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Posts Tagged ‘bad practices’


Once again I have attempted to be a customer of a news organization’s online advertising system, and once again I am left wondering if such systems were designed by incompetents or sadistic, anti-journalism geniuses bent on our industry’s destruction. Part of my local paper’s attempt to combat craigslist is to offer free ads to anyone seeking to unload things for $300 or less. I have a couple of pieces of furniture, they have gotten no response on craigslist, and I’m not yet ready to just donate them to the thrift store, so I thought I’d place one of these “Cool Cheap Stuff!” ads (yes, there’s no comma between cool and cheap, so immediately you know no one ran the page’s name past anyone who got good grades for grammar and punctuation). The page in the paper says the online system for placing an ad is “easy-to-use” (again, yes, it is hyphenated even though it is not modifying anything) and available 24 hours a day. Turns out, it is neither.

As a potential customer, the whole experience left me exasperated.

As a news person, it absolutely enraged me. If I did my job as badly as the person who designed that ad system did his, everything that passed in front of me would be rearranged and rendered into dingbat symbols. On the news side, we have to give everything at least a second look, usually more. The equivalent online I would think would be answering the question, “Does this thing work?” Because no, this thing did not work. If getting revenue from online operations is the future of the news business, this kind of thing fills me with despair for the future.

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screenshot
It’s not at all surprising that Phoenix TV station KPHO is running an ad poking plans by Gannett properties The Arizona Republic and KPNX-TV to charge for online news (I would embed it here, but embedding has been blocked on that one). What’s surprising is no other TV station in a competitive market has run such an ad (as far as I know). The ad claims that KPHO’s website has “even more” information than the Gannett site, azcentral.com, which sounds patently ridiculous on its face — but how many people who aren’t devoted daily newspaper readers know that? I know some devoted newspaper folks whose first instinct when local news breaks is to go to the leading TV station’s website, not the newspaper’s site. This ad just takes aim at that type of impulse and seeks to build on it. It is the leading argument in my mind for why no news site should be 100 percent behind any sort of paywall. If you have competition that’s free, you need to offer at least breaking news, something to keep them coming to you for free so that you can then attempt to lure them to pay for your fuller coverage and extras.

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A friend who lives in the Washington, D.C., area of Maryland says the Washington Post just got her to revive her canceled print subscription. The offer? A year’s subscription for 14 cents a day. FOURTEEN CENTS! That comes to around $715 (Update: in the middle of the night I realized I had the decimal one place too far to the right) $71.50 $51.10 a year. (Man, I can’t do math.) You couldn’t buy one reporter’s groceries for a year month for that, let alone his actual pay or any of the other costs that go into producing that paper. Paying 14 cents a day might cover the gasoline to get the paper to your doorstep. Want to know why people feel they shouldn’t have to pay to get news online? This is it: News companies continue to practically give it away in print. Why buy the cow when the farmer will deliver the milk to your door for 14 cents a day?

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Clearing my email this morning after a week away on vacation — during which I managed for the first time in 11 years to stay off the Internet (well, except for my 2-year-old non-smartphone’s minimal connectivity) — I found a link to an Editor & Publisher article about how to increase the number of young people who subscribe to a newspaper. There are some good nuggets from the two contributors in that article, but I remain skeptical that many newspapers are geared for this effort, for the simple reason that when push comes to shove, they are still putting out print products aimed at an audience that doesn’t watch TV or read anything on the Internet. Last week’s massacre at a movie theater in Aurora, Colo., provided the latest, but surely not last, major example. I woke on vacation, checked my phone and found a Washington Post news alert sent overnight about the shootings. We turned on CNN and watched coverage for several hours, until it seemed that little new detail was likely to come out soon, and then turned it off and went about our vacation day. The next morning I went out and bought a newspaper — a major regional newspaper based in a metropolitan area. The shooting coverage was the centerpiece, the top headline, and took up the majority of the page — and there was NOT ONE SINGLE WORD on the front page that told me anything I had not heard on TV before noon the previous day. Turning inside, there was a sidebar of new information — new to me, at least, who had not been watching TV or reading the Internet since before noon. The experience angered me, both as a reader who expected better and as an editor.

My patience with newspapers was tried again when we returned home to find that our newspaper carrier had either not gotten word of our “vacation stop” or had ignored it and continued to deliver our paper. Why does anyone want to pay to have a daily alert to burglars piled up by the front door?

Older readers who are already newspaper junkies may brush these off and keep their subscriptions, but a combination of spotty service and old news is no way to win new readers.

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As a rookie reporter, I once had the idea of doing a first-person feature about learning to ride a horse, and I called around to a few places. Once place I called, I asked about scheduling a visit, and the person was kind of nonchalant, sort of “Yeah, just come out, we’ll work something out,” sounding not very interested. I called another place and they scheduled something firm. So I never followed up on the first place, wrote my story entirely based on the second — and after the story ran, the first place called my boss and complained about how they had set aside time, scheduled a trainer to wait for me, etc. etc. I was mortified, and it burned a hole in my psyche, and ever since then I have been absolutely mystified — and mortified — by many reporters’ continuing habit to treat public interaction as if it’s a video they can just hit pause and stop on without worrying about how the people on the other end feel or what they are thinking. Last night a reporter told me another reporter would call me today. Still waiting. I work in the business, so I’m like a battered spouse — I’ll forgive anything. But be warned, reporters, whether they read your newspaper regularly or watch your TV show, they think it’s important to have been contacted, and they anticipate the promised follow-up. If you fail to follow through and treat people with this kind of indifference, most people will just write you off, if they are that lenient, and your colleagues with you. You dig your own industry’s grave.

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This is off the usual topics for this blog. Obituaries are completely out of the control of most newsrooms, so my intended audience — journalists — can do nothing about this complaint. But having dipped into the obituary pool Friday after my mother died, I can report with great authority that on this part of their business, this nation’s newspapers are practically lying naked across a table, eyes closed, holding a sign that says, “Whatever,” waiting for a madman with a knife to come along. If you have never made arrangements to place an obituary, let me assure you: It is messy, and it is EXPENSIVE. It is everything, in fact, that begs for someone to come along offering a simpler, easier, cheaper solution — an idea that was introduced to the news industry years ago as a job to be done. But of course no one really wants to make it cheaper, because that would reduce revenue. I remember once hearing a publisher gripe about a company-imposed mandate to simplify and beautify classified ads; the end result was a better-looking (bigger type, more photos), more enticing page that offered more options to people placing the ads, but the ads were bigger without the price going up, so revenue per ad was lower. Focusing on that is just short-term thinking — the number of classified ads has been dropping like a rock for years, driven by free online ads, so the intent of the change was to try to improve the printed ad experience and stem the decline, and maybe entice more people to come back. If you’re constantly watching your back, trying not to lose more ground, you can’t go forward.

Almost two years ago, Steve Buttry pointed out the problems and opportunities in the obit business. He was right then, and he’s righter now. But it’s even worse than I knew when I read his post in 2010.

I attempted to place my mother’s obituary in five newspapers — in the town where she was born, in the city where she began her journalism career, in the city where she retired, in the city where she lived for 10 years before a heart attack changed her life and mine, and in my own city. One told me that obits had to come from a funeral home, not individuals, which is a barrier because I’m not using a funeral home; my mother is being cremated by the Cremation Society of Virginia, which told me to handle the ads myself. I explained this but was told the ad had to come from a funeral home. So, one paper gets no ad. The cost at the other papers ranged from around $300 to nearly $500 (in my own city, the ad was free because I work for the company — an excellent employee benefit but one you hope never to use). In the accompanying listing for each at legacy.com (yes, each one has a separate, unlinked listing), my mother’s name appears as Anita Lucas, even though she never went by Anita — like many people, especially in the South, she went by her middle name, Gail — except for one listing: the obit placed in The News & Observer of Raleigh.

The News & Observer also was the only one that had a completely web-based system for placing the ad. It was easy and seamless. Every other place had me e-mail in the information, and they called me back to get credit card information. Not bad, but not seamless.

One day, probably in the not-too-distant future, someone is going to combine something like the N&O’s online obit-submission system with a cheap price, and at that point, newspapers will hear another nail pounded in the coffin of their revenue model. For instance, why not a TV station? TV has geographic market presence — which I’m not convinced is even necessary nowadays — and this is revenue TV stations don’t now get, so a low-cost, web-only model is nothing but a plus to them. Or some newspaper company, like the N&O’s McClatchy, might decide, “Hey, why don’t we roll out this web-based obit system as a national thing, like Craigslist, and not just limit ourselves to where we have a building?”

When the day comes that someone actually does this, newspaper executives won’t be able to say no one saw it coming or tried to warn them.

5/21 UPDATE: Through Twitter, legacy.com noticed my complaints and addressed its end of them, so her obits now appear online as Gail Lucas, and the guest books have been combined.

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Regret
The category of “don’t do this on Facebook (or Twitter)” is a large one. While many examples stem from what I guess you might call youthful exuberance or failure to consider the nature of the first two Ws in World Wide Web, not all of them do, which is a good reminder for everyone who laughs off those mistakes as things they would never do. One such tale comes in Jay Rosen’s Anatomy of a Facebook Fail: Mine, in which he explains how he came to post a brief comment on Facebook that he wishes he hadn’t. Skipping to the caveat that any of us could tape to the bottom of the computer screen:

“… that’s exactly why I should have waited to post my comment: so I could examine it with a cooler eye. And that’s what it was: a comment (38 words) not an attempt to report on the episode.

“Still, I have 8,000+ subscribers on Facebook. I knew I was commenting publicly. I teach journalism and I study the Internet. I know a lot about how to avoid these things. That of course makes it worse.”

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Most journalists seem to take it as a given that what is accurate and fair is true. But whether you agree apparently depends on what you mean by “true,” which became clear after several items in the news in the past month.

First came reports – such as this one from NPR – about “The Lifespan of a Fact,” a story drawn from the experience of John D’Agata, a writer, and Jim Fingal, who had been assigned to fact-check an essay by D’Agata. From NPR’s description:

“Ten years ago, D’Agata was in Las Vegas when a 16-year-old boy committed suicide by jumping off the Stratosphere Tower. D’Agata wrote an essay about the tragedy — but in the telling, he took a generous amount of artistic license.”

D’Agata fudged or fabricated details large and small, and distorted timelines and sequences of events. He defended his departures from accuracy by saying his version was “more dramatic” and that his essay was written in pursuit of a greater truth, an artistic truth.

Next came the horrifying (for journalists), full-show-length retraction by public radio’s “This American Life” for running a report by writer/performer Mike Daisey about Apple’s factories in China, which, similar to D’Agata’s essay, mixed and matched facts, locations, times and events without much regard to accuracy. Although clearly remorseful in the retraction episode, he remained stubbornly insistent that his error was only one of labeling, that ultimately he conveyed a larger truth that was important for people to feel connected to.

Neither of the above episodes would have caused a ripple of alarm if either had simply been labeled fiction. Much fiction is largely based is fact. You don’t have to watch very many movies or TV shows to understand that “based on a true story” has a wide variety of meanings, from “this is nearly entirely what really happened” to (more often) “there’s a nugget of reality here, but not a lot.”

Jeff Jarvis at BuzzMachine summed up what I feel about the two stories:

“You need not take a journalist’s oath to tell the truth. You need only be born to a mother such as mine, who told me and my sister often–very often–that ‘there’s nothing worse than a liar.’ It worked on us. My sister became a minister and I became a journalist.”

Then a third item entered the news, giving a twist to the idea of “truth vs. accuracy.” It turned out that the season-opening scene in AMC’s “Mad Men” last month, in which men in a New York advertising firm drop paper bags filled with water onto black civil rights protesters below, was drawn directly from the facts in a 1966 New York Times story – right down to one of the protesters, after coming up to the agency to find out who was dropping water bombs on them, saying, “And they call us savages.” That line of dialog, as it turned out, came in for harsh treatment from some TV critics. Said one, “When she said that, it just rings so false.”

How much truer can you get than reality? Must you fabricate to discover truth?

“Beauty is truth, truth beauty,” – that is all
Ye know on earth, and all ye need to know.

I supposed it’s appropriate that the meaning of those lines by John Keats “is disputed by everyone,” as englishhistory.net put it.

If only a journalist had been there to document what Keats intended.

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You’ll spend 18 minutes very well if you watch the talk by Kathryn Schulz, author of “Being Wrong: Adventures in the Margin of Error,” on the topic of what we learn by being wrong. In particular, it’s useful as a manager to remind yourself that different people see things differently, and your perspective might not be the best for understanding what’s going on. Or that events have changed beyond your plans, so you need to adjust. As a reporter or editor, you have to keep this in mind all the time so you don’t automatically ascribe motivations to people. As Schultz says, “It does feel like something to be wrong; it feels like being right.”

Her talk reminded me of the time I have most audibly been on the receiving end of someone assuming he was right and I was wrong. It was at the 2004 Republican National Convention, the night that Vice President Dick Cheney spoke, but the keynote speaker that night was a Democrat, Sen. Zell Miller of Georgia, whose speech rained fire and brimstone on the Democrats. I was there to serve as the editor for the Media General Washington Bureau staff covering the convention, and at some point as the fury of the speech became clear, the bureau chief, Marsha Mercer, looked and me, and I looked at her, and she said something like, “This is the lead, isn’t it?” There was no other way to see it, I thought. What Cheney eventually said that night was utterly expected. So Mercer wrote the story, I read it over, and I filed it. We packed up and headed out of the media area attached to Madison Square Garden, and my cellphone rang. A night editor at one of our papers was calling to ask, more or less, if we were out of our minds. “It’s the vice president’s night,” he said, and we simply should not have relegated the VP to the bottom half of the story. I wondered about it overnight and the next morning, when it was clear that almost everyone had done what that editor said we should have — led the story with Cheney’s speech. But for the next solid week, the only thing about the convention that got much discussion was Miller’s speech. I think you could make the case either way that night, but at that moment people making the different decisions felt just as sure that they made the right call and that the others were clearly wrong.

My point isn’t that Marsha and I were proved right, but that as an editor you have to remember that people have different perspectives, and even if your reporter has written a story completely opposite of how you think he or she should have, you have to understand why before you launch into a critique of what’s wrong with it.

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Journalists need reminders now and then to pay closer attention to the lazy language they pick up from official sources – especially police, bureaucrats and businesspeople, to name three very large groups that like words that are not perhaps what you would call conversational English. Let this from Bob Ingrassia at The Fast Horse Blog be your reminder for this month that when it comes to the language in your stories, in the words of Eddie Murphy’s Axel Foley (in the clip above), “It should be more natural, brother, it should flow out.” If you wouldn’t say it in normal conversation with a friend, you might need to rethink what you’re writing or saying. Bob’s list of words or phrases to be banished and their conversational equivalents (and more are offered in the comments on his post):

fled on foot = ran away
high rate of speed = speeding
physical altercation = fight
verbal altercation = argument
reduce expenditures = cut costs
terminate employment = fire
reduction in service = layoff
blunt force trauma = injury
discharged the weapon = shot
transport the victim = take him/her
lower extremities = legs
officers observed = police saw
at this point in time = now
express concerns = complain
incendiary device = bomb
obtain information = ask or interview
deceased = dead
sexual relations = sex
roadway = road
fail to negotiate a curve = missed a curve
determine a course of action = consider options
vehicle = car or truck
citizen = person
individual = man or woman
commence = begin
emergency personnel = police, firefighters
utilize = use
complainant = victim
fatally injured = killed
motorist = driver
juvenile male/female = teen boy or girl
respond to the scene = arrive
precipitation = rain, snow
purchase = buy
intoxicated = drunk
controlled substances = drugs
appendages = arms, legs
contusion = bruise
head trauma = head injury
laceration = cut
provide leadership = lead
obstruct = block, get in the way
came to the conclusion that = decided, figured out
arrived at a decision = decided
reside = live

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