A great many people who want to be writers say that they want to have a career in journalism. They may envision themselves going to exotic locales to cover stories. While these things do happen to journalists, it takes a long time to make your bones before you are sent on any interesting assignments. A journalist is someone who reports on timely events. Timing is everything to a journalist. Whether you write for a periodical or a newspaper, you need to make sure that your articles are timely. Your purpose is to keep the public as up to date as possible when it comes to news and events that may affect them. This is the basic concept of being a journalist. You should report on all sides of a story, not just take one side, even if it appears that one side is right or wrong. A good journalist gets all sides of the story, prints it and then lets the reader decide, based upon the article. A good journalist does not make up the reader's mind for them. As you continue in your career, you will find your voice when it comes to your writing. Do not be surprised if your first articles are rewritten by your editor. Another rule that you need to learn when you are starting a career as a journalist is to not fall in love with your own work. Do not feel hurt if an editor does not like a phrase in your article, or makes some changes. They are only doing their job. You will soon get to know the editor and they will get to know your style of writing.

This edited volume addresses journalism education as a central component of journalistic professionalization, making it necessary to understand what is a crucial period in most future journalists' lives. Nowadays, journalism scholars are realizing the need for more sustained, in-depth and critical studies of why students embark on such degrees, how they develop their professional views and practices at universities, how the educational curricula of journalism programs match the needs of the labor market, and also, what the news industry thinks about journalism courses and their graduates. This volume addresses all of these questions in-depth, with attention to different elements that may explain all these issues. The comparative perspective of looking at the Nordic countries breaks new ground considering the paucity of comparative studies on journalism education in specific media systems.

A first-of-its-kind guide for new media times, this book provides practical, step-by-step instructions for writing first-person features, essays, and digital content. Combining journalism techniques with self-exploration and personal storytelling, First-Person Journalism is designed to help writers to develop their personal voice and establish a narrative stance. The book introduces nine elements of first-person journalism—passion, self-reporting, stance, observation, attribution, counterpoints, time travel, the mix, and impact. Two introductory chapters define first-person journalism and its value in building trust with a public now skeptical of traditional news media. The nine practice chapters that follow each focus on one first-person element, presenting a sequence of "voice lessons" with a culminating writing assignment, such as a personal trend story or an open letter. Examples are drawn from diverse nonfiction writers and journalists, including Ta-Nehisi Coates, Joan Didion, Helen Garner, Alex Tizon, and James Baldwin. Together, the book provides a fresh look at the craft of nonfiction, offering much-needed advice on writing with style, authority, and a unique point of view. Written with a knowledge of the rapidly changing digital media environment, First-Person Journalism is a key text for journalism and media students interested in personal nonfiction, as well as for early-career nonfiction writers looking to develop this narrative form.

"How to Be an Investigative Journalist" is an instructional book about how to be an investigative journalist. Once, investigative journalist Brian Thompson was just a regular person, but now he is an investigative journalist. How did he become so? Several details of his journey are no one's business. But some are fit for public consumption, and they are included in this book.Additionally, readers will learn which skills they should cultivate if they themselves would like to become investigative journalists. Such skills include nurturing curiosity, cultivating sources, speaking in various accents, and contorting your body to fit into any size safe.After reading "How to Be an Investigative Journalist", there is no guarantee you will become one. Scholars debate the matter, but a widely held view is that investigative journalism skill is granted solely by the god God who lives in the city called Heaven. But whether or not this is true, there is no harm in reading this book.

The definitive media law guide for journalists and students alike. The only media law text endorsed by the NCTJ, McNae's offers unrivalled practical guidance on a wide range of reporting situations - an invaluable tool throughout your journalism career.

Forty years after Tom Wolfe, Hunter S. Thompson, and Gay Talese launched the New Journalism movement, Robert S. Boynton sits down with nineteen practitioners of what he calls the New New Journalism to discuss their methods, writings and careers. The New New Journalists are first and foremost brilliant reporters who immerse themselves completely in their subjects. Jon Krakauer accompanies a mountaineering expedition to Everest. Ted Conover works for nearly a year as a prison guard. Susan Orlean follows orchid fanciers to reveal an obsessive subculture few knew existed. Adrian Nicole LeBlanc spends nearly a decade reporting on a family in the South Bronx. And like their muckraking early twentieth-century precursors, they are drawn to the most pressing issues of the day: Alex Kotlowitz, Leon Dash, and William Finnegan to race and class; Ron Rosenbaum to the problem of evil; Michael Lewis to boom-and-bust economies; Richard Ben Cramer to the nitty gritty of politics. How do they do it? In these interviews, they reveal the techniques and inspirations behind their acclaimed works, from their felt-tip pens, tape recorders, long car rides, and assumed identities; to their intimate understanding of the way a truly great story unfolds. Interviews with: Gay Talese Jane Kramer Calvin Trillin Richard Ben Cramer Ted Conover Alex Kotlowitz Richard Preston William Langewiesche Eric Schlosser Leon Dash William Finnegan Jonathan Harr Jon Krakauer Adrian Nicole LeBlanc Michael Lewis Susan Orlean Ron Rosenbaum Lawrence Weschler Lawrence Wright