Newsroom nicknames of note

Newsrooms are known for their unusual characters and peculiar personalities, not unlike those on “The Office” in its glory years.

The most prominent of those journalists get colorful nicknames. Sometimes these monikers are used more often than the person’s actual name.

Here are my favorites from my years at two North Carolina newspapers, the News & Record in Greensboro and The News & Observer in Raleigh, as well as a few others contributed by people on Twitter:

  • Bricks
  • Scuz
  • Beast
  • Jelly
  • Flames
  • Toot
  • Juice
  • Copy Slut
  • Libel Girl
  • Gonzo
  • Midnight

Ten years gone

Ten years ago today, I began my second stint at The News & Observer, the daily newspaper serving the Triangle region of North Carolina.

I’d previously worked at the paper in the 1990s as a copy editor in news, in the sports department and in its Orange County bureau. I left in 1997 when my wife finished her Ph.D. and took a job at Louisiana State University.

In early 2001, I returned after a three-year hiatus to be Nation & World editor, in charge of the paper’s coverage from the wire services. My task was to organize the stories from The Associated Press and other services, plan the A section pages and offer important stories from the wires for the front page.

It’s a job I held until the summer of 2005, when I left to take a job at UNC-Chapel Hill. After nearly five years on the wires (framed by the disappearances of Chandra Levy and Natalee Holloway), I was ready for a new challenge.

Yet my years at the N&O continue to influence my teaching. I will always consider myself an N&O person, thankful for my nearly 10 years there overall and the lifelong friends that I made during that time.

Many things have changed since that day in January 2001 when I restarted at the newspaper. Here’s a list of how some things were different then:

  • Social media didn’t exist; Facebook and Twitter hadn’t been invented.
  • The easiest way to get a coupon was in the Sunday paper; Groupon and Living Social didn’t exist.
  • Blogging was in its infancy.
  • The Washington Post-Los Angeles Times News Service was a viable competitor to The New York Times News Service and The Associated Press.
  • The Charlotte Observer and The News & Observer were competitors — if not for readers, then between journalists at those publications.
  • The N&O website largely consisted of uploading the content of the morning newspaper and was rarely updated during the day.
  • McClatchy, the company that owns the N&O, was living up to its tradition of never laying off employees.
  • No one talked about search engine optimization.
  • Copy editing was seen as an important part of the credibility of a newspaper.

Indeed, 2001 was a different time. Where will we be 10 years from now?

An earlier version of this post misspelled the name of Natalee Holloway. Thanks to @lexalexander for noting the error.

Q&A with Monty Cook of the Reese Felts Digital Project

The Reese Felts Digital Newsroom at UNC-Chapel Hill.

Monty Cook is executive producer of the Reese Felts Digital Project at UNC-Chapel Hill. In that role, he is the leader of a newsroom and research center at the School of Journalism and Mass Communication. Before coming to the university in 2010, Cook was senior vice president and editor of the Baltimore Sun. He has also worked at newspapers in Orlando, Myrtle Beach, Akron and Washington. D.C. In this interview, conducted by e-mail, Cook describes his job, the goals of the Reese Felts project and the future of journalism education.

Q. Describe your job. What does the executive director of the Reese Felts Digital Project do?

A. It’s my role, and the role of Tony Zeoli, our lead developer, to work with students on projects, on programming, and on the site, as they develop the necessary skills and critical thinking needed to be journalists in the 21st century. We have resisted any model that forces students to simply shovel content onto the site. We don’t believe that students learn anything from working in a digital sweatshop or content assembly line.

We discuss stories. We talk about story form. We talk about technology. We talk about audience expectations. We talk about what’s happening in the industry and the culture.

We direct, challenge and work with students to put their work in the best possible position for audiences. We also allow students the time and freedom to choose some stories of their own to pursue. But through our experience we can create teaching moments along the way. Our student staff has been wonderful to work with. They’ve been engaged, energized and professional.

We also decide on the direction of the project; what research initiatives to pursue, which partnerships to form for the benefit of students and the project as a whole.

We’ve taken two steps since summer. We’ve renovated and created the space for the physical newsroom, and we’ve launched a news and information site in a little more than two months. It’s just two steps, and there are many more to come: hyper-local journalism, opinion, sports journalism, original programming and multiple audience research projects.

Q. Where does the Reese Felts site fit into the media landscape on campus, in Chapel Hill and beyond?

A. Reese Felts has many missions. We give students digital skill sets and practical application through story development, production and publishing across multiple platforms. Our site, reesenews.org, serves as not only an outlet for students’ work but the foundation for the project’s audience research initiatives. We look to create natural partnerships with legacy, new media and citizen journalists. That gives us an opportunity to look at strategies to help companies continue making the transition to the evolving digital and cultural audience habits.

Will we cover the university and Chapel Hill? Absolutely. We’ll cover the region, North Carolina and occasional national stories, too. Our goal is to experiment with story form — we’re already doing that with non-traditional sports game coverage — and also with long-form journalism and documentary style.

We believe that emerging platforms, like the iPad and other tablet devices, will ultimately change how journalism is presented. There will be more of a menu for story form options as audiences transition. But data visualization, animation and gaming will have roles to play, too.

Q. As editor of the Baltimore Sun, you oversaw significant layoffs at the newspaper, particularly on the copy desk. What do you see as the role of editing in today’s media?

A. It’s just as important in new media as it is in legacy media, maybe more so. Proper search engine optimization and learning how to draw audiences to articles, video, other content, is layered onto the critical roles of editing for context, for grammar, for structure, for word usage. Newspaper editors, news directors, they’re all being forced into false choices because of the audience transition to new platforms and the poor economy.

That said, journalism roles are becoming less specialized. Journalists need to understand programming, marketing and social media, editing and solid SEO. Those principles are no longer the roles of just a few in a modern newsroom. They have to be top-of-mind for everyone.

Q. You are a graduate of UNC’s journalism school. How has journalism education changed from when you were a student, and what changes do you see ahead?

A. Well, there was no digital newsroom in the mid-1980s. And I have many fond memories of the j-school from my time as an undergraduate. Jim Schumaker, covering town zoning board meetings for Dr. Donald Shaw’s class. I was in Jan Yopp’s news editing class the morning that Challenger exploded on liftoff. The teletype machines were going crazy in the next room.

But even if platforms have evolved, the Web, mobile, now tablet devices — and there will be others — the importance journalism plays in culture remains a constant. The barriers to entry are lower. You no longer have to be The Washington Post or The New York Times to provide news.

Citizen journalism and blogging continue to provide outlets for news, commentary and information. There has never been greater access to news and information. It’s just more fragmented. And it also may not be as in-depth.

Traditional news outlets have struggled with staff attrition. Small and mid-sized newspapers still provide quality watchdog functions to their readers. They may have to pick their spots, however, without the greater bandwidth of a large staff. There are some local broadcast outlets that provide valuable accountability journalism. The Raleigh-Durham market is an excellent one in that respect.

I think we’ll continue to see non-legacy news outlets rise, some broad-based, others niche. Whatever you think of The Huffington Post, The Daily Beast or even Gawker, those sites have large followings.

Reesenews.org, on a student level, will look at different models. We constantly ask how we can serve journalism, both from a practical and theoretical standpoint, on current and emerging platforms. The site itself is non-traditional and looks to create a design bridge between the browser and tablet interface experiences.

It’s about using technology in service of story, not as a toy at the expense of solid storytelling. It’s about using technology in service of reporting. Crowdsourcing and engaging with audiences, followers, after a story publishes are critically important to the newsgathering and dissemination processes.

It’s about understanding that metadata and search engine optimization are as important to the editing process as grammar, line edits, structure and usage.

We work with students on putting the vast digital knowledge and multitasking ability they already possess into the framework of 21st century journalism.

And the thing is, that’s what we see as the need in journalism education — now. As technology and culture continues to evolve, we’ll evolve.

UPDATE: Monty Cook has resigned as leader of the Reese Felts project because of inappropriate relations with a student. Faculty member Don Wittekind is serving in that role on an interim basis.

Predicting the midterm election

Election nights on a newspaper’s copy desk are characterized by long waits for results followed by a frenzy of editing and headline writing. Now that I am teaching, I spend my election nights at home, getting results online and watching coverage on cable TV. The morning after, I’ll look for my newspaper to tie it all together and tell me what it all means.

Free pizza for the newsroom was one of the traditions of election night in the newsrooms where I worked. An “election pool” was another one. Those of us who chose to participate predicted the outcome of various races. The winner claimed bragging rights of being politically astute, although luck may have been involved too.

I can’t join one of those pools tonight, but I will offer my predictions here. To be clear, this is who I think will win, not who should win. My voting preferences are between me and my touch screen. And away we go:

U.S. SENATE
ALASKA: Murkowski over Miller
CALIFORNIA: Boxer over Fiorina
CONNECTICUT: Blumenthal over McMahon
DELAWARE: Coons over O’Donnell
FLORIDA: Rubio over Crist
KENTUCKY: Paul over Conway
NEVADA: Angle over Reid
NORTH CAROLINA: Burr over Marshall

U.S. HOUSE from North Carolina
DISTRICT 2: Etheridge over Ellmers
DISTRICT 4: Price over Lawson
DISTRICT 8: Johnson over Kissell
DISTRICT 13: Miller over Randall

CONTROL OF CONGRESS
HOUSE: Republicans, 230-205
SENATE: Democrats, 51-47 (and two independents)

PROPOSITION 19
California says NO to legalizing marijuana

GOVERNORS
CALIFORNIA: Brown over Whitman
FLORIDA: Scott over Sink
NEW YORK: Cuomo over Paladino (But either way, the rent will still be too damn high.)

UPDATE: On the day after, I’d call my performance as prognosticator fair to middling. In my newsroom experience, the day after an election is more difficult than the day of the election. Everyone is tired, and there’s no free pizza. Kudos to all of those who do this hard work. We readers appreciate it.

Full metal edit

I recently invested about $9 a month in Netflix Wii. By putting a DVD into the videogame system and connecting online, I can watch hundreds of Nexflix movies on demand. Many of the movies are older releases, but that’s OK.

One movie I watched again recently was “Full Metal Jacket.” I had remembered the Stanley Kubrick movie mostly for its first half, which depicts Marines going through boot camp at Parris Island, S.C., during the Vietnam War.

What I had forgotten was that Joker, a Marine portrayed by Matthew Modine, is assigned to work for Stars and Stripes. Using profanity, the drill sergeant makes fun of this Marine, but he replies: “Sir, I wrote for my high school newspaper, sir!”

Particularly interesting is a scene a few minutes later. Now in Vietnam, Joker attends a news meeting with an editor named Lockhart who asks his reporters and photographers what they are working on.

Lockhart also reads some copy aloud and critiques his reporters’ writing. He offers the following style tips:

  • “Diplomats in Dungarees — Marine engineers lend a helping hand rebuilding Dong Phuc villages.” Chili, if we move Vietnamese, they are evacuees. If they come to us to be evacuated, they are refugees.
  • “N.V.A. Soldier Deserts After Reading Pamphlets — A young North Vietnamese Army regular, who realized his side could not win the war, deserted from his unit after reading Open Arms program pamphlets.” That’s good, Dave. But why say North Vietnamese Army regular? Is there an irregular? How about North Vietnamese Army soldier?
  • “Not While We’re Eating — N.V.A. learn Marines on a search and destroy mission don’t like to be interrupted while eating chow.” Search and destroy. Uh, we have a new directive from MAF on this. In the future, in place of “search and destroy,” substitute the phrase “sweep and clear.” Got it?

It’s an interesting and amusing glimpse into the generation of jargon. Terminology that masks meaning is not limited to the military, of course. It’s abundant in politics as well.

The scene is also an interesting glimpse into the film making of Kubrick. His movies showed that he cared about the words as much as the visuals. Kubrick was also famous for his meticulous nature.

Yes, Stanley Kubrick would have been a good copy editor, although he had trouble on occasion making deadline. But he did OK as a film maker too.

What I edit and what I don’t

This Tweet from Overheard in the Newsroom made me smile and cringe at the same. I smiled because it’s funny. I cringed because it feeds into a stereotype about copy editors.

I don’t edit e-mails from my friends, family and students. I don’t edit status updates on Facebook. I don’t edit Tweets (although some people do). I don’t edit comments on news stories (though some errors are admittedly amusing). And I don’t edit spoken conversation.

I do edit news stories, blog posts on news sites, cover letters, menus, speeches and billboards — anything that’s professionally produced and set into type in print, online or on screen. Even so, I don’t insist that these things adhere to Associated Press style. Style is a choice, not a commandment.

So for those of you with friends and family who work as editors: Relax. It’s OK.

Most of us won’t judge you for a typo in an e-mail or chat session online. If you don’t use the subjunctive mood correctly the next time we talk on the phone, I won’t stop the conversation to point that out.

We all make mistakes sometimes; I’ve made some doozies. That’s why we have copy editors to help us communicate better in professional settings for specific audiences. We want to help, not nag, and we’ll do so with tact and understanding, not mockery.

Got it? So give us a call, send us a text message or drop us a line by email. We’ll chat.

Guest post: Why copy editors still matter

Students in J457, Advanced Editing, are writing guest posts for this blog this semester. This is the fourth of these posts. Kammie Daniels is a senior News Editorial major who plans to graduate this May. She has worked at The Daily Tar Heel as an Arts Desk staff writer and also as a reporter with UNC’s news broadcast Carolina Week.

With all the layoffs, consolidation and other depressing things going on in the newspaper industry, I think we are all forgetting how important copy editors really are.

Up to this point in my education, I have never thought to include the title of “copy editor” to my list of practiced skills. Yes, a semester here and there of editing courses has fairly broadened my knowledge of the profession. However, it has taken until now to have the opportunity to truly practice and more importantly, appreciate, the art of accomplished copy editing.

Day to day, I witness the hard work and talent my fellow classmates offer when editing another’s copy. And although I have never worked with a professional copy editor, through this new experience I can say they strike me as having the most under-appreciated job in the newsroom.

In the face of the “print is dead” belief, no newsroom group has been more affected than copy editors. According to a 2009 survey by the Project for Excellence in Journalism, more papers have reported cutting copy editors than photographers, assignment reporters, or graphic artists. Shrinking newsrooms could justify these cuts if content quantity followed in suit. However, this survey continues to explain that while staff is shrinking, the average number of stories being published is actually increasing. So this means we have more headlines and content to be edited and an insufficient copy desk — that is a problem.

Another publication that has recently made (perhaps un-copy edited) headlines for targeting copy editors is the Star Tribune in Minnesota. Of the 27 staffers that were cut from the paper, 18 were from copy desk positions.

As newsrooms are shrinking all together, it seems the popular belief that copy editors should be the first to get the boot. New York Times writer Lawrence Downes even goes so far as to say “if newspaper copy editors vanish from the earth, no one is going to notice.”

Ouch.

Whether it is motivation by the dollar or one’s indifferent ignorance, copy editors are no longer getting the recognition they deserve. Today’s copy editors are multitaskers who design, choose stories and configure them online — all in addition to the customary duties of content editing and writing headlines. When a newspaper like the Tribune loses a copy editor, it is in turn losing valuable expertise in every one of these areas.

Singer/songwriter Christopher Ave wrote “Copy Editor’s Lament (The Layoff Song)” to comment on the newspaper industry’s woes and to celebrate copy editors. Like Ave, I wish to argue this same point. Of course, the public does care about headlines and correct grammar. They just don’t really know it. Through my writing — once copy edited, of course — my message will hopefully be clear: Copy editors DO still matter.

To China and back

china-newsroom

My visit to China is done, and although I’ve adapted once again to Eastern Daylight Time, I’m still thinking about my experience half a world away.

My colleague Laura Ruel and I spent about a week working with journalists of the China.org news site. The English-language site has a staff of about 30 people, including a few Americans.

I was impressed with the dedication and skills of the China.org staff. It’s a different sort of journalism — run by and controlled by the government, created in an environment where Facebook, Twitter and most blogs are blocked. Yet, the staff there is doing much of what their Western counterparts do: trying to figure out the best to get the news to readers, in both form and content, while on constant deadline pressure.

I was asked to speak to the staff on several topics:

  • Story editing
  • Headline writing
  • Caption writing
  • Alternative story forms

I covered each of those topics in workshop sessions at the China.org offices. Each went well, and with each session, the staff grew more comfortable asking questions and offering comments.

On my final day in Beijing, I worked with staff members one on one in the newsroom. This was the most rewarding part of the week because I got to help people with the stories, captions and other content that they were working on at that moment. I also got a surprising compliment from one editor: “Thank you for your help. And I would like to say that you are very handsome.”

Thanks to everyone at the site for their hospitality, and special thanks to Celine Chen for organizing the trip, showing us the city and and allowing us to bring a little bit of U.S. journalism to China.

Q&A with Stephanie Beck, producer at WRAL

Stephanie Beck is the 6 p.m. news producer at TV station WRAL in Raleigh, N.C. Beck, who once aspired to be a features writer for a newspaper or magazine, started at the station in the mid 1990s as videotape editor. In this interview, conducted by e-mail, Beck discusses her job as producer (which includes story editing) and WRAL’s online presence.

Q. What does the 6 p.m. news producer do on a typical day?

My day starts before I even get to work. I wake up with my alarm set to WUNC and peruse the online newspapers and my e-mail over my morning coffee.

When I get to work, it all starts with a morning editorial meeting at 9 a.m. There, producers for each show (5:00, 5:30, and 6:00 p.m.) and management put their heads together to assess what’s breaking, what’s news, what needs to be covered, what can be done another day and what everyone is talking about. We talk with the reporters about their pitches and discuss the stories until crews are assigned. Then we parcel out the stories to the shows across the 90 minutes of news so that viewers don’t feel they’re watching the same thing over and over again.

After the meeting, I jump into the day. I represent our station on a conference call of CBS affiliates in the state, trading stories and story ideas. I help write last-minute stories for the noon newscast.

I start working with reporters to design graphics to go with the stories reporters are working on for my 6 p.m. newscast. For example, maps to show viewers where smaller towns are in the area; interactive graphics to go in and around the stories on state government and economics and government spending; any way I can think of to make stories visually interesting to give them a slight boost and keep viewers’ attention. Then I sit down with graphic artists to make these ideas come alive on the screen.

This is also the time frame where I start looking for statistics, tidbits, previous stories and other items to put these stories in context and let viewers know why the stories we have chosen today will impact them and their daily lives. Oh, and did I mention that I try to start writing the show at this point?

At 1:45, there’s an afternoon editorial meeting. At this point, I have to justify every story in my rundown, from the 15-second copy story to the reporter’s package. I inform the same group of managers and producers what each crew has in terms of sound and video to make sure the packages fit the mold we were looking for.

After this meeting, it’s crunch time. Writing, re-writing and looking for stories through the afternoon until it’s complete, along with creating my own basic graphics. Usually, I try to finish the first write by 5 p.m.  That gives editors time to work on the video and me time to go back through and re-write and re-read my work.

At 5:55 p.m., I’m in the control room – after all that work, I’m not about to turn the reins over to anyone else if I can help it. Sitting in the producer’s chair means timing the show, communicating with live shots, and all around keeping the wheels on the train.

If breaking news strikes, it’s my job to get the director and the anchors on the same page to execute it as cleanly as possible. If things go as planned, it’s a slow day, and a rare day!

At 6:27:55 we dip to black and have a post-show meeting to talk about what went right and what went wrong that day.  Conversations ensue, and I’m done with my day between 6:45 and 7:00pm.

Q. How big of a role do writing and editing play in your job?

A. Writing is my job. It’s easy to lose sight of the fact in all that description that as a producer, it’s my job to choose stories and to write them in an easily understood fashion.

I am the person who condenses a Supreme Court ruling to a 30-second story or who sums up a murder case in 20 seconds. Doing so takes practice, distance from the story, and more practice.

Being concise is indeed an art form, and if you don’t believe it, just try this: Grab your local newspaper and pick a story. Try summarizing it in three to four simple sentences that are factually correct and don’t leave the reader forced to make assumptions. It becomes hard to decide what needs to be left out and what needs to stay.

Newspapers have the luxury of space. Broadcast does not, but we still have the duty to tell the story correctly and the need to tell it in an interesting fashion so that our audience stays with us.

That is where editing comes into my job. Rather than typical copy editing, I edit the story when I make decisions regarding what details go in and what details stay out. I do need to be familiar with AP style, especially for on-screen graphics, but the writing of the story itself is more conversational in style so that it fits the anchor’s delivery and personal style.

Q. You’re active on Twitter and other social media. What is WRAL’s strategy
there?

A. WRAL’s strategy across the board is to be the news outlet people seek out when they’re in search of information. Weather, news, breaking news, traffic — you name it, we want to build the trust and name recognition with the public that we are where they go. Period.

Be first, be accurate, be informative, be investigative, be useful. It’s what we do in television news, our strategy for online presence at WRAL.com, and now they are the leading values we are taking with us into social media.

Q. WRAL’s history can be traced to the days of radio. It’s best known now as a TV news station and as a pioneer in HD broadcasting. With all of the changes in the media, is there a time ahead when WRAL will be online first and TV second?

A. One could say we’re nearly there. A few years ago, the phrase entered our vernacular that WRAL isn’t a television station with a Web site; we are an online news organization that includes a television station.

That’s not to say that TV news comes second, but to say that we are aware that television isn’t the only place that people get their news anymore, and we’re willing to meet them where they search.

If you read the Web site for your news, we’re there, with a number of features we do that are “web only.” There are plenty of content opportunities that stream live on the Web, sidebars that are placed on the Web to provide more context and interactive opportunities that television won’t allow. We stream our newscasts live on the Web for people who prefer to watch on their computers. We offer news updates for your mobile phone, in case you can’t make an appointment with a newscast.

A staff of online producers work hand in hand with reporters and producers to create a useful and informative Web presence. Our programmers wrote a WRAL app for the iPhone to keep you up to date on local news and weather.

If a conversation is happening on Twitter, we’re there. If it’s on Facebook, we’re there. As we proved with HD and the evolution of WRAL.com, we are very comfortable with the advances in technology, and I think we will continue to stay ahead of that curve.

Q&A with Brian Russell of Carrboro Creative Coworking

Photo courtesy of Carrboro Creative Coworking

Brian Russell is the owner of Carrboro Creative Coworking in Carrboro, N.C. He also blogs at Yesh.com. In this interview, conducted by e-mail, Russell discusses what coworking might mean for journalism.

Q. What is coworking? How is it different from going into a coffeehouse and working on a laptop?

A. Coworking is a movement of freelance workers who are joining together to share resources like office space, Internet access, etc. This movement is in the process of going mainstream. It’s poised to really influence how corporations of all size see work. Freelancers aren’t the only ones who will work this way.

Coworking spaces usually have a very professional atmosphere in contrast to coffeehouses. But they are often focused on the type of professionals that use them. For example, Carrboro Creative Coworking has a lot of freelance software engineers. We work hard and play hard together.

Q. What kinds of people are coworking? Are writers and editors trying it?

A. All kinds of people are coworking. Many of them are involved in Web development. But we have many journalists and writers at our space.

These folks really understand the value of community. It’s a natural fit for this type of professional.

Q. Newspapers have typically operated from a central newsroom with bureaus in surrounding communities. Now, many bureaus have closed because of financial pressures. How could newspapers use coworking to cover the news?

A. Newspapers could use coworking spaces as ad hoc gathering places to meet and create news. Journalists should be in the field covering the news and regenerating the news beats of old.

Coworking spaces are also greater community hubs. With a diverse group of people working in the same place, lead generation is amplified. Plus, coworking spaces are about sharing resources and are very cost effective.

Q. In addition to coworking, you have experience in Web development and citizen journalism. In your opinion, how can newspapers better use online media?

A. Journalists must be active participants in our physical and virtual, online communities. Online media is social. No more passive observation. This means reporting should be a two-way process.

The Clue Train Manifesto explains it this way: “A powerful global conversation has begun. Through the Internet, people are discovering and inventing new ways to share relevant knowledge with blinding speed. As a direct result, markets are getting smarter — and getting smarter faster than most companies.”

(Photo by BrianR.)

UPDATE: Carrboro Creative Coworking closed in autumn 2011. Russell now works as the chief webmaster for the North Carolina Museum of Natural Sciences.