Kamis, 28 November 2013

Nieman Journalism Lab

Nieman Journalism Lab


What’s New in Digital Scholarship: Gendered sourcing on Twitter and the allure of following the crowd

Posted: 27 Nov 2013 09:05 AM PST

Editor’s note: There’s a lot of interesting academic research going on in digital media — but who has time to sift through all those journals and papers?

Our friends at Journalist’s Resource, that’s who. JR is a project of the Shorenstein Center on the Press, Politics and Public Policy at the Harvard Kennedy School, and they spend their time examining the new academic literature in media, social science, and other fields, summarizing the high points and giving you a point of entry. Roughly once a month, JR managing editor John Wihbey will sum up for us what’s new and fresh.

In terms of empirical research that can inform media practice, it’s worth reviewing some important posts already published this month at the Lab. Among the works discussed: a Berkman Center for Internet & Society report on the technical limitations of how we measure online activity and a thoughtful warning about many forms of web-generated data we take for granted; an NPR Digital Services analysis of their own Local Stories Project’s social media data, making a case that “serious” stories are as shareable as “fun” ones; a deep dive into the cognitive science behind news engagement on social media from Sonya Song, Knight-Mozilla Fellow at The Boston Globe; a Foundation Center report highlighting the rise of philanthropic money in media generally and the sharp increases in mobile and applications/tools investments; and a Pew/Knight report examining the demographics of Twitter news consumers (the same survey data that was based on continues to yield new Pew analyses, including on news use across all social platforms).

The academic journal world also produced some noteworthy articles this month, including:

“News sourcing and gender on Twitter”: From Washington and Lee University, published in Journalism. By Claudette G. Artwick.

The study analyzes 2,731 tweets from journalists (26 men, 25 women) at 51 different newspapers during 2011. The problems in this area are persistent and well-documented, and Artwick reviews the prior literature on gender imbalances in news stories. In her sample, she finds sources named in about 19 percent of tweets (507 sources quoted overall). Just 11 percent of those quoted were women, thus “women’s voices were relatively silent in the quotes on these reporters’ Twitter streams.” Further, at larger papers, “less than 8 percent of female reporters’ quotes featured women, and male reporters quoted no women at all.” Female reporters at larger news outlets quoted fewer women within the sample, compared to their counterparts at smaller newspapers.

Through the use of “@” mentions, however, reporters were “engaging with a more diverse community”: Nearly four of every 10 “@” mentions were women. Artwick concludes: “Reshaping the old rules and hegemonic structures that dominate story content and push-through onto Twitter may be needed to make way for the diversity of voices that can better serve democracy.”

“The Internet and American Political Campaigns”: From George Washington University, published in The Forum. By David Karpf. (Pre-print open version here.)

Part of a growing cohort of academics pioneering the subfield of online politics, Karpf provides a short, useful summary of the state of research in this area. For journalists, the works cited page alone is a valuable who’s who — fill up that contact list for campaigns 2014 and 2016 — but the narrative also underscores some basic truths: The web has not changed many forms of participatory inequality; polarizing candidates frequently win the small donations race; the “culture of testing” and analytics are changing how campaigns allocate resources; liberals and conservatives typically use technology differently for campaigns.

One striking insight: “We are potentially moving from swing states to swing individuals, employing savvy marketing professionals to attract these persuadables and mobilize these supporters with little semblance of the slow, messy deliberative practices enshrined in our democratic theories.” But definitive answers remain elusive on many other fronts. “There is still, frankly, a lot that we do not know,” Karpf writes. For more insights in this area, see Kathleen Hall Jamieson’s response, “Messaging, Micro-Targeting and New Media Technologies.”

In related research, Rasmus Kleis Nielsen and Cristian Vaccari examine social media data relating to the 2010 U.S. congressional elections. Their study, “Do People ‘Like’ Politicians on Facebook? Not Really. Large-Scale Direct Candidate-to-Voter Online Communication as an Outlier Phenomenon,” published in the International Journal of Communication, furnishes some cautionary evidence about quality engagement with voters.

“Social Recommendation, Source Credibility, and Recency: Effects of News Cues in a Social Bookmarking Website”: From Elon University, published in Journalism & Mass Communication Quarterly. By Qian Xu.

Xu looks at how different aspects of Digg (the old, pre-relaunch Digg) influenced perceptions of credibility related to media content. The study explores the consequences of the “bandwagon effect” — whereby attention to content frequently clustered around certain items — by performing an experiment on 146 undergraduates. It’s a small sample, but it underscores some important ideas. Variables included number of diggs, source credibility, and recency of content. The results are perhaps predictable: People not only tend to go with the crowd, but they tend to think the crowd must be wise in its judgment.

“Social recommendation, in the form of the number of diggs, was found to have major influences on a variety of outcomes, such as attention and click likelihood toward the feed, evaluation of news credibility and newsworthiness, as well as news sharing behavioral intention,” Xu writes. But the big theoretical takeaway relates to how news organizations need to rethink their approach: “The determining role of social recommendation might present a big challenge for news organizations relying heavily on traditional editorial selection. Whether the news was published by a highly credible source might no longer matter in individuals’ selective exposure to news. Individuals may rely more on social means of information searching and filtering rather than resorting to experts for suggestions.”

“The like economy: Social buttons and the data-intensive web”: From the University of Amsterdam, published in New Media & Society. By Carolin Gerlitz and Anne Helmond.

This think piece analyzes Facebook’s attempts to create a “more social experience of the Web” and, among other things, its use of like and share buttons that distribute engagement outside the platform and across the web. Gerlitz and Helmond explore “how the launch of social buttons has reintroduced the role of users in organising web content and the fabric of the web — and how the infrastructure of the Open Graph is turning user affects and engagement into both data and objects of exchange.” Their discussion looks at how subtle technical shifts are changing whole paradigms and conceptions of digital life and commerce.

But the paper is not without some tough critiques, particularly given Facebook’s refusal to include a “Dislike” social button option or other ways of registering negative sentiment and data: “[T]he Like economy is facilitating a web of positive sentiment in which users are constantly prompted to like, enjoy, recommend and buy as opposed to discuss or critique — making all forms of engagement more comparable but also more sellable to webmasters, brands and advertisers. While Social Plugins allow materialising and measure positive affect, critique and discontent with external web content remain largely intensive and non-measurable.”

However, as the scholars note, this is all growing more complicated: “The absence of negative affects has until the autumn of 2012 marked the limits of Facebook’s understanding of sociality. The introduction of new activity apps, however, has complicated the affective space of Facebook, allowing for differentiated and even negative activities in relation to web objects, such as to hate, disagree and criticise — while the action ‘dislike’ remains blocked.” Overall, the paper looks at precisely how Facebook’s general filtering of the web is being constructed and the implicit values embedded in the decisions of its developers.

“Black Boxes as Capacities for and Constraints on Action: Electoral Politics, Journalism, and Devices of Representation”: From the College of Staten Island and the University of North Carolina-Chapel Hill, published in Qualitative Sociology. By C.W. Anderson and Daniel Kreiss.

This paper blends in-the-field ethnographic work with bleeding-edge academic theory. Anderson and Kreiss take as their case studies two experiences: One involves the making of voter maps for internal use within the Obama 2008 campaign; the other involves Philadelphia-based newsrooms and their difficult experiences with the quirks of content management systems. In the past, social scientists could look at major societal shifts through much more obvious and observable macro technological advances — the rise of assembly lines, cars, highways, suburbs, computers. Now, many of the important trends are micro. Thus, these researchers explore how Actor-Network Theory (ANT) might help us get a better sense of what’s really going on — how technologies are shaped by people, and shape what people do. This theory highlights how technology is itself an actor and helps shape knowledge and builds communities with common understandings. It requires research of the tech-human interaction at a granular level.

At any rate, in both cases studied certain technological forms — the voter map and the news content system — grow up to embody assumptions about what is important and how information should be understood: Which people should be targeted, and which ignored? What stories should be told, and who should control that agenda? These questions are often decided in subtle ways by the technical organization of information. Anderson and Kreiss conclude that “to understand power and reform social institutions, and even uproot them, requires attention not just to theories of participation, deliberation, and the public sphere, but the socio-technical engineering of democratic publics and the cultural presuppositions that guide it.”

“Digital Activism and Non-Violent Conflict”: From the Digital Activism Research Project (University of Washington.) By Frank Edwards, Philip N. Howard, and Mary Joyce.

The researches look at hundreds of instances of digital activism over two decades, categorizing practices and outcomes. Their evidence dispels some myths: “Frequent news stories about cyberterrorists, cybercrime, and hackers make digital activism seem like a pretty dark art, whereas close comparative analysis of campaign strategies, successes, and failures reveals that persuasion features more highly than violence.” Yes, Facebook and Twitter are common tools, but in different regions of the world other social and communications technologies are also deployed frequently. E-petitions are most common in North America, while microblogging is most common in South America and Asia. Edwards, Howard, and Joyce add some nuance to debates in this area: “No single digital tool in this study had a clear relationship with campaign success. This is consistent with received wisdom. Experienced activists will tell you that using Facebook or Twitter or an e-petition will not guarantee success. Now there is data to demonstrate that using these tools does not even make success more likely, when that is the only factor being analyzed.” Finally, the evidence “challenges cyber-pessimist hypotheses about repressive governments becoming more savvy about digital activism, and thus better able to defeat digital campaigns. This study suggests that there is not a clear change in the rate of campaign success or failure between 2010 and 2012.”

“Remote Shopping Advice: Enhancing In-Store Shopping with Social Technologies”: From Microsoft Research. By Meredith Ringel Morris, Kori Inkpen, and Gina Venolia.

This useful paper that might be explored by journalists looking for the latest angle on holiday shopping. The study’s data were generated by a field experiment and survey of 200 shoppers, focusing on their experience with advice from networks while browsing for items. Shoppers took pictures and used text messages, Facebook and Mechanical Turk to get feedback about clothing choices. They not only found friends’ advice useful but also valued feedback from anonymous crowdsourcing.

The findings “indicate that seeking input from remote people while shopping is a relatively commonplace occurrence, but that most people currently rely on simple voice or text-based interactions to accomplish this,” the researchers write. “Our experiment demonstrated that users found value in using richer media (photos) as well as using emerging social platforms (social networking sites and crowd labor markets) to meet these needs, and that such platforms’ performance characteristics (particularly Mechanical Turk) were generally suitable for such interactions. Based on these findings, we suspect that consumers would find value in a smartphone app designed specifically to support seeking remote shopping advice.” Morris, Inkpen and Venolia ultimately offer some thoughts about what the next generation of shopping advice systems might look like.

(Although not mentioned, it also suggests a possible avenue for media looking to provide more direct, targeted value to consumers, and generate revenue, in an evolving social media ecosystem.)

“The freelance translation machine: Algorithmic culture and the invisible industry”: From McGill University, published in New Media & Society. By Scott Kushner.

A super-deep meditation on how language translation operates within Internet-enable marketplaces at sites such as ProZ.com (based in Syracuse, N.Y.), the study contemplates how the rise of algorithms and globalization are affecting our ideas about work and culture. French philosophy is invoked as Kushner takes a sweeping theoretical look at the future of labor: “The freelancers who become ProZ.com users can instrumentalize the interface even as it instrumentalizes them: by internalizing the logics of entrepreneurialism and learning to operate the ProZ.com interface, they ‘introduce economy’ (Foucault, 1991: 92) into their operations, increasing productivity to the benefit of the industry and extracting some degree of compensation. Those who produce quality translations, receive high ratings, develop relationships with outsourcers and come to attract new clients will easily justify next year’s US$129 membership fee.” In all this, we get a glimpse of the global labor future — and see how the human mind and the computer will be increasingly intertwined in the performance of tasks.

Photo by Anna Creech used under a Creative Commons license.

Students: Spend the summer working with Nieman Lab via the Google Journalism Fellowship

Posted: 27 Nov 2013 09:00 AM PST

Hey students: Want to spend next summer working with Nieman Lab?

I’m very happy to say that we will again be one of the host organizations for the Google Journalism Fellowships. Here’s Google’s description:

In an effort to help develop the next crop of reporters working to keep the world informed, educated and entertained, we have created the Google Journalism Fellowship. As a company dedicated to making the world's information easily accessible, Google recognizes that behind many blue links is a journalist and that quality journalism is a key ingredient of a vibrant and functioning society.

The program is aimed at undergraduate, graduate and journalism students interested in using technology to tell stories in new and dynamic ways. The Fellows will get the opportunity to spend the summer contributing to a variety of organizations — from those that are steeped in investigative journalism to those working for press freedom around the world and to those that are helping the industry figure out its future in the digital age.

There will be a focus on data driven journalism, online free expression and rethinking the business of journalism. The 10-week long Fellowship will open with a week at Google followed by nine weeks at one of the participating organizations.

It’s a chance to come spend time in Cambridge working with us as we research and report on the future of news — writing stories, working on projects, and generally trying to learn more about where the news ecosystem is headed. Last summer, we were very happy to have Sarah Darville and Linda Kinstler here as our fellows. (Sarah’s now at Chalkbeat New York, née Gotham Schools; Linda’s at The New Republic. You can see the stories Sarah wrote for us here and Linda’s here.)

We’re one of 10 journalism institutions that will be hosting Google Journalism Fellows this year, up from eight last year. The other nine are pretty great, too: the Center for Investigative Reporting, the Committee to Protect Journalists, Investigative Reporters & Editors, Pew Research Center's Journalism Project, Poynter, PRI.org, ProPublica, the Sunlight Foundation, and The Texas Tribune.

The way it works is that you pick one specific host organization to apply to — so if, say, investigative reporting was your main interest, you might pick CIR, IRE, or ProPublica. In your application, you can also choose to allow the seven other host organizations to consider at your application if your first choice doesn’t select you. (Some real talk, though: We get enough applications — over 2,000 last year between all the organizations! — that logistically, it’s unlikely that you’ll be considered by a host other than the one you select as your top choice. So pick well!)

There’s a stipend: $8,000 for the 10 weeks (which starts June 9), plus a travel budget of $1,000. And note this eligibility requirement from Google: “[W]e are only accepting students based in the United States and eligible to work in the U.S., if your host organization is located in the U.S. (e.g. U.S. citizens, U.S. permanent residents, and individuals with a current U.S. student visa).”

You can read an FAQ about the new program (including eligibility info), learn about all the host institutions, and apply. The application deadline is January 31.

(One last nomenclature-related thing: Even though this uses the word “fellowship” in its title and is based at the Nieman Foundation, note that it’s quite different than our traditional Nieman Fellowships, which allow working journalists to come spend a year taking classes and working on a course of study at Harvard. This is an opportunity for a student to come work with Nieman Lab staff for the summer, reporting on the future of journalism. Apologies in advance to anyone confused by the terminology.)

The newsonomics of the November shuffle, from Forbes to Freedom and Couric to Stelter

Posted: 27 Nov 2013 07:46 AM PST

Ah, the pre-Thanksgiving bounty. Those of us who try to chronicle the business end of the news business have seen our plates overflowing lately. Not since the Bezos blitz of August have we seen so many announcements, shuffles, offers to sell, and big-name moves in a single month. These shuffles tell us lots about the evolution of both value and values going into 2014. Lots of media to pick apart: Wishbones, drumsticks, and carcasses to be cleaned, gravy to be separated. Let’s carve:

The Forbeses, the Blodgets, and other digital builders may sense a top.

As Forbes Media put itself on the block last week, it did so as a digital media company, not a magazine brand. Why aim at something like a 5x multiple of earnings — if you can even find a “magazine” buyer — when you might be able to get twice that amount selling on your digital cred. Lots of good digital numbers tossed around: 25 percent digital ad growth, 55 percent digital revenues overall. Not highlighted: The familiar print struggles, as ad revenue is down 7.5 percent to $165.7 million through September, with ad pages down a percent.

Forbes, forsaking its traditional business roots, has been a poster child for how to digitize a legacy company. Take a look at its home page, and you see how it has floated far away from its Fortune and Bloomberg Businessweek competitors, populizing, optimizing, nativizing, and rightsizing its content creation. Inevitably, in such transitions, something’s gained — a doubling of unique visitors in three years — and something’s lost, in this case the upmarket nature of its old magazine audience. Despite its great digital growth, it’s still sub-scale compared to many of the companies it now competes more directly with — not to mention the truly big guns like Google, Facebook, Yahoo, AOL, Microsoft, and Twitter.

So maybe the end of 2013 — with the Dow over 16,000 and the shine not yet wiped off of Forbes’ remake under CEO Mike Perlis — offers a great time to sell. Sell the story (digital audience and revenue growth, a leader in “Brand Voice” content marketing) and let the next guys deal with the next era. Elevation Partners, which bought in seven years ago and now controls a large minority stake of Forbes, probably won’t get its investment back out, but its calculation may be a good one for Thanksgiving movie viewing: As Good As It Gets.

Similarly, I’d have to agree with Michael Wolff that Henry Blodget — the banned-for-life Wall Street trader turned publisher who recently told the FT’s tripe-eating Andrew Edgecliffe-Johnson, “I mean, first of all, I feel like an absolute moron for missing the top [of the market]” back in the dot-com days — may sense the same thing. Whether or not he is yet shopping Business Insider for $100 million, as Wolff surmises, he’s built a Forbes Media-like digital company, adept at creating and replicating newsy content. BI recently got a new infusion of needed cash from investors, and Blodget immediately pooh-poohed Wolff’s advice to sell. Yet the construction of such efficient content sites has its limits, and Henry’s got to be driven by his previous market experience.

These are businesses that have built value quickly on the explosive growth of pageviews. Though both Forbes and BI have branched out from display ads into events and other businesses, their fortunes lie greatly with ad monetization. As we’ll see below from Yahoo’s own ad math, that’s problematic for 2014-2015 growth.

The problem for both companies: The companies who may be the only potential buyers — the Yahoos, AOLs, or Voxes — can calculate fairly exactly what the digital audiences of page-spinners like Forbes or BI are really worth with their own state-of-the-art ad stacks applied. Those calculations would likely lead to significantly less than the desired $400-500 million price tag of Forbes or a possible $100 million for BI.

Will Alden be next? As Digital First Media improves its own balance sheet — putting up paywalls to goose circulation revenue, outsourcing printing, and centralizing national content creation — when will Alden Global Capital, the company’s prime driver, decide its time to cash out its investments? Like Elevation Partners, it won’t walk away a big winner — but walking sooner than later may be its best move.

As Katie Couric comes to Yahoo, she should bring Sarah Palin.

Let’s remember when Katie went viral — it was with her dance partner Sarah Palin, drawing millions of pageviews as a mesmerized electorate marveled at the candidate’s view of Russia. Couric will do an interview program for Yahoo, and it will be those interviews — separately judged and shared — that I think will bring the greatest value to Marissa Mayer’s new-look Yahoo. After all, appointment viewing is more about Walking Dead and Breaking Bad these days than the network news, or even Katie’s own disappointing talk show. As announced by Yahoo, Couric has been described as a new “global anchor.”

For Yahoo, being number one in online news “viewership” just hasn’t (yet, at least) paid off sufficiently. Yahoo’s like the most popular kid in a high school class who nonetheless struggles to pull together all the right application elements to get into a really good college. We’ll have to wait and see how Mayer further defines the new company. The shorthand of being a “content origination” company doesn’t do much; besides, why would that description be useful given the eternal business struggles of all the companies that do originate content?

Yahoo was down seven percent in display ad revenues in the last quarter, though the number of ads sold dropped only one percentage point. That’s the basic math that defines the mighty struggle of most companies other than Google and Facebook to grow digital revenue: Downward pricing pressures are overwhelming.

Though a big name in the old world, Couric is just one more puzzle piece in the Rubik’s Cube — inevitably, there are many more dead-ends than successes — of re-imagining digital news programs. At Yahoo, it’s Megan Liberman, ex- of the Times, assembling the parts, part Bai, part Pogue, part Couric — just as her former employer goes to the Times Minute, with its new thrice-daily one-minute video news update and names a new managing editor for video, Bruce Headlam. Place Yahoo’s “re-imagining” of digital video news among many others, from The Wall Street Journal’s early video news moves to Newsy’s pioneering multi-source programming to Oslo-based VGTV’s audacious move beyond print to the boundary-breaking (news/social/talk show) HuffPost Live (“The newsonomics of leapfrog news video”).

The experimentation will only grow, and be bolstered by more big names, in 2014. The reasons are clear: 45 percent of U.S. adults report watching digital news video, and video advertising continues to sell out — the only category of digital advertising that has more demand than supply. Yahoo doesn’t break out its video revenue, but we know that overall U.S. video advertising grew 24 percent in the first half of the year, to $1.3 billion. These video-forward moves are driven by demand-side economics.

Brian Stelter’s profile could grow (or fade) as he enters CNN.

Stelter has been the best bridge between the old business of TV and the new emerging business of video, with all its fuzzy-patterns transition. As the phenom, hired at age 21 by The New York Times, moves to CNN, he brings his unusually intelligent, perceptive, and deeply reported work with him. We have to wonder about the fit, though. He moved the Times measurably forward in the media/tech world in which it both excels and lags. Though it’s the announced plan, it’s hard to see him stepping into the dated media container of Howie Kurtz’s Reliable Sources show, old media doing old media, even though he’ll undoubtedly bring new edge to it. I like the idea of him doing a Morgan Spurlock-like show, one with attitude, authentic reporting, and a modern graphical sense — almost weblike on TV — of how to tell a story.

The problem is that there are so many CNNs. For every stretch of defining intelligence from the Fareed Zakarias, there’s another of numbing, talk-down-to-me bleating out of The Situation Room, leading to such gaffes as Wolf Blitzer announcing the segment on the Kennedy Assassination: “I’m Wolf Blitzer, reporting from Washington. The assassination of President Kennedy begins right now.”

As many of the non-TV-based giants, Yahoo and the Times among them, go deeper into video, the next remaking of CNN itself continues apace under Jeff Zucker. Everything from storytelling modes to business models are up in the air, as the reality of smartphone- and tablet-delivered video sinks in across the news industry.

Aaron Kushner emerges with a small SoCal duopoly — and a deeper question about his contrarian strategy.

Kushner’s Freedom Corp. wired its $27.2 million to A.H. Belo Corp. Thursday. It wasn’t that the acquisition of the Riverside Press-Enterprise took that long to close, only six weeks after the agreement was announced. What was unusual was the public commentary on the delays, as Belo put out releases both giving Freedom more time to complete the deal and to announce very clearly its alternatives and ability to extract a non-refundable million dollars if the deal went south.

That’s just the public tip of discussion. Behind the scenes, people in the news industry — some rooting for the contrarian publisher who has smartly promoted a $10-12 million investment (“The newsonomics of Aaron Kushner’s virtuous circles”) in the Orange County Register’s staff and product; others deep doubters — are linking the delay in the Riverside buy to Kushner’s ability to stay the course in Orange County. Kushner has been quite clear in saying that his investment will take a good three to five years to pay off, rebuilding the readership and advertising base of a paper that had been drained by cutting and then bankruptcy.

So the question: Does he really have the financial wherewithal, or access to it, to advance his strategy? Completing the cash deal seemed to be the holdup. “We have no inability to stay the course,” he told me, three days after the deal closed. “We’re on the offensive.”

How well is that offensive going? Kushner says that the investment in the Register products and the rationalizing of reader pricing has led to a 16 percent increase in circulation revenue year over year. That number doesn’t significantly count the impact of a unique paywall put up in April.

While those dollars may be good, an improvement on what was a substandard base, the Register is still, like its peers, down in advertising. Figure mid-single digits of down in print, and down in digital ads. One issue with latter: The Register’s hard paywall has caused a 40 percent loss in pageviews, traffic that Kushner says is beginning to come back.

Those numbers tell you one thing: Even if successful, the Register’s approach will take years. That again raises the question of wherewithal. As the new year rolls in, we’ll see how much of the Register investment philosophy is — and can be — applied to the Press-Enterprise.

While the Register sees the L.A. Times — and its pointed reporting on the Register’s Belo delay, and three lawsuits in which it is involved — as the sour grapes of a big competitor, the hint of question about the future of the Register will hang in the air for awhile.

Southern California — which has the twin distinctions of being both the region having the most dailies with paywalls and with the most to have emerged from bankruptcy — remains ripe for a rollup, a cost-saving consolidation.

When other SoCal properties — Digital First Media’s numerous MediaNews dailies and/or the Times itself, as it’s spun out or directly sold off by the Tribune Company — are put on the market, the acquisitive capacity of the new Freedom will arise, fairly or otherwise, as a question mark.

Jay Rosen’s arrival at Pierre Omidyar’s “Newco” provides bedrock.

It’s a good problem to have: What do you do with a possible fund of $250 million to build a new news company in 2014? That number, offered up by Pierre Omidyar as the reservoir of financial capacity for his new Glenn Greenwald+ news company, deservedly won headlines. While the site may not need to show profit any time soon, it needs to prove itself a credible news source — and that money can’t buy. So Jay Rosen’s decision to get aboard the new enterprise, actively advising it on navigating the editorial waters, is great news. I’ve known Jay for 20 years now, and you couldn’t ask for a clearer thinker on what journalism needs to do in the digital age. The business issues of establishing credibility for personal-branded journalism site are still profound, but Rosen offers a fundamental belief in the power of honest, fact-based journalism to do good. His joining of Omidyar parallels former academic Clark Gilbert’s move from Harvard to Salt Lake City, as he’s driven one new model after another, many based on his teachings over the years, at Deseret News. Everyone into the swim.

Photo by Chris Hsia used under a Creative Commons license.

Rabu, 27 November 2013

Nieman Journalism Lab

Nieman Journalism Lab


The perils of (allegedly) being mean to advertisers

Posted: 26 Nov 2013 11:49 AM PST

With America’s favorite shopping holiday just a few days away, two tales from journalists who claim to have failed in their enterprises because of their refusal to play nice with advertisers.

One comes from Mark Duffy, also known as the Copyranter, who left a copywriter job to join BuzzFeed, only to be fired from the media startup last month. Yesterday, he published one last rant, via Gawker, titled “TOP 10 BEST EVER WTF OMG REASONS BUZZFEED FIRED ME, LOL!”

Ben Smith made me delete a post I did on Axe Body Spray’s ads, titled, “The Objectification Of Women By Axe Continues Unabated in 2013″ (it was initially called something to the effect of “Axe Body Spray Continues its Contribution to Rape Culture,” but I quickly softened it). Get this: he made me delete it one month after it was posted, due to apparent pressure from Axe’s owner Unilever. How that’s for editorial integrity? Ben Smith also questioned other posts I did knocking major advertisers’ ads (he kept repeating the phrase “punching down”), including the pathetically pandering, irresponsible Nike “Fat Boy” commercial.

I of course understand that websites like BuzzFeed need lots of advertising dollars to operate, and that no media outlets—including the one you’re reading this on—are immune to advertiser pressure. I understand that my posts may have pissed advertisers off. I also understand—very clearly—the job I was hired to do because I invented it. I had a longstanding blog that clearly outlined what BuzzFeed was getting into. Turns out Ben Smith didn’t want what he asked for, and I guess I was too gullible to think it could be any other way.

In a level headed response, Ben Smith says he has “never based a decision about reporting on an advertiser’s needs” and illustrates some of the editorial conflicts he and Duffy had.

Then, today, we had Mathew Ingram’s account of what happened to NSFW Corp., as told through the eyes of Paul Carr.

Carr also admitted that his attitude towards his existing investors — such as his former boss Michael Arrington's CrunchFund and Zappos' founder Tony Hsieh's VegasTech Fund, two of the company's earliest backers — probably didn't help increase his company's lifespan either. As he described it during a discussion of Glenn Greenwald's new venture, and whether the former Guardian writer would be comfortable reporting on his benefactor, eBay billionaire Omidyar, Carr said:

"You only have to look at NSFW and see that we have been relentless in attacking CrunchFund for its bullshit hypocrisy in investing in NSA-backed [actually CIA-backed] startups, and we have been relentless in mocking the stuff Tony Hsieh is doing in Vegas… of course it has [had an impact on financing], it's probably the main reason we couldn't raise any more. It's the reason why Vegas Tech Fund didn't invest in the latest round or the round before, and it's why Mike Arrington hasn't talked to me in a long time."

For Carr, whose aggressiveness towards colleagues, friends and pretty much everyone else has achieved almost legendary status in the media community, this kind of attitude may have doomed NSFW Corp. as a financial entity, but it was required in order for the venture to have any kind of journalistic credibility at all. "I've never been one to hide behind saying 'Oh, he's an investor, I'd better be nice,'" Carr said. "Who cares? We're f***ing journalists. I'd rather be poor and credible than have $250 million and have to say bullshit like 'I can't comment.'"

Enjoy your holiday!

OJR.org: Google’s punishment and the perils of blackhat SEO

Posted: 26 Nov 2013 08:09 AM PST

ojr-2002-tiny-screenshotI hope you’ve been following the saga of OJR.org, the former home of the Online Journalism Review. In brief: When USC allowed the domain name to expire, an Australian company named Oneflare snagged the domain name and proceeded to create a fake version of the “Online Journalism Review” — adding USC and USC Annenberg logos to make it seem legit, stealing dozens or hundreds of archival OJR stories to give it heft, and generally being scummy enough to act as if it was still the legendary site that’s been around since the late 1990s.

After my first story, Oneflare did its best to take down the legally actionable parts of its scheme — removing the logos, deleting the archives — but still carried on as the “Online Journal Review,” featuring links back to the main Oneflare website. This is a common if scuzzy search engine optimization strategy: Use sites with high PageRank sites (those Google considers highly legit) to generate links to your company’s website, passing some of the Google juice earned over 15 years of publishing to the new venture. After my second story, Oneflare removed all the content from OJR.org; it’s currently a blank site.

Thanks to a little birdie, we know now that there have been consequences for Oneflare’s actions.

This thread in Google’s Webmaster Central forums tells the tale of someone named “hubfub” who has recently felt the wrath of Google’s punishment for SEO bad behavior. His post from Sunday (U.S. time, Monday in Australia):

My website received a sitewide manual action for unnatural inbound links back in July. We were able to get this revoked in August by removing about 50% of the links and disavowing the rest.

We recently hired a new SEO agency to work for us and last week they advised us to buy an high PR expired domain and put a “quality blog” on there and use it to make a link to our website. They told us that this was 100% whitehat (obviously it’s not as we are now aware). ["Whitehat" = legitimate search engine optimization; "blackhat" = scammy stuff that Google will punish if it finds out about. —Ed.]

I think this blog triggered our domain for another manual review and we were hit again with another sitewide manual action. I was surprised because other than buying that expired domain, we hadn’t done any other spammy link building since the last manual action was revoked. However after looking into webmaster tools and going to recent links I noticed that there were tons of spammy links that were built 3-6 months ago that were recently being indexed by Google.

My question is, does the the new indexation of the bad links that were built ages ago still get counted when Google is considering whether or not to take manual action? Obviously we’ve taken down the new blog that was built but what else can we do to get the second manual action revoked?

A Google “manual action” means that the search giant detected sketchy SEO behavior and decided to dock the site:

While Google relies on algorithms to evaluate and constantly improve search quality, we’re also willing to take manual action on sites that use spammy techniques, such as demoting them or even removing them from our search results altogether.

So who is the “hubfub” facing this punishment? Well, @hubfub on Twitter is Adam Dong, the CTO of Oneflare. And later on in that thread, Mister Hubfub notes that Oneflare.com.au is the website he’s worried about protecting. Dong also tweeted a plea for help at two of Google’s chief SEO staffers Sunday, too:

(Full disclosure: After I saw that Oneflare’s spammed-up OJR post were still showing up as legitimate news articles in Google News, I contacted someone I know at Google to make sure they knew about it — so it’s entirely possible I triggered the manual review.)

Dong said in that thread that this is the message he got from Google:

Unnatural links to your site

Google has detected a pattern of unnatural artificial, deceptive, or manipulative links pointing to pages on this site. These may be the result of buying links that pass PageRank or participating in link schemes.

In other words: Google saw what they were doing with OJR, caught them, and punished them by demoting them in search results. (One way to see this: search for one flare with a space. At this writing, nine of the top 10 sites in the results are about Oneflare. But none of them are the Oneflare site itself. In fact, the Nieman Lab tag page for Oneflare ranked higher than Oneflare itself. The Oneflare homepage hasn’t been removed entirely from search, though; it’s still the top result for a search on “oneflare” itself.)

Dong’s fellow webmasters, posting in that Google discussion thread, didn’t seem to have much sympathy for his plight. Here’s a sampling:

lol another fraud “whitehat” SEO strikes again…

Feel free to name the Expert who suggested this amazing strategy so we can all point and laugh and try to protect other honest businesses from their flimflam.

For any website it would be borderline suicidal, for one with a recent Manual Action for unnatural links… Just… wow…

I’m suspicious of that claim. He’s been buying links off of warrior forum. “Penguin proof” links. Methinks he probably knows what he did and if he doesn’t, then he should probably quit the IM [Internet marketing] industry and go bag groceries…

The Warrior Forum referenced is this site, which serves as a sort of back-alley hangout for blackhat SEO types. User hubfub has posted there 29 times (sample: “Hi there, I recently purchased a bunch of expired domains and set up new blogs on them”). And on a number of occasions, he appears to have bought backlinks from higher-value websites to send more juice Oneflare’s way. (Click to enlarge.)

oneflare-hubfub-warriorforum

In other words, it’s hard for Oneflare to play the innocent here. Its CTO was already busy buying up fake links in the dark corners of the web more than a year ago. It’s apparently been caught by Google this year for bad dealings and punished — only to get back at it again. They had this coming. (The only area where Oneflare really was unlucky was in picking a website that I happened to care about.)

The SEO damage may be bad enough that Oneflare could be looking to change domains entirely. A few hours ago, user hubfub posted again:

Hi there, I have a question relating to redirecting, for example abc.com to abc.co.uk

abc.com has a ton of crappy links and obviously I do not want to 301 or 302 this to abc.co.uk as i do NOT want the link juice or pagerank to pass.

However we do still have a lot of users that would organically type in abc.com

No idea if this is the plan, but Dong also owns oneflare.net.

If you enjoy irony, you’ll appreciate that Dong wrote a piece last month for the Sydney Morning Herald. The headline? “Five simple tips for a good SEO strategy: What’s the best way to get your web site to the top of internet search lists?” One of his pieces of wisdom: “External links are important for SEO because as far as a search engine is concerned, these are considered an endorsement of your site, increasing your ranking power and making your site more visible.”

I imagine Tip #6 wasn’t “Do enough bad stuff for Google to drop the hammer on you.”

One of my favorite stories from the earlier days of the web is the tale of nigritude ultramarine.

Every so often, SEO types hold a contest to see who can build up the most SEO juice around a particular phrase in a given period of time — to see who can earn the top search result when someone looks up those words. It’s best if that phrase doesn’t already exist anywhere on the web, so a nonsense phrase like nigritude ultramarine works well. In 2004, that magic phrase was announced, and everyone had a couple of months to start gaming search engines.

Lots of competitors tried lots of tricks. A search for “nigritude ultramarine” returned zero results before the contest; it returned more than 200,000 afterward. But, in the end, the winner wasn’t an SEO consultant; it was Anil Dash, the popular blogger, who wrote a single post with that phrase as its title and simply asked his fans to link to it. “I’d rather see a real blog win than any of the fake sites that show up on that search result right now,” he wrote.

While SEO types were polluting the web with links, Dash took the prize with a single post — because he’d built up credibility through writing good content for years, and because he had actual human readers who were willing to support his efforts. I always thought of that win as a triumph for real humanity on the web.

What’s the best way to get ranked high in Google? Write good content. Be good enough that real humans like you.

As Dash told Wired back in 2004 after his victory:

“A lot of people are trying to increase their page rank unethically,” said Dash. “I think if we show them (that) the best thing you can do is to write really good material, then hopefully, they’ll spend their time doing that (instead of) spending time coming up with ways to graffiti other people’s pages.”

At The Miami Herald, maybe newsroom place still matters

Posted: 26 Nov 2013 07:00 AM PST

When The Miami Herald left its home on Biscayne Bay, many in the newsroom were wistful. The newsroom had been right in the heart of downtown and home to memories and legends. Two movies had been shot in the building: Absence of Malice, with a young Sally Field and a hunky Paul Newman, featuring real scenes of the newsroom, and The Mean Season, with Kurt Russell and the tale of a reporter who became the story while covering a serial killer.

And in an odd but appropriate juxtaposition to these bustling portraits of the busy newsroom, a recent episode of Burn Notice featured the old building burning down.

Downtown, sometimes the news even came to the Herald building. In 2005, Miami-Dade County Commissioner Arthur Teele, shot himself in the Herald lobby. And perhaps you'll remember the face-eating zombie case last year, captured on video by the Herald's own surveillance cameras.

But today, the newsroom sits all the way out in Doral, a city 12 miles from downtown Miami — about an hour away in traffic. That distance has led some to wonder how much, beyond nostalgia, if the newspaper was missing out on the advantages of being at the center of news.

The jury is out. But my conversations about the new workflows there have belied easy assumptions about the presumed mobility of digital journalists on the go enabled with new technology. I visited the newsroom two weeks ago and talked about these issues with journalists for my research as a Tow Fellow at Columbia’s Tow Center for Digital Journalism.

On one hand, head photo editor Roman Lyskowski says the move "does not affect what I do or what other journalists do." But other reporters noted a distinct difference on their daily workflow. Being out in the burbs makes them feel far away from where the news is happening.

One metro reporter told me: "Going anywhere during the day is completely out of the way — it will take hours to go to a meeting, and you can't just drop in on a meeting." He continued: "You are just stuck downtown and you can't come back if you want to. You can't get that more casual interaction or run in to someone or have coffee."

Several county government offices are in Doral, including the county police and election board. But as another metro reporter complained, "There's nothing that I cover that's out here. I cover the city of Miami."

One reporter who was covering an election recount noted that she couldn't get from the recount to a press conference with one of the candidates because it was simply too far, and that she had to be prepared to have someone else on standby should anything happen — a difficulty when resources are slim.

Journalists consistently told me that they didn't particularly love the idea of being mobile. Writing in a Starbucks day after day wasn't fun, and writing from home meant missing out on casual interaction with sources and fellow journalists.

For all we’ve heard about the promise of mobile journalism, it hasn’t proved as freeing as one might think, at least not at The Miami Herald. Journalists really like being in a newsroom — and that’s a problem when your location is physically distant from most from the places you might be reporting from.

Courts reporter Jay Weaver acknowledged that in a digital world, buildings didn't mean much from a technical standpoint. “In this day and age, though, it is all digitally-driven. You don't need a building…The newsroom can be anywhere.” At the same time, he placed a significant importance on being in the newsroom:

I like coming to the newsroom. You can exchange ideas more freely; there’s a value to that. You can't just work from your house…If you aren’t coming to the newsroom, if you just work from your house, that's like being a foreign correspondent, or equivalent to being in New York or something.

A fair number of reporters I spoke with shared his view. Other journalists talked about the difficulty of being on the road. Reporter Chuck Rabin said "I could be mobile…It sounds easy: You can just jump in your car and file from the front seat. But it’s not as easy as you think. I can file from my phone, but it's just not as convenient as actually being in the newsroom."

And neighbors reporter Cristina Veiga, who has always filed her work as a mobile journalist, says it’s still “a pain working out of a coffee shop. You can do a lot working from the office…and downtown, you could just run to stuff."

Why does this matter? In the age when technology has supposedly reduced the importance of place and where reporters can be working anywhere at any time, reporters at The Miami Herald argue that the location of the newsroom still matters. Geographical proximity to what they cover matters. And this is because they actually use the newsroom — it’s not just some building now rendered unimportant by the rise of mobile devices.

Rather, the ease of production for journalists may still be improved by having a set place to work. There is some intangible quality about being able to talk to the person across your cube or nag your editor or ask a colleague a question by the coffee pot. Working from your phone may facilitate live reporting of breaking news, but one wonders whether that outweighs the drawbacks of a decentralized newsroom.

In some of the newsrooms I have visited, like the Star-Telegram in Fort Worth, mobile reporting was more developed. Reporters liked it — the transportation reporter defined his identity as a backpack journalist. Yet in Miami, the physical dislocation of space from the center of the city has meant a rethinking of what it means to be inside a newsroom. And as newsrooms think about relocation and digital-first initiatives, it's worth considering whether mobile is for everyone and what gets lost in the digital diaspora of the journalist away from the newsroom.

Photo of the former Miami Herald building by Phillip Pessar used under a Creative Commons license.

Selasa, 26 November 2013

Nieman Journalism Lab

Nieman Journalism Lab


The New York Times moves away from its dual-reporting structure for video

Posted: 25 Nov 2013 10:41 AM PST

The Times’ own Christine Haughney has the news:

Bruce Headlam, editor of the media desk at The New York Times since 2008, has been named managing editor of video content development. He will succeed Richard L. Berke, who recently left The Times to join Politico…

In Mr. Headlam's new role, he will report directly to Ms. Abramson. The move also marks a change to the video desk's organizational structure. Rebecca Howard, the general manager of video production, who previously reported to Ms. Abramson and Denise F. Warren, the executive vice president for digital products and services, will now report just to Ms. Warren.

Headlam will be familiar to anyone who saw Page One, and his departure adds to the recent turnover on the Times’ media desk, with Brian Stelter having just left for CNN and Ravi Somaiya joining the team. But the interesting part here is the shift away from Howard being part of both the editorial and business-side infrastructure of the Times.

We interviewed Howard about her role back in May:

My role is really unique for the company, not only because video is a relatively new initiative, but it also reports up through the business side as well as the editorial side. So I like to tell people I'm from the Land of the Dual Report. It's not really anything that's been done here before. Usually it's church and state between editorial and the business side, so my role is quite unique for The New York Times. And other probably similar publishers. It's pretty interesting in that regard…

I think as far as my duties and obligations and responsibilities, it's really important that we're remaining true to the editorial strength of The New York Times and feeling the need to continue to monetize and figure out new ways to monetize video and to grow video. Those two things really need to be and in hand. You have to protect the editorial voice as you figure out new ways to monetize. I think having someone who is overseeing both is actually really important in this case.

In Joe Hagan’s August piece on the Times under CEO Mark Thompson, he cited Howard’s arrival as a dual-report as a jarring event in the newsroom:

And in February, it was Thompson who hired a general manager of video production, Rebecca Howard of AOL and the Huffington Post, to oversee the new video push. Though she was billed as part of a "video-journalism" effort, Howard is a business executive with an office in the editorial suites. When it was announced that the video unit would be reporting to the corporate side of the paper, "Jill [Abramson] was clearly shaken by it," says a person who was in meetings with her.

These sorts of dual-report positions have become increasingly common at many newspaper companies; I remember all the way back to 2009 when the idea of broaching the business/news wall was still new at respectable dailies.

Q&A: The Guardian’s Gabriel Dance on new tools for story and cultivating interactive journalism

Posted: 25 Nov 2013 10:24 AM PST

gabrielddanceGabriel Dance thinks a lot about tools. Specifically, what tools does he have at his disposal, and what tools can he and others on the Guardian U.S. interactive team build to help them better tell a story? Dance, the interactive editor for The Guardian U.S., spent a good chunk of the last several months working on NSA Files: Decoded, a multimedia examination of all the information revealed so far about how the U.S. government conducts surveillance on people in America and abroad.

In trying to provide context around the story, Dance and his team used a blend of data visualizations, videos, social media integration, documents, and animated GIFs. Dance doesn’t see it as a collection of bells and whistles, but as a way to take advantage of the tools the web provides to help make stories more engaging. “I’m not above the idea of saying the Internet is a competitive place — there’s a lot of cats and babies on the Internet,” Dance said. “It’s our challenge to engage our readers in a way that captivates them. And the idea I can captivate them while telling them this incredible story, there’s no reason I shouldn’t be able to captivate them with such an insanely interesting story.”

Dance has been building these type of stories for a while, having worked at places like The New York Times and The Daily. Recently we spoke about how the Guardian U.S. built NSA Files: Decoded, as well as the state of online storytelling and how to create a culture of interactive journalism inside a news organization. And yes, we talked about that Times story with the avalanche. Here’s an edited transcript of our conversation.

Justin Ellis: Give me a sense of how you guys went about building the NSA Files: Decoded and how you got involved with the story.
Gabriel Dance: As soon as the story broke on June 5, with the Verizon story, and then the 7th, 8th, and 9th followed up with some pretty major revelations. We also knew they were extremely complicated. Some of these things were technically complicated — computers and hacking and Internet taps. Some of these things were legally complicated, like the FISA courts and the Patriot Act. So immediately we knew that not only was there an opportunity, but there was a need.

I have a good idea of how it works in some other newsrooms, but there’s not any sort of editorial or reporting divide between my team and the rest of the newsroom. I know at The New York Times it works very similarly, same at The Washington Post. The people on my team, I call them “interactive journalists.” But I’m looking forward to the day we can drop some of the prefixes and leave it as “reporter” or “journalist.”

But the simple answer is, I can go to someone on my team, give them a topic, and ask them to report on that topic and the process is very similar to how that might work with a more traditional print reporter. They go out, they explore it, they see what information is available. They schedule some interviews, they gather data, and they come back and we work on what form it might take.

Are we producing articles with strictly text? No. But I think what we are producing is much closer to what you saw in Decoded, which is what I guess I’d call web-first journalism.

When people talk about this as new and different, it only really is if you’re looking at the old things as the status quo. The way I see it, the web has evolved and changed the way we have the ability to tell stories. What we’re doing is simply adapting to all these new ways we have to tell stories.

A comparison I like to draw a lot is photographers. Nobody ever questions whether a photojournalist is a journalist. I don’t see anyone asking if Tyler Hicks is a journalist. This bizarre notion that because we’re doing this — what is, because of technology and the Internet, a new form of storytelling — there’s this natural, human trait to be defensive of what it was before.

So I really look forward to the day where the types of people we have in our newsrooms, and the roles they play, aren’t defined by the medium in which they present their work.

Ellis: For the NSA Files, what’s interesting to me is the combination of text, interactive, and video. You’ve got this whole cast of people talking directly to readers. How did you decide on that?
Dance: That fundamentally goes back to the goal of this project as a whole. I know we’ll get to the point where we’ll discuss this and Snow Fall and things like that, but NSA Files Decoded is explanatory reporting. The goal of NSA Files Decoded is to engage and interact with our readers while making a very complicated series of stories accessible and relatable.

So when you’re doing explanatory reporting, obviously the goal is to explain a rather complicated or in-depth process to our readers in a way they can understand. So what better way, when we were conceiving of this, then to have them be able to hear the words exactly from the experts? More to that point, I had this vision of this stark page where the interviews are being done, but give credit to Bob Sacha, the freelance videographer who we hired to work with us. Bob and I were talking, I was explaining to Bob the concept and he said “why don’t we sit right behind the camera and have them speak directly into the camera?” As soon as he said that, it was perfect.

We want them to talk directly to our readers, because we wanted this to be like an intimate conversation between our readers and the experts. I have themes I’ve had all throughout my work, and one of those themes is transparency. So this idea that you’re not just getting a quote in a story, you’re not getting part of a quote: You’re getting the actual expert answering a question relevant to the thing.

It kind of removes us from the process in a way where we’re still doing our job of facilitating journalism, but we allow this really interesting, intimate connection between the reader and the content. And that’s actually one place in Decoded we really have tried — and why I call my team an interactive team and not a graphics team or visualization team — to engage and involve the reader in the storytelling in a way that makes them feel as if they, themselves, are part of the story.

Ellis: With shooting all the videos and building the project, how much time went into making this interactive?
Dance: There are a lot of subtleties that go into it. One of which is the idea that content gathering and production went on at the same time. But the interviews were somewhat difficult to schedule and took a while.

I would say there were three full-time people, including me, on this for two full months. Then, in the middle of the project we had a little bit of turnover in my team. I hired two people, Kenan Davis and Ken Powell, and they jumped in. It’s difficult to estimate how much time they spent, but maybe we’ll say they spent three weeks to a month each on it. It was the full team, for a month, and three of us for another month. It was a lot.

It’s a fair question. But it’s such a difficult question to answer. Some people write me and say, “How many hours does it take to build this?” And it’s like, I don’t know. If we sat down with the exact idea that we wanted and all the functionality, everything, in line…who knows? Potentially you could build that in a couple weeks. But these things are a constant evolution. It probably took over a month before we even had any kind of working prototype with actual content in it. Until you put actual content in it, it’s really hard for other people to understand what you’re getting at.

It’s the subtleties, because the time also includes a lot of discussion, changing course, seeing what works, seeing what doesn’t work.

Ellis: What are some of the challenges you had, specifically on the layout or bringing everything together? There are a lot of moving parts there.
Dance: One of the most difficult things was the initial planning for it. I sat down with a couple other people and made an outline of the entire project. This was an outline of the story, not an outline of what copy we were going to write or what video we were going to do or what interactives.

Then I went through the outline of the story and I started to say, “Okay, what’s the best way to tell this bit of this story?” And the “best way” is flexible term — that could mean most engaging, that could mean most illuminating. There’s a lot of different things “best” could be.

There was this whole planning process because we wanted everything to work in concert. The challenge is none of those things can be done outside the concept of the entire story. That’s why, fundamentally, starting from the story and then deciding which parts are best for which mediums was both very challenging and, I think, in the end extremely rewarding and part of the reason why I think Decoded did so well.

But some of the other challenges — all the interview clips you see are one-shot takes. We did do two-camera interviews, but we never once used the second camera. And we never used any jump cuts. Every single quote is a full-on quote. That’s why some of the quotes, they stumble a little, or they say “um.” But it would have broken with our paradigm of speaking directly to the reader to have cuts in it.

For every single bit of it, I could go through and say the challenges of all these things working in concert to tell a larger narrative. And I think that’s actually what distinguishes Decoded. What I told somebody the other day was: This is a web-only project, wherein we’re using all the Internet mediums available. GIFs, video, interactives, maps — all of that, hopefully seamlessly throughout.

That’s where I think the difference between it and any other projects lie. This piece was designed to be read, or consumed, as a whole. You can’t take the writing out of it and have it work the same. You can’t take the videos out of it and have it work. You can’t take out the graphics and have it work. It’s meant to be consumed as an entire project, with all these different parts being seen, seamlessly, to one another. It’s actually a giant fucking metaphor for what we were talking about before with journalism. It’s all journalism. It’s just being told in different methods.

Ellis: How do you think about keeping people’s attention in a story like this? What have you been able to learn about the ways people engage with interactives like Decoded?
Dance: I think with Decoded we’re definitely trying to evolve the method of storytelling on the web. It’s a total package. Some of the other things we do are different ways to tell individual stories.

I’ll just speak to Decoded, because I do see it as a culmination of a lot of what we’ve been working to. But, I’m just gonna address some of this Snow Fall stuff, OK?

Ellis: Please do.
Dance: It just has to get out the way. I thought [former Times Design Director Khoi Vinh's] post was poorly argued. Let me rip off a few ways this is different from Snow Fall.

Snow Fall is over 15,000 words; ours is barely over 4,000. Let me be really clear: I think Snow Fall was an amazing advancement of multimedia storytelling. On the other hand, it didn’t have any interactive graphics in it. Their interactive team is fucking outstanding — so it’s only because they haven’t decided to do this yet. But it still remains a huge difference. Essentially what they had were words with videos, and these videos had amazing renderings, obviously, of avalanches. They’re infographic videos, I guess you could say.

Like I said, we’re an interactive team, so we’re trying to engage our audience. So that absolutely goes into our thinking of how we did this. We knew the words had to be concise, brief, and clear. I’d say the fundamental difference between Decoded and Snow Fall, is that we’re doing explanatory reporting and they were doing feature reporting.

That doesn’t mean one is better or worse, at all. Both are critically important, but they’re extremely different types of reporting. You wouldn’t compare somebody’s article about the health care rollout and the website failures with a feature story about the pitfalls of maybe one family’s plight in a state without Medicaid.

guardiannsascreenshot

But I do recognize captivating people means something different with the new technologies of the web. That means allowing people to engage with it; that means allowing them to connect it to their social network. It means making it seamless, and having videos automatically play. Some people hated that. But imagine how annoying our piece would have been if you had to click play on each one of those things?

So this idea of having videos automatically play when they’re centered in your window, and all those things, those are all to engage the reader, to keep their attention. To bring them further into the story. It seems like a lot of people feel like you’re selling out when you say, “I want to entertain and engage and inform and interact with our readers.” That’s our goal.

I haven’t checked the stats, but just over the first two days there was over 10,000 people spending more than 30 minutes on the site. That kind of blows my mind. Those aren’t people I know, even. My mom loves me and I don’t think she’s spending 30 minutes going through this.

Honestly, it’s because of these interactives and these different mediums. If this was all just copy, they’d probably do what I do, which is either print it off or Read It Later or something. Or if the whole thing was a video, I have no idea what it would have been.

None of these things are easy. People want a template for them. There is no template yet.

Ellis: You guys are still a relatively new entrant here in the U.S., and you don’t have the print legacy that the Times or the Post or the Journal does. How can these type or projects create more awareness of what the Guardian does?
Dance: One of the main differences between what we’re able to do, and, say, Snow Fall, or Sharks and Minnows, is they do have to design a project with the idea that this is running in a newspaper. By definition, they’re creating something for two mediums. We don’t have to do that at all. Which is really a fantastic freedom and independence to have.

Now, obviously, the entire Guardian doesn’t have that. There’s a very healthy newspaper in London. But in the United States, we’re a web-only publication. I don’t have to worry about speaking with a copy editor about what the print product’s gonna look like, because there won’t be a print product.

We have this enormous hunger for information about the United States from international people. So we have this really cool opportunity to explain stories from the United States in a way that is accessible to internationals and to American citizens themselves.

In our interactives, we try to express that as creatively as we can. Whether that’s with a gay rights visualization that looks like a huge multi-colored rainbow, or a choose your election game where people are holding balloons. Or it’s a spin the debate, where you can reorder people’s words. We’re taking these really different, creative approaches because we’re quite aware of the media landscape and where other people fit into it.

So we’re trying to create this niche, that I think fits with the Guardian brand. It’s news, but you know you’re going to get a breath-of-fresh-air kind of thing. It’s also creative. Oftentimes, there’s entertainment and it’s fun. But it’s also, fundamentally, extremely well reported, extremely thorough, and accurate storytelling.

guardianelectionballoons

Ellis: One question that comes up with interactives is how to make them a part of everyday storytelling. Is it having people who see things both ways, interactive journalists like those on your team?
Dance: Working with more traditional reporters is fundamental to creating interactive projects. That’s true here at The Guardian, that’s true when I was at the Times — I think it’s true, period.

But the answer to your question is tools. I created a lot of tools when I was at The New York Times, some of which they still use, some of which they don’t. Tools can be extremely helpful; you see them at the Times, the Guardian.

I think Quartz does a fabulous job of doing same-day news-relevant charts. Quartz has obviously made the decision that they’re not going to be creating, for the most part, interactive charts and elements and things like that. We can turn around quick charts and quick data, and quick contextual elements. But we can’t make them into these really whiz-bang interesting interactive social hook-ins. That just takes time.

The second part of that is something Amanda Cox speaks a lot about, which is the idea that you don’t have templates for stories. John Branch writes 16,000 words on Snow Fall, or Ewen MacAskill writes 4,000 words on the NSA — that’s not a template. I don’t see people saying “where’s the template for longform investigative?” You know what I mean?

This idea there’s going to be a template that does interactive longform web journalism? I don’t know if that’s ever going to be the case. Now there’s certainly best practices that are being developed, and things you see people like The Verge, and ESPN, and The New York Times, and The Guardian, which are templates that really highlight visual journalism, that have huge images and huge videos.

Again, I would just say where’s the templates for any longform writing? It doesn’t exist because each story needs to be told on its own terms.