Tuesday, November 18, 2014

Your tuture is here! Apply for a spot on The Union or Warrior Life

Spring 2015 Staff Application

Fill this out and put it in the envelope in H113A no later than Nov. 25, 2014.

YOUR NAME:
Cell phone:
Work phone:
Home phone:
E-mail:

I plan to take the following class(es) in fall (check all that apply):

______Magazine Production, Journalism 9abcd

______Newspaper Production, Journalism 11abcd

______Multimedia Journalism, Journalism 14abcd

Please check the staff position you would like for spring:

Note: To be on staff for one or more of the publications, you must be enrolled in the corresponding class (i.e. To write for the paper, enroll in J11, Newspaper Production). Also, to be an editor, you must have previously passed or be concurrently enrolled in J8.



______            Union EIC
           
______            Union Managing Editor

______            Union News Editor

______            Union Sports Editor

______            Union Opinion Editor

______            Union Features Editor

______            Union Arts Editor

______            Union Online/Social Media Editor

______            Union Photo Editor

______            Union Assistant Editor

______            Copyeditor

______            Warrior Life EIC

______            Warrior Life Managing Editor

______            Warrior Life Photo Editor

______            Warrior Life Assistant Editor

______            Cartoonist      

______            Union Staff Writer

______            Warrior Life Staff Writer

______            Distribution Manager

                        Other (explain in space below)



           

Wednesday, November 5, 2014

David Simon (Creator of The Wire) on police secrecy

In Baltimore, No One Left to Press the Police


By David Simon
Sunday, March 1, 2009

BALTIMORE In the halcyon days when American newspapers were feared rather than pitied, I had the pleasure of reporting on crime in the prodigiously criminal environs of Baltimore. The city was a wonderland of chaos, dirt and miscalculation, and loyal adversaries were many. Among them, I could count police commanders who felt it was their duty to demonstrate that crime never occurred in their precincts, desk sergeants who believed that they had a right to arrest and detain citizens without reporting it and, of course, homicide detectives and patrolmen who, when it suited them, argued convincingly that to provide the basic details of any incident might lead to the escape of some heinous felon. Everyone had very good reasons for why nearly every fact about a crime should go unreported.
In response to such flummery, I had in my wallet, next to my Baltimore Sun press pass, a business card for Chief Judge Robert F. Sweeney of the Maryland District Court, with his home phone number on the back. When confronted with a desk sergeant or police spokesman convinced that the public had no right to know who had shot whom in the 1400 block of North Bentalou Street, I would dial the judge.
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And then I would stand, secretly delighted, as yet another police officer learned not only the fundamentals of Maryland's public information law, but the fact that as custodian of public records, he needed to kick out the face sheet of any incident report and open his arrest log to immediate inspection. There are civil penalties for refusing to do so, the judge would assure him. And as chief judge of the District Court, he would declare, I may well invoke said penalties if you go further down this path.
Delays of even 24 hours? Nope, not acceptable. Requiring written notification from the newspaper? No, the judge would explain. Even ordinary citizens have a right to those reports. And woe to any fool who tried to suggest to His Honor that he would need a 30-day state Public Information Act request for something as basic as a face sheet or an arrest log.
"What do you need the thirty days for?" the judge once asked a police spokesman on speakerphone.
"We may need to redact sensitive information," the spokesman offered.
"You can't redact anything. Do you hear me? Everything in an initial incident report is public. If the report has been filed by the officer, then give it to the reporter tonight or face contempt charges tomorrow."
The late Judge Sweeney, who'd been named to his post in the early 1970s, when newspapers were challenging the Nixonian model of imperial governance, kept this up until 1996, when he retired. I have few heroes left, but he still qualifies.
To be a police reporter in such a climate was to be a prince of the city, and to be a citizen of such a city was to know that you were not residing in a police state. But no longer -- not in Baltimore and, I am guessing, not in any city where print journalism spent the 1980s and '90s taking profits and then, in the decade that followed, impaling itself on the Internet.
In January, a new Baltimore police spokesman -- a refugee from the Bush administration -- came to the incredible conclusion that the city department could decide not to identify those police officers who shot or even killed someone. (Similar policies have been established by several other police departments in the United States as well as by the FBI.)
Anthony Guglielmi, the department's director of public affairs, informed Baltimoreans that, henceforth, Police Commissioner Frederick Bealefeld would decide unilaterally whether citizens would know the names of those who had used their weapons on civilians. If they did something illegal or unwarranted -- in the commissioner's judgment -- they would be named. Otherwise, the Baltimore department would no longer regard the decision to shoot someone as the sort of responsibility for which officers might be required to stand before the public.
As justification for this change, Bealefeld, in a letter to the City Council, cited 23 threats in 2008 against his officers. Police union officials further wheeled out the example of the only Baltimore police officer killed as an act of revenge for a police-involved shooting -- a 2001 case in which the officer was seen by happenstance in a Dundalk bar, then stalked and murdered.
Bealefeld didn't mention that not one of the 23 threats against officers came in response to any use of lethal force. Nor did he acknowledge that 23 threats against a 3,000-officer force in a year is an entirely routine number; that the number of such threats hasn't grown over the past several years, according to sources within the department.
And union officials were comfortable raising the 2001 case without being forced to acknowledge that the officer in that instance most probably would have been killed had no newspaper ever printed his name; he had testified in open court against the relatives of those who later encountered him at the bar and killed him. So the case has scant relevance to the change in policy.
The commissioner was allowed to stand on half-truths. Why? Because the Baltimore Sun's cadre of police reporters -- the crime beat used to carry four and five different bylines -- has been thinned to the point where no one was checking Bealefeld's statements or those of his surrogates.
On Feb. 17, when a 29-year-old officer responded to a domestic dispute in East Baltimore, ended up fighting for her gun and ultimately shot an unarmed 61-year-old man named Joseph Alfonso Forrest, the Sun reported the incident, during which Forrest died, as a brief item. It did not name the officer, Traci McKissick, or a police sergeant who later arrived at the scene to aid her and who also shot the man.
It didn't identify the pair the next day, either, because the Sun ran no full story on the shooting, as if officers battling for their weapons and unarmed 61-year-old citizens dying by police gunfire are no longer the grist of city journalism. At which point, one old police reporter lost his mind and began making calls.
No, the police spokesman would not identify the officers, and for more than 24 hours he would provide no information on whether either one of them had ever been involved in similar incidents. And that's the rub, of course. Without a name, there's no way for anyone to evaluate an officer's performance independently, to gauge his or her effectiveness and competence, to know whether he or she has shot one person or 10.
It turns out that McKissick -- who is described as physically diminutive -- had had her gun taken from her once before. In 2005, police sources said, she was in the passenger seat of a suspect's car as the suspect, who had not been properly secured, began driving away from the scene. McKissick pulled her gun, the suspect grabbed for it and a shot was fired into the rear seat. Eventually, the suspect got the weapon and threw it out of the car; it was never recovered. Charges were dropped on the suspect, according to his defense attorney, Warren Brown, after Brown alleged in court that McKissick's supervisors had rewritten reports, tailoring and sanitizing her performance.
And so on Feb. 17, the same officer may have again drawn her weapon only to find herself again at risk of losing the gun. The shooting may be good and legally justified, and perhaps McKissick has sufficient training and is a capable street officer. But in the new world of Baltimore, where officers who take life are no longer named or subject to public scrutiny, who can know?
In this instance, the Sun caught up on the story somewhat; I called the editor and vented everything I'd learned about the earlier incident. But had it relied on the unilateral utterances of Baltimore's police officials, the Sun would have been told that McKissick had been involved "in one earlier shooting. She was dragged behind a car by a suspect and she fired one shot, which did not strike anyone. The shooting was ruled justified."
That's the sanitized take that Guglielmi, the police spokesman, offered on the 2005 incident. When I asked him for the date of that event, with paperwork in front of him, he missed it by exactly six months. An honest mistake? Or did he just want to prevent a reporter from looking up public documents at the courthouse? (Attempts to reach McKissick, who remains on administrative leave, were unsuccessful.)
Half-truths, obfuscations and apparent deceit -- these are the wages of a world in which newspapers, their staffs eviscerated, no longer battle at the frontiers of public information. And in a city where officials routinely plead with citizens to trust the police, where witnesses have for years been vulnerable to retaliatory violence, we now have a once-proud department's officers hiding behind anonymity that is not only arguably illegal under existing public information laws, but hypocritical as well.
There is a lot of talk nowadays about what will replace the dinosaur that is the daily newspaper. So-called citizen journalists and bloggers and media pundits have lined up to tell us that newspapers are dying but that the news business will endure, that this moment is less tragic than it is transformational.
Well, sorry, but I didn't trip over any blogger trying to find out McKissick's identity and performance history. Nor were any citizen journalists at the City Council hearing in January when police officials inflated the nature and severity of the threats against officers. And there wasn't anyone working sources in the police department to counterbalance all of the spin or omission.
I didn't trip over a herd of hungry Sun reporters either, but that's the point. In an American city, a police officer with the authority to take human life can now do so in the shadows, while his higher-ups can claim that this is necessary not to avoid public accountability, but to mitigate against a nonexistent wave of threats. And the last remaining daily newspaper in town no longer has the manpower, the expertise or the institutional memory to challenge any of it.
At one point last week, after the department spokesman denied me the face sheet of the shooting report, I tried doing what I used to do: I went to the Southeastern District and demanded the copy on file there.
When the desk officer refused to give it to me, I tried calling the chief judge of the District Court. But Sweeney's replacement no longer handles such business. It's been a while since any reporter asked, apparently. So I tried to explain the Maryland statutes to the shift commander, but so long had it been since a reporter had demanded a public document that he stared at me as if I were an emissary from some lost and utterly alien world.

Which is, sadly enough, exactly true.

Tuesday, November 4, 2014

Art Review

Journalism 1
Arts Review
November 3, 2014

Each time we talk with each other about a favorite book, movie, or album, we are creating a kind of arts review. We discuss whether something is good or bad; if it’s worth paying money for going out of our way for; sometimes we talk about a deeper societal meaning in the art we write about. 20th century journalism marked a high point of arts reviewers as experts in their fields who share insight and information about the art they write about. Because we common people generally read or watched only a few media outlets a day, arts reviewers played a self-consciously important role in acting as a link between art and the consumer. Today, there is an explosion of such reviews on the Internet. Still, we look for informed opinion when we want to explore art, and even though daily papers and their critics don’t play the same role they once did, the critics found at sites like Rottentomatoes.com are interesting and helpful.

For this assignment, you will choose a particular work of art - such as recorded music, live music, books, film, a poetry reading, theater, a dance performance, a gallery exhibit - and write a review. Your job is to dissect the art your are writing about and the provide your readers with enough information so that they can make sense of what you are saying. If you review a movie, think about the quality of the acting, the directing, the script, the cinematography, or the CGI tricks. If you review a rock band, think about the quality of the musicians, the strength of the songwriting, the magnetism of the performers.

To find models, go to respected media outlets like the Los Angeles Times, the New York Times, the Village Voice, Rottentomatoes,com, Pitchfork.com, and others. Model your reviews using the structure you find there. You need a good hook in the first paragraph. In the second, you must make sure your reader understands what you’re writing about and what your expectations were of the art. You will see that many if not most reviews you read will begin with a good hook, which could be an anecdote or sarcastic observation or could be a nod to an artists past work, or could be, well, that's for you to create. 

Your review should be between 400 and 500 words long. It is due on November 12.

Sunday, November 2, 2014

MUST READ: Second Half of Semester

Journalism 1
Mr. Tompkins
10/31/2014

I feel it would be helpful if I clarify my expectations for the class for the remaining weeks of the semester. 

We reviewed assignment deadlines on Weds/29. I want to highlight those deadlines:

November 3: Sports story due

November 12: Arts review due. 

November 17: Stolen exam story due

November 19: Edward Snowden

November 26: Review of The Weather Underground

December 8: Final project due (Cover city hall/school board)


Students were directed in the beginning of the semester that notebooks would be handed in at the end of the semester. In order to help the class - and to ensure that you will have an interesting, informative record of the class - I will begin to check off notebooks in class on each Wednesday between now and mid-December. I expect to see a record of the agenda for each class (copied from the board), and the material discussed in class. The quality of your notes will be weighted as if each week an extra homework grade has been added to your overall grade.

Until recently I have urged students to bring their digital devices to class to be able to search out information during discussions and to access class handout material during class. This is a college level class, and for that reason I don’t treat students as if they were high school students. It shouldn’t be necessary for a teacher to look over shoulders or to try to follow students’ digital footsteps during class time. However, it’s been brought to my attention that some students have been taking advantage of this. For that reason, I’m asking students to keep phones, iPads etc in their backpacks unless we have a particular reason to bring them out. Students who aren’t wiling to cooperate will be asked to leave the class for the day.

I have dropped several students for poor attendance. Several others can not miss any more classes without being dropped.



Sunday, October 26, 2014

Sports Story Ideas

Writing sports stories

While many of you may not be interested in sports stories, I suggest rethinking that position. Some of journalism’s best writing appears on the sports pages of major newspapers and magazines.
The sports pages are filled with stories about people attempting to overcome the odds and do things others cannot do. There is drama, conflict, struggle, agony, ecstasy, etc. in these stories. The sports pages are filled with human drama that rivals the best soap opera, the best reality TV program or the best drama you’ve ever seen.  The best thing about these sports dramas is they’re real and they focus on real people doing amazing things.
In addition to the human spectacle of sports, those who write about these events do so in a unique way.  Sports stories have neither a hard news lead nor a feature lead; they have both.
Most sports stories begin with a feature lead. This lead usually starts off telling something about one of the people involved in the game, or the turning point in the game, or some other unusual aspect to the game.  Here are some examples from last year’s sports page:

            Clinton Portis celebrated the apparent winning touchdown with a leap into the end zone, capping a 43-yard reception that gave the Washington Redskins a one-point lead over the
Green Bay Packers with 2 minutes 35 second to play at Landover, Md.
            Oops.  Scratch that.   Flag on the play.
            Receiver James Thrash was called for illegal motion, a penalty that Thrash didn’t understand and one that Washington Coach Joe Gibbs called “an absolute mystery.”
            The Packers had a different feeling: sheer relief.
            Al Harris intercepted a pass on the next play, and the Packers drove for an insurance touchdown to cap a 28-14 victory Sunday.

            In sports leads, you’ll see that you don’t know who won the game until later in the story.  The first paragraph doesn’t tell you the score of the game or who won the game.  Therefore, this is a feature lead that focuses on something interesting and grabs your attention.  The hard news lead—who won—is usually in the third or the fourth paragraph of today’s sports stories. Why? Because the sports fan knows who won the game by the time he or she reads the next morning’s newspaper.  With all of the cable, satellite and other outlets available to the sports fan, he or she has probably either seen the game or seen the highlights before picking up the newspaper. So why read the newspaper?
Good newspaper sports writers know this about sports fans and they know that they must give the sports fan something new, something they didn’t see last night.  This is why today’s newspaper sports writers try to find a different angle or do whatever they can to give their readers a unique perspective.
So if you write a sports story, think of beginning it with a human element to the event. Oftentimes a turning point in the game can be used as your feature lead block to the story. Or perhaps an injury is the lead block to the story. Or maybe the fact that the star player just flew in from watching his wife give birth to their first child and he was so inspired that he had a career-high scoring game is your lead block to the story. It’s stuff like that, the human stories behind the people who play the games, that make the sports pages come alive.
Once you’ve grabbed the reader, then you write a basic inverted pyramid news story. You give information, quotes, information, etc. The only real difference is you also make sure that you include a lot of statistics in the body of your story and include the names of as many players as possible.
To cover sports well, you must know something about the game being played. You can’t write about it or even know what to write about if you don’t understand the game. So make sure you know the nuances of the game, the strategies involved and the basic rules.

ELEMENTS OF INTEREST IN SPORTS STORIES
1.         Significance
            a.         Is a championship at stake?
            b.         Impact of the result on season records of those playing as well as all-time records.
            c.         Are the contestants old rivals?
            d.         Will the outcome suggest probable strength against future opponents?
2.         Probable outcome
            a.         Relative weight and experience of the contestants.
            b.         Ability as demonstrated against other opponents, especially common ones.
            c.         New plays, tactics.
            d.         New players, return of injured players.
            e.         Former contests between the two.
            f.          Recent records, slumps, etc.
3.         How the victory was won.
            a.         The winning play, if the score was close.
            b.         The style of play of both the winner and the loser.
            c.         Costly errors or mistakes.
            d.         Decisive moment in the game.
4.         Important plays
            a.         How each score was made.
            b.         Spectacular catches, etc.
            c.         The result of hunches.
            d.         Penalties, fouls, etc.
            e.         Disputed umpire or referee decisions.
5.         Individual records, stars, etc.
            a.         Records broken.
            b.         High scores.
            c.         Players who came through when needed.
            d.         Teamwork.
            e.         Players not up to usual form.
6.         Injuries.
7.         The occasion or the crowd.
            a.         Size of crowd; a record?
            b.         An annual event?
            c.         Enthusiasm, riots, demonstrations, etc.
8.         The weather
            a.         Condition of track and playing field.
            b.         Effect of heat or cold.
            c.         Effect of sun on outfielders.
            d.         Delays due to rain.
            e.         Which side was more impacted and why?
9.         Box score, summary and statistics

A FEW SUGGESTIONS FOR SPORTS WRITERS
1.         Use as many names in your stories as possible.
2.         Place special emphasis on the future.
3.         Edit your stories carefully before they are published; make sure every word counts; be concise.
4.         Keep a file of statistics and records and consult them frequently.
5.         Know the rules of the sport.
6.         Know the jargon of the sport.
7.         Be absolutely factually correct.
8.         Stress action in your stories in both content and in how you write your stories. Use relatively short, crisp sentences. Avoid long, everything-but-the-kitchen-sink type sentences.
9.         Study sports pages and the sports stories of professional writers. The best way to learn is by reading the work of others. Do not steal someone else’s style, but study it to see how you can improve yours.
10.       Do not overplay the hero or the star; be alert to the good performances by others who may not be quite as well known and emphasize these as much as possible.
11.       Avoid discussing a team impersonally. Remember that all teams are made up of individuals.
12.       Remember that sports fans are gluttons for statistics.
13.       Do not be afraid to criticize, when necessary, but also do so with caution and with knowledge about what you are doing.

14.       Do not become a cheerleader for the home team. Do not become friends with the players. Retain your neutrality and objectivity.

Tuesday, September 23, 2014

Reference: Writing Leads

Leads Handout
Journalism 1

Writing leads

In the inverted pyramid style of writing, we tell the story by revealing the most important information first and the least important information last.  Therefore, the lead, which is the first sentence of your hard news story, should contain the absolute most important information.  It is imperative that the lead is well written.  The reasons for this are:

•To attract the reader’s attention and to force the reader to read on.
•Since most people read only the lead, yours must tell what happened so that the reader can get the most important information from the lead.

Every hard news story you will write is going to focus on one of two things.  These are:
•Something that happened that is of importance or interest to people.
•Someone who is important or prominent in our society who said or did something important or interesting.

Therefore, if your lead is about something that happened that is important to your readers, you must answer the following questions in your lead:
•What happened that was interesting, significant, unusual or has an impact on the community?
•Who told you what happened (the attribution).
•When did it happen (the time element).

You MUST answer AT LEAST these three questions. If you have room to answer more, then you should try to answer the question that says HOW this event impacts your readers.  Put only the most important elements in the lead.  Put whatever you cannot fit in the lead in the second, third and fourth (if necessary) paragraphs. The idea is not to put everything in the lead; the idea is to put the most important information in the lead.

Avoid burying your leads.  What this means is that you have failed to include the most important information in the first 10 words of your lead OR you have failed to include the most important information anywhere in the lead. If the information is nowhere in the lead, it is usually buried elsewhere in the story. This is not good.  Remember, the summary lead, which is what you are writing, should provide the most important information immediately.  It should NOT keep the reader guessing what happened and it should not tease the reader or tempt the reader to read more of the story.

You need to use your news judgment to determine which of the 5 W’s and the H is most important.  Remember to think of the seven elements of news when you are wondering which of the 5 W’s and H to use in the lead. The seven elements of news tell you the newsworthiness of a story.  Use them to guide you and to help you develop your news judgment.

Summary leads do two things:
•Summarize the story.
•Invite the reader to read the rest of the story.
Putting the most important of the 5 W’s and H into the lead will summarize the story.  Using the strongest possible words will entice the reader.

The trick to writing a summary lead that summarizes AND entices, rather than one that simply wraps up the story, is to continue working on the lead until the best possible combination of words is used.  This means:
•Do NOT go with the first lead you write.  After writing an acceptable lead, rewrite it to improve upon it.  Keep telling yourself that you can make it better and keep working on it until you do.
•Avoid superfluous words.
•Avoid jargon, gobbledygook or other meaningless phrases.
•Write clearly and concisely.
•Use vivid verbs.
•Use colorful words.

BAD LEAD:   Women are likely to be disappointed in their choice of a permanent mate, a study released Tuesday said.
GOOD LEAD: Women want permanent mates who are sensitive, self-assured and warm, but they usually come up cold, a sociologist’s report released Tuesday said.

BAD LEAD: More than 500 students listened to a reverend Tuesday at El Camino College who was speaking in honor of Martin Luther King Jr. at El Camino College.
GOOD LEAD:  If you graduate from college, work hard and are a responsible adult, your dreams will come true, the Rev. Mark Thompson said Tuesday to 500 high school students. 

You must spend some time working on these leads to understand how to write them as you are learning a new skill and a new way of writing. You are also learning a new way of thinking about things, so you need to give yourself permission to take the time needed to really learn how to write in this way.  You must write and rewrite several times. As every writer knows, writing is not so much writing as it is rewriting.

 Good luck!!