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Why be a journalist? It can be a difficult job with long hours, hard work and an uncertain future. Journalists face relentless criticism and an industry in transition. Aaron Chimbel has put together a collection of essays from working journalists who answer the question — why be a journalist? — with their personal stories of coming up, toiling in the field and writing important, career-defining stories. These journalists come from different platforms, beats and locations, offering varying accounts of the travails and rewards of being a working journalist across changing landscapes and timelines. The essays in Why I’m a Journalist offer encouragement and wisdom about the path to being a reporter, a broadcaster, an editor or a media professional. This is a collection for students interested in the field, early upstarts engaged with building their careers and seasoned pros looking to learn from their colleagues.
News stories are like collective memories, encapsulating the most iconic moments in recent history around the world. But to those who work in journalism, up-close involvement with these stories can also be life-changing. In That’s Why I’m a Journalist, veteran broadcaster Mark Bulgutch interviews 44 prominent Canadian journalists, who each share their behind-the-scenes accounts of some of the most memorable stories of their careers and describe the moment that made them say to themselves, “That’s why I’m a journalist.” Although many of the contributors’ stories are related to their roles in the most high-profile events of the 20th and 21st centuries, from the fall of the Berlin Wall to 9/11, here too are reflections on quieter and more intimate moments that had a deep personal impact. Peter Mansbridge talks about a trip to Vimy Ridge on the hundredth anniversary of World War I, Adrienne Arsenault recalls bringing together old friends separated by the Israeli-Palestinian conflict, Terence McKenna recounts what it’s like to worry about being kidnapped as part of the job and Wendy Mesley reflects on the satisfaction of asking tough questions—and uncovering the truth. Together, these enthralling and varied accounts provide an intimate understanding of the people we see on camera and hear on the radio. As Bulgutch argues, modern journalism is undergoing existential threats. News has never been more accessible yet, paradoxically, important news has become harder to find, often buried by pseudo-news of celebrity, lifestyle tips and the latest viral video of a water-skiing squirrel. The stories in this book serve as reminders of the importance of real journalists and real journalism.
A look at the history of the idea of the objective journalist and how this very ideal can often be used to undercut itself. In The View from Somewhere, Lewis Raven Wallace dives deep into the history of “objectivity” in journalism and how its been used to gatekeep and silence marginalized writers as far back as Ida B. Wells. At its core, this is a book about fierce journalists who have pursued truth and transparency and sometimes been punished for it—not just by tyrannical governments but by journalistic institutions themselves. He highlights the stories of journalists who question “objectivity” with sensitivity and passion: Desmond Cole of the Toronto Star; New York Times reporter Linda Greenhouse; Pulitzer Prize-winner Rachel Kaadzi Ghansah; Peabody-winning podcaster John Biewen; Guardian correspondent Gary Younge; former Buzzfeed reporter Meredith Talusan; and many others. Wallace also shares his own experiences as a midwestern transgender journalist and activist who was fired from his job as a national reporter for public radio for speaking out against “objectivity” in coverage of Trump and white supremacy. With insightful steps through history, Wallace stresses that journalists have never been mere passive observers. Using historical and contemporary examples—from lynching in the nineteenth century to transgender issues in the twenty-first—Wallace offers a definitive critique of “objectivity” as a catchall for accurate journalism. He calls for the dismissal of this damaging mythology in order to confront the realities of institutional power, racism, and other forms of oppression and exploitation in the news industry. The View from Somewhere is a compelling rallying cry against journalist neutrality and for the validity of news told from distinctly subjective voices.
This is a 1973 anthology of journalism edited by Tom Wolfe and E. W. Johnson. The book is both a manifesto for a new type of journalism by Wolfe, and a collection of examples of New Journalism by American writers, covering a variety of subjects from the frivolous (baton twirling competitions) to the deadly serious (the Vietnam War). The pieces are notable because they do not conform to the standard dispassionate and even-handed model of journalism. Rather they incorporate literary devices usually only found in fictional works.
A Pulitzer Prize–winning reporter who covered the Supreme Court for The New York Times, Linda Greenhouse trains an autobiographical lens on a moment of transition in U.S. journalism. Calling herself “an accidental activist,” she raises urgent questions about the role of journalists as citizens and participants in the world around them.
Looks at the emerging phenomenon of online journalism, including Weblogs, Internet chat groups, and email, and how anyone can produce news.
It is becoming increasingly important for television reporters to be proficient in many, if not all, of the steps in production. The Solo Video Journalist will make handling all these responsibilities seem possible, and do so from the hands-on perspective of a current reporter with years of experience as a multimedia journalist. This book will cover all aspects of multimedia journalism, from planning for a segment, to dressing appropriately for one’s multiple roles, to conducting interviews and editing. The instruction and guidance in this text will help make readers valuable players in their field, and it is filled with real-world examples and advice from current professionals. Whether it be college students learning from the ground up or journalists early in their careers, The Solo Video Journalist ensures they will have all the materials they need to be successful multimedia journalists.
A seminal work and examination of the psychopathology of journalism. Using a strange and unprecedented lawsuit by a convicted murder againt the journalist who wrote a book about his crime, Malcolm delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject. Featuring the real-life lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision. In Malcolm's view, neither journalist nor subject can avoid the moral impasse that is built into the journalistic situation. When the text first appeared, as a two-part article in The New Yorker, its thesis seemed so radical and its irony so pitiless that journalists across the country reacted as if stung. Her book is a work of journalism as well as an essay on journalism: it at once exemplifies and dissects its subject. In her interviews with the leading and subsidiary characters in the MacDonald-McGinniss case -- the principals, their lawyers, the members of the jury, and the various persons who testified as expert witnesses at the trial -- Malcolm is always aware of herself as a player in a game that, as she points out, she cannot lose. The journalist-subject encounter has always troubled journalists, but never before has it been looked at so unflinchingly and so ruefully. Hovering over the narrative -- and always on the edge of the reader's consciousness -- is the MacDonald murder case itself, which imparts to the book an atmosphere of anxiety and uncanniness. The Journalist and the Murderer derives from and reflects many of the dominant intellectual concerns of our time, and it will have a particular appeal for those who cherish the odd, the off-center, and the unsolved.
A first-of-its-kind guide for new media times, this book provides practical, step-by-step instructions for writing first-person features, essays, and digital content. Combining journalism techniques with self-exploration and personal storytelling, First-Person Journalism is designed to help writers to develop their personal voice and establish a narrative stance. The book introduces nine elements of first-person journalism—passion, self-reporting, stance, observation, attribution, counterpoints, time travel, the mix, and impact. Two introductory chapters define first-person journalism and its value in building trust with a public now skeptical of traditional news media. The nine practice chapters that follow each focus on one first-person element, presenting a sequence of "voice lessons" with a culminating writing assignment, such as a personal trend story or an open letter. Examples are drawn from diverse nonfiction writers and journalists, including Ta-Nehisi Coates, Joan Didion, Helen Garner, Alex Tizon, and James Baldwin. Together, the book provides a fresh look at the craft of nonfiction, offering much-needed advice on writing with style, authority, and a unique point of view. Written with a knowledge of the rapidly changing digital media environment, First-Person Journalism is a key text for journalism and media students interested in personal nonfiction, as well as for early-career nonfiction writers looking to develop this narrative form.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times