Need to Know: How to get out of a creative rut, how to build trust with disclosure statements, and can a courthouse ban all photography

American Press Institute
Need to Know
Wednesday, October 30, 2019
Fresh useful insights for people advancing quality, innovative and sustainable journalism


On Monday, G/O Media editorial director Paul Maidment ordered Deadspin’s staff to stop covering topics that weren’t related to sports. A day later, the company fired deputy editor Barry Petchesky “for not sticking to sports,” the journalist said on Twitter. “We are sorry that some on the Deadspin staff don’t agree with that editorial direction, and refuse to work within that incredibly broad mandate,” Maidment said. In April, private equity firm Great Hill Partners purchased Gizmodo Media Group, now G/O Media, and the sports-only mandate followed several months later, leading to clashes with staff. 

+ Earlier: When she quit in August, former Deadspin editor-in-chief Megan Greenwell wrote about how the “stick-to-sports” policy conflicted with healthy traffic from non-sports content.


Disclosure statements are the perfect opportunity for transparency, so don’t let coded language get in the way. Joy Mayer recommends also adding language to reflect that your newsroom has a system to ensure conflicts of interest don’t impact your journalism. Sign up for weekly Trust Tips here, and learn more about the Trusting News project — including how your newsroom can get free coaching — here.

In recent years, publications like the Montgomery Advertiser and National Geographichave written editorials apologizing for decades of racist coverage. Robin Hoecker, assistant journalism professor at DePaul University, breaks down what makes an institutional apology effective. She writes that apologies from a publication’s top editor or editorial board can have greater impact because they suggest an institutional change is underway. Apologies also sound more sincere if they are issued proactively, rather than during a public relations crisis, and they work best if they incorporate research from staff and outside resources on historical coverage issues.

During Sunday’s Hong Kong protests, police clashed with journalists, detaining one and targeting others with tear gas and pepper spray. In response, a Hong Kong reporter interrupted a press conference with police this week to protest law enforcement’s treatment of journalists who are covering months-long demonstrations in the city. The reporter, who was later identified as freelance journalist Amy Ip, said that press freedom in Hong Kong is under attack, while shining a high-powered flashlight at police — the same type of flashlight that police have shined on journalists during the protest.

Journalists and other newsroom workers can bump into occasional anxiety-inducing creative blocks. During a SRCCON (pronounced “source-con”) session, participants brainstormed strategies to get out of this head space, including embracing the unexpected. For instance, Katie Park, a developer for The Marshall Project, previously stumbled upon a design concept after accidentally adding type to a CSS inspector, causing a graphic to morph into something new that was worth exploring. Another idea comes from musician Brian Eno and artist Peter Schmidt, who created a deck of cards called Oblique Strategies. The cards, meant to break creative block, include prompts like, “What would your closest friend do?”

After publishing the photos that would lead Democrat Katie Hill to resign from the House of Representatives, RedState deputy managing editor Jennifer Van Laar expressed support for several Republicans to fill her seat. Van Laar, RedState and the site’s owner, Salem Media Group, transparently lean to the right. But reporter Michael Calderone writes that “Van Laar’s shift from reporting on Hill, and publishing what some have deemed ‘revenge porn,’ to promoting Republicans for Hill’s old job is a blurring of roles that would be unacceptable in mainstream newsrooms.”

A recent order from the Arizona Supreme Court bars photography, video recording, live streaming and other types of broadcasting at Phoenix and Tucson’s appellate court buildings. Critics have said the restrictions, which apply to entrances, hallways, parking lots and even sidewalks, are unconstitutional and will limit public and media access to the court. The order does provide a recording exemption to those who receive permission to record from the subjects of a proceeding, as well as a high-ranking court official like the chief justice or chief judge.

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