Web Journalist Blog

NOTE: Republished on Online Journalism Review: http://www.ojr.org/ojr/people/webjournalist/201106/1987/

I hate hypocrites… especially when they’re journalists.

I’ve been a bit disappointed with how some journalists have been writing about Jose Antonio Vargas‘ recent announcement that he is an undocumented immigrant. Many are questioning Vargas’ journalistic credibility because he had to hide his immigration status.

As if journalists – including columnists and editors – have never lied before or broken any laws. (Just think about your college years.)

Like the communities we cover, newsrooms are filled with sinners and saints… perfectly flawed human beings.

But lies have different degrees, don’t they?

It wasn’t long ago that people had to hide, or lie about, being gay. They had to conceal a part of their true identities to avoid discrimination or to get a job, including one as a reporter.

While they felt forced to hide a part of themselves, something tells me they still made strong journalists and did not lie in their reporting.

If I recall correctly, when the gay marriage issue erupted in San Francisco, The Chronicle pulled a gay photographer off the story because editors assumed a conflict of interest. What Chronicle editors failed to note is that straight people also have opinions about gay marriage that may also pose a conflict of interest.

The bottom line is, as far as I know, Vargas never lied in his stories. And just because he had to hide about being part of a certain community, it doesn’t automatically nullify his journalistic credibility or achievements.

Being a part of a community does not disqualify him as a journalist.

Just like Diane Sawyer, for example, isn’t disqualified as a journalist because she worked in Republican Party politics before, during and after President Nixon’s administration and subsequent resignation. Same as George Stephanopoulos isn’t disqualified after working for President Clinton’s administration.

They are just two of many examples.

What has bothered me the most, really, is how journalists are treating Vargas as “other” … as if his reality is not a common one. As if undocumented immigrants, or illegal aliens or whatever label you use, aren’t part of our communities.

We are all made up of different communities, and these often are the same communities we attempt to cover through our journalism. Some communities we praise, others we tolerate and others go unacknowledged.

I, like many others, believe that a diverse newsroom – comprised of different communities – makes for stronger, more relevant journalism. But the sad reality is that not all communities are seen as equal – or as newsworthy.

Our job is to give voice to the voiceless… but what happens if we are part of the voiceless community?

That’s the position Vargas found himself in. And he, like others from different communities before him, decided to come out and remind people the “other” is really a part of “us.”

About a year ago, I actually wrote a post about this topic, but under advisement from my closest editor I deleted it.

The post was inspired by Harvey Milk‘s powerful message: “You must come out” to give a real face to a community that is under attack. This was around the time of Arizona’s SB1070 bill.

My editor thought my post could be taken out of context and hurt my career.

I don’t know how these words will be taken… and quite frankly, I’ve debated whether or not I should ever publish them… but I hope my editor is not right.

In light of Vargas’ story – one that took more courage to share than my story – I feel that I am obligated to share my experience.

Allow me, however, to frame the reason why I am sharing my story now:

• I’m not asking for any political action. (Don’t call me an activist.)
• I’m not trying to ride Vargas’ coattails. (Don’t call me a poser.)

I’m writing this because as journalists we can’t afford to forget that we are part of the “other” … that good journalism is truly inclusive.

I, like everyone else, am part of multiple communities: I am a father, a husband, a renter (former homeowner), college graduate, an educator, a Roman Catholic (but I often disagree with the church) and the son of immigrants from El Salvador.

While my mother entered the country by plane with the right papers, my father entered by crossing the border illegally in the 70s.

He quickly became a U.S. citizen.

But let’s be honest here, the act of an immigrant crossing the border without the right papers in pursuit of a better life often overshadows their accomplishments as legal citizens.

To clarify, I was born a U.S. citizen. But all my success as a person and as a journalist, I owe to my immigrant parents.

My father, like millions of other immigrants, reflects the story of America – whether we want to admit it or not. Coming to this land (by any means necessary) with nothing, working [expletive] hard and making a better life for himself and his family.

For the record, my father graduated at the top of his high school class in El Salvador, which earned him a scholarship to Germany. He worked there, but giving into the request from my mother’s family, he moved to the United States after marrying her.

My father ran several small businesses and was a homeowner for more than 40 years. He lost them in the bad economy, but had relaunched his auto repair shop early last year. He passed away in November and the outpouring of support from the local community was a true testament to his accomplishments. That man helped so many people… I had no idea.

My mother struggled and worked hard in her own immigrant story. She made a small living by cleaning houses and other service jobs, including working at the food court of Cal State University, Northridge. She joined my father as an entrepreneur until they separated.

I can tell you more about their story, but let me just say this: “Their” story is part of “my” story. And “my story” is part of “our” community. And all of that is part of journalism. To shun someone, even a journalist, for owning their story, their community, is bad journalism.

If you invalidate Vargas as a journalist for being an illegal immigrant, you are a journalist in denial thinking that he is not part of your community (the one you are trying to cover).

Again I ask: Our job is to give voice to the voiceless… but what if we are part of the voiceless community?

If you are part of a community that is being attacked or politicized, as a journalist it takes courage to step forward and speak up, not as an activist… but as someone who wants facts to prevail. Not talking points.

I applaud Vargas for his courage. He’s a reminder that the “other” is really within “us.”

As part of the promotion for #connectchat, a Q&A conversation conducted by PRNewswire’s ProfNet and held on Twitter, they posted my mug on the side of the Reuters building in New York’s Time Square. Not exactly sure I merit this, but I will say this is as awesome as it is awkward.

Question: Is it “at,” “on” or “in” Time Square? Please advise.

Okay, chances are this didn’t really happen.

I’m not sure how I heard this, but the story –false or not – stuck in my head when I was beginning my journalism career.

The story allegedly goes that a young Herb Caen, who later became the legendary San Francisco Chronicle columnist, walked into a newsroom and asked for a job.

The clerk asked Caen if he knew how to type.

Caen said no… but was hired anyway.

Whether this actually happened or not, getting a journalism job these days is a bit more challenging. When I started, aspiring journalists needed to have one, big internship to get closer to landing your first job. Now, you need three or more… or, you start your own publication.

As a flood of new journalists graduate from J-School, I asked people to share their experiences in landing their first, paying journalism job and what advice they have to offer newbies getting into this great calling.

The crowdsourcing led to dozens and dozens of responses, the majority anonymous due to an early decision I made on the Google form. You can see the unedited results here and read a collection of first jobs and earlier tips here. I did my best to try to break down the diverse responses into digestible takeaways.

What are the top three skills you think journalists need to get a job now?

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Traditional skills dominated the list. A strong foundation on the basics like writing, reporting, ethics, news judgement… and a few mentioned AP Style.

“Don’t think your social media expertise or wildly-popular Hipstamatic photos will get you anywhere; AP style, strong English as both a writer and editor, research and fact-checking skills, and news judgment will make you stand out (you’d be surprised how many people doze through reporting 101 and 202 in favor of their multimedia courses, or what-have-you),” said one participant.

But of course, a close second is having basic technical knowledge. Know the tech, but more importantly know how to use it to tell a good story.

Attitude and work ethic is a quality that stands out.

“Everyone is doing more with less these days, you’ll be expected to work hard and fast and to do so with little hand-holding. You need to show a positive, enterprising, tenacious and competitive attitude.”

Another participant said: “Proving you’re willing to take on what nobody else wants to, and doing it well. (You don’t have to like it, but don’t complain.)”

These suggestions also stood out:

What is the key to getting a journalism job?

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Without a doubt, responders overwhelmingly said it’s all about who you know when you are trying to land your first – and future – jobs.

“Know the right people – networking is huge. Go to job fairs and journalism conferences, make appointments to see editors or reporters anytime you go on vacation, ask friends to introduce you, and keep in touch when you meet someone,” said a participant. “I once met an LA Times editor sitting next to me at the theater, I got an internship after keeping in touch even after I was rejected once, I got another internship by sitting in the lobby from 9 am to 2 pm asking to see the editor.”

Here are some networking tips from one participant:

I can’t echo this enough. From visiting newsrooms to cyberstalking people, do what you can – within reason – to meet people in real life and stand out from the pile of resumes. Use your network.

That said, this journalist had a different take on networking.

“Knowing people. ‘Networking’ is for shills. But seek out people whom you admire and they will think you are so smart for recognizing their brilliance that they’ll want to hire you or help you out. People in our industry are vain.”

Another theme was to apply widely and have a thick skin.

“To get a job, apply to lots of news outlets, not just your dream workplace. Start small and work your way up from there,” said a participant.

And, perhaps most importantly, once you get your foot in the door, you have to have the skills you keep that job.

Other great tips:

Give a one-word tip to aspiring journos trying to land a gig.

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“Not giving up after 97 rejections,” advised one participant who was clearly persistent.

“The key is to get in the door. I don’t care if it’s a tiny weekly in Nowheresville. Just get that first job. The rest will follow,” said another.

We all made it – and are making it – in good times and bad. Journalism is a calling. And if you want to make it, you can never give up. Good luck and remember to pay it forward.

For most of us, there is no doubt that social media has lead to significant shifts in our culture, including journalism. For this week’s post, I spoke with Senior Producer Andrew Fitzgerald and Co-Host/Digital Producer Ahmed Shihab-Eldin, two of the journalists behind a new social media-driven show on Al Jazeera English.

NOTE: Based in D.C., they both met me on a collaborative document, each on their own computer. You can playback the unedited conversation here.

Ahmed and Andrew, thank you both for taking the time to chat with me about your newest project. In fact, first let me congratulate you on the launch of The Stream, which officially aired Monday (5/2/11). For folks that have not yet heard of the show, please take a moment to describe the project.

Fitzgerald: Thanks so much for inviting us to chat about it! So The Stream is a television show and online community on Al Jazeera English. We’re telling stories from around the world that are driven by and often about social media. The site compiles information from around the globe by working with our audience and then the television show is the place where we talk about those stories, bring in people (via Skype) who are involved in them, and also allow our audience a chance to be part of the discussion.

Shihab-Eldin: Thanks, we are joking here because I always feel a need to add something – and in this case just wanted to emphasize that this was conceptualized well before the Tunisian Uprising and as it has evolved, we have realized we were right to rely to a large extent on our community/audience, both online, and on TV, and across the world to inform our editorial approach.

That was one of my next questions… can you talk about how the show came about? Was this before or after the recent uprisings… obviously before. How did this interesting TV show happen? And how did you get involved?

Shihab-Eldin: The show is a product of the reality the media industry is facing, and governments for that matter, which is that conversations are happening online, across borders, across social classes, and across communities. And as we saw in the Arab world, they are powerful and have the potential to mobilize, unite and challenge – not only governments – but the collective Arab psyche and how they see their identity.

I got involved in the project because I used to work in Doha at Al Jazeera English and have a background in New Media. When I graduated from Columbia University, the mainstream media had yet to witness or recognize the true power of these tools. Since then, I’ve worked in Doha with Al Jazeera as an online journalist, but then also at the Doha Film Institute and helped launch the online and social media efforts of the organization. There I worked with a man named Stephen Phelps who was brought in to essentially take the concept of The Stream and implement it. I’ve always championed the potential power of social networking for media innovation, for the development and progress in the Arab world, and so, perhaps it was a natural fit!

Fitzgerald: My background is in participatory journalism; my last big project was working at Current TV in San Francisco where, among other things, I managed the citizen journalism program. I had my “Al Jazeera” moment like everyone else in the US on January 25, when I tuned into CNN to see what was happening on the streets of Egypt and saw a segment on Charlie Sheen. Twitter set me straight: “Go live stream Al Jazeera!”

I’d heard Al Jazeera was developing a new social media-driven show and, especially after the Egypt coverage, was very eager to see if there might be a way for me to help out. Lucky for me (also in a conversation with Stephen Phelps) it was a good time for me to come in and lend my expertise. My hope, really, is that this show is and continues to be a real leader in how to produce truly interactive television journalism, and I’m trying to bring all the best lessons I’ve learned to bear in that aim.

What is the goal/vision for the show? Both in journalism, in the Arab community and for Al Jazeera network?

Shihab-Eldin: The general idea is to give voice to the voiceless – specifically those who live in countries where civic engagement is not tolerated, but suppressed – and give them a voice. We do not want to reinvent the wheel. While we want to build a community (both online and through TV and eventually merge the two), in order to do that, we must tap into communities that already exist where conversations are already taking place. We also are hoping to pass on the airwaves to a new generation. Fifty percent of the world is under 30. Almost 70 percent of the Arab world is under 30. We deserve our moment – and the converged platform of The Stream is just one part of it.

We do not want to appear to be telling audiences or the community what is worth discussing, we want to invite and engage people who already have a nuanced understanding of their particular corner of the world (or community) and allow them to drive the narrative. Often times they are far more knowledgable on the “real issues” so to speak, than the mainstream media or than they get credit for.

Having this show launching on AJE, rather than CNN, means something, no? How does the network effect the show… or empower it? Or is the network not a factor? Could this show work on another network? What would the differences be?

Fitzgerald: The network is absolutely a factor – in the sense that Ahmed mentioned above: this idea of “the voice of the voiceless.” What makes this a show on Al Jazeera English and not a show on another network is our aim to find the voices that aren’t being heard. It’s a truly global show for a truly global network. We work hard to find stories that really reflect that. Keep in mind – Al Jazeera English has a much, much bigger audience in, say, sub-Saharan Africa than the US. That’s one big difference between this show on this network versus, say, CNN.

Another difference is that the show has the space to be serious. We’re covering important topics and taking the time to air them out. If this was a show (like many similar shows that have attempted in the recent past or will be in the near future) on a US-based network, it would struggle to not treat social media as ‘funny cat videos’.

Shihab-Eldin: Hillary Clinton answered your question when she pointed out that “You might not agree with it, but you feel like you’re getting real news around the clock instead of a million commercials and, you know, arguments between talking heads….which is not particularly informative to us, let alone foreigners.” Al Jazeera gives you global news in real time.

What Al Jazeera also seems to be doing is experimenting and embracing technology, including social media. Why is it that your network “gets it” while other news outlets struggle to genuinely embrace Web and tech culture? What’s the secret?! Or am I, and others, projecting?

Fitzgerald: Haha, no secret I’ve seen since I’ve come on board. I think it might partially be a little projection (which I too am guilty of) because Al Jazeera is doing what feels like serious, high-quality journalism. In terms of techniques, I don’t know that the network has any big secrets that no one else has up their sleeve.

I will say, about The Stream in particular, what makes this show different is that it feels like the experience of being on the web. There is no giant touch-wall, we don’t have crazy animations. We are individuals who use the web like anyone else and the show is a reflection of that experience. It’s more true-to-life, I think that’s something that has been lacking in television news treatments of social media.

Shihab-Eldin: I would say it is difficult to “get” something that is constantly evolving, so to even claim that we “get” social media in its entirety may be a stretch. But I think The Stream is simply applying the same editorial judgements that Al Jazeera uses which is not to focus on being “flashy” or “objective” – which I think the US mainstream media is so focused on. I don’t know what “objectivity” is really. It seems contrived to me. We focus on the story and how we understand it given our perspective and facts and the context we can provide. Al Jazeera’s New Media team has always been looking for ways in which to use technology and social media to achieve a function rather than a form. It isn’t about the polish but about the product and why you are using this medium and what the real power of these tools are with regards to producing, sharing, or highlighting important information, quickly.

I’ve crowdsourced a couple questions, which I’ll sprinkle throughout… @NSlayton asks about your editorial selection: What editorial outlook goes into picking stories? It there newsworthiness vs. popularity of a story?

Fitzgerald: Great question. It is, like most editorial decisions, an ever-changing mix of all that and much more. We’re not covering day-of news as much (the network has an excellent News department that covers day-of incredibly well) so newsworthiness is a looser definition as we use it. It’s a mix of if this story resonates (or will resonate) within social media, if it’s a story that hasn’t been particularly well-covered and if it hews to the network’s greater editorial strategy mentioned above.

Shihab-Eldin: Andrew is right. We rely on what people are talking about, but more importantly what they are saying. Popularity, to me, is pretty insignificant, because chances are if something is popular it is popular because it is relevant or “newsworthy” – otherwise we wouldn’t cover it. This fits within Al Jazeera’s aim of offering a different perspective and balancing the news climate with stories from the global south.

Okay, you’re going to have to excuse me… but haters gonna hate… and there are plenty of haters for social media, participatory journalism, citizen journalism. How do you respond to those “traditional” journalists that think this is undermining journalism… or Journalism? Or has the recent uprising changed the conversation, proving the value?

Shihab-Eldin: Yes, there are lots of haters. A black man being elected president is a big change – and a lot of people hated that. But it was natural progress in the context of America’s history and maturity and although it can be uncomfortable, to hate what is organically changing is not particularly constructive.

On the issue of “traditional” journalists thinking this undermine’s journalism, they will come around. I’m 26. I’ve been lucky to grow up using these tools and so inherently understood their power. I graduated from Columbia University in 2007 when the New Media/Digital program was essentially the joke of the school and the smallest program. I then got hired at PBS and The New York Times largely due to my new media savvy, when some colleagues in Print or Broadcast were struggling to find jobs. I met some “haters” there but usually people hate when they don’t understand something. For those who are still not convinced, I would ask them what is journalism? I doubt we have the same definition. Mine tends to be broad and inclusive, if that makes sense.

Fitzgerald: I’ve done a lot of thinking about this over the last few years. I mean I started working on citizen journalism when people (business people, largely) really thought it would be a replacement for traditional journalism. I think the lesson we’ve learned in the last few years, and are continuing to learn as we go, is that citizen journalism/social media/participatory journalism – all of these are tools for journalists to add to their toolkits.

How did you two get into social media… were you early adopters? What was your “ah ha” moment that made you realize this was not a gimmick, but a powerful shift in how we could practice journalism?

Shihab-Eldin: I’ve always been into social media. I was using ICQ before I hit puberty to connect with friends around the world while living in Egypt. There is so much that the social media community can learn from the journalism community and vice versa, although now, thankfully the lines are blurred, and it is all part of one larger community, which in essence is part of what The Stream is trying to accomplish.

Fitzgerald: Haha I have a very simple answer to this question: I live in San Francisco. It’s unavoidable!

Ha! I went to university in The City and know what you mean. But I was, admittedly, also a tech nerd/geek.

Fitzgerald: As to the second part of the question – I had a long series of a ha! moments at Current TV because we did so many experiments in the intersection of social media and journalism. I decided to work in citizen journalism after we pulled in a video from a Louisiana resident who, immediately after Katrina, shot a video of himself going into New Orleans in a flat-bottomed boat. And of course, Current Hacks the Debate – which was (I’m pretty sure) the first-ever live TV Twitter integration (the brainchild of Chloe Sladden (among a few others), who is now at Twitter).

Shihab-Eldin: I was born in Berkeley, so maybe it has always been in my blood ;)

Nice… so here is another crowdsourced question. This one is from @Bradleybowman who asked two questions: Whats the biz model given no commercials? Who embraced or thought up concept?

Fitzgerald: I don’t know that either of us are particularly well-suited to discuss the greater business model question for the network at large – but yes, no commercials and no web ads.

Shihab-Eldin: Andrew is right, however what I can say is that we are funded by the State of Qatar and the government values what Al Jazeera is accomplishing so much that it is one of the nation’s primary objectives to fund the network as part of a larger mission of developing Qatar and the Arab world. The Emir speaks on this often.

As we talk/type, you have just completed episode 2 — not counting the test shows leading up to Monday’s launch — and, granted, it’s still early… but what has the reaction been so far? Any surprises along the way in launching?

Fitzgerald: We’ve been really pleased with the reaction so far! A couple of great reviews out there in the blogosphere on our pilot weeks. People seem to be responding to the authenticity of the way the show deals with the Web. That’s been nice to see – affirming our suspicions on that front. (We’re trying to think of any funny anecdotes for you).

Shihab-Eldin: I will admit something (fully acknowledging that there are haters out there). What was surprising to me was in fact the general reactions I’ve received so far, not just in the media, but by friends and colleagues who are extremely critical and skeptical of the ability to truly converge the web and social media with television. There has been a resounding sense that we are on to something truly innovative and I think in a few months, the show will look quite different than it does right now – that is both the most exciting part and the most frightening. Even my mom loves it. That may have been the biggest surprise as she usually dismisses these “technological tools” as “a waste of time”.

Ha! Final question, one that I like to ask journalists I get the privilege to interview… With these “tough” and “challenging” times, what keeps you going? Why are you a journalist?

Fitzgerald: It’s an important time to be telling stories. That’s what I believe. Our world is changing at a pace that’s arguably unprecedented. For me, for us, our field is also changing at an unprecedented pace. The way we tell stories continues to shift and grow. I find that really exciting. What we’re doing today could be entirely different from what we’re doing in five years. In two years, even. (Two months…hah!) As tough and challenging as these times may be, I think it’s a really exciting time to be a journalist.

Shihab-Eldin: I must be a journalist because when my family and I found ourselves in refuge in Berkeley, California during the first gulf war – unable to return to Kuwait – a local TV station came to our house to do a story about us and asked me all about my family back in Kuwait (I was 7 at the time) and asked after my grandmother in particular. I remember being fascinated and intrigued by her interest. Why did she care? Did she care? I think that is what it all comes down to – connecting with either the plight or the accomplishments or the challenges of other humans around the world – that may sound cheesy – but it is what makes me tick.

Well gentlemen, thank you again for taking the time to chat with me… and much success to the new project.

In honor of May Fourth Day, here is a collection of my favorite Star Wars inspired Internet memes, video shows, ads and more.

Perhaps the greatest Web show ever is the story of Darth’s brother Chad Vader. Chad is a day shift manager at a local grocery store:

Chad made a spoof video called Chad after dentist, based on David after dentist.

One of the newest Internet memes and, I have to admit, one of my top favorites:

Also somewhat new, this video proves that light sabers can make anyone look like a bad ass… including old men:

The Super Bowl has been the home of freakin’ awesome commercials, and last year Volkswagen came out with one of the best… ever:

Robot Chicken, to me, is one of the best shows with pop culture, tech and geek references made just for my generation. They were one of the first to come out with a Star Wars parody and it’s full of great moments. One of the quickest ones makes me giggle at their cleverness:

Ponda Baba’s bad day and The Emperor’s Phone Call are also great scenes.

The Family Guy series, like Robot Chicken, is another my generation source of hilarity. They also did a Star Wars parody called Blue Harvest, filled with great moments. I don’t know why, but for some reason, this is my favorite:

This makes no logical sense whatsoever … but it’s catchy and hilarious:

This one is more than Star Wars, this video is an incredible ‘cappella tribute medley‘ to Star Wars (and other movie composer) John Williams.

This to me sums up the love the Internet has for this little Sci-Fi movie. Star Wars Uncut is a completely crowdsourced labor of fan love:

Star Wars: Uncut Trailer from Casey Pugh on Vimeo.

There are tons of these LEGO, stop animation short films. This one, inspired by comedian Eddie Izzard, is great:

One of the most popular is called Lego Star Wars – Christmas Special

No Star Wars, Internet meme collection would be complete with the first and classic Star Wars kid:

The kid is all right… you can read a ‘where is he now’ piece here.

Okay, this is not a video, but a bonus… one day I plan to buy this for my kid: ThinkGeek‘s Tauntaun Sleeping Bag

NOTE: Originally published on Online Journalism Review: http://www.ojr.org/ojr/people/webjournalist/201104/1968/

There are those that blame the digital age and the Internet as the cause of our short attention spans and disinterest in longform storytelling. Then there are those that embrace the technology and develop tools or a platform that harnesses the tech to not only coexist with longform narrative, but also advance it.

For this week’s post, I spoke with Evan Ratliff, freelancer for publications like Wired, The New Yorker, and others, turned digital entrepreneur and – if you believe some of the press – possible savior of the longform narrative with his new project, The Atavist.

NOTE: We met on a collaborative document and you can playback our unedited conversation here.

Evan, thank you for taking the time to “meet” for a quick chat about the project you are working on.

My pleasure!

So, let’s start there… can you describe what The Atavist is?

Sure, so The Atavist is a kind of hybrid publication: We sit right in between magazines and books. From the magazine angle, what we do is called “longform nonfiction” or “longform journalism:” We produce stories that are 6-7,000 words and up, all the way to maybe 30-35,000. All nonfiction, all written by people who have spent weeks or months reporting them. They are published digitally, through our app for iPad/iPhone, through Kindle (Kindle Singles, which we can talk about), and Nook. From the book perspective, they are almost like short ebooks.

We also license our software, but that’s our more non-journalism side of things so maybe less of interest here.

How did this idea come about? You have a background in longform storytelling… but how did the idea of an app and this “concept” of a custom storytelling platform come about?

It started with a pretty basic, and unformed, idea: Was there some way to do longform writing/journalism online. It was an idea I’d been thinking about for a while, but not doing much if anything about — I applied for a Knight foundation grant but didn’t get it, in maybe 2008 (2007? Can’t remember). Anyway, originally Nick Thompson, my editor at Wired, and I were just saying that there must be some way to do longform that was more designed for the digital world. Instead of just translated straight from a magazine. The real conceptual ideas of how it might work didn’t come about until we sat down with our other partner, Jefferson Rabb, who has both the design sensibility and coding chops to actually conceive what something like that might look like. It was in talking to him that we stopped talking about the Web and started talking about an app.

Technically speaking, you could do these custom, interactive stories on the Web… what made it appealing on the iPad, Kindle, etc.?

I think that first, we just wanted to kind of get away from the idea of people reading it at their desktop, where they are skipping from one bit of information to the next all day. The emergence of phones—and actually we first were looking just at smart phones, noticing how much we and other people were reading on them—and then tablets, ereaders, etc, pointed a way to a different kind of digital reading experience. Marketing types now call it the “lean back” experience, which I don’t cotton to that much but the point is the same one we were going for: this is a different kind of reading than you do on the Web.

Full disclosure, I think the concept and platform is a fantastic idea… and it’s an ideal mashup of interactive/digital and traditional storytelling. I’ll embed the video from the site, but can you briefly list the features/media/interactivity/etc. a user would find in a “typical” Altavist story?

So, I should probably first offer the caveat that of course you get different versions of Atavist stories in different environments. On Kindle—for the moment—you’ll get just the full text of the story, and photos, maybe some footnotes. In our app, the standard features are a bit different, just because we are able to control the whole environment and use multimedia however seems to suit. The standard features on every story in the app are: the text and full page photos (of course), an audiobook version of the story (you can flip back and forth between reading and listening), usually some elements of other media (music, video, woven into the narrative), and then what we call inline extras: Parts of the story that serve as a kind of substrate. These are links to characters, photo galleries, maps, timelines, audio clips that you can turn on and off. If they are on, you tap a word or phrase and the feature pops up.

I purchased and read your piece, Lifted, and thought it was a natural experience… I did find myself torn between reading or listening to the audio version of the story (I am a podcast junkie, though). Granted, you’ve just launched, and this is a brand new form of storytelling… custom-crafted, interactive pieces for each story. What new things do you have to factor in that you never had to think about in the past… like when you wrote a Wired piece?

It’s true, all these new questions arise pretty quickly, and we’re still trying to figure out how to answer them. Take the video, for instance. That piece Lifted had a critical piece of video, the surveillance tapes from the heist that was portrayed in the story. I wanted that to form the lede of the piece. Which instantly created two problems; no, three: 1. How do you write a kind of secondary lede, to follow a piece of video? Do you assume that, with a written lede, someone will have read everything up to that point? Or might they have skipped part of the video? 2. What to do on other platforms, where the story would not have the video? The text itself had to work as an intact narrative, without the video. And 3. What to do about sound? The video had no sound, so it can’t really be “included” in the audiobook version.

Those are all questions that obviously wouldn’t come up when writing a magazine place, not to mention: where to put it, how much to use, how to edit it, whether and how to score it, etc. etc.

What’s also exciting, is that those questions were tied to that one story… they may not be asked again or exactly the same in another Atavist story, right? Or the answers would be different, depending on the story. With what you’ve produced so far, can you say what makes for a good Atavist story?

Right, some of them may be moot in other stories. We had another piece with a lot of music in it, and it had a whole set of other questions around the soundtrack that haven’t come up elsewhere.

I think we’re still feeling it out when it comes to what works well. There’s no question that the story—as in the real plot and characters portrayed—is always going to make the biggest difference.

Well, let me ask a basic yet complex question… how is this whole thing going?! Are you a zillionaire? Is this a new revolution you are a part of? Have you ever thought you’d an entrepreneur? How’s the experience of launching The Atavist been?

Let’s just say this: If things keep going like they are, I’m pretty sure I’m going to be able to get a new chain for my bicycle. Which I think we both know that only a hundredaire could do.

HA! I love that journalism pays the same in all platforms. But it’s a passion project with endless possibilities, no?

Indeed. But there is a financial element that is not as bleak (I hope) as I tend to joke. So, there’s a few levels I could talk about how it’s going.

Without a doubt, you have a business model that makes sense… in fact you have two. Individual stories and licensing.

Yes, so let’s take the stories first. We knew going in, and nothing has yet proven us wrong, that it’s very difficult to build up a readership from scratch. If you recall the heyday of big magazine launches, they would do things like buy up subscriber lists and just send them the magazine, and lose millions of dollars trying to gain a substantial readership. Our marketing budget so far topped out at right around $0. So we’re pretty pleased with the number of readers we’ve had (everybody asks; we always say “tens of thousands total, for all the stories,” but not much more than that). We’ve used the first few stories to get enough revenue to fund some more, which was our first milestone we were aiming at. Next up is proving that this sort of small-scale, small-team version of longform journalism can consistently make the money to be sustaining. That means getting more readers, and getting them to come back.

On the licensing side we haven’t announced anything yet, but we’ve found a huge, frankly kind of shocking to us in size—we can’t deal with the influx of interest at the moment—interest in utilizing the app platform and CMS for different types of publishing. Some of them you’d only loosely think of as “publishing:” in the financial field, the medical field. So we are really hoping that that side can help support the journalism side while we are starting out, to give us time to grow the readership.

And maybe even pay ourselves something some day!

It will be a new, gold chain on that bike! Seriously, it’s no easy task what you’ve done. Congratulations, by the way. Do you have any lessons you’ve learned that you can share with those thinking about experimenting, developing an idea?

Solid gold. Thanks! It’s been a bit harrowing at times.

Well, a couple things I learned quickly: In the digital world, if that’s where your experiment is going to exist (and most do these days, I suppose), you have to find a designer/developer who understands what you are trying to do. In our case, we got incredibly lucky with Jefferson Rabb, who not only understood, he actually was able to create it in ways we hadn’t thought of. Now, if you are one of those new-style journalists that can do it all: write and report and code and design, well, that’s amazing. But if not, befriend great coders! Find ones who like to read!

The second big thing is—and I think I probably used to scoff a little at “entreprenurial journalism” courses, or that sort of thing (I didn’t go to j-school, so it’s all a little foreign to me)—knowing how to do really mundane things to make a business work is actually incredibly useful. I’ve lost hours, nay, weeks, months, and lots of sleep, and probably hair, trying to puzzle out issues that were easily solved by someone who knows the first thing about running a business. So if you can get that somewhere, through experience or coursework or whatever, it’s going to save a lot of time that you could be spending on the thing you love, which is the writing and editing and publishing.

Great advice… you mentioned find developers who “like to read” … you spoke at SXSWi about longform storytelling and a lot of articles about The Atavist focus on the “death of longform” and how this may “save it” (no pressure, by the way). What do you think of the tltr (too long to read) culture. Is there a real threat here? Is this hype? Or is it all true and you found the silver bullet to save the world (no pressure).

Yeah, I love those stories…

To be really honest, I have no idea. I’m always asked, in panels like that, what I think of it, and I hate being the guy who just makes shit up because they happen to be connected to a field. My answer is: I don’t think anybody knows, and mostly the folks who pontificate about attention spans and reading and news are substituting what they do and want for what “readers” do and want. At some basic level, obviously we are ingesting a lot of information in shorter chunks, more constantly, and all of that, which is written about ad nauseum. At another basic level, people still buy a lot of books. People still buy a lot of nonfiction books. People are buying more and more ebooks, in huge numbers. So for us, I don’t really care if at some broad level, some people are saying “nobody reads long stuff anymore.” It’s just not true. The only question for us is: Can we get the people who do read long stuff to read our long stuff. And I think there are plenty of those people out there, and (as Byliner, newly launched, is also proving), maybe even untapped folks who are ready for / looking for great stories of this style and length.

I completely agree with you. People are consuming more media in more ways. But, a good story is still a good story. Make sure you are using all the new — and old — storytelling techniques to engage your reader/listener/viewer/user.

Right, and it’s the same with multimedia. People say: “Readers don’t really want videos and audio in their story.” By which they mean, they don’t. But some people do. And if the story is better told with it, why not try to find that balance that makes for the most gripping possible narrative?

So, I just “tweeted” (I feel awkward typing that word rather than saying it) out that I was chatting with you and am crowdsourcing any questions. I got one from @mattvree, who asks, “Any plans to move beyond just longform written journalism, and expand to multimedia and documentary?”

Not at the moment. We’ve got our hands full with our current efforts. Of course we think about the possibility of expanding into different areas down the road. But we feel like we’re barely getting started with our current approach, and it would be madness to try and take on new types of efforts before we feel we have the old one nailed. One thing we may be doing is a piece or two that are more visual than they are textual. So the current balance of text-to-image is almost reversed, and the story is told primarily through visuals. But that’s still in the works.

Let me ask you some questions that I, some type of Web journo nerd, routinely like to ask other journos.

First, I’m always fascinated with names/branding, so where did the name The Atavist come from? I assume it wasn’t inspired by the metal band Otep, which put out an album with the same name (thank you Wikipedia).

It’s out today!! We’ve really been anticipating the release date, because our Twitter stream is filled with absolutely insane OTEP fans who have been counting down the days for almost two months.

HAHAHA! Okay, so, what’s the backstory to your use of The Atavist?

But no, not inspired by. I started using it as my personal domain years ago, it’s a tiny sideways allusion to Hunter S. Thompson‘s work; atavist and atavistic are words that, if you read a lot of HST (as I once did), he drops in quite often. And then when we wanted to start something, we went through literally hundreds of possible names. Actually Jefferson once made an app that just randomly generated names for us. But then we came back to it, and decided that the actual meaning, a biological feature that’s disappeared and then suddenly reappears, had some salience. Storytelling reappearing in the digital realm, or whatnot. And it’s fairly unique, which means people can find it in the app store — more important than you’d think. Some people seem to hate it, but overall it seems like people are ok with it.

Second, this has become one of my standard questions…. in these “tough times,” why are you a journalist? What drives you and keeps you going in this field?

For me, it’s probably not as noble as it is for some journalists. On the writing end, I just really like digging into things, getting obsessed with topics, meeting fascinating people, and getting to go interesting places. On the publishing side of things, now I want to give other writers the chance to do all of those things. Of course sometimes the more noble aspects are part of it: shedding light on an important topic, investigating some malfeasance. And sometimes the least noble parts: seeing ones name as a byline. But mostly it’s just fun to go out into the world, find a story, and then figure out how to tell it.

And as someone who has freelanced for 10 years, it’s always seemed like tough times. It’s always full of rejection, and failure, and dry periods, and occasionally empty bank accounts. So I don’t see much difference now from when I started (although of course I realize other folks do).

Well, Evan… thank you for taking the time to chat with me. I hope this format wasn’t too awkward. I really enjoyed out conversation and wish you luck on your current and new adventures.

Thanks, I enjoyed it!

Yesterday I had the privilege to see the classic 1952 film Deadline, U.S.A. My USC colleague Jack Lerner managed to obtain a 16MM print and showed it to his media law class… he invited me along. I had never seen the film, but, boy, am I glad I did.

I’m a Web journalist… but my career has been with newspapers. I have a newspaper rack in my office (it use to be in my living room). I still find beauty in the broadsheet and there is nothing like ink on your fingers. But I’m a tech geek and think I bridge those two worlds together.

I’ve started to maintain a Tumblr (http://wjist.tumblr.com/) that collect quotes that relate directly or indirectly to journalism… and as I saw this film, there were too many quotes to list.

Thanks to the Interwebs, you can see this film on YouTube… in parts. I highly recommend it. Part II brought me to tears because I was there when the Hearst-own San Francisco Examiner was killed.

http://www.youtube.com/watch?v=tfM-Ktj1xO8

http://www.youtube.com/watch?v=UnUmb6SvRis

http://www.youtube.com/watch?v=sQNjsoZhBCw

http://www.youtube.com/watch?v=Dpo3LCI7yBk

http://www.youtube.com/watch?v=GqZ72ORMPqY

http://www.youtube.com/watch?v=emWgvRd2dKk

http://www.youtube.com/watch?v=HQFPWzngbPY

Some of my favorite quotes are:

This paper will fight for progress and reform. We’ll never be satisfied merely with printing the news. We’re never be afraid to attack wrong, whether by predatory wealth or predatory poverty.” – In the first edition of The Day

A journalist makes himself the hero of the story. A reporter is only a witness.” – Jim Cleary

About this wanting to be a reporter, don’t ever change your mind. It may not be the oldest profession, but it’s the best.” – Ed Hutcheson

A free press, like a free life, sir, is always in danger.” – Ed Hutcheson

That’s the press, baby. The press! And there’s nothing you can do about it. Nothing!” – Ed Hutcheson

Get a few more quotes here: http://www.imdb.com/title/tt0044533/quotes

NOTE: Originally published on Online Journalism Review: http://www.ojr.org/ojr/people/webjournalist/201104/1964/

It’s been more than a month since a 9.0 magnitude earthquake rocked Japan, triggering a massive tsunami, the combination of which have killed thousands. And while the country is slowing putting itself together, under the looming dangers of a potential nuclear disaster, there are many organizations — and individuals — coming together to help in any way they can.

For this week’s post, I chatted with Our Man in Abiko, an international man of mystery behind #Quakebook, a crowdsourced project to help those affected by the devastation.

NOTE: The Q&A was done through e-mail over a course of a couple of weeks.

First, for those who don’t know about it, can you describe what the #Quakebook is, how it came about and your role?

Quakebook is a twitter-sourced anthology of first-person accounts of the earthquake and immediate aftermath. It was conceived, written and ready to publish as a fully designed PDF book within a week. It has 89 contributions from “real” people as well as 4 from celebs solicited thru twitter – William Gibson, Yoko Ono, Barry Eisler and Jake Adelstein.

It is not a collection of tweets, but mostly one-page essays.

I thought of it in the shower Friday morning, March 18th thinking that wouldn’t it be great to do in words what mash-up videos can do on YouTube, especially @fatblueman’s Christmas in Japan video. Check it out, you’ll see what I mean. [The video: http://youtu.be/lmCrIZeob4w]

No-one has received a penny. We got Amazon to waive their fees so ALL revenue goes to the Red Cross. Pinch me, I’m dreaming.

Oh, my role? I’m cheerleader in chief, marshaller of the troops and getter arounder of problems. Don’t like titles!

NOTE: Our Man recently did a video recently sharing the story of Quakebook: http://youtu.be/cQ_-3-wwLKs

Once you had this idea, how did you go about starting this? Can you talk about the crowdsourcing process?

I had no plan as such. Every time I hit a wall, I asked the good folk of twitter to give me a leg up :)

The original tweets and stuff are all on quakebook.org and www.ourmaninabiko.com

Talk about the “real” people that contributed to the collection. Have you ever met them? What journalism skills did you apply in collecting their stories?

The real people started with whoever sent me email from around the world, supplemented by my neighbours, my wife and mother-in-law and also I got my wife to chase down eyewitness accounts from devastated areas through blogs.

The celebs we picked up along the way. The highly unscientific approach has somehow created a snapshot of many disparate elements of the disaster.

I kept in anything that was sent and was not a rant or shopping list. (There were only two like this).

What is your ideal goal you hope to achieve with this book?

I want it to raise oodles and noodles of cash for the Red Cross, but beyond that, I want it to serve as s valuable historical record to answer the question: what happened at 2:46 on March 11, much like John Hersey’s “Hiroshima” answers What happened on Aug. 6, 1945.

What has been the best part of this project?

The therapy of writing and sharing what we have written; seeing the whole project becoming stronger than its constituent parts.

What has surprised you about the process? What’s been the highlight?

How the weekend stops dead any progress with the traditional publishing industry, while the reverse is true of us amateurs. The highlight? Seeing a tweet from someone that they had downloaded the book, and cried. I then did the same and got teary eyed too.

What do you think about those reluctant to use crowdsourcing in storytelling, particularly in journalism. Any advice to them?

Trust people to deliver, and they will. If you get sidetracked by someone with their own agenda, or who doesn’t get the point of the project, don’t waste your time, find someone who does. Behave morally and you will quickly attract the right kind to whatever your project is, if it has merit.

Can you tell me what you did prior to this project? What were you doing in Japan? Talk about Our Man In Abiko.

I’m a British self-employed English language teacher, 40. I’m a former local newspaper journalist. My wife is Japanese and we’ve been here since 2007. Got two kids. My favourite colour is red.

Our Man in Abiko began as a satirical blog on Japanese politics, became a persona to keep me sane.

Since the earthquake, I realised Our Man was needed to perform Churchillian tasks of rallying the dispirited to overcome our woes.

What is the backstory with Our Man in Abiko? What’s your name and what brought you to Japan?

Not saying. It’s not my story that’s interesting, it’s Japan’s.

Clearly the book is the focus, but “Our Man In Abiko” is a man of mystery. People are naturally going to ask, “who is this guy?” What can you tell them?

He likes Earl Grey tea, playing with his kids and world domination, you know, the usual.

[After more prodding]

OK, well, the Our Man persona began just as a joke on my blog, I took on the mantle of a redundant British agent sent to monitor the wilds of Tokyo commuterville… But then with the earthquake, suddenly the time for fun was long gone, but I realised I had a fictional character who could do great things. I could not muster the troops and build a resistance movement to the earthquake, but maybe Our Man in Abiko could.

Well, Our Man, congratulations on the success with this project. How and where can people find it?

All details are on http://www.quakebook.org and you can buy the book now here: http://amzn.to/quakebook for Kindle (you can download a free Kindle player for PC, Mac and Smart phones there too.)

Thanks for chatting with me. And good luck on this and other endeavors.

Thanks a lot.

For many that graduated college years ago, the fear that embraced them as the graduation date approached is, if lucky, a distant memory. But, as you know, there is a new wave of journalists about to join our industry… so, I’ve collected stories from journalists when starting out. Through a Google form, Twitter, email and comments, here’s the collection.

Responses via email:
Juana Summers
First gig after college: Missouri statehouse intern for the St. Louis Post-Dispatch

First full-time job: Politics reporter for a now-defunct Kansas City website

Now: I cover campaigns and elections for POLITICO

Best advice: You can’t make a first-impression twice, so get it right the first time. Whenever you’re in a professional setting, be it a conference, meetup or internship, treat it as a job interview. You never know who you’ll meet along the road that will play a huge role in your career trajectory going forward.

Also, never stop learning and don’t be afraid of change or to look for jobs in unexpected places. We all dreamed that we’d graduate and land a plum reporting gig at the New York Times (or, well, I did), but that’s just not reality. There’s great meaningful work to be done in lots of newsrooms – large and small – and in fantastic startups nationwide.

Responses via comments:
Khadijah M. Britton
My first paid gig was actually when I was 15, writing a column for a biotech company’s internal newsletter. It took me, oh, ten years to land another gig that sweet! My first GROWN-UP paying job was writing for Healthcare Investment Digests (now OneMedPlace.com), though I’m pretty sure I was mostly being paid to establish relationships with companies so we could get their data. I couldn’t say anything negative about the companies. Getting paid has really been a corporate-world reality for me; I’ve never been paid to write anything I feel proud of as a writer. That’s the hard, cold truth, kids! :p

David Veselenak
Now working at my first “real” job, a part-time reporter and online coordinator for Heritage Media, which is a chain of weekly papers near Ann Arbor, Mich. Took me a while to find one, but was lucky in finding it: the lead came from a response of a tweet I sent out. You never know where jobs may pop up, even in economically-challenged Michigan.

Mai Hoang
I guess to add to my initial Twitter comments, not everyone has to end up at a big-city metro to “make it” or “to grow.” I have learned a lot in my five years at the Yakima Herald-Republic and there’s still plenty of things to learn. Likewise you may have the skills to start out at a big-city metro. Or perhaps you thrive best by going from job to job. It depends on what works for you not on some formula or “right way.”

And in addition, newbies should go outside of the newsroom for professional development. I’ve learned so much from my involvement with organizations like AAJA and SPJ and through online venues such as #wjchat (an online journalism Twitter chat). With all that’s out there, I think one would be hard pressed to not grow wherever they’re at.

Chris Boese
At age 16, I started as a sports stringer for The Frontiersman in Wasilla, Alaska, covering high school sports in the Matanuska Valley, while also playing some of those sports (including basketball, against you-know-who, who tells the world she was an aspiring sports reporter. While some people in Wasilla were supposedly dreaming of it, some of us were already doing it).

Some years later, out of J-school, I came back to The Frontiersman, under new management. At the time I was very disappointed in the assignments I was getting, because I got stuck with the Beauty Pageant beat for every podunk town and hamlet in the Valley (including you-know-who as a flute-playing competitor).

I couldn’t take the coming darkness of winter and the isolation of Alaska, after so many years in the light, so I took off for parts South, where I happened to land photojournalism jobs at various publications and newspapers in Northwest Arkansas. I often found myself shooting events with state notables, including the genial governor and his very ambitious and activist wife…

In the end, I had to leave there too, because Reagan deregulated media ownership rules and venerable newspapers all around me were merging or shutting down, laying off my colleagues by the thousands.

Center-spread double-truck photo essays and feature stories, my stock in trade, disappeared overnight with the cookie-cutter layouts and short stories of the USAToday template-driven approach to newspapering. I saw my best work being reduced from the size of dinner plates in the Daily Fishwrap to the size of postage stamps.

Plus, nothing would ever happen in podunk Alaska or Arkansas. Why would anyone want to stay there? ;-)

Clay Duda
With no real emphasis on social media in my undergrad study I lucked into a part-time Social Media Strategist job with a journalism foundation. It took about 2 1/2 months to land something after my graduation in May 2010, but since then it’s evolved into a full-time position with more of an emphasis on multimedia production for some of the publications under our umbrella. If you would have asked me a year ago I could have never of guessed I’d be in such a position, but as the industry changes so must the industried.

Andy Boyle
First gig after college: Intern at the St. Petersburg Times

First full-time job: Reporter/News Technologist at the St. Petersburg Times

Now: I work on servers, blogs and help build interactive apps for a chain of papers at The New York Times Regional Media Group.

Best advice: They won’t hire you if you have the same skills as everyone else. I differentiated myself by attempting to learn more about building online projects. That doesn’t mean “Hey I can shoot video and record audio.” Everyone has those skills. Not everyone knows how to set up a server, do SQL queries or code for a production environment. If you can prove to your bosses that you have skills that set you apart from the influx of cheap labor, they may employ you. You could also do what I did: Get another job offer halfway through your internship, which pushed the St. Pete Times to hire me.

Everyone can be taught to be a reporter. Everyone can be taught to be a better writer. But not everyone can be taught how to build truly web-oriented projects. Only you can teach yourself that, with some help from the journalism community, of course. And don’t be shy about thinking your skills are worth value. Basic economics: If you have skills that not many have, and people are looking for those skills, your value goes up. So, make your value go up.

Emma Carew
Job info: in the tweets above.

My best advice: Say yes more than you say no: say yes when a reporter offers to take you out to lunch, say yes when the editor-who-isn’t-your-editor asks you to pick up an extra assignment, say yes to working the holiday shift during an internship, say yes to applying to jobs you never expected to get, say yes to a shift on the copy desk or a night cops shift, say yes to working with photographers or videographers.

Say no to working without being paid a liveable wage.

Responses via Google form:
I asked colleagues to talk about their first journalism jobs to help recent graduates as they begin their careers in the journalism. Here is a collection

Metro reporter, the Richmond (Va.) Times-Dispatch. I covered education, but also sometimes cops and courts. I also covered a public execution at this job.

I wrote 5-7 stories a week about a rural part of Kansas City. It paid about 25,000 a year. After a year, they gave us a “raise” to 28K. No one stayed there past 1.5 years, even though it was a 2-year fellowship. I got a great backbone, but I almost burned out. Plus, I ate way tooo much spaghetti.

Working for a five day a week newspaper, The Angleton Times, with a circulation of 5,000. I made $200 a week in 1987. I worked as a bartender at night to make enough to pay the rent, for groceries and car repair bills. I did everything from taking photos to laying out the paper. I gained so many skills and I made so many mistakes at that small paper. But I tell aspiring journalists to start small and make your big mistakes in small places. If you make big mistakes in big places, it’s a lot more painful.

Page designer – straight out of college. Worked there for two years. No copy editing or headline writing. That was done by a different department. That has all changed and designers now edit copy/write headlines, proof pages, etc. And sometimes a lot more than that, too. We used to also have specialties, like sports or features. It’s a one-size-fits-all now.

I produced podcasts for The New Yorker.

Entry level online producer at the Hartford Courant. (Assistant Online Producer)

I started working at the paper I’m at now as a news assistant. It was a lot of grunt work but I made it very clear to the editors I wanted to be a writer. Two days after I started I was given an assignment and now I’m an education reporter.

State copydesk, taking the adjectives out of school lunch menus (“fresh green salad” = “salad”).

My first professional, paid journalism job after graduating college was a 5-month contract position doing research for a well-known business trade magazine. I got the position because of a professor that I did an assistantship with in graduate school who happened to be a former executive editor at another publication for the company. She knew they were looking for someone and she recommended me. That job led directly to a full-time position within the same company at another business trade mag that was the no. 1 publication worldwide covering that business trade.

Capital News 9 in Albany. One man band station. (I think they now are called Your News Now).

I talked my way into a job as an assignment editor at the Telemundo station in Miami.

I was taken on as a contractor doing web production for DenverPost.com while a junior in college. After graduation, I was hired full time. It has actually been my only paid work as a journalist, though I have done several paid and unpaid internships and some freelance work.

Town hall and health reporter for the Beaufort Gazette in Beaufort, South Carolina (circ. 12,000).

Contributor to the now folded Georgia Guardian writing pieces on urban affairs and revitalization efforts.

My first “real” newspaper job was copy editing and designing pages at the Sun Herald in Biloxi, Mississippi. After three months, I became a producer/developer/designer/fixer-of-things for the paper’s website.

Reporter copy editor at Lexington Herald-Leader. John Carroll era.

General assignment/night cops reporter for 12K-circulation local newspaper

Staff writer for Midwest Real Estate News, a trade magazine in Chicago. Also, I never had an internship, for what it’s worth. Went straight into the job market in 2004. Was unemployed for 7 months before landing my first gig, though.

Copy editing and design at a smallish newspaper.

Staff reporter covering education/courts/cops/features and monthly columnist (outdoor adventure themed) at the Jackson Hole News&Guide in Jackson, Wyoming.

I started out as a casual reporter on a weekly community newspaper. I mostly wrote arts & lifestyle pieces. I landed the paid gig after completing an internship at the publication.

Writing for the technology section of a major newspaper

newspaper reporter at a small daily

I was an editor with the weekly community sections published by The Dallas Morning News. It was kind of life being in a small town paper, having to do everything for my sections — write, edit, blog, tweet, photograph, proof, content development, etc.

Freelance stories for a regional biz newsweekly.

copy editor at a small daily paper

Just got it! I’m the mobile/search/social producer for azcentral.com. I work 6a-3p M-F, managing the Facebook and Twitter accounts and helping our journalists with personal branding and social media education.

It was while I was in school. Clerk job at local paper.

editorial assistant for data and research at The Chronicle of Philanthropy

Job at The St. Ignace News. General assignment reporter.

I was a reporter at the Employment & Training Reporter, a weekly newsletter published by BNA in Washington, D.C. ETR covered employment and training programs for disadvantaged, chronically unemployed and laid-off workers.

copy editing on the Universal Desk at the Dallas Morning News

Well, it’s happening right now. I work for Sun Newspapers (@sunnewspapers) – a chain of 11 weekly community newspapers around Cleveland. I scored this gig (in my hometown, no less) five months out of college (Ohio University).

The job I have now. Associate producer for MassLive.com.

Neighborhood reporter, St. Petersburg Times

Reporter/Photojournalist at a 150th market TV station in North Carolina.

Research librarian at The Palm Beach Post

Responses via Twitter:

NOTE: Originally published on Online Journalism Review: http://www.ojr.org/ojr/people/webjournalist/201103/1956/

For folks that have left the newsroom, it’s become the source of our newsroom culture fix. For those in newsrooms, it’s the place that confirms you are not alone and, yes, the newsroom is crazy. Awesome and crazy.

For this week’s post I chatted with the creator of Overheard in the Newsroom, Kevin Cobb. We pull back the virtual curtain and learn about how the project began and how it has been an insightful barometer reflecting our industry’s ups and downs.

As in other Q&As I do, we meet on a collaborative document a few weeks back and just chat-typed away.

Kevin, thanks for agreeing to do this Q&A… let’s start with you talking about your journalism background. What do you do and how’d you start in the ‘business’?

I’m currently a news designer with the South Florida Sun Sentinel. I first got my ‘journalism itch’ back in high school. I was always the kid who ended up staying after school and making sure the paper was finished. I went to Ball State University in ’04 (Go Cards!) and worked at The Times of Northwest Indiana after graduation.

You’re a man of many talents, including being an ordained minister… but you’re best known for the site and Twitter account @OHnewsroom, which “delivers the best overheard comments in any newsroom.” Can you talk about how that idea came about?

Overheard in the Newsroom launched in Jan. of ’09. My entire journalism background has been focused on the print side of journalism and I wanted to ‘figure out’ the Web side (building a site, maintaining a social network presence). I just needed an idea. I noticed a trend among the people I was following on Twitter of sharing what was being said in their newsroom… things like “heard in my newsroom” and “my editor just said…” I had the newsroom background to know people kept quote files of the more outrageous things their co-workers said. So I launched. But what has made the site viral has been the Twitter and Facebook presence.

So it started as a site? Talk about your experience when you move to Twitter. When did you know you had something big?

Yep, it first started as a site. Using Twitter and Facebook just seemed like a natural extension. I had my first ‘holy cow, what have I started’ moment when New York Times reporter Brian Stelter mentioned the site on Twitter a few weeks after launch.

How many followers did you have before the mention? How many did you have afterwards?

I’m not sure of the exact numbers. I did send him an email thanking him and said the account gained 150 followers in 30 minutes — which was a huge number at the time.

You’re now at more than 40,000 followers on Twitter, and more than 100,000 on Facebook. Did you ever imagine this to reach so many people? How has this affect your newsroom relationships? Do people think you’ll post something if they make a comment to you?

You can ask my mentor Erica Smith about the increase in number of followers. Every time I would hit a milestone I would text her. Every. Time. In terms of my newsroom relationships, I would say it has only made them stronger. My co-workers know this is a side project that I do on my own time. I’ve made it clear to them that I’ll never submit a quote I overheard.

Ha! My condolences to Erica. Talk about the ‘workflow’ for OHNewsoom. How do you get submissions? How many a day? What’s your process in ‘publishing’?

The majority of submissions are sent to the site — overheardinthenewsroom.com. I’ll pick up a few from Twitter that people know to add the hashtag #ohnewsroom. Some people add them to the wall on the Facebook page. A few months ago I added Tumblr to the mix and I’m starting to get a few through there. Depending on my day, I’ll go through the submissions and schedule them out a day or two in advance.

How many submissions do you get a day? What makes a good OHNewsroom submission/post?

On average I receive 50 to 75 quotes a day. When I’m going through the submissions, I look for things I would send my friends. In terms of which ones make the Twitter + Facebook feeds, I look for the ones that are relatable. Ones that will get a “that just happened to me” comment.

How many posts have you done so far? I’m assuming you’re going to have to guess the number.

Somewhere over 7,000.

I have to ask the typical question… do you have a favorite? What have been the most memorable ones?

Here are my 3 favorite:

Editor: “If you’re still at work and they’re vacuuming, you know you’ve made the wrong career choice.”

Reporter: “Life in the newsroom? It’s just a constant roller coaster of praise and bitch-slaps.”

Reporter: “I’m going to go as a journalist for Halloween. All I need for my costume is an empty bottle of vodka and my shattered dreams.”

To celebrate the passing of the 100,000 fan mark on Facebook, I’ll be soon be releasing a video of my journalist friends reading some of the best quotes from the site.

So, what are the typical reactions you’ve gotten from the posts? Do people recognize they’ve been quoted ever? What are the reactions from journalists when they meet you and realize you’re the guy behind OHnewsroom.

On Twitter, people will say “Hey, that’s my newsroom!” — they take pride in being recognized. My favorite ‘made it on OHnewsroom site quote’:

Producer: “We love making it on Overheard in the Newsroom.” Reporter: “It’s like, who cares about an Emmy. We made it on Overheard in the Newsroom!”

Are there ones you’ve had that you hadn’t published? Can you talk about those?

There have been a few quotes that have been submitted that were too over the top to be published.

Let’s take this to an ‘analytical’ level. What have you learned from these thousands and thousands of posts? What do these comments tell you about our newsrooms? About journalists?

There is still a definite need for copy editors.

It’s interesting to see the quotes change. I can always tell when it’s Intern Season when the intern-related quotes start floating in.

HAHAHA! Do these comments reflect the changes and challenges in our newsrooms?

I think so. When layoffs and furloughs were sweeping newsrooms, the site took an even more sarcastic / borderline depressed turn.

Based on the submissions you are getting now, let’s take an unscientific leap… what do your submissions say about the state of the industry now? Are we on the way up? Or still going down? Or … both? (I’m not a scientist)

From the submissions, I would say things have leveled out. The themes are now centered around deadlines, booze, technology and dealing with the public… which seems pretty universal in any newsroom, at any time.

Well, thanks for taking the time to chat with me … are there any parting words you’d like to add? Did you, in fact, ‘figure out’ the Web? What tech tips do you have for newsroom folks? Any pieces of wisdom to share from OHnewsroom?

If you have an idea for a project — go for it. It’s ridiculously easy to start a project on Tumblr.

Try new things. Go to your audience. Make it easy as possible for them to contribute and share your content. And if you don’t know where to start or who to follow on Twitter — participate in #wjchat. :)

Ha! Thank you sir. I have to say, for someone who has stepped away from the newsroom, I’ve continued to get my witty, smart-ass, anti-PC, newsroom culture fix from OHnewsroom. You captured something wonderful here and I, as I’m sure other journos, are grateful you’re sharing our brilliance and awkwardness.

The site would be nothing without the continued support from my fellow journalists across the world.