Before deciding what should comes “first” in digital, publishers must figure out the right production workflow. Each and every player must plot its very own path away from the now aging notion of publication to the broader platform model.
Over the past 10 months, my job at the Global Editors Network gave me the opportunity to be touring the most renowned newsrooms all over the world to organize journalism hackdays where teams of journalists, designers and developers competed in the development of innovative journalism tools, content and apps.
From the New York Times to India Today, via Zeit Online, NOS in Holland, Clarin in Argentina and many others, it’s been an incredible trip to different journalistic cultures. And it’s not over, as I’m just back from 24.com in Cape Town and The Guardian in London, with the next stop at Gruppo L’Espresso next week, and back to Paris at Le Parisien the following week…
The other day Bob Garfield had a good kvetch about dumb comments on newspaper websites on his show, On The Media, and I posted my two cents, but I still don’t feel better. I think that’s because Bob’s partly right: comments do suck sometimes.
So, instead of just poking him for sounding like Grandpa Simpson, I’d like to help fix the problem. Here are ten things newspapers could do, right now, to improve the quality of the comments on their sites. (There are lots more, but you know how newspaper editors can’t resist a top ten list.)
Mattew Ingram dopo Journalism.co.uk parla della OpenNewsroom di Sotryful. Duecento giornalisti lavorano insieme per verificare notizie
La chiamano OpenNewsroom, ma non si tratta solo di una redazione “aperta”, come alcuniesempi riportati anche in un post precedente. Mattew Ingram su GigaOm parla di Storyful e del suo lavoro di redazione in crowdsource e totalmente social.
I primi a parlare del progetto sono stati gli autori di Journalism.co.uk (citati anche da Ingram).
Riassumendo, quello che ha realizzato Storyful è una Google+ Pages dove circa 220 autori lavorano insieme concentrandosi sulla verifica di notizie, foto, breaking, inoltre contribuiscono a contestualizzare le notizie, rendendo il massimo della chiarezza al lettore.
Podcasts are booming, with podcast app Stitcher expecting to stream 20,000 by the end of the summer, up from 5,000 when it began two years ago, according to USA Today. But in the deluge of podcasts providers, newspapers are conspicuously absent. Of the top 10 most-read newspapers in the world, only The New York Times, the Guardian, The Washington Post and The Wall Street Journal have regular podcasts on iTunes.
The slow death of the homepage is underway, in the sense that there no longer is a “home” page i.e. a page that acts as the only entranceway for visitors to access a website and its vast content.
The emergence of side doors generated through search engines, social media, mobile devices and more has morphed the homepage into a way for companies to brand themselves online rather than act solely as an access point.
This isn’t all that surprising. With the emergence of search engines, social media and mobile devices, the way consumers interact with websites has drastically changed. It’s now about searching for key terms, sharing socially with friends and accessing bits of information from anyplace, anytime.
Francesco Franchi, art director di IL, il mensile del Sole 24 Ore, ha pubblicato per l’editore berlinese Gestalten il suo primo libro,Designing News, Changing the World of Editorial Design and Information Graphics, un volume che, oltre al testo portante, scritto e curato da Franchi, contiene contributi di firme quali Daniele Codega, head of design per Reuters Digital, Mark Porter, già direttore creativo del Guardian e Steve Duenes,Graphics Director del New York Times. Il libro, fatto per il 70% da testo e per il 30% da immagini, è un’esplorazione dell’attuale stato dell’arte dei giornali e dell’informazione, visto con gli occhi di un designer.
In the past few months, the news collective Media NINJA, a new version of independent, alternative journalism that emerged from the summer protests in Brazil, has quickly gained followers and visibility.Watching their live broadcasted clips on the internet, which often display a running, unaltered broadcast of events, may feel like you’re part of the action due to their “no cuts, no censorship” model.
The key takeaway journalists everywhere can learn from their example is that being completely emerged in an event and using technology to report and share information live can be an incredibly effective tactic to add value to your coverage.
I dieci editori più innovativi passati ai Raggi X. Per vedere quali sono le strade da seguire per mandare avanti i periodici. E sviluppare la dimensione digitale. Se ne è parlato al Congresso della associazione mondiale degli editori
Once installed, the extension appears as a magnifying glass logo. You can then click the logo and enter a search term. The results are opened in separate browser tabs, with a maximum of three tabs for any keyword
The first day of my first journalism class in college, we went around the room saying our names and answer a couple of questions from the prof, former Chicago’s American and Chicago Today editorDick Hainey. There I was, happy to be able to say I was co-editor of my high school paper … happy until the first kid announced he’d been writing for his hometown paper for a couple of years. And the next one was sole editor of her paper and freelancing for a big-city sheet. And so on down the line. By the time it got to me, I felt like Charlie Brown in the Peanuts cartoon that Charles Schulz said was his own favorite:
«That was the one where the kids are looking at the clouds and Linus says ‘See that one cloud over there? It sort of looks like the profile of Thomas Eakins, the famous portrait painter. And that other group over there – that looks as though it could be a map of British Honduras. And then do you see that large group of clouds up there? I see the stoning of Stephen. Over to the side I can see the figure of the apostle Paul standing’. Then Lucy says, ‘That’s very good, Linus. It shows you have quite a good imagination. What do you see in the clouds , Charlie Brown?’ And Charlie says, ‘Well I was going to say I saw a ducky and a horsey but I’ve changed my mind.»
The other question Hainey had asked was why we wanted to be journalists. This was 1976, so there was a lot of “I want to change the world” stuff. Me, I just liked to write. Possibly about duckies and horseys, I guess.
It’s with a similar feeling that I approach the next in Steve Buttry’s questions for prospective Digital First leaders:
«Brag about your journalism experience: How has your work made a difference in your community(ies)?»
We speak to two of the people involved in creating the news outlet's latest Snowfall-like immersive multimedia project
Last week the New York Times website published a story called The Jockey, followed by publication in the sports section of the print edition on Sunday.
The Jockey is the latest immersive or multimedia reading experience created by the news outlet that brought us Snow Fall. The Jockey tells the story of Russell Baze, the first North American jockey to ride in 50,000 races, and does so through long-form text, video and moving graphics.
This immersive story has a sponsor. Some have interpreted this as native advertising or sponsored content, and AdAge writes that these custom ad units are "designed to better fit the new environment" than the advertising within Snow Fall.
In this feature we speak to Barry Bearak, the Pulitzer-prize winning journalist who wrote the story of The Jockey, and Steve Duenes, associate managing editor of the New York Times, to find out how long the project took, some of the storytelling choices made along the way, and more about the sponsor deal.
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