© by Mark M. Hancock for Global Journalist magazine
The first day in April is called April Fool's Day in the United States. In Israel this year, it was simply portrait day for the new cabinet and photographer Menahem Kahana. However, when Kahana's image appeared in Yated Neeman, an ultra-Orthodox Jewish newspaper, someone had fooled with the image.
Someone at the newspaper used Adobe Photoshop or a similar software program to remove female ministers Limor Livnat and Sofa Landver and replaced them with two men to create an all-male cabinet.
While cloning over people in a portrait is a terminal offense at most U.S. daily newspapers, image manipulation has recent precedence in the Middle East.
Los Angeles Times staff photographer Brian Walski was fired - ironically - on April 1, 2003. The international-award-winning, 20-year news veteran combined two images of a British soldier and civilians in Iraq to make a "better" image. It cost him his job and his credibility.
However, few lessons were learned by others.
Lebanese photographer Adnan Hajj submitted at least two digitally-manipulated images to Reuters during the 2006 Lebanon War. Hajj turned flares into missiles in one instance and poorly cloned smoke rising from Beirut in another.
Hajj and others were also accused of introducing various items such as new toys and a burning Koran into scenes. Two days after Hajj's digital manipulations were discovered, Reuters stopped its 10-year association with Hajj, removed 920 photos by Hajj from the company archive and fired a photo editor.
During the same conflict, a woman was apparently photographed by photographers representing both Reuters and Associated Press (AP) while she mourned near a bombed home - in three different locations on three different dates. Issam Kobeisi made two of the images for Reuters while Hussein Malla submitted one to AP.
While both photographers were close enough to conveniently capture her emotion and the wreckage with wide-angle lenses, neither bothered to include the woman's name in their captions to verify authenticity.
Moving further east, the media branch of Iran's Revolutionary Guards released an image of an Iranian missile test launch in July 2008. In keeping with Middle Eastern digital ethics, it was manipulated as well.
After one missile failed to fire, the non-firing missile was removed from the image and one of the three other missiles was duplicated to make the launch appear to be a complete success
Digital manipulation isn't limited to the Middle East, and the April Fool's Day theme continues.
On April 1, 2007, the Toledo Blade ran a front-page image by photographer Allan Detrich. However, the former Pulitzer Prize finalist had digitally altered the image. Detrich's deceptions were discovered when he digitally removed the legs of a spectator from a baseball game on a Page 1 story. Competing papers ran similar images with the legs plainly visible.
By April 7, all of his images were removed from the Toledo Blade's Web site and access to his images was blocked internally. All 50 images submitted by Detrich to the Associated Press were also removed by AP.
The 2007 National Press Photographers Association president Tony Overman took the unusual step of publicly condemning Detrich's practices.
Overman stated the extent of this problem precisely, "The Blade reports that a subsequent internal investigation of his work showed evidence of manipulations in 79 photos so far this year, an unprecedented amount of violations."
In many of Detrich's manipulations, items such as balls or bushes were added to images while distracting elements such as wires were removed.
Advice from pros
Millions of ethical, accurate images are presented to the public each year by professional photojournalists. These professionals often risk their lives to present honest images. Consequently, harsh, career-ending criticism is leveled at rogue photographers who violate the core ethical rules of photojournalism and undermine the work of thousands of ethical photojournalists.
"Most photojournalists in Nicaragua are aware of the basic ethical rules of photojournalism and follow them," stated Tomas Stargardter, photo editor at La Prensa newspaper in Managua, Nicaragua. "The basic principle is 'Do not lie.'"
Alex Lloyd Gross is a Pennsylvania-based freelance photojournalist. He stated, "Always follow tight ethics. Without them, there is no trust between the reader and the journalist."
Defining ethical standards
The National Press Photographers Association (NPPA) released a “modernized” Code of Ethics in 2004. The old code was written in 1946 and didn't address television or digital editing. The new code includes these concerns and clarifies some other issues while clearly stating the expectations of members.
The code's goal is to achieve the highest standards while maintaining public confidence in the profession. This is accomplished through an honest, accurate and complete presentation of visual information. The code promotes accuracy and honesty in recording of events, event fidelity, digital editing and captioning.
While this standard isn't universal, it is upheld by most professional photojournalists around the world.
Historical perspective
Photographic manipulation is nothing new. In 1858, English photographer Henry Peach Robinson was a proponent of photography as an art form. Throughout his career, he made composite photos from separate negatives.
The first such composite image was placed on exhibit without an explanation. The image showed a girl on her death bed with her family in waiting. The image was initially criticized for its apparent intrusion on a private moment of a family's grief. Later, the artist was criticized for fooling the public with a manipulated image, which combined five separate negatives.
The first widely-known American instance of an altered image was by Mathew Brady's photography company in the 1860s. The company placed a portrait of Abraham Lincoln's head on the body of John C. Calhoun, a Southern slavery supporter.
Both images were portraits, but the photography company claimed they didn't have a full-body image of Abraham Lincoln in an inspirational pose.
Joseph Stalin regularly had enemies removed from images. Stalin most famously had the former Great Purge executioner and head of the Soviet secret police Nikolai Yezhov painted out of an image after Stalin arranged for Yezhov to be executed.
In the golden age of photojournalism, W. Eugene Smith also combined negatives to change the impact of images for Life magazine. Rather than cropping the image, Smith placed a silhouette of a hand holding a saw to cover a fog imperfection in a 1954 image of Dr. Albert Schweitzer.
He was also known to print images down to black and use potassium ferricyanide or bleach to reveal only the areas he wished to show. The chemical dissolved silver molecules to lighten or completely remove elements from images.
While the silver destruction process could be slowed long enough to make printing plates, the original photographic prints continued to degrade over time. Not only were these images irreversibly damaged, common storage techniques allowed these prints to permanently damage nearby prints as well.
While similar actions today are considered unethical, it was common practice in newspaper and magazine darkrooms to have potassium ferricyanide next to spotting pigment bottles.
As tainted prints degrade nearby prints, manipulated images tend to damage the works of others nearby.
Digital manipulation enters the market
During the 1980s, powerful computer-based image processing methods were developed. While supermarket tabloid newspapers continued to piece together supposed exclusive images of aliens, mermaids, Big Foot and other fiction, most legitimate newspapers had accepted basic ethical practices.
Meanwhile, magazines sat on the newsstand racks next to the tabloids. Both vied for the impulse purchase and income generated by casual shoppers. Ultimately, fashion, glamour, lifestyle and similar magazines frequently employed airbrush and digital manipulation to make sales while news magazines primarily presented factual images.
In February 1982, National Geographic created controversy by digitally moving two Egyptian pyramids closer together so both would fit onto the magazine's cover. Later, Tom Kennedy became director of photography for the magazine and stated, "We no longer use that technology to manipulate elements in a photo simply to achieve a more compelling graphic effect. We regarded that afterwards as a mistake, and we wouldn't repeat that mistake today."
With the ethical door opened by various magazines, Texas Monthly placed the head of Governor Ann Richards, a motorcycle rider, on the body of a model Betty Harper straddling a Harley-Davidson motorcycle on the July 1992 cover.
D Magazine eventually upped the ante by placing the head of Sen. Kay Bailey Hutchison on the swimsuit-clad body of model Desiree T. Claassen in July 1995.
However, Mirabella had already won the ethical arms race by creating a completely fictitious model for its September 1994 cover. Considering fake images had become the norm, a non-existent model wouldn't have been very controversial - other than inside the modeling profession. However, Mirabella's table of contents page explanation of the image never mentioned the cover was a composite fabrication.
Instead, it states, "Maybe her identity has something to do with the microchip floating through space, next to that gorgeous face."
In March 2007, Time added a teardrop to the face of former President Ronald Reagan. Time officials later said the image was a legitimate illustration because the teardrop's illustrator was listed in the table of contents.
It wasn't the first or most controversial step over the line by the magazine.
When O.J. Simpson was arrested, Time magazine darkened his mug shot to make him appear more menacing on a June 1994 cover. Because the unaltered image appeared on nearby Newsweek magazine covers as well, the manipulation was immediately evident.
Newsweek magazine has also had its share of controversies. In December 1997, Newsweek drastically altered a portrait featuring septuplet parents Kenny and Bobbi McCaughey. In this instance, Time ran the unaltered image.
And, not to be outdone by the Texas lifestyle magazines, Newsweek placed Martha Stewart's head on a model's body for its March 2005 cover.
Political manipulations
While digital manipulations are often easy to make, old-fashioned staged images are still useful to fulfill questionable political agendas.
The Daily Mirror newspaper in the United Kingdom fired editor Piers Morgan in May 2004 after learning he was a party to staged images of British soldiers supposedly abusing Iraqi prisoners. Morgan had refused to resign. Instead, he said the photos "accurately illustrated the reality about the appalling conduct of some British troops."
While political image manipulations are nothing new, the ease of modern software programs has accelerated the frequency of manipulated images for political gain.
A 2004 composite image appears to have a young Sen. John Kerry and Jane Fonda share the stage at an anti-war rally. In reality, the images were made by two separate photographers in two separate states more than a year apart.
A 2006 image placed the head of comedian Al Franken on the body of an adult wearing a diaper, bunny ears and clutching a teddy bear.
In both instances, Republican operatives were trying to discredit Democrat candidates. Neither attempt is known to have run in newspapers as legitimate news images.
In October 2008, Republican activist outrage over digital manipulation took an unusual and disturbing turn.
After Newsweek ran a particularly tight image of Gov. Sara Palin on the magazine's cover, Republican media consultant Andrea Tantaros, vice president at Sloane & Company, appeared on Fox News to voice her displeasure.
The crisis communications specialist with a journalism degree from Lehigh University was upset because Newsweek had not manipulated the image to make her client look better than reality.
Tantaros also stated on her blog, "We expect this from gossip magazines like Star, OK! and In Touch. Newsweek is supposed to be an unbiased, substantive weekly, not some fly by night publication that can afford to appear unprofessional. It is expected to have standards (except when it comes to conservative, backwater female politicians, apparently) and a competent photography department It's incredible how this photo editor didn't have time to make Governor Palin look her best but manages to make Barack Obama look like a statuesque, presidential image of perfection just about every other week. Mindboggling."
Possibly Tantaros should move to France.
Recent manipulations of images inside France appear to favor the administration of French President Nicolas Sarkozy. Paris Match magazine removed body fat from a shirtless image of the French leader in August 2007. In June 2008, the newspaper Le Figaro digitally removed a large diamond ring from the hand of French justice minister Rachida Dati.
Concerns about the future
Recent newspaper cutbacks and closings have many photojournalists concerned about future photojournalistic integrity.
"With papers leaning towards citizen journalism, I am very concerned. It's nothing for the citizen with a cell phone to take out a tree, manipulate the background or something even more sinister," Gross stated.
Stargardter instead believes ethical behavior has become a prerequisite.
"Photojournalists are taking more care to follow ethical rules since the labor market is limited," Stargardter stated. "The ability to protect your actual job and make sure that you have good references for any future job becomes a priority in these troubling times."
Enough for now,
Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts
Sunday, June 21, 2009
Sunday, November 16, 2008
My text editing background
This post primarily supports planned posts about writing, editing and expanded skills needed by contemporary PJs.
Unless it's necessary, I try to avoid using first person. Today it's required because this post is about my personal text editing process and background.
Although some of my longer pieces were (rightfully) criticized for verbosity, let's remember PJs must consistently summarize entire stories into two succinct sentences. These are rarely criticized for brevity. Few text reporters can make similar claims.
By seeing my training and editing process, writers might consider how editors and readers view their work. Additionally, PJs should realize they must have complete skill sets to compete for remaining jobs in a difficult market.
I've also been asked several times recently to edit and evaluate the work of other writers. Most of these pieces were written by non-journalists. While I'm known for being a stern editor of images, I edit writing more harshly because writing doesn't have the same physical limitations of photography.
Writers often select subject matter. Writers also tend to have more time to work on stories than visual reporters. A written story can be polished to its highest quality. PJs are much less likely to have this luxury.
In short, writers must not waste readers' time.
Writing background
In the Army, I studied writing as a hobby. While enlisted, I had some fiction work published and a song produced in Nashville. Upon release, I earned my first pro income as a freelance humor writer for a studio greeting card company.
In college, I won a literary award during my first semester. When I started journalism studies, I was a text reporter for the college paper. Later, I moved to news editor and ultimately to Editor of an independent university newspaper. Some of my stories won national awards.
I simultaneously worked on my visual reporting skills. I learned I could tell more stories to more people in less time with still images. Photojournalism remains the most powerful form of communication.
College experience
I never intended to be an editor. I wanted to be a reporter/PJ. However, my journalism instructors were world-renown editors and writing coaches. In college, I was one of the most qualified candidates for the news editing job, so I did it.
I learned much about quickly moving college students from novice writers to reporters. I mainly focused on the mechanics of the story. Once reporters understood the basics, they could produce better work. This approach allowed many reporters to advance rapidly, win collegiate writing awards and scholarships.
Turning pro
After graduation (and a lecture by David Leeson), I concentrated on getting a job only as a visual reporter. Leeson spent his first few years as a text reporter before switching to images and didn't want other PJs to waste valuable time. I followed his advice.
Once I was a staff PJ, I'd occasionally write extended cutlines, news stories, columns and even poetry. PhotoJournalism (this blog) evolved from these pro writing experiences.
Finding only the best
The Beaumont Enterprise had a monthly in-house newspaper content contest. The contest awarded cash prizes in the categories of writing, reporting, enterprise, editing (copy/design) and photo.
The winners of the contest weren't allowed to win the following month because they selected and judged the upcoming month. The results were released around the 20th of each month.
Consequently, each category winner had about 10 days to read, assess and select entries to be judged from a month's worth of newspapers in all five categories. By the contest meeting, each judge was familiar with the month's best work. The judging process only took about an hour to achieve consensus on two finalists in each category. These finalists were presented to the Editor for final selection of a winner.
While it was a noble endeavor, it turned something great (winning) into a chore (quickly reading 30 entire daily papers).
The process redefined my text editing style. I needed to quickly eliminate stories from the reading list. The pieces by other winners were immediately eliminated due to the contest rules. However, a significant volume of work remained to be considered.
During this review, I stopped reading stories if I found any mistake (fact, typo, grammar, style, etc.). I was only searching for the best examples. There's no way to defend a flawed story to other judges, so I'd move to the next story.
With red pen in hand, I tackled the papers. The second I found a mistake or lost interest in a story, I'd circle the mistake and/or draw a red slash at the point I jumped. It forced me to realize other people would do the same to my work. Hopefully, this made me a better writer.
Looking forward
While I'm doing fine as a freelancer, I prefer to be a staffer. Freelance feels too much like retirement. I'm not ready to retire.
Consequently, I've applied for several non-PJ jobs this fall. Despite the volume and quality of available professionals, I've been a short-list finalist for the following positions: copy editor/newspaper designer, associate book editor/designer and managing editor of a promising online publication.
All of these positions required well-rounded reporting and design skills. Most required above-average professional text editing skills. Collegiate PJs without these skills should take heed and learn these skills quickly and thoroughly.
I have several brands in the fire. I expect to continue work as a freelance PJ in the future. However, I'm continuing to learn and expand other skills to make myself more marketable to employers.
The current marketplace simply doesn't acknowledge any "dues paid" or dried laurels on a mantel. There's too much pro talent on the loose during this industrial crisis.
While all PJs prefer to shoot, we must expand our skills to handle whatever happens. Communicators with the ability to organize text, images, video and sound as an author, designer or editor have the strongest chances of survival in this industry or beyond.
Enough for now,
Unless it's necessary, I try to avoid using first person. Today it's required because this post is about my personal text editing process and background.
Although some of my longer pieces were (rightfully) criticized for verbosity, let's remember PJs must consistently summarize entire stories into two succinct sentences. These are rarely criticized for brevity. Few text reporters can make similar claims.
By seeing my training and editing process, writers might consider how editors and readers view their work. Additionally, PJs should realize they must have complete skill sets to compete for remaining jobs in a difficult market.
I've also been asked several times recently to edit and evaluate the work of other writers. Most of these pieces were written by non-journalists. While I'm known for being a stern editor of images, I edit writing more harshly because writing doesn't have the same physical limitations of photography.
Writers often select subject matter. Writers also tend to have more time to work on stories than visual reporters. A written story can be polished to its highest quality. PJs are much less likely to have this luxury.
In short, writers must not waste readers' time.
Writing background
In the Army, I studied writing as a hobby. While enlisted, I had some fiction work published and a song produced in Nashville. Upon release, I earned my first pro income as a freelance humor writer for a studio greeting card company.
In college, I won a literary award during my first semester. When I started journalism studies, I was a text reporter for the college paper. Later, I moved to news editor and ultimately to Editor of an independent university newspaper. Some of my stories won national awards.
I simultaneously worked on my visual reporting skills. I learned I could tell more stories to more people in less time with still images. Photojournalism remains the most powerful form of communication.
College experience
I never intended to be an editor. I wanted to be a reporter/PJ. However, my journalism instructors were world-renown editors and writing coaches. In college, I was one of the most qualified candidates for the news editing job, so I did it.
I learned much about quickly moving college students from novice writers to reporters. I mainly focused on the mechanics of the story. Once reporters understood the basics, they could produce better work. This approach allowed many reporters to advance rapidly, win collegiate writing awards and scholarships.
Turning pro
After graduation (and a lecture by David Leeson), I concentrated on getting a job only as a visual reporter. Leeson spent his first few years as a text reporter before switching to images and didn't want other PJs to waste valuable time. I followed his advice.
Once I was a staff PJ, I'd occasionally write extended cutlines, news stories, columns and even poetry. PhotoJournalism (this blog) evolved from these pro writing experiences.
Finding only the best
The Beaumont Enterprise had a monthly in-house newspaper content contest. The contest awarded cash prizes in the categories of writing, reporting, enterprise, editing (copy/design) and photo.
The winners of the contest weren't allowed to win the following month because they selected and judged the upcoming month. The results were released around the 20th of each month.
Consequently, each category winner had about 10 days to read, assess and select entries to be judged from a month's worth of newspapers in all five categories. By the contest meeting, each judge was familiar with the month's best work. The judging process only took about an hour to achieve consensus on two finalists in each category. These finalists were presented to the Editor for final selection of a winner.
While it was a noble endeavor, it turned something great (winning) into a chore (quickly reading 30 entire daily papers).
The process redefined my text editing style. I needed to quickly eliminate stories from the reading list. The pieces by other winners were immediately eliminated due to the contest rules. However, a significant volume of work remained to be considered.
During this review, I stopped reading stories if I found any mistake (fact, typo, grammar, style, etc.). I was only searching for the best examples. There's no way to defend a flawed story to other judges, so I'd move to the next story.
With red pen in hand, I tackled the papers. The second I found a mistake or lost interest in a story, I'd circle the mistake and/or draw a red slash at the point I jumped. It forced me to realize other people would do the same to my work. Hopefully, this made me a better writer.
Looking forward
While I'm doing fine as a freelancer, I prefer to be a staffer. Freelance feels too much like retirement. I'm not ready to retire.
Consequently, I've applied for several non-PJ jobs this fall. Despite the volume and quality of available professionals, I've been a short-list finalist for the following positions: copy editor/newspaper designer, associate book editor/designer and managing editor of a promising online publication.
All of these positions required well-rounded reporting and design skills. Most required above-average professional text editing skills. Collegiate PJs without these skills should take heed and learn these skills quickly and thoroughly.
I have several brands in the fire. I expect to continue work as a freelance PJ in the future. However, I'm continuing to learn and expand other skills to make myself more marketable to employers.
The current marketplace simply doesn't acknowledge any "dues paid" or dried laurels on a mantel. There's too much pro talent on the loose during this industrial crisis.
While all PJs prefer to shoot, we must expand our skills to handle whatever happens. Communicators with the ability to organize text, images, video and sound as an author, designer or editor have the strongest chances of survival in this industry or beyond.
Enough for now,
Sunday, August 26, 2007
How to tell a story
I tend to over-think issues. Then, I break them down and find the simplest way to tell others. Consequently, what I'm about to suggest may seem overly simple. Anyone can make it more complex if they wish, but the end result is the same.
PJs are story tellers. We tell other people's true stories. Some are happy. Some are sad. The stories need to be told. It's our job to find the stories and tell them to others. This is done with text, images, audio and video. It's best to select the right apparatus for the story, but the method is minor compared to the actual story. A good story can be told with any of these four tools.
"Once upon a time..."
I use a simple starting device to focus a story and keep it on track. I use four words that are familiar to most people over the age of three. Each story starts with, "Once upon a time..."
Each story also concludes with two words: "The end." It's not the end of the world. It's the end of the story. This is when it's time for the reader to react. The reaction might be to go to sleep or to pick up the phone and call a politician. Either way, deadline is the end for the PJ.
Once we have the beginning and the end handled, the center is the juicy story we want to tell. :-)
If I'm writing, I actually write these words before I write the rest of the story. When the story is complete, I delete these words. The same tool works to focus a picture story, video or audio piece.
The best image, clip or sound should be "Once-upon-a-time" (lede) and the second best image should be "The end" (kicker). At the least, the lede image should set the scene and the kicker should conclude the story.
"Once upon a time" and "The end" are powerful words because it means the reporter must tell a succinct story between these words. It also requires the reporter to quickly answer who, what, when, where, how and why. If done well, the (missing) first four words grab the reader, pull them into the story, move them along and deliver them to the end before they realized they were gone.
It works with this story about Mongolian contortionists by Chien-Min Chung:
We just answered all our questions with an interesting story. Finding images, audio and/or quotes to match the story requires the PJ's talent.
Where these words become magical is on difficult stories:
OK, that's the fast version. I'd add an image or two about who's trying to stop it and what/how they're doing. Additionally, there must be some major emotional images of hardship to pull off this story. For this type of story, the people presenting the facts must be authorities.
In all cases, the actions of the people involved move the story along. There's room for reflective moments, but these must create powerful imagery to avoid stalling the whole story.
Each story requires the same questions to be answered. They all must begin and end as quickly as possible to keep the reader. Even the quotes within these stories must lead the reader/viewer to the final conclusion: The End.
Now we know how these stories work. However, we don't know where they come from. It's equally simple: Ask people to tell their stories.
Finding stories
Everyone has a story. Some are very interesting. Some aren't. The trick is to find the good ones to present to other people.
Today, PJs could be in any town, walk up to the first person they meet and ask them to tell a story. Say, "I'll start it for you. Once upon a time..." and see what they say. I'd bet it's something interesting.
People are helpful and understand good stories when they hear them. Sometimes, they might refer PJs to someone else with a better story. Often, PJs can find a great story within an hour if they try. Then, it becomes a matter of access and timing. ;-)
Enough for now,
PJs are story tellers. We tell other people's true stories. Some are happy. Some are sad. The stories need to be told. It's our job to find the stories and tell them to others. This is done with text, images, audio and video. It's best to select the right apparatus for the story, but the method is minor compared to the actual story. A good story can be told with any of these four tools.
"Once upon a time..."
I use a simple starting device to focus a story and keep it on track. I use four words that are familiar to most people over the age of three. Each story starts with, "Once upon a time..."
Each story also concludes with two words: "The end." It's not the end of the world. It's the end of the story. This is when it's time for the reader to react. The reaction might be to go to sleep or to pick up the phone and call a politician. Either way, deadline is the end for the PJ.
Once we have the beginning and the end handled, the center is the juicy story we want to tell. :-)
If I'm writing, I actually write these words before I write the rest of the story. When the story is complete, I delete these words. The same tool works to focus a picture story, video or audio piece.
The best image, clip or sound should be "Once-upon-a-time" (lede) and the second best image should be "The end" (kicker). At the least, the lede image should set the scene and the kicker should conclude the story.
"Once upon a time" and "The end" are powerful words because it means the reporter must tell a succinct story between these words. It also requires the reporter to quickly answer who, what, when, where, how and why. If done well, the (missing) first four words grab the reader, pull them into the story, move them along and deliver them to the end before they realized they were gone.
It works with this story about Mongolian contortionists by Chien-Min Chung:
Once upon a time, there was a girl (who) in Mongolia (where). She dreamed of being a contortionist (what). If she became a professional contortionist, she could help feed her family (why). So, she went to a special school (how). It was physically and mentally challenging. She cried, but was determined (emotional elements - climax). Unfortunately, her family ran out of money (revelation). So, she left the school and returned home to her family's farm (low point). She continues (when = now) to practice at the farm. She still plans to become a professional contortionist. The End.
We just answered all our questions with an interesting story. Finding images, audio and/or quotes to match the story requires the PJ's talent.
Where these words become magical is on difficult stories:
Once upon a time there was global warming (what). It affected everyone (who) in the world (where). It changed weather patterns (how). Global warming is caused when too many greenhouse gasses are in the air (why). It continues (when) to be a problem. The End.
OK, that's the fast version. I'd add an image or two about who's trying to stop it and what/how they're doing. Additionally, there must be some major emotional images of hardship to pull off this story. For this type of story, the people presenting the facts must be authorities.
In all cases, the actions of the people involved move the story along. There's room for reflective moments, but these must create powerful imagery to avoid stalling the whole story.
Each story requires the same questions to be answered. They all must begin and end as quickly as possible to keep the reader. Even the quotes within these stories must lead the reader/viewer to the final conclusion: The End.
Now we know how these stories work. However, we don't know where they come from. It's equally simple: Ask people to tell their stories.
Finding stories
Everyone has a story. Some are very interesting. Some aren't. The trick is to find the good ones to present to other people.
Today, PJs could be in any town, walk up to the first person they meet and ask them to tell a story. Say, "I'll start it for you. Once upon a time..." and see what they say. I'd bet it's something interesting.
People are helpful and understand good stories when they hear them. Sometimes, they might refer PJs to someone else with a better story. Often, PJs can find a great story within an hour if they try. Then, it becomes a matter of access and timing. ;-)
Enough for now,
Sunday, July 16, 2006
Beaumont residents trapped in Lebanon
Dr. Raja H. Ataya, a Beaumont-based pediatrician, holds a family portrait in his office in Beaumont on Friday, July 14, 2006. The Lebanese immigrant is concerned about the safety of his wife and daughter who were vacationing in Beirut when Hezbollah kidnapped and killed Israeli soldiers.
Photo and story by Mark M. Hancock / © The Beaumont Enterprise
On Tuesday morning, Beaumont residents Sousan Ataya and her daughter Ramona, 22, were vacationing with family in Beirut, Lebanon. With soaring mountains, cedar trees and memorable golden beaches along the Mediterranean Sea, the city is known as the Paris of the Middle East.
By Friday, they had evacuated to their mountain home, were scared, unsure what action to take and were surviving in a house with 50 other evacuees. Scores of civilians had died, many more were injured, the airport was hit and closed, roads were bombed, power plants had been destroyed and communications throughout the country were cut.
Dr. Raja H. Ataya, a Beaumont pediatrician, gave the vacation to his daughter as a gift before she begins medical school at the University of Texas Medical Branch this year. He's concerned about the safety of his wife and daughter.
"We've been in Beaumont for 22 years. Beaumont is now my hometown, but I came from Lebanon," Ataya said. "I haven't been to Lebanon for eight years. My daughter told me, 'Dad, I want to see Lebanon. Every year you delay that.'"
"So I told her, 'This is the best year to go to Lebanon.' Unluckily, we selected the wrong time," he said. "Five days later the war began, and they're stuck there."
According the blog The Lebanese Bloggers, at 9:05 a.m. local time on Tuesday, July 22, 2006 Hezbollah guerrillas crossed the Israeli-Lebanon border, killed three soldiers and kidnapped two others. Then, Hezbollah announced what they had done and issued demands for a prisoner exchange.
This announcement politically eliminated an initial diplomatic solution. At 10:30 a.m. local time, Israel responded.
Initially, Israel contained its military activities to the southern portion of Lebanon. When the captured soldiers were not returned, Israel struck the airport as well as other routes of resupply from Syria to the Iranian-backed Hezbollah guerrillas on the Israeli border.
The Consulate General of Israel to the Southwest office in Houston, Beaumont's Temple Emanuel and the Beaumont Jewish Federation were all contacted. None responded after repeated requests for interviews.
"Beirut city was recovering, hotels, businesses. It was booming with success," Ataya said. "After 20 years of civil war, everyone was so excited about it. Things were getting better and then suddenly Hezbollah and Israel have this confrontation. Beirut changed in 24 hours and became a shadow of a city."
The state of Israel was created by the United Nations in 1948. It was immediately attacked by five surrounding Arab states. Israel won the battles and gained additional property not mandated in the United Nations resolution. The surrounding Arab nations also kept land formerly belonging to Palestine.
The Palestine Liberation Organization (PLO) was created in 1964 during a summit meeting of the Arab League. The PLO was an umbrella group for Palestinian concerns. It was originally based in Jordan.
After repeated attacks into Israel by the PLO and the subsequent damage inflicted by Israel upon Jordan, Jordan and the PLO engaged in a short war. Afterward, the PLO fled to southern Lebanon.
The Six-Day War took place in June 1967. According to MSN Encarta, Israel conquered Egypt, Jordan and Syria to claim the Sinai Peninsula, Gaza Strip, West Bank and the Golan Heights. Parts of all but the Golan Heights, which formerly belonged to Syria, were negotiated for peace.
Abbie Baradar is owner of Abbie's Imports in Beaumont. Baradar left Iran in 1969 while the Shah was in power. He knows Ataya and sympathizes with the troubles facing the family and the country.
"The sad situation is that Lebanon is some kind of neutral country," Baradar said. "Around the 67-69 war, [instead of] Syria fighting in their own country, they went to Lebanon and [fought] the Israeli in Lebanon. Lebanon didn't have an army. Lebanon is a beautiful country."
The PLO continued to conduct raids into Israel from Lebanon. Again, Israel fiercely responded against the PLO in Lebanon. This lead to the Lebanese Civil War (1975-1990), largely fueled by Israeli and Syrian invasions into Lebanon.
"Why does Lebanon have to be the stage for this," Ataya said. "We suffered enough. We had a civil war. We lost 200,000 people. Why do we have to suffer now. I appeal to President Bush ... [to] help put an end to this because Lebanon is like another [American] state."
On June 6, 1982, Israel forces invaded southern Lebanon and eventually surrounded West Beirut. With the help of international peacekeepers, Syria and PLO fighters negotiated safe passage out of Lebanon. The damage to Lebanon's infrastructure was estimated to cost about $2 billion at the time.
Many believe this Arab defeat caused the creation of Hezbollah, which was funded by and ideologically aligned with the Iranian government following the 1979 Iranian Revolution.
"OK, there is the Palestinian suffering," Ataya said. "The Palestinians are paying a price too high. Why we - the Lebanese - have to do the same thing. We're not part of the problem."
"We're still Arabs and sympathize with the Palestinians. We're asking Israel, 'OK, you have a problem with Hezbollah, so your confrontation should be with Hezbollah.' [Don't] sacrifice the whole [of] Lebanon because of what Hezbollah is doing and we're not responsible for its acts," Ataya said.
Hezbollah was created and funded by Iran in 1982 according to Time magazine. It is a Shiite Muslim militia. It filled the conflict vacuum created when the PLO was forced out of Lebanon.
"Right now it's the same thing again," Baradar said. "Hezbollah is there and that country is going to go down again. Syria's going to fight in Lebanon and that's going to mess up their country again. And Lebanon has nothing to do with anything."
Hezbollah has been building arms since the end of the last conflict with Israel, which ended in 2000 when Israel withdrew from a Lebanese "security zone" in accordance with UN Security Council Resolutions 425 and 426.
"We are stuck in the middle because this Lebanese government was really trying to be independent of Syria and Iran," Ataya said. "For the first time, they got open to the West, the USA, and relations so beautiful - so grand. Business has been encouraged for U.S. investors to come to Lebanon."
"I know Hezbollah has triggered Israel by capturing two soldiers, but it's a confrontation between Israel and Hezbollah. Why the Lebanese people have to pay the price?" he asked.
Hezbollah's continued campaign against Israel's northern flank has been interpreted as an extension of Syria's desire to reclaim the Golan Heights, according to the Web site Palestine Facts.
"Probably Hezbollah planned this to do it anyway. But why?" Ataya asked. "Lebanon has its peak of business, success and happiness and people in Lebanon came from all over the world to enjoy this time."
"Hezbollah knows more than anyone else that Israel has no bargaining there. And [Hezbollah] knew that it was going to devastate Lebanon and hit Beirut," Ataya said. "But Hezbollah doesn't care for Lebanon. They care for like the Palestinian cause, 'It doesn't matter where we are. If destruction happens, that's fine. We are defending the Palestinian cause.'"
It took 20 years and billions of dollars to rebuild Lebanon to where it was before current hostilities.
"If you defend Palestinians from Lebanon, what kind of achievement do you plan? You can defend the Palestinian cause without exposing Lebanon to that fight," Ataya said.
"Our goal is Hezbollah has to be dissolved - respectfully - and be part of the Lebanese army. Lebanon, like other independent countries - like Syria and Iran, we don't like to be a stage for their political activities and for making plans to attack and defend the Palestinian cause just in Lebanon," he said.
Meanwhile, approximately 25,000 Americans remain in Lebanon amid the bombings. The U.S. Department of State is urging American citizens to defer travel to Lebanon on its Web site. It has issued a travel warning authorizing family members and non-emergency American employees to leave Lebanon.
Friday, Sousan Ataya called the American embassy. She was told "Stay where you are. When we have plans for an evacuation, we'll let you know."
Dr. Ataya said Ramona told him she loves the beauty of the mountains in Lebanon, but she wants to get out of Lebanon.
"I don't know how, but they'll get out. Don't worry. The U.S. Embassy is trying," he said.
On the Web
The Lebanese Bloggers: Lebanese bloggers update a blow-by-blow log of violence from the inside.
BloggingBeirut A multi-media blog.
Rantings of a Sand Monkey (not for easily offended)
US Department of State
"Any Chance for Peacemaking? What the Players Want" (Time magazine)
Palestine Facts: Site features a cross-referenced history of Palestine.
MSN Encarta online encyclopedia (Lebanon)
Wikipedia online encyclopedia edited by readers (Lebanon)
Enough for now,
UPDATE 7/20/06: Beaumonters leaving Lebanon today
UPDATE 7/26/06: Please see Ataya family reunites.
Sunday, June 04, 2006
A heartbeat and a blessing
by Mark M. Hancock / The Beaumont Enterprise
American Indians from across the country gathered in their finest regalia at the Alabama-Coushatta reservation this weekend to dance, sing, drum and reunite. The 38th annual Alabama-Coushatta Tribe Pow Wow invited guests to reconnect to the proud heritage of this land and its people.
As with everything organic, the powwow starts with a heartbeat.
"The drum is like the heartbeat of our people," said Sonny Blackbear, head singer of the Bear Claw drum group from Dallas. "This drum is a blessing to our people. We treat it with respect when we sit around this drum."
The Bear Claw drum group is mostly composed of Kiowa and Comanche tribe members. Sonny Blackbear's father, Darrell Blackbear, is Kiowa/Apache and a member of the drum group, which was designated as the Host Southern Drum group.
"At most powwows nowadays in the southern part of the country, you start your powwow off with a gourd dance session," said Darrell Blackbear. "The gourd dance is holistic to the Kiowa people. We like to think it blesses the whole arena and the powwow. I like to think that's why we start off with the gourd dance. It's like a blessing."
The gourd dance is facilitated by Port Arthur business owner Mel Whitebird of the Southern Cheyenne tribe.
"The gourd dance is a warrior's dance," he said. "It started among the Plains tribes hundreds of years ago. It evolved into the 21st Century. The warriors we have today are veterans - they're our modern-day warriors. It's a very popular dance and it's branched out nationwide."
The spiritual dance is popular with all tribes because it honors the American Indian warrior.
"The warrior in a tribe is the highest honor that anyone can attain. So, we always honor our veterans during every powwow," Whitebird said.
The gourd dance is a slow dance. It's conducted by intertribal military veterans. During the dance, men shake custom rattles made of gourds or metal and filled with seeds or marbles.
After the gourd dance, all competitors prepare for the Grand Entry.
As dancers gather outside the arena, the tribe's eagle staff is brought forward. It serves as the flag for American Indians. Light gleams on the eagle talons as they stretch for the sky in the thick, green forest. The eagle's outstretched claw is attached to a 5-foot staff and is surrounded with elaborate beadwork representing the American flag. Below the claw on the tribe's staff are eagle feathers with the names of the tribe's fallen veterans.
Warriors also lead the Grand Entry.
"When the Grand Entry comes in, leading the Grand Entry will be the American colors. We believe it's still our country, and we'll fight for it. We serve in large numbers. We are very, very patriotic people," Whitebird said.
Harold Rogers is the arena director. He helps run the arena during the contest. He is the liaison for the master of ceremonies, dancers, drummers and the powwow committee. He said there are more than 500 tribes and each conducts powwows differently.
"There are many different kinds of powwows. There's contest powwows. There's social benefit powwows, where there's no dancing at all. There's the traditional powwow, where there's just specific dance styles," Rogers said.
There are many versions of how powwows began. However, they are now popular tribal events which facilitate family reunions, dance competitions and an informal dating service.
"A powwow, in general, is a celebration. Not only will you see contest dancing, you'll have singing from drum groups from throughout the United States and Canada as well as good intertribal dancing, where we ask all the dancers with many different dance styles just to come out. They have a good time. We'll have some social dancing, where we'll ask the general audience to participate," Rogers said.
Competitors get points for dancing during specific songs as well as during intertribal dances, where anyone can participate and regalia isn't required. There are four competitive dance styles for men and four for women. Each style is broken down into contest categories by age. After each dance, points are awarded to dancers and tracked by a scorekeeper.
Pat (Helm) Poland of Conroe, Texas is one of the competitive dancers. She is Cherokee/Comanche, and her mother is a descendant of Quanta Parker.
"I compete in the dance contest," she said. "I'm Southern Cloth. Because of my age, I'm Golden Age, which is anybody 55 and up."
Judges watch the dancers for timing and missteps. However, participation is the most important quality as dancers get points for participation in each included dance. Pow wow winners have acquired the most points throughout the weekend. With thousands of dollars riding on the final score, each point is literally valuable.
"If they call for an Indian Two-Step, which is the only time that a man and woman dance together, some tribes will count points [and] some tribes won't."
Officials announce which dances are for points.
"If it counts points, you better, as a woman, go grab somebody because it's a woman's choice. The woman has to get up and go get a man. If a man refuses, [the man must] pay [the woman] $5," Poland said.
She learned the steps by attending dances and having friends teach her the dances.
"A lot of these dancers here have been dancing since they were babies. I've seen them not even be able to walk and their mamas take them into the ring."
She said the tribe holds monthly benefit powwows from November until their large annual pow wow. Then, dancers follow the Red Road, the powwow circuit, north to cooler climates.
"It makes no sense to dance in Texas in July and August. Then, you'll have powwows up north."
Tribes north of Texas have their annual powwows through the summer and into the fall. Afterward, the local benefit powwows begin anew at the Alabama-Coushatta reservations.
At all powwows, all activity begins and ends with the drumbeat. The drum itself is made from a hollowed tree trunk. Hides are stretched over the top and bottom and tied with wet leather then dried. When a drum is constructed, it's made with sweat and prayers.
"The longer you sing with [the drum] and the more powwows you go to and the more dances you go to, the more medicine - blessings - come with the drum," said Sonny Blackbear. "This is a very old drum. We call it 'Grandpa.'"
He said the drum beat tempo mimics a heart beat. For slower songs, the beat is steady. For fancy war songs, the beat races like a warrior in battle.
"After sitting around this drum, we become brothers at this drum. We all become in sync with each other. Over the years, we become real tight with each other. Now, when we swing our stick, it sounds like one stick. When we sing with our voices, it sounds like one voice."
The National Championship Pow Wow will be held Sept. 8 - 10, 2006 at Traders Village in Grand Prairie, Texas.
The Austin Pow Wow is held on the 1st Saturday of November at the Tony Burger Center in Austin.
Please also see the photo story "38th annual Alabama-Coushatta Tribe Pow Wow" by Mark M. Hancock.
American Indians from across the country gathered in their finest regalia at the Alabama-Coushatta reservation this weekend to dance, sing, drum and reunite. The 38th annual Alabama-Coushatta Tribe Pow Wow invited guests to reconnect to the proud heritage of this land and its people.
As with everything organic, the powwow starts with a heartbeat.
"The drum is like the heartbeat of our people," said Sonny Blackbear, head singer of the Bear Claw drum group from Dallas. "This drum is a blessing to our people. We treat it with respect when we sit around this drum."
The Bear Claw drum group is mostly composed of Kiowa and Comanche tribe members. Sonny Blackbear's father, Darrell Blackbear, is Kiowa/Apache and a member of the drum group, which was designated as the Host Southern Drum group.
"At most powwows nowadays in the southern part of the country, you start your powwow off with a gourd dance session," said Darrell Blackbear. "The gourd dance is holistic to the Kiowa people. We like to think it blesses the whole arena and the powwow. I like to think that's why we start off with the gourd dance. It's like a blessing."
The gourd dance is facilitated by Port Arthur business owner Mel Whitebird of the Southern Cheyenne tribe.
"The gourd dance is a warrior's dance," he said. "It started among the Plains tribes hundreds of years ago. It evolved into the 21st Century. The warriors we have today are veterans - they're our modern-day warriors. It's a very popular dance and it's branched out nationwide."
The spiritual dance is popular with all tribes because it honors the American Indian warrior.
"The warrior in a tribe is the highest honor that anyone can attain. So, we always honor our veterans during every powwow," Whitebird said.
The gourd dance is a slow dance. It's conducted by intertribal military veterans. During the dance, men shake custom rattles made of gourds or metal and filled with seeds or marbles.
After the gourd dance, all competitors prepare for the Grand Entry.
As dancers gather outside the arena, the tribe's eagle staff is brought forward. It serves as the flag for American Indians. Light gleams on the eagle talons as they stretch for the sky in the thick, green forest. The eagle's outstretched claw is attached to a 5-foot staff and is surrounded with elaborate beadwork representing the American flag. Below the claw on the tribe's staff are eagle feathers with the names of the tribe's fallen veterans.
Warriors also lead the Grand Entry.
"When the Grand Entry comes in, leading the Grand Entry will be the American colors. We believe it's still our country, and we'll fight for it. We serve in large numbers. We are very, very patriotic people," Whitebird said.
Harold Rogers is the arena director. He helps run the arena during the contest. He is the liaison for the master of ceremonies, dancers, drummers and the powwow committee. He said there are more than 500 tribes and each conducts powwows differently.
"There are many different kinds of powwows. There's contest powwows. There's social benefit powwows, where there's no dancing at all. There's the traditional powwow, where there's just specific dance styles," Rogers said.
There are many versions of how powwows began. However, they are now popular tribal events which facilitate family reunions, dance competitions and an informal dating service.
"A powwow, in general, is a celebration. Not only will you see contest dancing, you'll have singing from drum groups from throughout the United States and Canada as well as good intertribal dancing, where we ask all the dancers with many different dance styles just to come out. They have a good time. We'll have some social dancing, where we'll ask the general audience to participate," Rogers said.
Competitors get points for dancing during specific songs as well as during intertribal dances, where anyone can participate and regalia isn't required. There are four competitive dance styles for men and four for women. Each style is broken down into contest categories by age. After each dance, points are awarded to dancers and tracked by a scorekeeper.
Pat (Helm) Poland of Conroe, Texas is one of the competitive dancers. She is Cherokee/Comanche, and her mother is a descendant of Quanta Parker.
"I compete in the dance contest," she said. "I'm Southern Cloth. Because of my age, I'm Golden Age, which is anybody 55 and up."
Judges watch the dancers for timing and missteps. However, participation is the most important quality as dancers get points for participation in each included dance. Pow wow winners have acquired the most points throughout the weekend. With thousands of dollars riding on the final score, each point is literally valuable.
"If they call for an Indian Two-Step, which is the only time that a man and woman dance together, some tribes will count points [and] some tribes won't."
Officials announce which dances are for points.
"If it counts points, you better, as a woman, go grab somebody because it's a woman's choice. The woman has to get up and go get a man. If a man refuses, [the man must] pay [the woman] $5," Poland said.
She learned the steps by attending dances and having friends teach her the dances.
"A lot of these dancers here have been dancing since they were babies. I've seen them not even be able to walk and their mamas take them into the ring."
She said the tribe holds monthly benefit powwows from November until their large annual pow wow. Then, dancers follow the Red Road, the powwow circuit, north to cooler climates.
"It makes no sense to dance in Texas in July and August. Then, you'll have powwows up north."
Tribes north of Texas have their annual powwows through the summer and into the fall. Afterward, the local benefit powwows begin anew at the Alabama-Coushatta reservations.
At all powwows, all activity begins and ends with the drumbeat. The drum itself is made from a hollowed tree trunk. Hides are stretched over the top and bottom and tied with wet leather then dried. When a drum is constructed, it's made with sweat and prayers.
"The longer you sing with [the drum] and the more powwows you go to and the more dances you go to, the more medicine - blessings - come with the drum," said Sonny Blackbear. "This is a very old drum. We call it 'Grandpa.'"
He said the drum beat tempo mimics a heart beat. For slower songs, the beat is steady. For fancy war songs, the beat races like a warrior in battle.
"After sitting around this drum, we become brothers at this drum. We all become in sync with each other. Over the years, we become real tight with each other. Now, when we swing our stick, it sounds like one stick. When we sing with our voices, it sounds like one voice."
On the Web:
Alabama-Coushatta tribe
PowWows.com
Pow Wow introduction
Dance styles
Twin Cities public television presentation about Pow Wows
National Championship Pow Wow
Austin Pow Wow
Flying Eagle Trading Post (home of the Bear Claw drum group)
The National Championship Pow Wow will be held Sept. 8 - 10, 2006 at Traders Village in Grand Prairie, Texas.
The Austin Pow Wow is held on the 1st Saturday of November at the Tony Burger Center in Austin.
Please also see the photo story "38th annual Alabama-Coushatta Tribe Pow Wow" by Mark M. Hancock.
Sunday, April 10, 2005
Adios Dallas
© Mark M. Hancock
A quick view from our balcony on our final day in Dallas.
Bittersweet this final day,
The fallen leaves must blow away,
But on the wind, the eagles soar,
To find a home and nest once more,
Let's sing a song of time now past,
And begin anew our home at last.
Wednesday, January 19, 2005
Use names in police stories
The warrant roundup is an annual occurrence. The marshal's office invites the media (TV and press) along for some pre-dawn raids of people with outstanding domestic abuse warrants on the Saturday before Christmas.
Since most detainees said they were innocent while being processed at a remote location, we can only assume everyone is indeed innocent of everything. However, the marshal's office still had an outstanding warrant to serve. So, this is tax dollars at work.
Before I continue, PJs mostly cover tax dollars at work. When we cover wrecks, fires and such, we focus on what the police and firefighters are doing. This is why we are there. We also cover the people affected by the event to get them help from the community. Lastly, we cover the people who may have caused the commotion in the first place (hostage takers, etc...).
With those who claimed innocence (most) during the roundup, we gave them the opportunity to give us their names so we could research their case. All those I photographed politely declined their names to me. Because 24 folks were arrested on this one day, there is no clear-cut way to get names for the people in the photos from the arrest records.
In general, whenever PJs have the names of the people in photos, they should submit them to run. In reality, editors sometimes re-write cutlines to exclude names. Editors have their own reasons, but it happens. As long as PJs do everything possible to correctly identify the people in the image, PJs have done their job.
The easiest and best way to get names is to ask the people photographed. They know the proper spelling of their own name and frequently give it to PJs. However, they aren't required to give their names and may refuse.
Next, PJs need to ask for the name of the reporting police officer. This is the officer who is designated to file the police report on the incident. The officer includes the names of all people involved in the police report.
The police report is available under open records. Police departments can delay reporting, but often they'll work with local newspapers (they want the "Officer of the Year" banquet covered). Either the PJ or the police beat reporter can get the names from the police report.
If the incident (wreck or arrest) involves one person, it's easy to identify the person in the photo. If the incident involves two people of different sexes it's also easy to identify the people. Beyond this point, it often becomes too difficult to clearly differentiate folks and a generic cutline is required. NEVER guess who's who.
Before leaving the newsroom, it's good to know the policy of each newspaper. These policies should be written into the newsroom guidelines. It's a clear line about when names are used and when they are not.
For example, most newspapers don't publish the names of living juvenile victims in criminal stories. However, they might run the names of juveniles who were arrested while covered in blood and holding a knife over their parents. Even then, the newspaper probably still has a team of lawyers look at the story and surrounding facts.
Likewise, suicides are typically not reported unless they were public in some way or part of a homicide-suicide.
While covering the scene, it sometimes becomes obvious no names are going to be available. Then, it's often best to make unnamed people the direct objects in images rather than the subject. I know, this is a writers strategy, but it works visually as well.
For example: Officer Bob Smith handcuffs a suspect.
In the example, the officer is the subject while the suspect is the direct object. Consider the options PJs have to make this image. Likewise, PJs might invoke the 6th (people aren't individually identified in images with more than five people). Both approaches solve the problem.
Enough for now,
Since most detainees said they were innocent while being processed at a remote location, we can only assume everyone is indeed innocent of everything. However, the marshal's office still had an outstanding warrant to serve. So, this is tax dollars at work.
Before I continue, PJs mostly cover tax dollars at work. When we cover wrecks, fires and such, we focus on what the police and firefighters are doing. This is why we are there. We also cover the people affected by the event to get them help from the community. Lastly, we cover the people who may have caused the commotion in the first place (hostage takers, etc...).
With those who claimed innocence (most) during the roundup, we gave them the opportunity to give us their names so we could research their case. All those I photographed politely declined their names to me. Because 24 folks were arrested on this one day, there is no clear-cut way to get names for the people in the photos from the arrest records.
In general, whenever PJs have the names of the people in photos, they should submit them to run. In reality, editors sometimes re-write cutlines to exclude names. Editors have their own reasons, but it happens. As long as PJs do everything possible to correctly identify the people in the image, PJs have done their job.
The easiest and best way to get names is to ask the people photographed. They know the proper spelling of their own name and frequently give it to PJs. However, they aren't required to give their names and may refuse.
Next, PJs need to ask for the name of the reporting police officer. This is the officer who is designated to file the police report on the incident. The officer includes the names of all people involved in the police report.
The police report is available under open records. Police departments can delay reporting, but often they'll work with local newspapers (they want the "Officer of the Year" banquet covered). Either the PJ or the police beat reporter can get the names from the police report.
If the incident (wreck or arrest) involves one person, it's easy to identify the person in the photo. If the incident involves two people of different sexes it's also easy to identify the people. Beyond this point, it often becomes too difficult to clearly differentiate folks and a generic cutline is required. NEVER guess who's who.
Before leaving the newsroom, it's good to know the policy of each newspaper. These policies should be written into the newsroom guidelines. It's a clear line about when names are used and when they are not.
For example, most newspapers don't publish the names of living juvenile victims in criminal stories. However, they might run the names of juveniles who were arrested while covered in blood and holding a knife over their parents. Even then, the newspaper probably still has a team of lawyers look at the story and surrounding facts.
Likewise, suicides are typically not reported unless they were public in some way or part of a homicide-suicide.
While covering the scene, it sometimes becomes obvious no names are going to be available. Then, it's often best to make unnamed people the direct objects in images rather than the subject. I know, this is a writers strategy, but it works visually as well.
For example: Officer Bob Smith handcuffs a suspect.
In the example, the officer is the subject while the suspect is the direct object. Consider the options PJs have to make this image. Likewise, PJs might invoke the 6th (people aren't individually identified in images with more than five people). Both approaches solve the problem.
Enough for now,
Thursday, September 30, 2004
PJs should write
It's important for PJs to know how to write well. Not simply good enough for a story to see ink, but good enough to get and keep readers' attention. It's a skill like lighting or developing film. It can and should be learned by all PJs.
Sometimes a PJ is the only person who has access to the story subjects (in foreign countries). Occasionally, the PJ is the only person who's initially motivated to get a story to print (great shots – no reporter available). PJs at smaller newspapers tend to write more stories. PJs at larger papers are surrounded by great reporters who live for big stories. However, a rare major story can still land on the PJ like a boulder. If PJs don't know where to start, they're in trouble.
For freelancers, writing is a critical skill. Several magazines ONLY accept story packages (photos and text). If PJs can write, they earn more money and make wiser use of their time.
I suggest most PJs should take a Journalism (J-102) course at a community college or university. J-101 is typically "mass media" and is nice to know, but it doesn't get into the mechanics of writing as quickly as J-102. Otherwise, PJs should at least get an introduction to reporting book and read it while working toward a PJ job.
Then, read. Read newspapers to learn style and brevity. Critically analyze each story as one would a photo. Pick it apart to understand its lede (the beginning), structure, use of quotations, transitions and pace.
Next, ask questions. See the list below.
PJs can also do this with a magazine. I've found stories written in a newspaper format can easily adjust to a magazine, but the opposite does not hold true. In either case, keep it simple and sharp. PJs want the story to be understood by most people. Again, this isn't dummying down. It's good, tight writing.
Editing lessons
When I was in college, I was the news editor and later the editor/semi-publisher of the independent campus newspaper. It taught me never to want to be an editor again.
At a college newspaper, most reporter applicants were journalism students and understood basic grammar, AP style, as well as reporting and editing techniques. However some had obviously never read a single newspaper. Nonetheless, it takes more college reporters to fill a newspaper than professional reporters because the writing and editing process takes much longer for new reporters.
Consequently, I needed a plan to save myself editing stress and get stories to the press quicker. So I came up with the following checklist. There should be some items added, and I've already deleted one item because the style books have changed. But for most PJs, this should be an adequate checklist before turning in a story.
Writer's PJ's pre-editing checklist
Ledes
* Have these answers been provided?
Who
What
Where
When
Why
How
* Are there active verbs? (Is the subject doing the action?)
Active: He hit the ball.
Passive: The ball was hit by him.
* Does it make sense?
* Does it have a quotation? – It shouldn't.
* Does it ask a question? – It shouldn't.
Story
* Are there five sources?
* Is at least one of the sources a student (or local resident)?
* Is there a conflict?
Woman vs. Woman
Woman vs. Environment
Woman vs. Herself
* Are the characters revealed?
* Are the quotations legitimate?
* Has the writer removed herself/himself from the story?
* Is all jargon defined?
* Is the story objective?
* Have both sides of the conflict had a voice?
* Is the story grammatically correct?
(Are there any fragments, comma splices, dangling participles?)
* Is each prepositional phrase necessary?
(Can it be re-written without the preposition? Can the whole phrase be dropped?)
* Is every word necessary?
(Check every "the," and remove every "that" which is not in a direct quotation or can't be defended.)
* Have all the questions been answered for the reader?
* Has the story been spell-checked?
* Is the story written in AP style?
* In news stories particularly, the writing should evoke exclamation points. Therefore, remove exclamation points.
* The word "said" may be used throughout the entire story. Don't worry about repetition because "said" will be ignored by the reader. For written documents, use "states." Characters in compositions (plays, books, poems, etc.) "say" because they will always say the same thing to each reader.
* Be specific and use common language.
* Be aware of the reader. If the average reader can't understand the story, the writer failed most readers.
* Quotations move the story, not stop it.
* Transitions move the reader through the story.
* Read the story aloud. Listen for odd phrases or rough areas. Then, fix them.
* If a sentence can't be read aloud on one breath, break it down.
* Finally, is this story better than your last one? Why/why not?
Enough for now,
Sometimes a PJ is the only person who has access to the story subjects (in foreign countries). Occasionally, the PJ is the only person who's initially motivated to get a story to print (great shots – no reporter available). PJs at smaller newspapers tend to write more stories. PJs at larger papers are surrounded by great reporters who live for big stories. However, a rare major story can still land on the PJ like a boulder. If PJs don't know where to start, they're in trouble.
For freelancers, writing is a critical skill. Several magazines ONLY accept story packages (photos and text). If PJs can write, they earn more money and make wiser use of their time.
I suggest most PJs should take a Journalism (J-102) course at a community college or university. J-101 is typically "mass media" and is nice to know, but it doesn't get into the mechanics of writing as quickly as J-102. Otherwise, PJs should at least get an introduction to reporting book and read it while working toward a PJ job.
Then, read. Read newspapers to learn style and brevity. Critically analyze each story as one would a photo. Pick it apart to understand its lede (the beginning), structure, use of quotations, transitions and pace.
Next, ask questions. See the list below.
PJs can also do this with a magazine. I've found stories written in a newspaper format can easily adjust to a magazine, but the opposite does not hold true. In either case, keep it simple and sharp. PJs want the story to be understood by most people. Again, this isn't dummying down. It's good, tight writing.
Editing lessons
When I was in college, I was the news editor and later the editor/semi-publisher of the independent campus newspaper. It taught me never to want to be an editor again.
At a college newspaper, most reporter applicants were journalism students and understood basic grammar, AP style, as well as reporting and editing techniques. However some had obviously never read a single newspaper. Nonetheless, it takes more college reporters to fill a newspaper than professional reporters because the writing and editing process takes much longer for new reporters.
Consequently, I needed a plan to save myself editing stress and get stories to the press quicker. So I came up with the following checklist. There should be some items added, and I've already deleted one item because the style books have changed. But for most PJs, this should be an adequate checklist before turning in a story.
Ledes
* Have these answers been provided?
Who
What
Where
When
Why
How
* Are there active verbs? (Is the subject doing the action?)
Active: He hit the ball.
Passive: The ball was hit by him.
* Does it make sense?
* Does it have a quotation? – It shouldn't.
* Does it ask a question? – It shouldn't.
Story
* Are there five sources?
* Is at least one of the sources a student (or local resident)?
* Is there a conflict?
Woman vs. Woman
Woman vs. Environment
Woman vs. Herself
* Are the characters revealed?
* Are the quotations legitimate?
* Has the writer removed herself/himself from the story?
* Is all jargon defined?
* Is the story objective?
* Have both sides of the conflict had a voice?
* Is the story grammatically correct?
(Are there any fragments, comma splices, dangling participles?)
* Is each prepositional phrase necessary?
(Can it be re-written without the preposition? Can the whole phrase be dropped?)
* Is every word necessary?
(Check every "the," and remove every "that" which is not in a direct quotation or can't be defended.)
* Have all the questions been answered for the reader?
* Has the story been spell-checked?
* Is the story written in AP style?
* In news stories particularly, the writing should evoke exclamation points. Therefore, remove exclamation points.
* The word "said" may be used throughout the entire story. Don't worry about repetition because "said" will be ignored by the reader. For written documents, use "states." Characters in compositions (plays, books, poems, etc.) "say" because they will always say the same thing to each reader.
* Be specific and use common language.
* Be aware of the reader. If the average reader can't understand the story, the writer failed most readers.
* Quotations move the story, not stop it.
* Transitions move the reader through the story.
* Read the story aloud. Listen for odd phrases or rough areas. Then, fix them.
* If a sentence can't be read aloud on one breath, break it down.
* Finally, is this story better than your last one? Why/why not?
Enough for now,
Thursday, September 23, 2004
People's names are important
Andrew Batt, chief photographer at The Wokingham Times series in the UK, asked a question in the comments section of the last swimming photo. He asked about getting subject's names in America (as opposed to UK policies). Because it's an important question, I'm answering here rather than having it lost in a comment section below.
If a person isn't identified (named), it probably won't run at most American newspapers. IF we get someone committing murder, then it's a different deal. However, any image can run as an "unnamed person" in the cutline under our byline name (called a "credit line"). I don't want this because it means I failed our readers.
Because most publishers are strict about names and spellings, PJs fight extra hard to get names so the image can run. Otherwise, we're wasting time.
With children, I normally ask the child to point out a parent or guardian. They know the child's name (spelled correctly). If they have a problem with giving out the child's name, there's always another cute kid somewhere who would love to be in the newspaper.
I don't appreciate it when PJs deny people the right to have their name in the news. People like to be in newspapers, magazines or on TV. They also tend to like their names. By denying a person the honor of asking their name, it's akin to saying their name is insignificant.
It's an honor to get into the newspaper. Not everyone can do it. I want people to know they won't die unobserved. Each person is important and deserves to have their name known. If they turn down this honor, it's their choice. Not mine.
Normally, it's all in how the subject is approached to get names. If the PJ smiles a lot and explains who s/he is and why s/he shot, the subjects normally give their names.
Here is exactly what I say to people as I directly approach them with pencil and paper, "Hi. I'm Mark Hancock, and I work for The Dallas Morning News. I made a photo of you a moment ago while you were (doing something), and I need your name please."
This statement answers most questions and doesn't give them much room to escape. I've given them my name. Common courtesy is for them to give me their name. I've let them know for whom I work (a big, legitimate newspaper), and de facto why I made the image. I let them know the image is already done. At this point, they would need to turn back time to make it disappear.
Most importantly, I told them I "need" their name. This is true. I do need it so the image can run. It's not that I want, desire or would like to know their name, I "need" it. If they choose not to let me know their name, then they're turning down a person in "need." Tsk tsk...
Then, I cap it off with a polite "please," smile again and put my pencil on the paper. I show them what I've written so they can see I spelled their name correctly, and we're both good. Meanwhile, other people have seen what I've done, and they can drop their guard a bit. They know I'm working and doing my job.
I'm not harming anyone or doing anything bad or unusual. Just letting people have a chance to shine. Maybe they'll get to cut out a piece of paper to stick to their refrigerator for a while.
Although it wasn't specifically asked, I'll address another issue with getting names. People want the PJ to commit that the image will run. We don't know. We don't make the final decision. If a PJ says, "This will run," there's potentially a huge problem. What if it doesn't? Then the PJ is a liar.
Instead, say it "could" or "might" run, but let the subject know the PJ isn't the publisher and doesn't make the final decision.
Enough for now,
If a person isn't identified (named), it probably won't run at most American newspapers. IF we get someone committing murder, then it's a different deal. However, any image can run as an "unnamed person" in the cutline under our byline name (called a "credit line"). I don't want this because it means I failed our readers.
Because most publishers are strict about names and spellings, PJs fight extra hard to get names so the image can run. Otherwise, we're wasting time.
With children, I normally ask the child to point out a parent or guardian. They know the child's name (spelled correctly). If they have a problem with giving out the child's name, there's always another cute kid somewhere who would love to be in the newspaper.
I don't appreciate it when PJs deny people the right to have their name in the news. People like to be in newspapers, magazines or on TV. They also tend to like their names. By denying a person the honor of asking their name, it's akin to saying their name is insignificant.
It's an honor to get into the newspaper. Not everyone can do it. I want people to know they won't die unobserved. Each person is important and deserves to have their name known. If they turn down this honor, it's their choice. Not mine.
Normally, it's all in how the subject is approached to get names. If the PJ smiles a lot and explains who s/he is and why s/he shot, the subjects normally give their names.
Here is exactly what I say to people as I directly approach them with pencil and paper, "Hi. I'm Mark Hancock, and I work for The Dallas Morning News. I made a photo of you a moment ago while you were (doing something), and I need your name please."
This statement answers most questions and doesn't give them much room to escape. I've given them my name. Common courtesy is for them to give me their name. I've let them know for whom I work (a big, legitimate newspaper), and de facto why I made the image. I let them know the image is already done. At this point, they would need to turn back time to make it disappear.
Most importantly, I told them I "need" their name. This is true. I do need it so the image can run. It's not that I want, desire or would like to know their name, I "need" it. If they choose not to let me know their name, then they're turning down a person in "need." Tsk tsk...
Then, I cap it off with a polite "please," smile again and put my pencil on the paper. I show them what I've written so they can see I spelled their name correctly, and we're both good. Meanwhile, other people have seen what I've done, and they can drop their guard a bit. They know I'm working and doing my job.
I'm not harming anyone or doing anything bad or unusual. Just letting people have a chance to shine. Maybe they'll get to cut out a piece of paper to stick to their refrigerator for a while.
Although it wasn't specifically asked, I'll address another issue with getting names. People want the PJ to commit that the image will run. We don't know. We don't make the final decision. If a PJ says, "This will run," there's potentially a huge problem. What if it doesn't? Then the PJ is a liar.
Instead, say it "could" or "might" run, but let the subject know the PJ isn't the publisher and doesn't make the final decision.
Enough for now,
Saturday, July 10, 2004
How to write a cutline
A cutline is the caption near a photograph in a newspaper. It informs the reader of who, what, when, where, and why or how about the photograph. Because photographs depict events frozen in time, the first sentence of a cutline is always written in the present tense. Additional sentences can be written in present or past tense depending on a publication's style preferences (I prefer past tense for explanation).
A standard cutline is written as such:
(Noun) (verb) (direct object) during (proper event name) at (proper noun location) in (city) on (day of the week), (month) (date), (year). Why or How.
Example:
Dallas firefighters (noun) battle (present-tense verb) a fire (direct object) at the Fitzhugh Apartments (proper noun location) near the intersection of Fitzhugh Avenue and Monarch Street in Dallas (city) on Thursday (day of the week), July (month) 1 (date), 2004 (year).
In our photo department, we're allowed an average of 15 minutes to prep ("turn out") each image. This includes scanning, toning, color corrections and cutlines. If two images are selected at the desk, they expect to be checking cutlines on the completed images in 30 minutes.
In reality, we often have less than five minutes to get the entire shoot turned out. PJ students should work on their deadline typing speed and accuracy before they're covered in water, sweat, mud, blood and smell like an old chimney.
When writing cutlines for portraits, don't get tricky and get in trouble. Write the facts.
"(Noun) poses for a portrait ..."
As long as the original cutline is 100 percent accurate, the PJ has a job the next day. Leave the cutline changes to the section and copy editors. If they wish to change something, it becomes their problem. The correction also becomes their problem.
There is no compassion or understanding extended to neophyte PJs for factual errors in cutlines. Be as accurate as possible on everything known to be a fact. If it's not a confirmed fact, don't include it in the cutline. Phones and Google are ways to confirm facts – use them.
Enough for now,
A standard cutline is written as such:
(Noun) (verb) (direct object) during (proper event name) at (proper noun location) in (city) on (day of the week), (month) (date), (year). Why or How.
Example:
Dallas firefighters (noun) battle (present-tense verb) a fire (direct object) at the Fitzhugh Apartments (proper noun location) near the intersection of Fitzhugh Avenue and Monarch Street in Dallas (city) on Thursday (day of the week), July (month) 1 (date), 2004 (year).
In our photo department, we're allowed an average of 15 minutes to prep ("turn out") each image. This includes scanning, toning, color corrections and cutlines. If two images are selected at the desk, they expect to be checking cutlines on the completed images in 30 minutes.
In reality, we often have less than five minutes to get the entire shoot turned out. PJ students should work on their deadline typing speed and accuracy before they're covered in water, sweat, mud, blood and smell like an old chimney.
When writing cutlines for portraits, don't get tricky and get in trouble. Write the facts.
"(Noun) poses for a portrait ..."
As long as the original cutline is 100 percent accurate, the PJ has a job the next day. Leave the cutline changes to the section and copy editors. If they wish to change something, it becomes their problem. The correction also becomes their problem.
There is no compassion or understanding extended to neophyte PJs for factual errors in cutlines. Be as accurate as possible on everything known to be a fact. If it's not a confirmed fact, don't include it in the cutline. Phones and Google are ways to confirm facts – use them.
Enough for now,
Monday, April 12, 2004
If it's not a scream, don't use it
While I'm mentioning pet peeves, I may as well get this out of my system.
An exclamation point (!) turns an entire sentence into a scream. Using this punctuation after one to five words can be appropriate. It's particularly applicable if it's used with a quotation of someone who has lost an arm or leg within the last few minutes. Using it after a long list of proper nouns is forbidden.
The rule of thumb is to stand and shout the profoundly punctuated sentence. If the author's air supply expires prior to the end of the sentence, delete the punctuation and use a period.
Before I started journalism, I was as guilty as the next person of using it to express emotion or importance. To be fair, people have gotten more computer savvy and use fewer exclamation points. This is good.
The original problem may have been typewriters. There was no easy way to write bigger or bolder. The only options were to underline the sentence, change to a red ribbon or type the same letters again and again over each other until the words became darker. So, the exclamation point was used (incorrectly) as shorthand for bold or italic fonts.
I disliked my first (mechanical) typewriter for this reason. There were many reasons I disliked my first typewriter, but I'll save those thoughts.
However, I loved my daisy-wheel typewriter. I remember how quiet it was and the letters could be erased (see, I restrained myself from using the exclamation point). It actually remembered an entire line of text. How amazing! <-- This one is OK by the rules set forward.
I need to write about my typewriter one day. It was so cool.
Enough for now,
An exclamation point (!) turns an entire sentence into a scream. Using this punctuation after one to five words can be appropriate. It's particularly applicable if it's used with a quotation of someone who has lost an arm or leg within the last few minutes. Using it after a long list of proper nouns is forbidden.
The rule of thumb is to stand and shout the profoundly punctuated sentence. If the author's air supply expires prior to the end of the sentence, delete the punctuation and use a period.
Before I started journalism, I was as guilty as the next person of using it to express emotion or importance. To be fair, people have gotten more computer savvy and use fewer exclamation points. This is good.
The original problem may have been typewriters. There was no easy way to write bigger or bolder. The only options were to underline the sentence, change to a red ribbon or type the same letters again and again over each other until the words became darker. So, the exclamation point was used (incorrectly) as shorthand for bold or italic fonts.
I disliked my first (mechanical) typewriter for this reason. There were many reasons I disliked my first typewriter, but I'll save those thoughts.
However, I loved my daisy-wheel typewriter. I remember how quiet it was and the letters could be erased (see, I restrained myself from using the exclamation point). It actually remembered an entire line of text. How amazing! <-- This one is OK by the rules set forward.
I need to write about my typewriter one day. It was so cool.
Enough for now,
A title is not entitled
The fastest way for me to stop reading or listening to a story is to use "entitled" in the place of "titled." I honestly change radio stations and close books. Furthermore, I won't pick up the offending book again because it's no longer worthy of my time.
In my mind, this misuse of simple, clear words by the author makes him/her ignorant at best.
Once and for all:
A being is entitled to life.
A composition is titled "Life."
No composition is entitled to anything. It can have a title, but entitlement to life, liberty and the pursuit of happiness is meaningless to a statue, opera, book or recording.
"The Associated Press Stylebook and Libel Manual
" states:
Please save me from a future aneurysm and use the correct words. I know people say it (incorrectly) on NPR from time to time, but what do you expect for free.
Enough for now,
In my mind, this misuse of simple, clear words by the author makes him/her ignorant at best.
Once and for all:
A being is entitled to life.
A composition is titled "Life."
No composition is entitled to anything. It can have a title, but entitlement to life, liberty and the pursuit of happiness is meaningless to a statue, opera, book or recording.
"The Associated Press Stylebook and Libel Manual
" states:- entitled Use it to mean a right to do or have something. Do not use it to mean titled.
Right: She was entitled to the promotion.
Right: The book was titled "Gone With the Wind."
Please save me from a future aneurysm and use the correct words. I know people say it (incorrectly) on NPR from time to time, but what do you expect for free.
Enough for now,
Friday, January 09, 2004
How to write
I'm not a writer, but I play one on television. Ok, I really am a writer in disguise. I choose to be a photojournalist rather than a "word herder" for many reasons. Fresh air is probably the best reason of all. :-)
Nonetheless, I started as a writer. I still recall some of the tricks of the trade.
Keep it short. If possible, keep each sentence to a noun, verb, direct object construction. This increases the number of people who can understand the sentence in one reading. Because Einstein was so brilliant, he wrote in simple, straightforward sentences. The rule of thumb is: if it doesn't add to the sentence, cut it.
Keep it simple. Complex subject matter is not an excuse for a complex sentence. It's a scream for simplicity and coherent thought. Break the subject down into bite-sized morsels. Organize them in a logical order.
Use as many single-syllabled words as possible. This tightens the text and improves clarity. Look at each prepositional phrase and dependent clause to make sure it can't make a stronger adjective. For example: "The man from the north, who had a beard, left the room." Could be: "The bearded, northern man left the room."
If a sentence cannot be spoken in one breath, it's too long. This is the acid test. In several blogs, I've noticed a sentence might be a page long. I dare the authors to stand and read the entire sentence with one breath. If writers don't do this, it's immediately evident when they turn red and try to read without enough air.
Written stories are a construction of complementary sentences -- never redundant. Make each word count.
Enough for now,
Nonetheless, I started as a writer. I still recall some of the tricks of the trade.
To make it fun, I'll juxtapose (place beside for comparison or contrast) writing with photojournalism. The photo part is longer because it's more difficult to explain. However, photojournalists should read both parts because they need to write cutlines and sometimes entire stories.
Keep it short. If possible, keep each sentence to a noun, verb, direct object construction. This increases the number of people who can understand the sentence in one reading. Because Einstein was so brilliant, he wrote in simple, straightforward sentences. The rule of thumb is: if it doesn't add to the sentence, cut it.
Visually, select the subject. Narrow the image to its subject, action and supporting evidence. Change the framing to remove or downplay the remainder. You can choose different angles, longer lenses or distance to the subject to clean the backgound. This also increases the number of people who can understand and appreciate the intent of the image. The rule of thumb is: if it doesn't add to the image, crop it out (in the viewfinder).
Keep it simple. Complex subject matter is not an excuse for a complex sentence. It's a scream for simplicity and coherent thought. Break the subject down into bite-sized morsels. Organize them in a logical order.
Keep it simple. A messy environment is not an excuse for a sloppy image. It's a scream for simplicity and coherent thought. Break the subject down to its elements (ie. firefighter, burning house and child). Organize them in a logical order (firefighter carries the child in foreground with the a sense of the burning house in the backgound -- we don't need the whole house and it needn't be in sharp focus). Then press the shutter release button (if automatic advance, lean on the button to ensure a sharp image).
Use as many single-syllabled words as possible. This tightens the text and improves clarity. Look at each prepositional phrase and dependent clause to make sure it can't make a stronger adjective. For example: "The man from the north, who had a beard, left the room." Could be: "The bearded, northern man left the room."
Visually, place only required supporting information in the background or in the foreground with softer focus (if it's smaller). This directs the viewer to your subject (the sharpest part of the image) without confusion.
If a sentence cannot be spoken in one breath, it's too long. This is the acid test. In several blogs, I've noticed a sentence might be a page long. I dare the authors to stand and read the entire sentence with one breath. If writers don't do this, it's immediately evident when they turn red and try to read without enough air.
Shoot and edit a photo assignment to one image. This is the visual acid test. If no single image gets to the heart of the story, the PJ has failed. News PJs rarely get space to tell a full story with more than one image. If the PJ don't do this, it's immediately evident on the light table.
Written stories are a construction of complementary sentences -- never redundant. Make each word count.
Photo stories are a construction of complementary images -- never redundant. Make each image count.
Enough for now,
Friday, November 21, 2003
How to prepare and submit a press release to media
Many people were never taught what editorial content is. They want to promote a legitimate news event or topic, but they don't know how - or worse - they wait until it's too late.
If you are confused: A ribbon cutting is NOT critical news. There is NO such thing as a fast-breaking spectator sport. I can NOT photograph something that happened yesterday. If you weren't a participant, would you read a story about what you're promoting?
If the previous made you nervous, relax gentle readers. I'll explain how to get proper information into the right hands at the right time.
I wrote a huge entry about various journalistic justifications as a prologue to an explanation of how to submit a press release and get the media moving on something of interest to average readers/viewers. Luckily, it was eaten by a technical glitch before I saved it.
So, I'll go back to my original plan and simply state what the media people need to report a story (good and bad) to help or share joy.
5 Ws & H
First, the reporters need to know the five Ws and H. These are:
This information can be given to the reporters via e-mail or a press release (flyer). Although the information could also be called into the office, lead or follow the call with a fax or e-mail to make certain no misunderstandings or mistakes are made because of language variations (being pissed in England is far favorable to being pissed in America).
Keep the information simple, accurate and factual. A press release isn't an English essay. It's "just the facts." Keep the entire release below one page of text.
Contact information
Next, reporters need any and all telephone numbers, e-mail addresses, Web sites, and physical addresses involved in the story. Although most submitters don't want to do so, it's best to include this information for the opposite side of the story as well. By doing so, the reporter can get the full story without much additional research.
I must explain a part of journalism here. For there to be a story, there must be a conflict. The three major conflicts are (please consider "man" as gender neutral for "mankind"):
1) man vs. man
2) man vs. nature
3) man vs. him/herself.
Almost all stories from world wars to make-up tips fall into these three broad categories. By considering these conflict options, news tips are more compelling to reporters.
If the person submitting the story idea presents the conflict and contact information for both sides of the story, the reporter's story is easier to write. Since most reporters create at least one story per day (if not five), it's best to feed them the story. If the story info is easily obtained, the reporter is most likely to write the story to complete the daily quota and save reporting time for more complicated stories.
Check accuracy
Above all else, be absolutely certain each word is spelled properly, each number is correct and every fact is verifiable. If any of the above is incorrect, the source will always be viewed as questionable.
Journalism is a profession of accuracy and trust. The public trusts journalists to state the facts correctly. If this trust is violated, we lose credibility and the trust of the reader. This is completely unacceptable in this profession.
Get it to the right person
When submitting a story idea. Make sure it goes to the correct person. This requires a minimum of research before submitting the story idea. Look at the publication or listen to some newscasts. Who is the writer or editor?
Once you determine a name, call to verify the info is correct and get an exact mailing or e-mail address for the press release. Reporters and editors are more likely to respond to information sent specifically to them rather than "To whatever typing monkey is on the desk tonight."
Actually, they will respond to the latter, but it's not exactly in the most desired manner. :-)
Give plenty of time
Understand timing. Timing is everything in daily news. If enough lead time isn't given to a reporter, the story collapses because reporters can't drop everything for whatever lands on their desks. Most reporters are buried in information daily. Your information must be accurate and easily understood to rise to the top of the pile.
Give as much time as possible for the reporter to research the topic and acquire interviews with key subjects.
This extra time also allows the reporter to talk with the photo department and arrange the best possible images to accompany the story. I may as well note here that the bigger the story is, the more likely it is to have photographs or informational graphics. The "art" quickly draws the reader to the story and helps it land a prominent place on the page.
With this in mind, remember that PJs can only photograph events in the present tense. Tomorrow's shoot can be considered, coordinated, planned and executed (tomorrow). However, there is no way to photograph something that happened yesterday.
Include quality artwork
As mentioned above, big stories get more newsprint real estate. Part of the equation is a graphic element (photos, graphics, maps, etc.). This is also part of a reporter's job to either acquire or arrange for the graphic element.
If a press release arrives with quality graphic elements, the reporter's time was saved. The reporter may reward the sender with a big story.
Graphic elements need to be 1M or larger to reproduce well on newsprint. Obviously, the larger it is (without pixelating), the larger it could run. If the graphic is particularly compelling, it'll get a reporter's attention because reporters also think like readers and react to quality visuals.
Present visual options. Rather than submitting one photo or graphic, submit five and let the reporter choose. However, make sure the images are significantly different (they may run all five if it's a slow day). Otherwise, choose the best one and go with it.
Event organizers should consider hiring a pro photographer to help promote large events. If thousands or millions of dollars are being risked, a few hundred or thousand to get creative, meaningful images is money well spent. There are plenty of folks from around the world on the sidebar who can deliver the right images.
If the image is much larger than 1M and/or several images are submitted, put them on a CD and mail or deliver it to the newsroom. If high-res images are needed immediately, post them online in a secure location for download. They can be pulled down after the image is saved at the newspaper.
Include human interest
A human interest story is one that appeals to readers' hearts. These stories make people say, "Isn't that nice," "That's so sad" or "Wow." If the human interest element also includes conflict, the story may move from the Lifestyles section to Page 1.
If an event is on the light side, consider teasing the reporter with a human interest story. I say teasing because the press release is only meant to get the reporter's attention. It isn't a full-blown story (that's the reporter's job).
If the human interest is compelling, condense it down to as few words as possible and include it somewhere easily found by the reporter. This shouldn't be more than one or two short sentences.
It can even lead the press release to ensure coverage. For example, "Bob Smith will open the XYZ event. Smith lost a leg after he carried a baby polar bear across Alaska to reunite it with its family."
This line would get any reporter's attention. It elicits a long list of questions to hook the reporter. It states a real person challenged nature and himself - at great sacrifice - to save a rare, cuddly-yet-feared animal. It also states he's still alive for interviews. If you include his contact information in the press release and enough lead time, your event may make it onto the AP wire and in newspapers coast to coast.
Annual events
If the event is an annual event, understand it may not get great play the first year it's covered. A photographer will probably be assigned to get some images for this year, but the images are actually for next year's story. Likewise, this year's written story is background for next year's story. As the event grows in community popularity, the story evolves from year to year.
If at all possible, nail down the annual date. It's much easier to remember an event ALWAYS occurs on the 1st full weekend in April rather than on dates that change each year or some strange lunar/solar/tidal/committee cycles. This ensures the event is covered in subsequent years.
Enough for now,
If you are confused: A ribbon cutting is NOT critical news. There is NO such thing as a fast-breaking spectator sport. I can NOT photograph something that happened yesterday. If you weren't a participant, would you read a story about what you're promoting?
If the previous made you nervous, relax gentle readers. I'll explain how to get proper information into the right hands at the right time.
I wrote a huge entry about various journalistic justifications as a prologue to an explanation of how to submit a press release and get the media moving on something of interest to average readers/viewers. Luckily, it was eaten by a technical glitch before I saved it.
So, I'll go back to my original plan and simply state what the media people need to report a story (good and bad) to help or share joy.
5 Ws & H
First, the reporters need to know the five Ws and H. These are:
1) Who (specific names and correct spellings)
2) What (brief but specific description in two sentences)
3) When (time, day, date)
4) Where (exact address and directions)
5) Why (what makes this story worth covering)
6) How (any addition information to hook the reader/viewers)
This information can be given to the reporters via e-mail or a press release (flyer). Although the information could also be called into the office, lead or follow the call with a fax or e-mail to make certain no misunderstandings or mistakes are made because of language variations (being pissed in England is far favorable to being pissed in America).
Keep the information simple, accurate and factual. A press release isn't an English essay. It's "just the facts." Keep the entire release below one page of text.
Contact information
Next, reporters need any and all telephone numbers, e-mail addresses, Web sites, and physical addresses involved in the story. Although most submitters don't want to do so, it's best to include this information for the opposite side of the story as well. By doing so, the reporter can get the full story without much additional research.
I must explain a part of journalism here. For there to be a story, there must be a conflict. The three major conflicts are (please consider "man" as gender neutral for "mankind"):
1) man vs. man
2) man vs. nature
3) man vs. him/herself.
Almost all stories from world wars to make-up tips fall into these three broad categories. By considering these conflict options, news tips are more compelling to reporters.
If the person submitting the story idea presents the conflict and contact information for both sides of the story, the reporter's story is easier to write. Since most reporters create at least one story per day (if not five), it's best to feed them the story. If the story info is easily obtained, the reporter is most likely to write the story to complete the daily quota and save reporting time for more complicated stories.
Check accuracy
Above all else, be absolutely certain each word is spelled properly, each number is correct and every fact is verifiable. If any of the above is incorrect, the source will always be viewed as questionable.
Journalism is a profession of accuracy and trust. The public trusts journalists to state the facts correctly. If this trust is violated, we lose credibility and the trust of the reader. This is completely unacceptable in this profession.
Get it to the right person
When submitting a story idea. Make sure it goes to the correct person. This requires a minimum of research before submitting the story idea. Look at the publication or listen to some newscasts. Who is the writer or editor?
Once you determine a name, call to verify the info is correct and get an exact mailing or e-mail address for the press release. Reporters and editors are more likely to respond to information sent specifically to them rather than "To whatever typing monkey is on the desk tonight."
Actually, they will respond to the latter, but it's not exactly in the most desired manner. :-)
Give plenty of time
Understand timing. Timing is everything in daily news. If enough lead time isn't given to a reporter, the story collapses because reporters can't drop everything for whatever lands on their desks. Most reporters are buried in information daily. Your information must be accurate and easily understood to rise to the top of the pile.
Give as much time as possible for the reporter to research the topic and acquire interviews with key subjects.
This extra time also allows the reporter to talk with the photo department and arrange the best possible images to accompany the story. I may as well note here that the bigger the story is, the more likely it is to have photographs or informational graphics. The "art" quickly draws the reader to the story and helps it land a prominent place on the page.
With this in mind, remember that PJs can only photograph events in the present tense. Tomorrow's shoot can be considered, coordinated, planned and executed (tomorrow). However, there is no way to photograph something that happened yesterday.
Include quality artwork
As mentioned above, big stories get more newsprint real estate. Part of the equation is a graphic element (photos, graphics, maps, etc.). This is also part of a reporter's job to either acquire or arrange for the graphic element.
If a press release arrives with quality graphic elements, the reporter's time was saved. The reporter may reward the sender with a big story.
Graphic elements need to be 1M or larger to reproduce well on newsprint. Obviously, the larger it is (without pixelating), the larger it could run. If the graphic is particularly compelling, it'll get a reporter's attention because reporters also think like readers and react to quality visuals.
Present visual options. Rather than submitting one photo or graphic, submit five and let the reporter choose. However, make sure the images are significantly different (they may run all five if it's a slow day). Otherwise, choose the best one and go with it.
Event organizers should consider hiring a pro photographer to help promote large events. If thousands or millions of dollars are being risked, a few hundred or thousand to get creative, meaningful images is money well spent. There are plenty of folks from around the world on the sidebar who can deliver the right images.
If the image is much larger than 1M and/or several images are submitted, put them on a CD and mail or deliver it to the newsroom. If high-res images are needed immediately, post them online in a secure location for download. They can be pulled down after the image is saved at the newspaper.
Include human interest
A human interest story is one that appeals to readers' hearts. These stories make people say, "Isn't that nice," "That's so sad" or "Wow." If the human interest element also includes conflict, the story may move from the Lifestyles section to Page 1.
If an event is on the light side, consider teasing the reporter with a human interest story. I say teasing because the press release is only meant to get the reporter's attention. It isn't a full-blown story (that's the reporter's job).
If the human interest is compelling, condense it down to as few words as possible and include it somewhere easily found by the reporter. This shouldn't be more than one or two short sentences.
It can even lead the press release to ensure coverage. For example, "Bob Smith will open the XYZ event. Smith lost a leg after he carried a baby polar bear across Alaska to reunite it with its family."
This line would get any reporter's attention. It elicits a long list of questions to hook the reporter. It states a real person challenged nature and himself - at great sacrifice - to save a rare, cuddly-yet-feared animal. It also states he's still alive for interviews. If you include his contact information in the press release and enough lead time, your event may make it onto the AP wire and in newspapers coast to coast.
Annual events
If the event is an annual event, understand it may not get great play the first year it's covered. A photographer will probably be assigned to get some images for this year, but the images are actually for next year's story. Likewise, this year's written story is background for next year's story. As the event grows in community popularity, the story evolves from year to year.
If at all possible, nail down the annual date. It's much easier to remember an event ALWAYS occurs on the 1st full weekend in April rather than on dates that change each year or some strange lunar/solar/tidal/committee cycles. This ensures the event is covered in subsequent years.
Enough for now,
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