Bibliography Guide

BROADCAST IN A

BOX
GREAT IDEAS FOR YOUR CLASSROOM
GETTING STARTED IN HIGH SCHOOL ELECTRONIC JOURNALISM

RADIO AND TELEVISION NEWS DIRECTORS FOUNDATION
HIGH SCHOOL ELECTRONIC JOURNALISM PROJECT
SUPPORTED BY THE JOHN S. AND JAMES L. KNIGHT FOUNDATION

BROADCAST IN A

BOX
GETTING STARTED IN HIGH SCHOOL ELECTRONIC JOURNALISM

RADIO AND TELEVISION NEWS DIRECTORS FOUNDATION
HIGH SCHOOL ELECTRONIC JOURNALISM PROJECT
SUPPORTED BY THE JOHN S. AND JAMES L. KNIGHT FOUNDATION

PART I • Best Practices in High School Electronic Journalism • By Dale Russell
PART II • Ethical Decision-Making and News Judgment: Case Studies • By Bob Steele

Radio and Television News Directors Foundation
High School Electronic Journalism Project
Supported by the John S. and James L. Knight Foundation

RTNDF President: Barbara Cochran • Director, Education Projects: Carol Knopes
Project Manager, High School Journalism Project: Carolyn Terry
Project Coordinator, High School Journalism Project: Michael Song

Editor: Rosalind Stark Graphic Designer: Paul Fisher
•

ABOUT THE AUTHORS
Dale Russell is senior investigative reporter and head of the I-Team at WAGA-TV FOX 5 in
Atlanta, Ga. Russell also periodically instructs Teacher Ambassadors and other journalism
advisers and students through RTNDF’s several high school journalism training
opportunities.

Bob Steele is The Nelson Poynter Scholar for Journalism Values at The Poynter Institute in
St. Petersburg, Fla., and was director of Poynter’s ethics program for 15 years. A veteran
broadcast journalist, Steele was a reporter, executive producer and news director for local
television stations in Maine, Wisconsin and Iowa. He and his Poynter colleague, Al
Tompkins, work closely with RTNDF in its ethics programs for professional electronic
journalists.

iv BROADCAST IN A BOX: HIGH SCHOOL ELECTRONIC JOURNALISM PROJECT

FOREWORD
RTNDF is pleased to offer “Great Ideas for Your Classroom: Getting Started in High School
Electronic Journalism.” This book, and the accompanying DVD, are part of a package of
materials titled “Broadcast in a Box.” The package is intended as a toolkit for educators
who work with students or who hope to get started working with them in the important
area of electronic high school journalism.

We know that many young people want to study journalism, and we also know, thanks to
research by Jack Dvorak and his colleagues at the High School Journalism Institute at
Indiana University in Bloomington, Ind., just what are the impediments to their doing so:
school budget constraints and teachers who perceive themselves to be ill-equipped to
teach journalism in general and, in particular, electronic journalism. What’s more, a new
survey, commissioned by the John S. and James L. Knight Foundation and released in
January 2005, reports that schools are failing to give high school students an appreciation
of the First Amendment’s guarantees of free speech and a free press. This survey suggests
that student understanding of our First Amendment rights would be far greater if schools
included First Amendment study as part of the regular curriculum and if support for
student participation in student media were stronger.

So what’s a professional journalism organization to do? For RTNDF and its parent
organization RTNDA, the answer is simple: We are working with high schools across the
country to support the practice of electronic journalism. Thanks to a generous, multiyear
grant from Knight Foundation, RTNDF’s High School Electronic Journalism Project has
developed a multifaceted approach to supporting and sustaining interest in broadcast
journalism among young people. Many professional newsrooms have joined the project
and are working with schools in their areas and, we hope, many more will do so in the
years to come.

Support from the professional media is critical to the success of fledgling high school
electronic journalism programs, and RTNDF and RTNDA are committed to this important
work. With this booklet, “Great Ideas for Your Classroom,” and the DVD that accompanies
it, we hope to give journalism advisers a taste of what is possible at the high school level;
we also hope to show how the study of journalism ethics is the essential underpinning of
all good journalism. If you are a high school teacher reading this, we wish you every
success in this important endeavor. Please use all the materials in “Broadcast in a Box” and
share them with your educator colleagues. We urge you to call on RTNDF for advice and
support; we want to help and have many ways of doing so.

Barbara Cochran
RTNDF President

BROADCAST IN A BOX: HIGH SCHOOL ELECTRONIC JOURNALISM PROJECT v

HOW TO USE THIS BOOK AND ACCOMPANYING DVD

“Great Ideas for Your Classroom: Getting Started in High School Electronic Journalism,”
and the DVD that accompanies the book, are intended as starting points for teaching. The
materials give many examples of what it is possible to do with high school students who
are interested in journalism. They also help you consider the important area of journalism
ethics, as a way to guide your students through a decision-making process to support
good, credible journalism.

Curriculum materials on the subject of journalism—and high school journalism in particular—
are plentiful. To find course outlines and suggestions for electronic journalism, please go to
RTNDF’s high school journalism Web site (www.rtnda.org/resources/highschool.shtml) and
look for examples. We will regularly add contributions from educators to this Web site.
To find lesson plans and other helpful tips on general journalism instruction, go to
www.highschooljournalism.org.

High school electronic journalism teachers—and their students—should find many ways to
use “Great Ideas.” These materials have been created with flexibility in mind. The parts
can be used separately, and sections within those parts can be used individually in a variety
of classroom settings and schedules.

To use Part I, “Best Practices in High School Electronic Journalism,” you may want to
preview all the sample student stories that appear on the DVD and show those that will
resonate with your students. (Is yours a school where cheerleading is a popular activity?
Then start with Cost of Cheering. Do you want students to think about sensitivity to

BROADCAST IN A BOX: HIGH SCHOOL ELECTRONIC JOURNALISM PROJECT 1

PART I: BEST PRACTICES IN HIGH SCHOOL ELECTRONIC JOURNALISM
Commentary by Dale Russell

Editor’s Note:
To view the video selections that accompany this commentary, go to Part I of the DVD
included in “Broadcast in a Box.” Showcased on the DVD is the work of eight high schools.

RTNDF has selected these schools and their electronic journalism programs as a way to help
other programs learn what is possible for high school students to do. Student broadcasters
of every level of expertise—at large, medium and small schools across the country—
produced the stories offered here. Many are long-form stories that won prestigious scholastic
journalism awards. You’ll see the awards listed by the entries in the pages that follow and on
the printed cover of the DVD. Not all entries have won official awards; nor is every selection
technically perfect. We have included the eight selections and have invited commentary and
analysis by professional journalist Dale Russell to help provide pointers to others hoping to
produce strong high school radio and television programs. Russell offers suggestions for
similar story ideas and lessons that other schools might emulate. He also shares ideas about
ways some of the selections could have been strengthened. His broadcast critiques represent
his opinions, based on 30 years of experience working on his own award-winning stories
and, as he puts it, “learning from my mistakes.”

Special thanks to Jonathan Ebinger, who manages RTNDF’s Global Perspectives in Local News
Project and its German/American Journalist Exchange Program. Ebinger, a former producer
for ABC News’ “Nightline” and for ESPN, contributed commentary on “One Wild Ride.”

RTNDF will provide periodic additions to these selections on its Web site for the high school
electronic journalism program: www.rtnda.org/resources/highschool/shtml.


INTRODUCTION
I have seen the future of journalism—and it looks bright.

I saw the future on the streets of San came into journalism in the heyday of
Francisco as I walked arm in arm with a Watergate, a time when journalists were
brash high school student who happens to more likely to be viewed as trusted public
be blind. She made her way through servants continuing the time-honored work
thousands protesting the onset of war in of holding the powerful accountable.
Iraq and half a dozen potential interviews
until she found one amazing story. It was Tomorrow’s journalists face challenging
about a veteran who had lost his brothers times. Not only have we seen a huge
in Vietnam, but was at the San Francisco proliferation of media—hundreds of
protest to show support for the new war. channels, thousands of “blogs”—but also,
attention to mainstream journalism is
I saw the future in the eyes of Jesus declining, especially among the younger
Gonzalez, as he regaled me over lunch with set.
stories about how easy it is to get guns in
his neighborhood and his astonishing views What do we veterans know about the
on the way New York police treat Latino journalists of tomorrow?
youths. Jesus had done stories on these
topics and more, including a commentary Two years ago, when I began working for
advising Mayor Bloomberg on how to fix RTNDF’s High School Electronic Journalism
New York schools, for WNYC’s Radio Project, I wasn’t sure what I’d find, whom I
Rookies training program in that city. would teach, and what I expected them to
learn. Would I encounter apathetic slackers
I heard the future in stories from other with exposed midriffs, baggy pants,
Radio Rookies participants, who dissect multiple piercings and attitude?
and unravel their own lives in
autobiographical pieces that make you Would students listen? Would teachers
laugh, cry and walk away with a better care? The answers came quickly.
understanding of what it means to travel in
another person’s shoes. We immediately discovered that you teach
high school students the way you teach
I saw the future in Springfield, Mo., in the college students, small-market reporters
work of the students of Hillcrest High and photographers and large-market
School’s Dave Davis, who is as good a journalists. You teach the basics of
teacher as I’ve ever met and, in my book, journalism, stressing accuracy, accuracy,
one of the best “news directors” in accuracy, balance, accountability and
America. ethics. You teach them at a high level
because it doesn’t take long to realize they
Let’s face it. Ours is a battered and bruised already have jumped over the bar you had
industry. We are not well liked, nor hoped to set for them.
particularly trusted. Every day our work is
dissected and scrutinized by radio, And they listen. Boy, do they listen. They
television and newspaper pundits of all soak up all you can throw at them and
political stripes. We watch as our industry’s come back asking for more. They write, at
brightest stars make mistakes that cast a times squeaky-clean copy, wedded to the
dark shadow across all our work. video and they shoot as steady as a tank
embedded in desert sand. They find
This is tough to accept for those of us who wonderful, tough, quirky and funny stories

4 BROADCAST IN A BOX: HIGH SCHOOL ELECTRONIC JOURNALISM PROJECT

that highlight the world of the American able to help kids tell the stories of your
adolescent. They are devoted to finding the school in ways that matter to them. Teach
truth and just as devoted to making the them how to report with precision,
truth compelling television. accuracy, sensitivity and thought, in ways
no other journalist can because no one
The stories in Best Practices in High School knows the community the way they do.
Electronic Journalism vary from first efforts Teach the students to do this work because
to national award winners. You will see the rest of us need you to. Do this for the
mistakes. Shaky camera work, poor sound, future of journalism.
awkward writing, stiff on-air performance.
You also will see emotional, gut-wrenching And when you do, those of us who are
stories of life-and-death issues. veteran journalists will rest easy, knowing
that tomorrow’s lights are shining brighter
Watch closely. Learn from the mistakes. every day.
Emulate the winners.
—Dale Russell
Watch closely and apply what you learn in Senior Investigative Reporter
your own program. Watch so you will be WAGA-TV


YOU DIDN’T HEAR THE BIRDS SING
Hillcrest High School, Springfield, Mo.
Megan Matrone

Winner: 2002 National Scholastic Press Association Broadcast Story of the Year

This is a great story with The reporters let the characters talk, giving
few flaws. It’s a powerful them room to show their personalities and
tale that puts a fresh face on their pain, as well as their hopes and
a compelling topic. dreams. We see a nice use of photographs
to bring life to the parents who have
“You Didn’t Hear the Birds passed away.
Sing” is the story of a local
teen who lost both parents Like so many others on this DVD, the
to AIDS. It captures the pain reporters missed a couple of good chances
of his loss through strong for natural sound. One good chance would
interviews. have been when the grandmother was
interviewed. Another, when the boy walks
Don Hewitt, the legendary producer of the campus alone. In addition, when we
CBS’ “60 Minutes,” says the secret to that learn that the high school student lives
show’s success was that “people listen to alone, I wanted to see where he lived and
television.” He knew the power of great what his place looked like.
characters telling compelling stories could
match even the power of strong video. From a factual point of view, I also wanted
Megan Matrone’s is a “60 Minutes”-style to hear a little bit about how the American
story. blood donation system is checked more
closely now than it was in the 1980s. I
think that would be fair to today’s blood-
donor institutions.
YOUR SCHOOL, YOUR STORY
How do you deal with the issue of privacy, especially with But all in all, this is a terrific bit of
regard to young interview subjects? Casey Martin is a Hillcrest journalism. One to watch and learn from.
High School graduate by the time Megan Matrone reported
the story. He is able to give consent to Megan and understands
the implications of discussing his parents’ death from AIDS. If
you were interviewing teens still in high school, how might you
deal with these issues?

Could you tell the story as effectively without divulging
personal information? What techniques could you use? What
might be the impact of a story like this on its subject? Would
classmates treat him or her differently?


GAHANNA BILL
Gahanna Lincoln High School, Gahanna, Ohio
David Spunt

Winner: 2003 Ryan White Excellence in Journalism Award

There is much to brag about in this sound of the scene and use
wonderful profile of a disabled, long-time it to let stories “breathe”
employee of the local high school. The and come alive.
selection of Bill as the focus tells me these
are young journalists with a keen eye for I think it took too long to
what makes a great story. hear from Bill. Clearly, he is
a challenge to interview, but
The piece starts slowly, setting the scene of I wanted to hear his own
a small town, then quickly introduces us to words earlier, to see for
Bill. Note the use of old pictures, home myself how his disability
movies and a simple shot of Bill’s bedroom affects him. Finally, there
to tell the viewer who and what Bill is was too much music. Natural sound would
about. One complaint: When the reporter have been a much better way to tell the
talks about Bill’s parents dying, I wanted to story.
see the parents’ pictures there. Try to
match pictures to the writing whenever But all in all, this story is a gut-wrencher and
possible. one that should make its creators proud.

Consider a story’s beginning, middle and This is the kind of heart-warming story that
end. I love to bring stories full circle. The makes principals want to stand up and
graduation might have made a more shout with joy. Air a few like this and you’ll
compelling opening scene. Always try to soon be able to do tougher, hard-edged
begin with either your best video or best stories. This piece tells volumes about what
sound. If that’s not possible, you must makes Gahanna Lincoln High School
write a compelling lead. Use lots of natural special. I know from experience that this is
sound over the cheering and hugging, and the kind of story a young journalist never
write something like, “Many of us take forgets.
graduation for granted, but for Bill,
nothing could be taken for granted.” Then
start the story and bring it back to the
graduation again at the end. YOUR SCHOOL, YOUR STORY
Look for the “Bills” in your school. Talk to cafeteria workers,
As was true for the first story on the DVD,
janitors, the oldest teacher, the youngest. Find out who are
the reporters here missed many great
your school’s compelling characters and tell their stories.
opportunities for natural sound: Bill
hugging his friends, his graduation,
Rearrange some elements of the story structure. Watch the
working on the football field. Get that
story closely. Break it down into segments. Think of how many
microphone in there, pick up the natural
different ways you could tell Bill’s story.


COST OF CHEERING
DeKalb County School System, Decatur, Ga.
Sade Miller

This is a good local high I am becoming a broken record on this
school story that asks topic: We need to hear more natural sound
serious questions: Why is it and, when we have it, we need to use it
so expensive to be a more effectively. Let’s hear it, for example,
cheerleader? Is it worth it? before that first line from the reporter,
“Cheerleading is a common sport enjoyed
Our young journalist sets up by girls in DeKalb County.” We missed a
interviews with parents, a great natural sound-on-tape (nat/SOT)
cheerleading coach and the opportunity at the fundraiser. Natural
athletic director. She asks sound is what makes a story come alive.
some tough questions that Use it as often as you can.
make the athletic director squirm. Good
job! She fleshes out the many sides of the Also, we saw an entire story on
issue well. But: I also would like to have cheerleading and I never saw one
heard a quick bite from football parents. Is cheerleader in uniform. Everything was
it different for them? Do they receive more shot at one practice. Let’s see the
school support? We saw an entire story on cheerleaders in action, at a game. And if
high school cheerleaders, but no interviews there is no game, get pictures of them in
with cheerleaders themselves. Why not? uniform.

When the cheerleading coach first spoke,
we didn’t introduce her. The “super”
(name and description telling viewers who
is speaking) is not enough. Many people
Choose an extra-curricular school activity. Investigate how listen to TV without watching. They are
much it costs for a student to participate. Which activities cost cooking dinner, playing with the kids,
the most: sports, music, drama. Why? doing housework. It is important to show
who is speaking with both written and
Be a television critic. Sometimes the shots of girls cheering spoken IDs.
seemed to drop into the story out of thin air. How would you
do it differently? Overall, I’d say journalist Sade Miller did a
good job picking a topic and exploring the
How do students in your school raise money to pay for issues. A few simple changes would have
participating in activities? made her story sing.


ONE WILD RIDE
Henry County High School, New Castle, Ky.
Tracy Tipton and Megan Foree

This is a good piece that explains what’s I liked that the students
involved with bull riding. The intro is a bit worked to show James in his
unusual; I presume a standard intro for these helmet over the track line
students’ stories is a “2-shot” with the about his recently obtaining
student hosts. The students made good use headgear. However, the shot
of James’ sound, featuring him prominently, was so short—fewer than 30
having him explain in his own words why he frames—that it seriously
likes the sport, what’s involved with it and compromised the story’s
what the costs have been. pacing. Consistency is
important. If you’re cutting
Broadcasters have equipment that can do 15-20 frame shots for a piece,
cool things with sound, graphics and go with it. But in a story with 30- and 40-
image, but this doesn’t mean we should second static shots of an interview subject,
use that equipment on every piece. The a fast shot of the helmet seems off kilter.
sound effect on the word “bullrider” at the
top of the story was good, and draws you The students might have shot pieces of
in, but the graphics package should have equipment that James described (helmet,
come under this sound, not 10 seconds chaps, Kevlar vest) after the interview, so
later. This created too long an intro for a they could drop in shots or create a
short piece, wasting time. Also, showing graphic montage to show, up close, what
James in slow motion coming out of the James was describing.
gate at the top of the piece undercuts
what the students are trying to document: And there’s a lost opportunity: The reporter
Bullriding is a fast and dangerous sport indicates that James went to the hospital
that requires conditioning and discipline. following one ride and we see the spill that
“Slo-mo” does the opposite and more sent him there. But where’s the rest of the
typically is used to enhance dramatic story? This is big news. We hear nothing
moments or showcase something in more about this and can’t tell the nature of
particular we want the viewer to notice. his injuries, the length (if any) of his stay in
the hospital, when this kept him from
The piece would benefit from more video competing and whether he will (or is able
of James performing. It seems as though to) continue competing.
the reporter only went to one of his
competitions —and at that one, James was This is a decent piece, covering some good
injured. Tape of James performing could ground with an unusual subject, but one
have run over his interview, after the viewer that could have gone further with a little
has developed a sense of who he is, what more work and time.
he looks like, how he speaks, etc. Instead,
we have a long, somewhat static interview
of James in front of a fence; this could have
been done anywhere. We soon tire of this
Seek out students participating in activities that are not
backdrop, so dramatic video to cover
necessarily sponsored by your school. See if you can arrange to
portions of the interview would have been
document those activities—what students are involved, how
helpful.
they became interested, how much they practice, what special
equipment they need, etc.


MARATHON
Stratford High School, Goose Creek, S.C.
Daniel Winegardner

Winner: 2004 Southern Interscholastic Press Association Broadcast Award

There is much to like here: student been running? What started him
“Marathon” is a wonderful running? Why did he become a distance
slice-of-life piece. We meet runner? How early does he get up to train?
two young athletes doing Does he have time to participate in any other
something unusual and sports?
difficult.
The more you flesh out the characters, the
Look at the story closely. The better your story will be. Strong characters
student journalists chose to set make the story compelling. One piece of
the scene with a shot of the advice: Use some pictures of runners in old
Kiawah Island marathon races, or even a young boy running around
banner. This is certainly one way to open the outside. In this story, the entire drama
story. In fact, when you tell television stories unfolds at the marathon. When you are
you should think of them as small three-act “landlocked” like that, use your
plays, with beginning, middle and end. The imagination to bring in other elements to
beginning usually sets the scene and often break up the scene. This would be true for
introduces the main “characters” in your story. any TV story: Remember, if you have a
three-act play, you want to change the
There are many ways one could open this scenery every now and then.
story. A shot of the student runners warming
up would work: stretching, jogging, The student journalists did a good job of
preparing to run. Quick shots of the race getting out and shooting the characters
scene. Showing how runners of all ages are during the race. That was critical and well
getting ready for the 26-mile jaunt. done. A side note: When you have one main
Whichever open you pick, quickly introduce character (and you rarely have time for more
your “characters”—the student runners. than one) with a side character, don’t forget
to introduce us to that second character.
The middle of the story is where you work in There was a great moment in this story,
the facts. Who is running? Why? What did it when, soon after finishing, the second
take to prepare? The basic who-what-when- runner, Dylan Patrick, tries to talk but is out
where. Our journalists answered all these of breath. This is the “pearl” or humor that
questions. But I would have liked to see works so well in TV stories. But the
them delve deeper. How long has the journalists didn’t set him up well. He came in
out of the blue. A nice line reintroducing him
and perhaps saying, “What does Dylan
YOUR SCHOOL, YOUR STORY Patrick have to say about running a
marathon for the first time? Not much.”
Always, always shoot a standup for your stories. It is important in
Then we hear him huffing and puffing.
TV journalism to do them well. You might as well practice now.
Humor always needs a set up.
Cover a local race in your community. Are there student
In all, this is a good subject because it covers
participants? Senior citizen participants? Disabled participants? Focus
athletes who often are overlooked (runners).
on runners (or cyclists, or swimmers) who may be out of the
“Marathon” is a story that would make any
“mainstream” and tell their stories. What makes them newsworthy?
school proud.


MUSIC PIRACY
James Hubert High School, Silver Spring, Md.
Sally Lok

Winner: 2004 National Student Television Award for Excellence

This is a strong journalistic report that teacher and student
examines the question: Is it OK to steal, at together. There is also a
least when it comes to songs downloaded great opportunity for some
from the Internet? natural sound.

This piece relies heavily on graphics. And that administrator who
Fortunately, the graphics were done with said he didn’t have a
style, but I still prefer to see more “real” problem with “stealing”?
video and interviews with subjects. Still, it I would love to have seen
was clear the reporters were using many some clever writing setting
tools in the tool kit here; the story lent him up, with a line like this:
itself to this type of coverage. “You won’t believe who thinks it’s okay to
download for free: our own
I liked the easygoing opening, even the use administrator...” That way, you would have
of slang (“naaaa”) in response to the set up the punch line for a pretty good
question about how music executives make joke.
money.
I also wanted to see some video outside of
But it took too long to get to the interview. school, perhaps a music store owner
At first it wasn’t clear who was talking. talking about the issue, or people buying
Was it an interview or a speech? You can CDs. Open it up and put as many
set up the people who are about to speak additional perspectives into the story as
by using a sentence as simple as: “Ask possible.
students from our school what they think
and you hear a variety of opinions.” This story works because it is a serious
issue. The reporters talked to a lot of
I see improvements that could have been people, covering most of the angles of the
made in the story’s structure. The teen controversy.
vocalist and the choral teacher are two
strong elements of a segment. Think of
them as story-building blocks; put the two YOUR SCHOOL, YOUR STORY
together. The reporter might have said,
Remember, you are writing for the ear. Write the way people
“We couldn’t interview Britney Spears, but
talk. When you finish a script, read it out loud. Does it sound
we did talk to people who love making
conversational? Would you say it that way? If not, rewrite it
music and they can understand why artists
until it sounds like someone telling a story to a friend.
are unhappy.” Then you would introduce


S.O.S. (SPEAK OUT FOR STEPHANIE)
BVTV, Blue Valley Schools 229
Overland Park, Kan.
Matt Hayward and Lara Wilinsky


heighten drama). Remember, you’re
This story is a gem. It is hearing this from a reporter, not a
powerful and extremely well photographer. Don’t overuse artistic license
told. with this technique. If you add color to an
interview, I believe there should be a
Let’s start with the reason, a strong motive, for it. Are you
beginning. The reporter tells trying to evoke an emotion? Does the use
the story as a bit of mystery. of color fit with the feeling of the story?
Who is this girl? What
happened to her? I was I like the reporter’s standup, with one
hooked immediately. criticism. The reporter says a new law “is
I sensed something had gone terribly saving lives” but we don’t hear exactly
wrong, but I didn’t know what. As the how that happens. We know Stephanie’s
story unfolded, the horror of Stephanie’s family helped pass a law against sexual
life was worse than I had imagined. predators, but the reporter doesn’t fully
explain what the regulation states. Never
The writing is simple, clear and clean. assume people in the audience know
It is everything young journalists should anything about the story. Make it clear for
strive for. them. If you say “they passed a law,”
define what that law does.
The lighting in these interviews was
excellent: Top 10-market quality. However, I The ending was both upsetting and
advise students to be careful with color heartwarming: a nice conclusion to a
(the use of focused, colored lighting to powerful story. When high school
journalists produce this caliber of work, the
future of our business looks bright.
What if Stephanie’s parents didn’t wish to be interviewed?
Can you think of other ways to tell this story?


A CHOCOLATE CHIP COOKIE
Convent of the Sacred Heart, Greenwich, Conn.
Erica L. Jorgensen


This is creative storytelling by a student peeves. Let the story’s
who was committed to finding the truth. characters have their say.
In this case, the truth is about her own life Don’t rely on music for
and what it’s like to be the child of biracial sentimentality, especially
parents. when you have strong,
honest answers to some
First of all, I love that the young journalist tough questions. I’d rather
chose to do this piece in black and white. hear natural sound in a
It was the perfect choice for the subject story than music.
matter. The interviews were framed and
shot well and the editing was clean. A technical point: Hide your
microphone during the interview; it
They are wonderful interviews—long at distracts the viewer. You can easily run a
times—but also refreshingly honest. That is lavaliere microphone down a person’s shirt.
so hard to do with issues of race, yet this If there is just one person shooting the
student pulled it off with the skill of a interview and using a stick mic, make sure
veteran. And in great National Public Radio it is out of the frame. Let the viewer
style, she lets her subjects speak, giving concentrate on the subject.
viewers a special sense of who these
people are and how they feel. The ending was well written and brought a
smile to my face. I learned about this girl,
Another bonus is the way the journalist her family and the difficulties of interracial
expertly weaves in old photos of her marriage. What more could I want at the
parents that help to develop their end of a story?
characters. The wedding pictures were
perfect for capturing the joy on a special
day in the life of her black mother and
white father.
Is your school multi-racial? What other types of diversity are
One thought: To help set the stage, she
present?
might have used some photos from the era
in which her parents met. What was going
How much music is too much? Discuss when to use music as
on in the world when they fell in love?
background or to create the mood. Do you have the copyright
Was it during the Cold War, the Vietnam
holders’ or artists’ permission to use the music? If not, replace
War, Woodstock?
it with music you can download for free or ask a local band to
contribute tunes.
My biggest complaint is this: There was too
much music. I have seen this in many
What factors might lead you to consider using black and white
student stories, and it is one of my pet
film instead of color?


RTNDA’S CODE OF ETHICS AND
PROFESSIONAL CONDUCT
The Radio-Television News TRUTH
Directors Association,
Professional electronic journalists should
wishing to foster the highest
pursue truth aggressively and present the
professional standards of
news accurately, in context, and as
electronic journalism,
completely as possible.
promote public
understanding of and
Professional electronic journalists should:
confidence in electronic
1 Continuously seek the truth.
journalism, and strengthen
2 Resist distortions that obscure the
principles of journalistic
importance of events.
freedom to gather and
3 Clearly disclose the origin of
disseminate information, establishes this
information and label all material
Code of Ethics and Professional Conduct.
provided by outsiders.

Professional electronic journalists
PREAMBLE should not:
4 Report anything known to be false.
5 Manipulate images or sounds in any
operate as trustees of the public, seek the
way that is misleading.
truth, report it fairly and with integrity and
6 Plagiarize.
independence, and stand accountable for
7 Present images or sounds that are
their actions.
reenacted without informing the public.
PUBLIC TRUST
FAIRNESS
recognize that their first obligation is to the
present the news fairly and impartially,
public.
placing primary value on significance and
relevance.
1 Understand that any commitment other
than service to the public undermines
1 Treat all subjects of news coverage with
trust and credibility.
respect and dignity, showing particular
2 Recognize that service in the public
compassion to victims of crime or tragedy.
interest creates an obligation to reflect
2 Exercise special care when children are
the diversity of the community and
involved in a story and give children
guard against oversimplification of
greater privacy protection than adults.
issues or events.
3 Seek to understand the diversity of
3 Provide a full range of information to
their community and inform the public
enable the public to make enlightened
without bias or stereotype.
decisions.
4 Present a diversity of expressions,
4 Fight to ensure that the public’s
opinions, and ideas in context.
business is conducted in public.
5 Present analytical reporting based on
professional perspective, not personal
bias.
6 Respect the right to a fair trial.


INTEGRITY INDEPENDENCE
Professional electronic journalists should Professional electronic journalists should
present the news with integrity and defend the independence of all journalists
decency, avoiding real or perceived from those seeking influence or control
conflicts of interest, and respect the dignity over news content.
and intelligence of the audience as well as
the subjects of news. Professional electronic journalists should:
1 Gather and report news without fear or
Professional electronic journalists should: favor, and vigorously resist undue
1 Identify sources whenever possible. influence from any outside forces,
Confidential sources should be used including advertisers,
only when it is clearly in the public sources, story subjects,
interest to gather or convey important powerful individuals,
information or when a person providing and special interest
information might be harmed. groups.
Journalists should keep all commitments 2 Resist those who would
to protect a confidential source. seek to buy or politically
2 Clearly label opinion and commentary. influence news content
3 Guard against extended coverage of or who would seek to
events or individuals that fails to intimidate those who
significantly advance a story, place the gather and disseminate
event in context, or add to the public the news.
knowledge. 3 Determine news content solely through
4 Refrain from contacting participants in editorial judgment and not as the result
violent situations while the situation is of outside influence.
in progress. 4 Resist any self-interest or peer pressure
5 Use technological tools with skill and that might erode journalistic duty and
thoughtfulness, avoiding techniques service to the public.
that skew facts, distort reality, or 5 Recognize that sponsorship of the news
sensationalize events. will not be used in any way to
6 Use surreptitious newsgathering determine, restrict, or manipulate
techniques, including hidden cameras or content.
microphones, only if there is no other 6 Refuse to allow the interests of
way to obtain stories of significant ownership or management to influence
public importance and only if the news judgment and content
technique is explained to the audience. inappropriately.
7 Disseminate the private transmissions of 7 Defend the rights of the free press for
other news organizations only with all journalists, recognizing that any
permission. professional or government licensing of
journalists is a violation of that
Professional electronic journalists freedom.
should not:
8 Pay news sources who have a vested
interest in a story.
9 Accept gifts, favors, or compensation
from those who might seek to
influence coverage.
10 Engage in activities that may
compromise their integrity or
independence.


ACCOUNTABILITY 5 Refrain from ordering or encouraging
courses of action that would force
Professional electronic
employees to commit an unethical act.
journalists should recognize
6 Carefully listen to employees who raise
that they are accountable
ethical objections and create
for their actions to the
environments in which such objections
public, the profession, and
and discussions are encouraged.
themselves.
7 Seek support for and provide
opportunities to train employees in
Professional electronic ethical decision-making.
journalists should:
1 Actively encourage adherence to these In meeting its responsibility to the
standards by all journalists and their profession of electronic journalism, RTNDA
employers. has created this code to identify important
2 Respond to public concerns. Investigate issues, to serve as a guide for its members,
complaints and correct errors promptly to facilitate self-scrutiny, and to shape
and with as much prominence as the future debate.
original report.
3 Explain journalistic processes to the Adopted at RTNDA2000 in Minneapolis
public, especially when practices spark September 14, 2000.
questions or controversy.
4 Recognize that professional electronic
journalists are duty-bound to conduct
themselves ethically.


PART II: ETHICAL DECISION-MAKING AND NEWS JUDGMENT: CASE STUDIES
By Bob Steele

Editor’s Note:
Four of the five cases presented in this section are accompanied by video selections. To view
those selections, go to Part II of the DVD that accompanies this book

Carolyn Terry, manager of RTNDF’s high school electronic journalism project, prepared the
fifth case, “Shades of Grey.” It does not have a video component. To use “Shades of
Grey” read aloud or duplicate the case summary for your students. Then ask the questions
that follow.

professional journalists encounter. Like the
INTRODUCTION veterans, students must have the
The Radio-Television News Directors competence and confidence to make good
Association adopted its code of ethics (See ethical decisions that allow them to
Pages 14-16) in 2000, after holding a produce high-quality journalism.
series of conversations across the country
with professional electronic journalists. Student reporters, photojournalists and
Since its adoption, many professional producers will cover controversial stories
electronic journalists have described the where facts are elusive and fairness can be
code as the basic underpinning of their tough to achieve. Often they will deal with
work, calling it an essential part of their uncooperative sources and differing
day-to-day journalistic pursuits. opinions about the truth that make
balanced storytelling challenging. And
Student broadcast journalists face many of student journalists will report on complex
the same ethical challenges that


issues that can test their ability to produce perceived—that can undermine their
substantive and unbiased stories. credibility and the integrity of their
reporting. Student journalists should not
Whether it’s covering tension between the report about activities in which they are
school’s administration and student groups personally involved and they must not
or reporting on the struggles of a school’s show favoritism to friends. Issues of
sports team, student journalists will deal with journalistic independence can be tough for
human beings who are affected by the professionals to grasp and honor. These
reporting. There are stories to be told about issues can be even more difficult for
important issues such as school safety, race student journalists who live in a world of
relations and sexual orientation. And there competing loyalties and evolving views of
are stories to be reported when a tragedy authority figures, from parents to teachers
strikes the school community. In all of these to administrators.
situations and many more, student
journalists will encounter vulnerable Teachers and advisers can help students
individuals. Excellent and ethical journalism is develop the critical thinking skills needed
a balancing act that requires professionalism to avoid many ethical problems and
and compassion while still pursuing and stumbling blocks. Teachers also can provide
producing newsworthy stories. sound ethical decision-making processes to
address and resolve thorny issues the
And student journalists, just like the pros, students can’t avoid. These processes will
must avoid conflicts of interest—real and help aspiring journalists work their way

DOING ETHICS: COMPETENCE AND CONFIDENCE

• The best time to deal with an ethical issue is before • Good intentions are not enough when it comes to
it becomes a problem. Anticipate the ethical ethics. You must have the capacity to carry out your
challenges you might face before you are in a intentions.
minefield.
• Ethical decision-making is a competence—a skill you
• Start your ethical decision-making process by can develop and improve. The better you are at it,
defining the problem. Don’t try to “solve” the the greater your confidence in your ability to do the
ethical challenge with a simple “What should I do?” right thing.
question.
• Ethical decision-making is about communication.
• Don’t let your “gut” drive your decision-making. You must be able to make your point clearly and
Listen to your gut, but don’t blindly trust it. Use your concisely and justify your thinking.
head and your heart as well.
• High-quality ethical decision-making does not deter
• Always consider at least three alternative solutions to substantive, public-service journalism and aggressive
an ethical question. investigative reporting. It supports it.

• Make time for making good ethical decisions, even • Excellent journalism cannot exist without quality
on deadline. ethical decision-making.

• Avoid “doing” ethics alone. Collaboration produces
better decisions. — Created for The Poynter Institute
by Bob Steele


carefully and successfully through ethical • Is a skill that can be learned, continually
minefields. It’s a matter of building developed and regularly applied in very
competence and confidence in ethics and practical ways in a wide range of
ethical decision-making. situations.
• Is a process for sound thinking and
Student journalists (again, just like the justifiable behavior that is built on a set of
pros) will benefit from guidelines that set guiding principles that serve as a moral
standards for ethical behavior. RTNDF compass.
offers a selection of these guidelines in the • Is less about rigid rules and more about
Appendix (See Page 37). The guidelines reflection and reasoning.
have been developed for professional • Is not so much about knowing the answers
journalists and newsrooms, but also will be to every ethical challenge you will face, but
helpful to student journalists as they knowing what questions to ask to help
contemplate best ways to cover news in make good decisions and avoid problems
their own communities. or resolve dilemmas.
• Is most effective when it combines
These guidelines and checklists are not personal responsibility with meaningful
intended as rigid rules (that approach may collaboration. Each individual should be
deter good reasoning and sound decision- held accountable for his or her behavior,
making), but as benchmarks to guide but decisions ideally are made with
practice and behavior. Additionally, it’s wise considerable input from a number of
for teachers and advisers to develop clear individuals where contrarian notions are
standards that will help their students valued and consensus is sought but not
avoid the serious pitfalls of plagiarism and mandatory.
fabrication.

THE GUIDING PRINCIPLES
A TOOL BAG FOR MAKING Journalism is not a profession in the same
TOUGH CALLS sense as medicine or law where individuals
have a prescribed course of study and then
The approaches and case studies offered here
seek and achieve a license to practice.
are specifically geared to the practice of
However, journalists can carry out their
journalism, but the lessons taught and
work based on certain accepted standards
learned will be applicable for years to come,
and practices that are the foundation of
whether the students become journalists or
professionalism.
choose other careers.

This professionalism is connected to the
Professional journalists regularly refer to codes
purposes and roles of journalism in a
of ethics and other guidelines to help shape
democratic society and the duty of
their decisions, especially as they grapple with
individual journalists. The professionalism is
difficult choices in news coverage. Please see
expressed in three guiding principles,
RTNDA’s Code of Ethics and Professional
developed by the faculty at The Poynter
Conduct, Pages 14-16. The Code also is
Institute and taught to thousands of
included in “Broadcast in a Box” in wallet-
journalists since 1990.
sized format. It is available online at
www.rtnda.org/ethics/coe.shtml.
These guiding principles are just as
applicable to student journalists as they are
This process for making tough calls is based
to professionals. The principles serve as a
on the belief that sound ethical decision-
moral compass, establishing ideals for
making:
practice and behavior. We know that


perfection is unattainable but professionals strive
GUIDING PRINCIPLES FOR
for it nevertheless.
JOURNALISTS
In reality, the guiding principles often are in
1. Seek truth and report it as fully as possible.
tension with each other. For instance, when
• Inform yourself continuously so you in turn can
reporters seek the truth on justifiably
inform, engage and educate the public in a
newsworthy stories they often deal with
clear and compelling way on significant issues.
individuals who are vulnerable to some harm. A
• Be honest, fair and courageous in gathering,
journalist who is reporting on a series of suicides
reporting and interpreting accurate
by students at area high schools likely will need
information.
to interview some family members of those
• Give voice to the voiceless.
students to ensure factual accuracy in the stories
• Hold the powerful accountable.
and to achieve fairness. Yet, those interviews are
inherently intrusive and can cause some
2. Act independently.
emotional harm to the grieving relatives.
• Guard vigorously the essential stewardship role
a free press plays in an open society.
Similarly, there can be tension between the
• Seek out and disseminate competing
principle of truthseeking/truthtelling and the
perspectives without being unduly influenced
principle of independence. For example, in the
by those who would use their power or
story about suicides in the school district, the
position counter to the public interest.
reporter should acknowledge legitimate concerns
• Remain free of associations and activities that
raised by school administrators about the privacy of
may compromise your integrity or damage your
individuals, but the journalist should not be
credibility.
deterred by the authority the administrators might
• Recognize that good ethical decisions require
wield to stop certain essential reporting steps. Or,
individual responsibility enriched by
the reporter might be a friend of one of the
collaborative efforts.
students who committed suicide. In that case, it
probably would be doubly difficult for the reporter
3. Minimize harm.
to interview family members in a balanced (non-
• Be compassionate for those affected by your
emotional) fashion.
actions.
• Treat sources, subjects and colleagues as
The reporter must balance his or her reasonable
human beings deserving of respect, not merely
quest for information with a high level of respect
as means to your journalistic ends.
and compassion for the vulnerable individuals,
• Recognize that gathering and reporting
choosing methods and timing for the interviews
information may cause harm or discomfort, but
in order to minimize harm.
balance those negatives by choosing
alternatives that maximize your goal of
truthtelling.
THE DECISION-MAKING
PROCESS: ASK GOOD
— Created for The Poynter Institute
QUESTIONS
by Bob Steele
Many journalists, rookies and veterans alike,
These three guiding principles also were used in
make a critical mistake when they encounter an
“Doing Ethics in Journalism,” a handbook published
ethical challenge. They start by asking, “What
by the Society of Professional Journalists, by Jay
should I do?” That question suggests there is an
Black, Bob Steele and Ralph Barney. The same three
easily arrived at answer. It assumes you know
principles, along with a fourth principle—Be
enough to make a good decision right away.
accountable—subsequently were used by SPJ in
That’s seldom the case. Even when a deadline is
rewriting its code of ethics.
imminent, there is always time—even if only a


brief period—to assess what you know and more time to deal with the tragedy. Or
determine what pieces of information you perhaps we will contact the family through
may still need to know. an intermediary so we are less intrusive in our
request. And when we interview the parents
That’s why we advocate a list of 10 Good we will make sure we know enough about
Questions to Ask when making ethical the effects of trauma to avoid certain types
decisions that starts with “What do I of particularly harmful questions.
know? What do I need to know?”
There is an inherent and important Journalists can identify and choose from
connection here between the ethical alternatives—and we should always
decision-making process (designed to make consider at least three in every situation—
a good choice leading to a justifiable action) to avoid the simplistic “do vs. don’t do”
and the traditional reporting process trap in ethical decision-making. Having to
journalists apply all the time. Reporters keep choose from among several alternatives
searching for additional pieces of works in every possible tough call a
information—facts, documents, points of journalist might face, from deciding when
view, etc.—that can prove or disprove to use a graphic image in a story to
certain assumptions and lead to better and deciding if a hidden camera is justified in
more truthful stories. the reporting process to determining how
a reporter can avoid a conflict of interest.
Starting with the “What should I do?”
question can lead to making a decision that All 10 questions on the list serve as key
assumes there are only two possible choices steps in the decision-making process, a
for action. Again, to use the student suicides process that is built on the guiding
story as an example, one might ask, “Should principles. Some professional journalists
I interview the suicide victim’s parents?” That repeatedly have used these questions to
implies a “yes” or “no” choice. That’s very the point where they are intuitive and
limiting. In reality, there can be other second nature—the questions kick in and
alternatives. We might interview the parents are asked quickly and efficiently. Other
tomorrow instead of tonight so they will have journalists literally post these 10 questions

ASK GOOD QUESTIONS TO MAKE ETHICAL DECISIONS
1. What do I know? What do I need to know? 7. What if the roles were reversed? How would I feel
if I were in the shoes of one of the stakeholders?
2. What is my journalistic purpose?
8. What are the possible consequences of my
3. What are my ethical concerns? actions? Short term? Long term?

4. What organizational policies and professional 9. What are my alternatives to maximize my
guidelines should I consider? truthtelling responsibility and minimize harm?

5. How can I include other people, with different 10. Can I clearly and fully justify my thinking and my
perspectives and diverse ideas, in the decision- decision? To my colleagues? To the stakeholders?
making process? To the public?

6. Who are the stakeholders—those affected by my — Created for The Poynter Institute
decision? What are their motivations? Which are by Bob Steele
legitimate?


at their desks to serve as a visual reminder failing to hear differing views. Or they may
of the process. be making decisions based on too much
emotion and not enough reasoning.
Just like any tool, the questions are most
effective when they are used skillfully. That A good decision-making process involves
requires practice. They should be used more than just using the gut. We must
regularly and systematically. move to a second level: “rule obedience.”
Here we examine what standards,
guidelines and professional practices apply
THE GUT IS GOOD, BUT IT to the particular ethical issue at hand.
ISN’T ENOUGH What is our station’s policy on covering
suicide, for instance? What guidance do
Many veteran journalists talk about using experts in this field offer to journalists?
the “gut” to make ethical decisions. They [Editor’s note: If students are faced with
speak of that almost-real feeling in the covering suicide, there are many resources
stomach that tells them what to do when to help. For example, the American
facing a tough ethical call. Foundation for Suicide Prevention has
recommendations for the media on how to
In reality, the gut isn’t all it’s cracked up to report on this difficult subject:
be. Yes, it can serve as a good trigger for http://www.afsp.org/education/
our concern about an ethical issue. Our gut recommendations/5/index.html.]
can tell us to “watch out” when we think
we’re being manipulated by someone, Even as we ask these questions and others,
perhaps a school official who is giving us it’s important to keep the decision-making
only part of the truth. Our gut reaction can process going. Too often someone in the
prompt us to keep asking questions to newsroom says, “Here’s what we should
probe deeper and get more information. do because this is the ‘rule.’” That rule
implies rigidity and finality and the
But at times our gut reaction also can be decision-making stops.
so strong and visceral that it keeps us from
making good decisions. Too many If that happens, the process fails to get to
journalists quickly back away from covering the third and important level: “reflection
suicide because they don’t want to intrude and reasoning.” That’s where much of the
on the privacy of individuals or fear they important work of ethical decision-making
will feed the contagion/copycat syndrome. takes place. It’s where you test what you
Both are legitimate concerns, but it’s know and what you may still need to
possible (and experts on suicide support know; where you don’t just state your
this) to find justifiable ways to cover the beliefs and lock into them, but seek and
issue of suicide to minimize intrusion on listen to other views, including those that
privacy and the likelihood of fueling are different and counterintuitive.
copycat suicides. And reporting on this
important issue may help others in the At the reflection and reasoning level you
viewing or listening audience to recognize identify stakeholders—those who will be
tell-tale signs that someone they know affected by your decision—and you weigh
might be having suicidal thoughts. the consequences to these stakeholders.
You also point to and consider multiple
The key is to “Listen to your gut, but don’t alternatives—at least three—for a course
blindly trust it.” At the gut-reaction level, of action. At this level it is important to
journalists are trapped in that do vs. don’t justify your thinking and your resulting
do syndrome of listing only two choices. action. You have to be able to explain not
They may be talking and not listening,


3. Anchor the gut/rule/reflection approach (much as you would ask a music
in specific case studies. Let students student or medical student to keep
learn for themselves how their gut practicing a particular technique over
reactions can be trap doors that keep and over.)
them from making good decisions.
8. Don’t try to accomplish too much too
4. Teach the cases by working quickly. Even veteran professionals
purposefully through the series of struggle with the idea of developing
questions in a Socratic manner. Don’t sound ethical decision-making skills.
give the answers, but ask probing This will be challenging for your
questions to challenge students to students as well. Take the time to
think for themselves. The questions sharpen their skills. Resist the
that accompany each case are temptation to move from case study
designed to force the students to test to case study too quickly.
their assumptions and to recognize
contrarian views from others. In some 9. Prepare carefully for each session.
of the cases, we’ve added questions in Have a course of action in mind in
brackets, after the initial question. terms of what learning points you
These are designed to help you “peel want to emphasize. Know the cases
the onion” and probe more deeply and what you want to emphasize in
with students. the case and in the video. Plan your
steps in terms of the questions you will
5. Use role-playing at times, asking ask. Think about how you can involve
students to play the roles of various more students, limiting but not
individuals. Some students might be shutting down the “talkers” so others
journalists, others might be subjects of will take part in the discussion.
the story or sources, viewers or
listeners. 10. Model good ethical decision-making
yourself. Resist the temptation to be
6. Occasionally ask students to spend a the one with the answers. Guide the
few minutes writing responses to a students through your knowledge of
particular question you pose as opposed the process and use of the principles.
to starting discussion immediately. Then
call on certain students to read what 11. Ask students to provide critiques of
they wrote. This gives quieter students the learning process, not criticism of
an opportunity to weigh in. It also others but observations on what they
forces the “shoot from the hip” personally took away from working
students to do some reflection before through cases and issues.
they start spouting their thoughts.
12. At the very end of the class discussion,
7. Use the guidelines in the Appendix when all students have analyzed and
(Privacy, Hidden Cameras, Sources, thoroughly discussed the case under
Hostage-Taking Situations, etc.) as consideration, reproduce or read aloud
tools in working through cases. the case summary (found following
Require the students to be deliberate the questions for each). That way,
in their decision-making, to keep students will learn how professional
working rigorously on a specific point newsrooms grappled with the issues.
or question from one of the guidelines


APPENDIX
SELECTED COVERAGE GUIDELINES FOR JOURNALISTS


RESPECTING PRIVACY

When does the free flow of information that serves the Journalists should ask themselves some important
public good outweigh the rights of individuals to personal questions as they balance this public need to know
privacy? That is a balancing act journalists regularly face. with an individual’s right to privacy:

Sometimes that question is applied to public officials who • What is my journalistic purpose in seeking this
are accused of wrongdoing that involves their personal information? In reporting it?
behavior. Sometimes the privacy issue involves celebrities • Does the public have a justifiable need to know? Or is
who seek media attention and bask in the spotlight, only this matter just one where some want to know?
to reject news coverage when it might tarnish their • How much protection does this person deserve? Is this
image. And sometimes the privacy concerns apply to person a public official, public figure or celebrity? Is this
average citizens who are suddenly caught in the news by person involved in the news event by choice or chance?
virtue of a tragedy or their connection to an otherwise • What is the nature of harm I might cause by intruding
newsworthy event. on someone’s privacy?
• Can I cause considerable harm to someone just by
The decisions individual journalists and news organizations asking questions, observing activity, or obtaining
make on these matters can have profound consequences. information even if I never actually report the story?
The challenge for journalists is to be professionally skilled • How can I better understand this person’s vulnerability
and appropriately aggressive in seeking meaningful and desire for privacy?
information that serves a legitimate public need to know, • Can I make a better decision by talking with this
while being respectful and compassionate to those whose person?
personal privacy may be intruded upon. • What alternative approaches can I take in my reporting
and storytelling to minimize the harm of privacy
invasion while still fulfilling my journalistic duty to
inform the public? For instance, can I leave out some
“private” matters while still accurately and fairly
reporting the story? Or, can I focus more on a system
failure issue rather than reporting intensely on one
individual?

— Created for The Poynter Institute
by Bob Steele


HIDDEN CAMERAS AND DECEPTION
When might it be appropriate to use deception, • When the harm prevented by the information revealed
misrepresentation or hidden cameras in newsgathering? through deception outweighs any harm caused by the
act of deception.
You must fulfill all these criteria to justify your • When the journalists involved have conducted a
actions: meaningful, collaborative and deliberative decision-
making process on the ethical and legal issues.
• When the information obtained is of profound
importance. It must be of vital public interest, such as
Criteria that do not justify deception:
revealing great “system failure” at the top levels, or it
must prevent profound harm to individuals. • Winning a prize.
• When all other alternatives for obtaining the same • Beating the competition.
information have been exhausted. • Getting the story with less expense of time and
• When the journalists involved are willing to disclose the resources.
nature of the deception and the reason for it. • Doing it because “others already did it.”
• When the individuals involved and their news • The subjects of the story are themselves unethical.
organization apply excellence through outstanding
craftsmanship as well as the commitment of time and — Created for The Poynter Institute
funding needed to pursue the story fully. by Bob Steele


EVALUATING SOURCES
• How does this source know what he or she knows? • What is my relationship with the source?
Can I prove the source’s information through • Why am I using this source? Did I use this source
government records or other documents? How can I because I am in a rush and this source often gives good
confirm this information through further reporting or quotes and soundbites on deadline? How often do I or
with other sources? others use this source (i.e., is the source overused)?
• Does my source depend on underlying assumptions • Do I fear losing this source? Does that perception color
that I should question? my judgment? Am I being manipulated by this source?
• How representative is my source’s point of view? Who • Is there an independent person who has expertise on
else knows what my source knows? the subject of this story and who can help me verify,
• What is the past reliability and reputation of this interpret or challenge the information the source has
source? given me?
• What is the source’s motive for providing the
information? What does this source have to gain or —Created for The Poynter Institute
lose? Will this information make the source look better, by Bob Steele and Al Tompkins
worse, guilty or innocent?


USING CONFIDENTIAL SOURCES
Be especially careful in the use of confidential sources. • Does this source deserve the protection of his or her
A reporter’s job should be, as much as possible, to identity?
conduct interviews and seek information on the record. • What legal obligations do you incur by promising
not to reveal this source’s name? If you are sued, are
Fulfill all the following four criteria, then consider you willing to go to jail to protect this source? If you
the other questions listed below. are sued, will the source come forward and be
named? Is the reluctance justifiable?
1. A story that uses confidential sources should be of • How would viewers, listeners and readers evaluate
overwhelming public concern. the same information if they knew the source’s
name and motivations?
2. Before using an unnamed source, you must be • What have you done to help the source understand
convinced there is no other way to get the essential the risks he or she is taking by giving you
information on the record. information?
• If you promised to protect a source’s identity, are you
3. The unnamed source must have verifiable knowledge using production techniques that will ensure the
of the story. Even if the source cannot be named, the protection you promised? What if a lawyer
information must be proven true. If you are unsure subpoenas the raw tapes? Would the person be
the information is true, admit it to the public. identifiable in the tape outtakes?
• You should understand your newsroom’s policy on
4. You should be willing to reveal to the public why confidentiality before you promise it to sources. By
the source cannot be named and what, if any, policy, you may need the consent of an editor and
promises the news organization made in order to you may have to reveal a source’s identity to a
get the information. supervisor. You should inform your sources that you
might have to identity them to others in your
Consider these questions: newsroom.

• What does the use of a confidential source mean to —Created for The Poynter Institute
the factual accuracy and contextual authenticity of by Bob Steele
your story?


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