COMM 721.001 BROADCAST NEWS (Audio Storytelling for Radio & the Web) FALL 2009

PROF. JILL OLMSTED Phone: (202) 885-2010 Office: 330J MGC [email protected] Hours: Tues/Wed 10:00-12:30 Blog: http://olmsted.wordpress.com/

CLASS: Friday 9am-3pm; MPC: Bliss Newsroom

To Reserve Edit Suites: 885-8338 TELEPHONES CONNECTED TO RADIO BOARD Equipment Room: Room 105 (across from Bliss) 885-1306 Geoff Turner 885-2092 Room 111 (down hallway from Bliss) 885-7972 [email protected] Room 11 (downstairs) 885-8438

"The best pictures on radio are made up of metaphor, simile, and specific detail. I remember a radio report from Jerusalem. A busload of children had been bombed. The CBS correspondent described one of the victims. She was 12 years old, he said, "and she held a toothbrush in her hand." The incident occurred years ago. Why do I remember it? Because when the correspondent added that bit about the toothbrush, I was there. The power of pictures of the mind, the effectiveness of specific detail.”

Ed Bliss, A.U. Broadcast Founder News Editor for Writer/Producer for Edward R. Murrow

“A good reporter would be defined as one who is good…in any medium.” Phil Meyer, “Journalism 2.0” Scholar, Researcher, Teacher

COURSE DESCRIPTION:

This will be a challenging and creative course in audio storytelling – for traditional radio and online media platforms for the digital world we live in today. The primary work of the course involves writing, interviewing, reporting, producing, editing and on-air delivery of radio news in commercial and public radio and for the online environment which could be a radio or TV station or newspaper.

You will do individual audio assignments and team broadcasts. This includes behind-the-scenes jobs (assignment editor, producing, writing, digital tape editing, and studio engineer) and performance skills (anchor, reporter). You will also post your stories, photos, possible slideshows on your own Web blog created especially for this course - it will serve as a repository for your professional work.

We will also discuss ethical standards, look at the state of the radio and online news business today, go on field trips, hear from guest speakers, do a long-form major project and learn how to prepare an audition tape and/or online portfolio to land a job as a reporter, producer, or begin to develop your skills multimedia storyteller.

COURSE OBJECTIVES : Each student will:

 Think “sound” in audio storytelling – natural sound as well as recorded interviews

 Write, produce audio news stories for radio and the Web, including non-narrative storytelling; Voice audio stories effectively 2

 Learn the “language” of radio news and of Web audio storytelling

 Develop news judgment in audio and photo storytelling

 Do nonlinear editing using Adobe Audition; and Audacity

 Produce a newscast and scripts on the AP News ENPS system

 Work together in a team environment under deadline and performance pressure

 Shoot digital photos for audio stories in a slideshow for the Web

 Post digital audio and photo content into a Web blog

 Make ethical decisions in gathering audio, photos, writing and editing

 Listen, watch and analyze industry professionals and your colleagues, offer constructive critiques

 Contribute content to the American Observer online publication

Your work will be both individual and with others in a TEAM environment that is critical in radio news. You are judged not only on how well you accomplish a task but the quality of your interactions with colleagues/staff and the maturity you show in dealing with people and challenges under deadline pressure.

Expect that things will go wrong technically and with the people you work with - what matters is how you rise to the challenge of coping with obstacles - this is the essence of how news professionals work.

Expect that the "game plan" for this course could change somewhat over the course of the semester (perhaps even the morning of class) in order to take advantage of the best learning opportunities. This could happen as the result of an unexpected opportunity in Washington, D.C., on campus, or something that you become aware about.

COURSE STRUCTURE: The course will involve both the editorial aspects of reporting, writing, interviewing, and vocal delivery for radio news and the technical aspects of radio news in gathering sound, editing and producing newscasts.

On a regular and rotating basis, students will put together radio newscasts using AP's ENPS-the Electronic News Production System, and record the newscasts live-to-tape. This is broadcasting's most popular newsroom support system. Journalists using this system work in more than 40 languages in more than 400 television, radio and network operations in 39 countries.

TEXT: a. (must be brought to class each Friday) b. Podcasting Bible By Steve Mack & Mitch Ratcliffe 2007, Wiley Publishing ISBN 978-0-470-04352-3 c. Handouts from Prof. Olmsted, as warranted

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RECOMMENDED TEXT: a. Adobe Audition 1.5 for Windows By Jeff Partyka, 2005, ISBN 0-321-24750-7

REQUIRED COURSE MATERIALS TO BUY: 1) Textbooks 2) Students must have their own recording devices. 3) Batteries 4) Headphones 5) External Microphone (especially for Olympus) 6) CD’s: CD-R’s or CD-RW’s (are more expensive but they can be reused, but first the existing files would be erased). 7) Jewel cases for the CD’s turned in to the professor or for newscasts 8) Sharpie marker to write on the CD’s without hurting them

HIGHLY RECOMMENDED: 1) Stopwatch (about $15-20 at Radioshack) 2) Thumb drive of 2-8GB (look for sales) 3) Soundslides ($39.95) or Soundslides Plus ($69.95) http://www.soundslides.com/

RECORDER OPTIONS Digital Voice Recorders - Go to http://www.amazon.com/ or - http://www.olympusamerica.com/ For the Consumer>Audio>Select Price>and pick your price range. OR, http://stores.ebay.com/Olympus-Auctions (for the best prices)

Some examples: a) Olympus WS-310M=$79.99 Digital Voice Recorder (69 hours) WS-311M=$99 (Olympusamerica.com) Go to Audio (138 hours) Recorders are generally more expensive at Radio Shack; Best Buy b) Flash recorders =Bradley Broadcasting (very expensive-$300-$600; we have some for checkout from the MPC equipment room) c) Cassette Recorders = Available at Radio Shack. CTR-123=$42; CTR-112=$32

SEPARATE MICROPHONES:

Electro-Voice 635 $100 (Find online)

Nady SP-4C Hand-held microphone $10-20 from http://www.musiciansfriend.com

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Lavaliere Mic (Olympus ME-15) $15-23 on Amazon) $25 Olympus

Telephone Recording Device (TP-7) To record audio over the phone, two ways. $19.99 (may not be in stock)

Available for checkout from the MPC Equipment Room for this class are: - 4 Marantz flash card recorders - 4 Edirol flash recorders

INFORMATION SOURCES YOU CAN VIEW FROM HOME:

1. ASSOCIATED PRESS DAYBOOK You can get online access to the AP Daybook (and news stories). Access is called AP Exchange and this is the link to it: http://www.apexchange.com/

Our login info for Exchange is: User: soc Password: AMERICAN1 On the left side you will see Advisories & Daybooks. HIt ALL and the daybook will come up. Scroll through menu to find “AP Washington Daybook”

2. CNN NEWSOURCE : You can view video and script on the Internet by accessing through the address listed below and using Internet Explorer. In class, use headphones!

Browser Address: 147.9.111.25/browserdmg (don’t put in www in advance of this) User name: amunivr Password: (leave blank)

* Use of this CNN audio, video, and graphics is limited to production of in-class newscasts only. You may not use this material in individual wraps turned in for academic credit, as this would be copyright infringement and a violation of the academic integrity code.

PROFESSIONAL OUTLETS FOR STUDENT WORK:

1. SOC “Observer” It will be a major goal of this course for students to place their stories into the “American Observer” online publication. As a part of the course you may have to redo editing or writing of the story. You should develop the habit of taking photos along with your audio. 5

2. WAMU-FM : has the broadcast license for the NPR affiliate in Washington, D.C., but this professional station has a separate newsroom. Still, you have the opportunity to do reports that could make air.

Daily news stories are :30, :35, and up to :50 in length. Longer features are possible on the local cut-ins for All Things Considered – 4:00.

WAMU’s “ Metro Connection ,” is an opportunity for longer-form stories to air – between 5:00-7:00 minutes, if it satisfies the high standards of the program. Metro ” is the only local news magazine program airing in the Washington radio market. This program is heard on Friday’s at 1pm; Sat. at 5am; and on the WAMU.org web site, with a listening audience of around 140,000.

Here is what the WAMU web site says about the program: “Instead of a national perspective, the subject is our city... our local communities... our backyards. Metro Connection broadens the focus from city government to include news and features from the District, Virginia and Maryland. The program also highlights upcoming arts events, tells the history of our neighborhoods and offers live, in-studio performances from local bands worthy of attention - bands that have no other radio outlets in the region…..

Metro Connection strives to be "on-location" and out of the studio as much as possible. From a story about re-seeding oysters in the Chesapeake Bay... to a series following a woman through her first year as a teacher in the DC school system... to a feature about the tradition of street vendors in Baltimore - we get around. This is not sound-bite radio. Metro Connection allows our reporters to go further with a story... and encourages them to produce the type of in-depth, sound-rich news features that public radio listeners have come to expect and demand. We strive to bring a greater understanding and appreciation of the Washington region to our audience every week.” Metro Connection is particular interested in the local arts & culture scene, in local business and just good local, regional stories.

BLACKBOARD COURSE INFORMATION: This course is supported by a Blackboard web site. You should become familiar with this as I will use the site to post announcements, updates, new readings and such. To get there you need to use the portal http://my.american.edu. Type in your personal UserID and password; go to the Blackboard site area.

In addition, Blackboard may become a critical component of this course in the event of a declared flu pandemic. The university has asked us to include the following information:

EMERGENCY PREPAREDNESS

In the event of a declared pandemic (influenza or other communicable disease), American University will implement a plan for meeting the needs of all members of the university community.

Should the university be required to close for a period of time, we are committed to ensuring that all aspects of our educational programs will be delivered to our students. These may include altering and extending the duration of the traditional term schedule to complete essential instruction in the traditional format and / or use of distance instructional methods.

Specific strategies will vary from class to class, depending on the format of the course and the timing of the emergency. Faculty will communicate class-specific information to 6 students via AU e-mail and Blackboard, while students must inform their faculty immediately of any absence due to illness.

Students are responsible for checking their AU e-mail regularly and keeping themselves informed of emergencies. In the event of a declared pandemic or other emergency, students should refer to the AU Web site ( www.prepared.american.edu ) and the AU information line at (202) 885-1100 for general university-wide information, as well as contact their faculty and / or respective dean’s office for course and school / college- specific information.

GRADED PROJECTS :

Your work will be evaluated on newsworthiness, interviews, writing, reporting, production, editing, vocal delivery, and professionalism - as demonstrated individually and in group efforts.

5 INDIVIDUAL AUDIO STORIES………………………………..= 30% LONG FORM STORY………….. …………………………………= 15% 2 AUDIO SLIDESHOWS W-AUDIO……………………………. = 10% WEB BLOG……………………………………………………….. = 10% NEWSCAST WRITING/PRODUCING/& In class work ………= 15% PROFESSIONALISM …………………………………………….. = 5% (attendance, teamwork, attitude) MIDTERM EXAM…………………………………………………. = 10% QUIZZES (Grammar & Current affairs) ……………………….= 5%

GRADED ASSIGNMENTS:

PART ONE: 5 Individual Audio Stories 1 Long form mini doc

Individual Audio Stories Reporters must come up with their own story ideas, which will be written, produced, voiced and edited by each reporter into audio news pieces called "wraps." Stories will be of varying lengths in order to give you broad experience in reporting styles - both short and more in-depth.

For academic purposes, (since you have other coursework), always write your story with the today element . For example, although you may have taped interviews for your wrap on Tuesday and it is not due in class until Friday - always write the story as if it is occurring on Friday.

ASSIGNMENTS: ON-TAPE RADIO STORIES : TIME MATTERS! 1) :35-45 Vox Pop

2) :35 Wrap – One act or more

3) :35 Wrap – One act or more

4) :50 Wrap – One act or more

5) 1:30 Wrap / Minimum of 2 actualities (from different sources)

6) 5:00 Mini doc Minimum of 6 actualities (three source minimum)

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AUDIO STORY DEADLINES: The instructor will divide the class into two groups, with each group following the deadline schedules outlined below:

GROUP A = Sept. 18, Oct. 2, Oct. 23, Nov. 6, Nov. 20, Dec. 11

GROUP B= Sept. 25, Oct. 9, Oct. 30, Nov. 13, Nov. 24, Dec. 11

Each story must include: a) Story on CD , and clearly labeled with story slug, TRT, and reporter's name.

b) A script in proper format (from handouts) that has an exact transcript of "acts" and "tracks."

c) Your list of interview sources . You must tell me the source of your story idea, include the name and identification of the interview, a contact number for them and when you did the interview. I may call your sources to confirm this information. * If all elements are not turned in together and on deadline, then the story will be considered late and will be subject to a grade penalty. In some cases the instructor may decide not to accept the assignment.

You must do an assignment in each of the following two categories: a) Do a "Breaking News " story; (no shortage of those in Washington, D.C.) Typically, this is a story that stems from an "event," like a march, demonstration, press conference or, other event created to generate press coverage. It is often publicized in advance and appears on the AP Daybook which you should scan regularly, along with AP wires for stories. b) Do an " Enterprise " story. This could be a feature or issue-oriented story. It is NOT a story that is based on someone trying to get news coverage (i.e. Daybook events like marches, press conferences, etc).

This could be public policy oriented, but also spread your wings to find other stories. It could be a personality profile, feature, or just something of interest.

One example: If you're a pet lover you might want to visit the local animal shelter (which has seen city cutbacks). Perhaps you'll look at some promising college athlete, retailers expectations this holiday season, travel to Maryland for a visit to the Renaissance Festival. Try to have good Nat sot.

I encourage creativity and enterprise. You should use your life experience to tell the story you think needs attention. This is not advocacy journalism, but you can use your background to enlighten others.

One example: An Asian student did a story about the stereotype of Asian culture in which elderly people are treated with reverence and honor above all. She found that no longer is true among many second or third generation Asians in today's youth-oriented culture. We will further discuss what this category in class and play examples.

Other stories you do are your choice but I encourage students to discuss topics with me via e- mail, phone or in-person. S uch consultation will greatly benefit your end product and satisfaction with the course and profession.

PART TWO: SOUNDSLIDES: Photos with Audio * One of these projects can be done as a companion to one of your wraps. The other must be original to just this assignment. 8

Standards:  The audio sounds clear, and the quality is good.  The photos match well with the audio as the Soundslides is playing.  The photos are not redundant, and there is a good mix of detail, close, medium and wide shots.  Every photo has an appropriate caption in the Soundslides, and there no errors in spelling, grammar or punctuation; also, no fact errors. You must provide the full name (with correct spelling) of each person in each photo!  Both the headline in the Soundslides and the credits are acceptable.

1. DUE Oct. 9 PHOTO/AUDIO SLIDESHOW Audio Length: 1:00 Number of Photos: .The rule of thumb is about 5 seconds per photo; so that would be 12 photos. Topic: Only natural sound and/or natural sound with titles, no interviews or reporter track

2. DUE Dec. 4 PHOTO/AUDIO SLIDESHOW Audio Length: 2:00 Number of Photos: 24 minimum Topic: First person narratives, told in interviewee’s own voice, no reporter track

3. WEB BLOG: This blog is a record of your work and should be professional in tone so you can show it to potential employers as evidence of your skills. a. Select a Template of your choice to plug your content into b. Write an “About” page about yourself, post photo c. Write a text story about the topic of your audio piece that serves as an introduction to the story. d. Post Audio Slideshows e. ost any Observer content you did *At the end of the class you should also post your final mini-doc and 2 nd audio slideshow

RADIO NEWSCAST RESPONSIBILITIES

During newscasts, students will be assigned rotating assignments and should be prepared to fill any role at any time. Please let me know of a particular area of interest and I will try to accommodate the request during the course of the semester.

MANAGEMENT : 1 EXECUTIVE PRODUCER: (overall responsibility) 1 ASSISTANT PRODUCER: (assignments/editor/assist EP)

TECHNICAL SUPPORT: 2 BOARD OPS: (radio board ops for commercials/music/wraps/remotes/live broadcast)

STAFF/ ANCHORS & REPORTERS: 2 LIVE REMOTES: (come with story ideas, but coordinate with management) 1 FIELD REPORTER: (come with story ideas, but coordinate with management) 2 ANCHORS/WRITERS: (come with story ideas, but coordinate with management)

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GRADING POLICIES:

By university standards, the grade of A is Excellent; the grade of B is Very Good; the grade of C is Satisfactory.

In interpreting those standards for this course, a grade in the A range means unqualified excellence, exceptional insight and outstanding performance. A grade in the B range means you are highly motivated and provide good quality work that still needs some improvement. A grade in the C range means that your work is satisfactory but needs significant improvement to reach quality standards.

REWRITES/RE-EDITS:

Stories that receive a grade of (B-) or below must be rewritten. The rewrite must be returned with the original graded story stapled to it, within ONE week or it will not be re-considered for re- grading.

If the problem is not the writing but the audio editing then you may be required to re-edit the story. The final grade will be an average of the new and the old.

Stories with a grade of (B) or better will not be accepted for rewrites. Instead, if you want to make changes do this for an improved story for your resume tape.

SECURITY:

Your name and student I.D. number will be on an authorized list with campus security and with the equipment room.

You will be issued an individual PIN # to gain entrance into determined edit rooms. Any damage or missing equipment will be tracked down to the last person authorized.

Students must report damage to equipment, normal wear and tear is expected. However, students will be held liable for negligence and in severe cases will be denied further access to university equipment.

PROFESSIONAL STANDARDS:

A) Tardiness will not be tolerated. CLASS BEGINS AT 9AM SHARP. This class is taught as if you are an employee of a radio station. Attendance is expected. If you are ill you must call my office in advance of class, a voicemail service records time and date.

B) Academic/Professional Ethics: The highest standards of personal and professional conduct are expected at all times. Standards of academic conduct are set forth in the University's ACADEMIC INTEGRITY CODE and the RTNDA CODE OF ETHICS . By registering, you have acknowledged your awareness of the Academic Integrity Code, and you are obliged to become familiar with your rights and responsibilities as defined by the Code.

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* You are expected to report to the instructor any knowledge or suspicion of violations of ethical standards which might occur among your colleagues. Covering up cheapens the profession and violators do not deserve your protection.

C) Students are expected to behave according to university standards of honesty, decency, and consideration. Every student at the university receives a student handbook which includes "Rights, Responsibilities, and the Code of Conduct," an article that defines these standards.

* Students who do no follow specified procedures of SOC classes, labs, the equipment room and media production center can lose access to equipment and facilities, thereby endangering your ability to complete class assignments on time and to satisfy course requirements.

PLAGIARISM: Plagiarism, as well as other ethical violations, will be dealt with harshly:: including possible dismissal from the Graduate Program; and-or failure in the course and a notation of such on the permanent academic record. The Academic Integrity Code includes but is not limited to: Plagiarism, inappropriate collaboration, dishonesty in examinations, papers, work done for one course and submitted to another, dishonesty in dealings with the instructor, deliberate falsification of data, interference with other students' work, and copyright violations.

BELOW IS INFORMATION DIRECTLY FROM THE AMERICAN UNIVERSITY ACADEMIC INTEGRITY CODE:

.02 Definition of Academic Violations: Members of the academic community are expected to conduct themselves with integrity as a matter of course. Certain violations of ethical conduct relate specifically to academic integrity. Academic violations include (but are not limited to) the following:

A. Plagiarism: To plagiarize is to use the work, ideas, or words of someone else without attribution. Plagiarism may involve using someone else's wording without using quotation marks—a distinctive name, a phrase, a sentence, or an entire passage or essay. It may also involve misrepresenting the sources that were used. The issue of plagiarism applies to any type of work, including exams, papers, or other writing, computer programs, art, photography, or video.

B. Inappropriate Collaboration : Close collaboration on academic work requires acknowledgment. Inappropriate collaboration involves working with someone else in developing, organizing, or revising a project (such as a paper, an oral presentation, a research project, or a take-home examination) without acknowledging that person's help. Specific policies regarding collaborative work, peer review, use of tutors, and editing may vary with individual professors.

C. Dishonesty in Examinations (In-Class or Take-Home): An examination is to be solely a student's own work, unless otherwise directed by the instructor. No communication is allowed between or among students, nor are students allowed to consult books, papers, study aids or notes, without explicit permission. Cheating includes, but is not limited to, copying from another's paper; giving unauthorized assistance; obtaining unauthorized advance knowledge of questions to an examination; or use of mechanical or marking devices or procedures for the purpose of 11 achieving false scores on machine-graded examinations. Specific policies regarding examinations may vary with individual professors.

D. Dishonesty in Papers: Students are prohibited from submitting any material prepared by or purchased from another person or company. All papers and materials submitted for a course must be the student's original work, unless the sources are otherwise cited (see A and B above).

E. Work Done for One Course and Submitted to Another : Students may not present the same work in more than one course. Under exceptional circumstances, faculty members may permit a significant piece of research to satisfy requirements in two classes. However, both professors must agree in advance to this arrangement. Students are reminded that when incorporating their own past research into current projects, they need to reference such previous work.

F. Deliberate Falsification of Data : Students may not deliberately falsify data or distort supporting documentation for course work or other academic activity.

G. Interference with Other Students' Work: Students may not intentionally interfere with the work of others, such as by sabotaging laboratory experiments or research, giving misleading information, or disrupting class work.

H. Copyright Violations: Copyright laws must be observed. These laws govern practices such as making use of printed materials, duplicating computer software, photoduplicating copyrighted materials, and reproducing audio-visual works. The Code of Conduct prohibits theft and the unauthorized use of documents and requires adherence to District of Columbia and federal law. These provisions will be enforced through the Conduct Council.

Of Special Note: * It is a violation of the Integrity Code to manufacture information (such as "scripting" quotes for a interview subject to say; to "make up" names or other information; or to stage any news event - No reenactments. * All INTERVIEWS must be original , recorded from the source by the reporter submitting the story. This means NO taking of sound from radio or TV, off of news feeds, the Internet, from other students or employers. * All stories submitted for academic credit are limited to use in this class ONLY unless cleared IN ADVANCE by me. Other instructors set their own rules. If I do grant permission in advance you must submit not only the story/audio version for my class but for the other class in which the story is used. No credit will be given if the two versions are determined to be too similar.

AUDACITY EDITING TUTORIALS: (AU Center for Teaching Excellence) http://cte.american.edu:16080/weblog/nmc/AudacityTutorials/ (Good visual & explanations) ONLINE TUTORIALS ) with great Quicktime videos http://www.guidesandtutorials.com/audacity-tutorial.html

ONLINE TUTORIALS FOR ADOBE EDITION: VTC Computer Software Training (Use Quicktour and Setting up Audition) http://www.vtc.com/online-tutorials/Adobe-Audition-1.5-tutorials.htm 12

BBC ONLINE TUTORIALS FOR COOL EDIT: (previous edition of Cool Edit) Cool Edit Pro 01: http://www.bbctraining.com Interviewing for radio Microphones and sound for radio

WEB SITES FOR THOSE “IN THE KNOW:”

 http://www.j-lab.org/ J-Lab is a center of the American University School of Communication. Its core mission is to improve public life by transforming journalism for today and re-inventing it for tomorrow. Provides training tutorials.  http://www.poynter.org/ See training, Ebits and Jim Romenesko columns.  http://www.cyberjournalist.net/about/ CyberJournalist.net is a news and resource site that focuses on how the Internet, convergence and new technologies are changing the media  http://www.journerdism.com/ Online journalism, multimedia, social media, mobile, tech news & ideas.  http://www.niemanlab.org/about/ The Nieman Journalism Lab is an attempt to help journalism figure out its future in an Internet age.  http://www.newslab.org/index.htm NewsLab is an online resource center for television and radio newsrooms, focused on improving journalism.  http://www.innovativeinteractivity.com/ A digital blog about multimedia  http://www.pbs.org/mediashift/ PBS blog about the digital revolution, breaking trends  http://mindymcadams.com/ Mindy is a journalist, journalism educator, Web developer and her blog is about teaching online journalism.  http://paidcontent.org/ The company covers the business of digital media, serving decision makers within the media, entertainment, publishing, advertising, marketing, and technology sectors.

HOT INDUSTRY ONLINE THINKERS & LEADERS:

 Jay Rosen's PressThink: http://journalism.nyu.edu/pubzone/weblogs/pressthink/  Clay Shirky: http://www.shirky.com/  Jeff Jarvis's BuzzMachine: http://www.buzzmachine.com/  Jim Romenesko: http://www.poynter.org/column.asp?id=45  MediaBistro: http://www.mediabistro.com/  PaidContent: http://paidcontent.org/  Will Sullivan's Journerdism: http://www.journerdism.com/  Mark Potts' Recovering Journalist: http://recoveringjournalist.typepad.com/  Online News Association: http://www.journalist.org/  Dan Gillmor: http://dangillmor.com/  Chris Anderson: http://www.thelongtail.com/  Steve Fox: http://www.umass.edu/journal/UMAJournalism/facultyStaff/bios/fox_bio.html

RECOMMENDED WEB VIEWING :

If you look at multimedia work on these sites, you'll have a good idea what is being done in today's online-savvy newsrooms.

 USA Today http://www.usatoday.com/  Camera-Works (washingtonpost.com) http://www.washingtonpost.com/wpdyn/  content/photo/  Multimedia and Photos (The NYTimes)  http://www.nytimes.com/pages/multimedia/index.html  Mpls. Star & Tribune (under multimedia) http://www.startribune.com/ 13

 Multimedia (Las Vegas Sun) http://www.lasvegassun.com/multimedia/  Multimedia Production Studio http://mediastorm.org/  Interactive Narratives: "The Best in Multimedia Storytelling and Multimedia Journalism"  http://www.interactivenarratives.org/

ON LINE RADIO NEWS WITH AUDIO:

The following on line radio news sites offer audio news reports, not just print stories. a) www..org An excellent source of on-line audio and scripts from correspondents across the world. b) www..com/audio Install Real Player and you can listen to CNN radio news on your computer. c) www.news.mpr.org This is the site of Minnesota Public Radio, an excellent resource. d) www.wamu.org. Go to Metro Connection for archived audio news stories. e) www.transom.org . A site for channeling new work and voices to public radio through the Internet, for discussing that work, and encouraging more f) www.prx.org. A nonprofit grab bag of radio pieces. g) http://www.airmedia.org Independent radio producers h) www.journalists.org The ONLINE News Association.

BROADCAST AWARD COMPETITIONS & SCHOLARSHIPS The following awards and scholarships are usually annual awards but may be subject to change. They are provided to make you aware of opportunities and deadlines.

JUREY AWARDS: This annual $1000 award is available for an SOC undergraduate or graduate student.

Students must submit: * A 1,000-5,000 word essay, typed and double-spaced, on why they are pursuing a career in broadcast journalism. * A one-page resume highlighting educational and professional background. The award is evaluated on the quality of the essay; commitment to broadcast journalism as evidenced by school and/or professional experience; performance in the academic program; financial need. Essays and resumes should be submitted electronically.

MERRIMAN AWARD: This annual $1000 award is available to an SOC graduate student in the broadcast track. In addition to the award, the winner attends the annual awards meeting of the Writers Guild of America, East in New York City (usually in Feb.). The winner is expected to attend and make a few remarks. The trip is paid for by the Merriman award committee. Students must submit: * A one-page essay on why he or she is pursuing a career in broadcast journalism * A two-page essay on what is right and wrong with radio and television new * A resume The award is evaluated on the quality of the content and academic achievement.

SOC VISIONS FESTIVAL: (Spring) This annual SOC festival celebrates the work of visual media and broadcast journalism students and the creative projects they have completed during the current academic year. 14

Students are limited to submitting a maximum of three entries per category. In the past, winners have been awarded $50.00 Categories include both radio and television stories.

RTNDA: Radio Television News Directors Association: This professional association has professionals, educators and students in membership. RTNDA sponsors several scholarships for undergraduate, graduate, and minority students. Go to their web sites located at www.rtnda.org and click on Awards and Scholarships for specific details.

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AGENDA: (Subject to change as necessary) DATE TOPIC ______Aug. 28 Introduction: Sound Storytelling / Field Equipment (Edirol, Marantz) / Adobe Audition ______Sept. 4 Quiz #1 (Grammar, Broadcast style, Current events) Adobe Audition 9:00-12:00 Lecture:Audio Writing 1:00-3:00 Read Chapters ______Sept. 11 Quiz #2 (Grammar, Broadcast style, Current events) Lecture: ENPS Producing Read Chapters 4-7 Podcasting Wrap #1=Group A ______Sept. 18 Quiz #3 (Grammar, Broadcast style, Current events) Mock Producing Newscasts on ENPS/In Radio Labs Lecture: Vocal Delivery Wrap #1-Group B ______Sept. 25 Quiz #4 (Grammar, Broadcast style, Current events) Wrap #2-Group A Newscast #1 ______Oct. 2 Midterm Exam Wrap #2 Group B INDIVIDUAL WORK DAY – NO REGULAR CLASS after midterm except for Possible Shadowing with WAMU for 1-3 students ______Oct. 9 Wrap # 3 Group A Newscast # 2 First Audio Slideshow Project Due ______Oct. 16 FALL BREAK DAY – NO CLASS ______Oct. 23 Wrap #3-Group B Newscast #3 ______Oct. 30 Wrap #4-Group A Newscast #4 ______Nov. 6 Wrap #4-Group B Newscast #5 ______Nov. 13 Wrap #5-Group A Newscast #6 ______Nov. 20 Wrap #5-Group B Web Blog Due Newscast #7 ______Nov. 24 Wrap #5-Group B Individual Work Day – Class meets on Tues. as Fri. is Thanksgiving Break ______Dec. 4 Possible Field Trip 2nd SoundSlides with Audio Project Due ______Dec. 11 FINAL PROJECT = LONG FORM PROJECT DUE Presented in person This must be presented in person as this is the designated final exam day ______

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