IRE 2014

Enterprise Reporting: Do It And Do It Well

How to do just that was what many in the record crowd of journalists at the Investigative Reporters & Editors conference were eager to learn. And they weren't disappointed. Session participants say the strong interest among TV reporters reflects a widespread resurgence in watchdog and investigative journalism.
TVNewsCheck,

If one thing was evident at Investigative Reporters & Editors conference, it’s that the people who work in local TV — many in small and mid-sized markets — want to get investigative journalism right.

Broadcasters — reporters, producers and photographers — packed the how-to sessions offered at the four-day San Francisco confab that wrapped up Sunday,

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Well-heeled station groups including NBC, Gannett, Scripps and Hearst sent scores of employees to the conference, which reported a record 1,600-plus attendees.

“This is one of the largest contingents of broadcast journalists we’ve ever had,” IRE Executive Director Mark Horvitz said, adding that the conference featured more broadcast-oriented panels than in the past.

Gannett alone sent 150 journalists to the event, using the occasion to get them together with some of the company’s top executives, including CEO Gracia Martore and broadcasting chief Dave Lougee.

Barbara Maushard, Hearst Television’s VP of news, said having news managers and reporters attend the conference is part of a larger relationship with IRE, which provides training for station news teams throughout the year.

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“This is just one of the many things we do to make sure our news operations are focused on investigations that have impact in our communities,” she said.

Horvitz said the strong interest among TV reporters reflects a widespread resurgence in watchdog and enterprise journalism. IRE members are journalists who want to learn skills that set their stories apart from the pack, he said.  “What you need to do is raise your game in everything you’re doing."

Time and again, conference speakers voiced concerns facing local TV news teams: doing quality investigative work amid the daily grind; competing against larger stations or groups; keeping legal issues at bay; and establishing the role of local TV news in a world where anyone with a blog is considered a journalist.

WVUE New Orleans' Lee Zurik and WFAA Dallas' Brett Shipp led discussions on techniques reporters could use to improve their stories and passed along advice.

Zurik, for instance, stressed the importance of capturing sources' natural reactions. Shipp, who covered and then followed the West, Texas, fertilizer plan explosion, said reporters need to stick with stories well after the news breaks to help make sure such tragedies don’t happen again.

“You make sure everybody knows why and how this happened, and you make sure that it gets changed."

Perhaps the biggest hit of the conference was a session that offered broadcasters 60 ideas that could likely be adapted to most markets. Many of them covered hot-button issues — schools safety, fraudulent car sales, government waste and drunk driving laws.

Among the 60: KTRK Houston, on food stamp fraud; WOSC Charlotte, N.C., on hotel swimming pools that failed inspections; KOIN Portland, Ore., on carnival ride safety; KXAN Austin, on city departments with the most traffic accidents and how much they cost taxpayers; and KXAS Dallas, on nail salons failing to sterilize tools.

WFTV Orlando’s story on Florida’s most dangerous schools could easily be duplicated in other markets, panelists said. Researching the story involves breaking down data on school violence kept by state education boards. Creating an online interactive map that allows users to find school-specific information with a click rounds it out, they said.

During a session on how to manage investigative work on top of other duties, Liz Roland, the news director at CBS O&O WFOR Miami, and Jennifer Forsyth, the Wall Street Journal’s deputy chief of investigations, advised reporters to schedule a couple of hours each week to devote to investigative duties, like paperwork and follow-ups.

They also said reporters should grab anything they see online about their subject right away (taking screenshots is a good bet) as it’s not unusual for content to be taken down once an investigation is underway. Combing through academic research, filing FOIA requests promptly and meeting regularly with editorial managers are also key, they said.

For broadcasters, creating engaging complementary digital content that fleshes out on-air work is crucial if investigations are really going to reach the widest possible audience and have an impact, Roland said. “Where things get really challenging is when you spend a year and a half on a story and it airs for 3½ minutes and no one sees it."

Another session focused on boosting the visual side of stories — even document-heavy investigations -- by encouraging photographers to incorporate more cinematic shots, to become more creative with graphics and to try animation.

“A common problem with investigative stories is that they are really complicated, they are on abstract ideas like conflict of interest, middle class, taxpayer money and waste and there are not obvious images,” said Evan Stulberger, a WNBC New York investigative producer.

Using tools like the graphics program After Effects can enliven reports, he said.  "Documents are boring,” he said. “But you can put them in context with the story and bring them to life."

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Comments (1) -

jdshaw Nickname posted over 2 years ago
"Real" investigative journalism is great. Unfortunately numerous stations now use the word "investigate" as a synonym for basic every-day reporting. Promotional buzzword gibberish is not a smart way to go.
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Ratings

Overnights, adults 18-49 for September 27, 2016
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Source: Nielsen

Reviews

  • Rob Owen

    Easily fall’s best broadcast network comedy pilot, NBC’s The Good Place offers a clever high-concept premise that’s complemented with intelligent, sometimes absurdist humor. Created by Michael Schur, co-creator of NBC’s Parks and Recreation, The Good Place is a highly serialized series that’s essentially set in heaven and stars Kristen Bell and Ted Danson. NBC made five episodes of The Good Place available for review, and the show not only holds up, but also it improves, deepening characters that initially feel one-note and frequently leaving viewers guessing with cliffhanger endings to many of the episodes. The combination of snappy dialogue and winning but flawed characters makes The Good Place a great bet for fans of smart TV comedy.

  • Maureen Ryan

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  • Kevin Fallon

    In a fall TV season that’s already making a splash for championing diverse, distinctive voices in an array of projects that they created, wrote, and starred in, Better Things on FX stands out. The show is created by, written by, and starsPamela Adlon. She plays Sam Fox, the single mother of three daughters modeled after her own reality-show-ready experience raising three girls in Los Angeles following a divorce. Sam is also, like Adlon, a working actress — on shows both raunchy, a la Californication, and animated for children, like her role on Recess. It’s a refreshingly blunt take on single motherhood without sacrificing the warmth of parental love, portraying the dance between selfishness and selflessness that’s at the heart of being a parent — especially one weathering the hormonal fireworks of a household of four women at different ages.

  • David Wiegand

    The fall TV season doesn’t count as much as it used to — we already know that. But no matter how many retreads the broadcast networks throw at viewers in the next few months, this fall will be memorable because of the premiere of Atlanta on Tuesday, Sept. 6, on FX. The half-hour comedy created by and starring Donald Glover (Community), simply and brilliantly recalibrates our expectations of what a TV comedy is and how black lives are portrayed on the medium.

  • Louisa Ada Seltzer

    The second reboot of the 1980s John Candy movie Uncle Buck, bumped by ABC from midseason, has the same tired jokes you'll find on any second-rate sitcom. Too bad, because Mike Epps is appealing and ABC would be wise to keep him around for future shows, but there’s just not enough to this show to suggest it will last past summer. It also airs against NBC’s America’s Got Talent, summer’s No. 1 program on broadcast, which may make it even harder to find an audience.

  • Neil Genzlinger

    Bryan Cranston brings his Tony Award-winning interpretation of President Lyndon B. Johnson to television in an adaptation of the Robert Schenkkan play All the Way, and it’s still quite a sight to behold, just as it was on Broadway in 2014. Nothing beats witnessing this kind of larger-than-life portrayal onstage, of course. But the television version, presented by HBO, offers plenty of rewards, allowing Cranston to work the close-ups and liberating him from the confines of a theater set. Cranston’s performance is a gem — in his hands, this accidental president comes across as an amazing bundle of contradictions, someone who seems at once too vulgar for the job and just right for it.

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