remembering newsrooms aren’t the only people who pay for content. Brian Storm, from MediaStorm, quoted in PDN Online says:
“NGOs and corporations are just now starting to see the power of multimedia stories…A pr message has no authenticity. It won’t go viral. Organizations are looking for a new way to get their message out, and journalists can play a role in that.”
And most importantly they do the thing all journalists have ever done: tell stories. But they do it better than traditional journalists because they are not so constrained by time or house styles or formulas. They understand what makes a good story and aren’t afraid to break some rules.
And they have the time to tell the stories properly: truthfully, accurately and responsibly.
I think these make up an exciting future for journalism, but also for the people who try this form of journalism out. Is there anything more exciting than being such a creative entrepreneur?
There’s never been a better time, I tell students, to be a journalistic entrepreneur — to invent your own job, to become part of the generation that figures out how to produce and, yes, sell the journalism we desperately need as a society and as citizens of a shrinking planet. The young journalists who are striking out on their own today, experimenting with techniques and business models, will invent what’s coming.
Dan Gilmore, Centre for Citizen Media
I love the concept of open sourcing. It has many forms, but open source software is the most common use, when software developers make their code publicly available for all to explore and change.
It’s led to the creation of some amazing software very useful for journalists on a low budget; and of course, it’s free! Here are some highlights:
Open Office – is ropey in places, but otherwise a faithful and very useful alternative to Microsoft Office
Miro is a very promising internet video player and video podcast player.
With Photoshop being too expensive for many users, Gimp provides a free (and equally complicated alternative). Google’s Picasa is great for simple image edits.
Blender is the free tool for creating 3D animations and even whole films
Fascinating article thrown my way through Twitter today: “why journalists deserve low pay“.
As a journalist, on low pay, I was immediately angered by the title. And therefore had to have a read. Annoyingly its author, Robert G. Picard, makes perfect sense. This is not so much an article on why journalists deserve low pay (for now); rather a thesis on the very reason journalism, as a concept, is struggling for breathe.
Broken down it says:
Economic value is rooted in worth and exchange. It is created when finished products and services have more value – as determined by consumers – than the sum of the value of their components.
That’s the first time I’ve seen what I do broken down into its raw economic terms.
These benefits used to produce significant economic value. Not today. That’s because producers and providers have less control over the communication space than ever before,
So the reason newspapers aren’t making money, and radio & TV are losing money: they’ve lost their economic value.
Journalists are not professionals with a unique base of knowledge such as professors or electricians. Consequently, the primary economic value of journalism derives not from its own knowledge, but in distributing the knowledge of others. In this process three fundamental functions and related skills have historically created economic value: Accessing sources, determining significance of information, and conveying it effectively.
This too has been diminished by the internet and social media. So not only has journalism lost its value, so have journalists.
Today all this value is being severely challenged by technology that is “de-skilling” journalists….until journalists can redefine the value of their labor above this level, they deserve low pay.
It’s so refreshing to see our profession reduced to its raw bones; and until we solve these core issues of value in what we do, no pay-wall or subscription fee will save us.