Sources and Contacts:
- A Broadcast Journalist relies on a wide range of sources and contacts in the never ending search NEW news
- The best journalists do not just sit around and wait for an idea to appear, they go out and FIND it...
- You now have experience from the documentary unit of some of these - suggestions on how to find new stories?
How journalists find stories with "news value":
- Working what Fishman (1997) called 'patrolling' much like a police officer on recognised chains of information to supply potential stories with 'news value'.
- What 'beats' form part of this chain of information?
- Many of these 'beats' are exclusively accessed by news journalists e.g. calling police stations or press offices.
- But in doing so, what other stories are ignored? Is it right to give priority to those particular sources? Why?
Primary Sources:
- Your own direct contacts
- original sources direct from source material e.g. archive material from libraries etc such as kew (National archives)
- Public appeals
- Press releases/ Official Stats
Secondary Sources:
- Stringers (freelancers)
- Other platforms/ Media
Wires:
- Newsrooms frequently trawl 'the wires' for up to the minute tip offs on news stories such as -
- PA (Press Association) - provide a range of news stories and content for print and digital media for the UK and Ireland
Correspondents:
- These subject specialists work in newsrooms and are prized for their in depth knowledge and well honed contacts - often invited to confidential 'lobby' briefings with politicians and on the mailing lists of important relevant bodies
- 'Lobby' politics - influential groups lobby the government in such meetings to get their views across and attempt to influence policy.
Foreign News Sources:
- Journalists, editors and correspondents based permanently abroad for news networks e.g. Gavin Hewitt Europe Editor or Mark Mardell North American Editor
- Sometimes pooled foreign news 'bureau' with other broadcasters.
- Again valued for their local contacts and on the ground knowledge and access
- Often long hours, lots of travelling due to wide area covered and can be in dangerous or politically unstable areas - special training usually needed and obviously goof language skills
Communication:
- Whichever your source of information and stories, you will need to be a consummate COMMUNICATOR in order to access these.
- As with the documentary unit, know the essentials BEFORE you make a call - do your research and know what questions you want to ask.
- Get used to USING THE TELEPHONE.
- Emails are good for exchanging information and more functional tasks, but nothing can replace a CONVERSATION thus -
- Build a rapport, gauge the person you are talking to and make a decision about them and the story
Get Them On Side:
- Sometimes you have to be prepared to be creative in order to get what you need.
- Providing you are being ethical, find ways of negotiating obstacles to gain the access you need.
- Often you need to have stamina and be prepared to push at a story and find a way of telling your story in order to make it work
- When people are reluctant to take part, sometimes with good reason, it is useful to explain this is their chance to put their side of the story.
Methods:
- The art of tracking people down is one you need to master - do your research to identify key contacts and build from there -
- Just like a private investigator you will spend a lot of time simply trying to find people
- Sometimes you have to think beyond the obvious in order to get what you need.
- Finding people who will talk might mean looking for someone outside the direct area of your story, look instead for those with a credible association with it.
Finding your Angle:
- The News 'Angle' is key to developing your story.
- The angle can be defined as the main significance of your particular audience. It is a particular viewpoint of any story.
- There will inevitably be several angles on any story, your job is to decide the angle which best suits and sells your story and will engage your audience.
Setting up your story:
Just like in the documentary unit, the proof of your journalistic skills is when you try to set you up to shoot it.
By the time you set it up you should be clear about :
- What your story is (and is not)
- Who is in your story
- Where it is (locations)
- When is it to be shot (Schedule)
- How you will tell it (treatment/ style/ angle)
- Why are you making the story
Decisions:
Journalistic instinct plays a big part in determining the tone of the story:
- Location
- Timelines
- Impact
- Prominence/ 'Impotance'
- Conflict
- Simplicity
- Broadcaster's 'values'

