Reporting on a Career in Journalism

Leila Wilhelm

AP English Language and Composition

Mr. Rhodes

22 February 2018
 Wilhelm 1

Leila Wilhelm

Mr. Rhodes

Advanced Placement Language and Composition

22 February 2018

Coffee-stained pages littered with red pen adorn every desk. The scent of espresso and

ink hang heavy in the air. The clicking of keyboards echoes out like a synchronized symphony.

A busied chatter of thoughts spill onto the page, untangling from a ramble of words to a

cultivated story. Stories that when glancing the first line, the reader arrives back at the scene of

the piece: a darkened theatre on opening night, a crowded Presidential inauguration, a raging

battlefront overseas. Compiled and bound, whether electronically or physically, these stories take

form in the magazines and publications that circulate to educate the public. The journalists who

research, edit, write, produce, and publish these works implement a multitude of techniques in

the life cycle of a single story, captivating readers means more than just having a catchy

headline. A career in journalism requires a thorough education, further upheld by real world

experiences that come with practice in the field, and knowledge of multimedia production.

Journalism as a career adapted from minimalistic daily newspaper reporters, to critical

yellow journalists, and finally to the contemporary social media bloggers of the 21st century. The

evolution of journalism not only arises from changes in societal elements such as politics, but

also relies heavily on the ever-changing interests and concerns of the public. During newspapers

initial popularity, journalists would cover an assigned topic for a local newspaper that published

daily or weekly depending on the size of the surrounding community. The growth of political

parties and interest groups created a new outlet and audience in the print media in local
 Wilhelm 2

communities. Newspaper typhoons like Joseph Pulitzer and William Randolph Hearst

implemented the traditional of flashy headlines to sell their papers. This technique, referred to as

yellow journalism, played a huge role in shaping the industry that exists today (Arnesen et al.

21). Now, publications deal with a bifurcated audience composed of aging readers who still

prefer print, and younger generations who grew up with digital news delivery (Dimling Cochran

41). Attempting to reach two different audiences with the same information comes with varying

complications, but the growth of multimedia journalists bridges the gap between these

demographics. Outlets begin relying on multimedia journalists primarily out of convenience but

also because of their ability to publish a vast amount of content on multiple platforms, therefore

reaching both sides of audience, print and digital (Birge 24). Today, the career of a journalist

includes more than just writing, as the demand increases for multimedia journalists who can

record, report, edit, publish, and design.

An ideal journalism education begins with a foundation in high school, followed by

college programs that instill skills in multimedia production and critical thinking. An

introduction to journalism in high school gets students interested in the field while establishing a

foundation in writing and a familiarity to the atmosphere of a newsroom, both of which come

with involvement on a high school newspaper (Dodd). Objectives for high school journalism

programs must include acquainting students with the variety of positions surrounding a working

publication, teaching responsibility by enforcing deadlines, and introducing formatting and

writing techniques that yield pieces of higher complexity (“Exploring Writing Careers in

Journalism” 2). High school newspapers offer a perfect platform for getting young writers

accustomed to the standards of real world writing. Before entering a college journalism
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program, students should feel comfortable exercising refined, yet concise vernacular to report on

a multitude of topics.

The difference between college and high school level journalism begins with the

expansion of journalism mediums. High school lays the foundation and college expands

knowledge and practices application of skills (“Exploring Writing Careers in Journalism” 2).

College level journalism programs should filter out any stereotypes and prepare students for

realities of the industry by offering courses that span all the mediums of journalism. A wide

variety of course offerings allows students to explore multiple interests and apply those to their

writing. Journalism majors should exhibit knowledge on one specialized area of production but

aptly recognize other mediums with familiarity, while feeling confident working with them as

well (Adams and Brunner). For example, 40% of college journalism students aim to work for a

daily newspaper after graduation but should also prepare by taking courses in web-based or

broadcast journalism which cover skills essential to all journalists (Adams and Brunner). The

Department of Journalism and Communications at Emerson College offers a vast assortment of

writing courses for its students ranging from Environmental Journalism, to International Sports

Reporting (“Academic Affairs” 247). This exemplifies the expansive offerings in most college

programs allowing students to grow and refine a focus. Knowing what to write about challenges

journalists young and old, but the help of a complete education allows students to experiment in

covering various subject matters, making the search for jobs in journalism less daunting (Adams

and Brunner).

The notable colleges offering journalism as a major differ in size, teaching approach and

curriculum focus, all of which work together to create unique programs to prepare students for
 Wilhelm 4

the workforce. Two majors schools for journalism and communications in the United States

include Marymount Manhattan College (MMC) and Emerson College. Upon first glance these

schools seem similar, however they approach the preparation of students in unique ways.

Located in New York City, MMC has a medium-sized student body of about 2,200

undergraduate students and the most popular majors include Journalism, Communications, and

Visual Arts (“Marymount Manhattan: Overview”). Emerson College, similarly bordering a large

city, located in Boston, Massachusetts hosts an undergraduate student body of roughly 3,000

students (“Emerson College: Overview”). Both of these schools offer a liberal arts curriculum

and encourage the incorporation of real-world experience with classroom learning within their

communications departments (Miller 32). As similar as these schools seem, the differences

between them can alter the student experience in preparation for the workforce. The teaching

approach for undergraduate journalism can differ from developing writing and editing skills, to

the analysis of theoretical side of journalism (Adams and Brunner). While both MMC and

Emerson developed communications programs with a focus on literature, publishing, marketing,

and journalism, one school seems better adapted to the evolving platforms of journalism. MMC’s

journalism students work from a well-equipped space referred to as “the lab”; while Emerson’s

facilities have similar resources available, the atmosphere speaks more to that of a traditional

newsroom. The conventional setup teaches students valuable skills, but limits students from the

experiences they will have in the modern work environment (Miller 32). Students entering these

programs feel prepared in writing and editing skills, yet lack knowledge on utilizing media

technology (Adams and Brunner). MMC combats this by facilitating interdisciplinary projects

that prepare students with the basic skills to move forward (Miller 32). In the end, both MMC
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and Emerson College produce excellent journalists with a well-developed understanding of the

field. The advantage MMC has comes from their attention to change within the field, a focus

which will eventually provide accumulative advantage for their students (32).

The education of journalism must continue to evolve to keep up with the ever-changing

industry; by integrating cross-platform courses and the use of technology, students will enter the

workforce with the preparedness for success. Looking forward, education programs move to

introduce cross-platform journalism that better prepares graduates for the workforce in an

increasingly technological age (Hubbard et al. 93). Cross-platform journalism produces

well-rounded writers with greater job opportunity in an evolving field. From print to broadcast,

college students should familiarize themselves with all journalism platforms and pair that with

building knowledge on a specific area of interest (Ludtke 59). The same applies to liberal arts

courses, students should refine their focus without limiting themselves. Along with

cross-platforming, professors began utilizing convergence as a technique in journalism

education. Some describe it as the incorporation of computer technology to traditional print and

broadcast journalism, while others use it more generally to discuss the merging of separate media

platforms. Essentially, convergence in journalism deals with creating unity among media

(Hubbard et al. 93). With the assistance of convergence, journalism schools can overlay

conventional journalistic lessons onto new media platforms to shape a refurbished program

tailored to the modern work environment (Ludtke 60). On an educational scale, students become

more engaged through the use of technology, resulting in an increase of students in younger

generations with the desire to pursue this career. From a real world standpoint, students who

graduate from convergence programs will find it easier to adjust from college to a professional
 Wilhelm 6

publication because of their knowledge of sophisticated technologies and media platforms.

Journalists can expand their reach with use of technology by demonstrating their skill set on

multiple mediums, thus increasing in readership. Thanks to convergence, no writer has

boundaries for only print or broadcast, but can work in many areas of the industry (Birge 24).

The goal for college programs incorporating technology and cross-platform teaching leads back

to creating well-rounded journalists. Those who can report, edit, write, and produce come from

an educational background that has correctly prepared them for the workforce and these students

will ultimately evolve with their industry, not lag behind it.

Arts journalism provides an opportunity for creative-minded writers once they enter the

workforce, taking creative performances or events and transcribing them into words but the

survival of this form of writing demands the support and attention of readers to appreciate its

importance. The most important element of arts journalism comes from a deeply-rooted passion

and connection to the arts. Writers who search and dive deep into these stories uphold a certain

responsibility: finding the truth in art. Whether on a local or national platform, arts writing

creates awareness within a community. Writers in this field aim to share the vibrancy and

diversity of a community with their audience (Smith). Arts journalists stem from two groups:

those with intrinsic writing ability and an affinity for the arts or those with a background in the

arts with modest writing skills (Kropf). No matter their background, arts journalists convey truth

through their analysis of visual arts, film, theatre, and architecture. Pieces in arts journalism

cover a wide range of writing styles and taking various forms to present the writer’s opinion or

view. Criticism will continue to hold a valuable place, as long as art exists; people will talk about

art and these opinions allow the creative community to invent new ideas and expressions
 Wilhelm 7

(Dimling Cochran 40). Feature stories incorporate an authenticity to the cultural sector, revealing

the real people behind the art. Investigative pieces keep the arts institutions responsible and

functioning to the best of their abilities (Smith). The pressing issue at hand lies in the dying

appreciation for the arts. In every city, the arts play a different, complex, chaotic, beautiful and

diverse role with so many stories inside that environment worth telling if only the people would

read them (Smith). Organizations such as National Endowment for the Arts (NEA) work to

improve the lifespan of arts journalism by funding new models attempting to increase readership

(Dimling Cochran 40). Sharing content remains the top way to keep readers engaged; a continual

flow of different voices covering new captivating exhibits of arts in local communities will

inspire readers to get involved or at least persuade them to read.

The difficulty arts journalism faces today lies in the growing use of technology that

further divides audiences. To combat this, NEA also utilizes cross-platform communication

establishing relations with the top publications of the region. For example, the NEA coordinates

with the ​Charlotte Observer, i​ ntroducing it to upstart blogging organizations available for

collaboration (Dimling Cochran 40). Together the large resident publication and the

social-climbing blogger can produce more content on more platforms, thus increasing exposure

and readership demographics. Many publications still search for outlets to share content with a

variety of audiences, satisfying readers from all walks of life by offering print and online

options, while incorporating modern visual components as well. As the art scene continues to

change, so does the audiences who read about it. Typically, younger readers grow in numbers

while older generations turn away from the arts in journalism. The value of local journalism

continues to come into question when free online magazines dominate in readership and take
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away from subscription numbers for print publications. Arts journalism does not completely

suffer from the growth of younger audiences; platforms like Instagram allow journalists to

expand their message and reach (Smith). Still, journalists face the challenge of producing news

the public wants to read, while making sure society considers it important (Smith).

While arts journalism provides one opportunity for a more narrow focus within

journalism, females themselves struggle to find focus within the field. Early female progress in

journalism began with a fight for equality harbored by a handful of women and their strong

actions that revolutionized the industry of reporting. In the late nineteenth century, women

clamoring for the right to work in the professional world took an interest in journalism (Whyte).

The increase in women’s rights during the World War II era did make entrance to the field

possible, however the progress faced major limitations (Whyte). Female journalists of the

nineteenth century still recall with frustration the belittling tasks of the workforce at the time,

receiving projects that consisted of trivial topics and side work (Bingham 29). In contrast, the

small band of women able to escape the restrictions set by social standards and work their way to

higher positions drew attention and ridicule along with them (Franks 1). The public paid close

attention to women like Jane Grey Swisshelm and Margaret Fuller, both of whom achieved the

first female positions for political journalism at the ​New York Tribune,​ thus opening a window of

opportunity for females in journalism (“Women in Journalism”). The window opened wider still

when Ina Eloise Young became the first female to cover sports at the 1908 World Series

(“Women in Journalism”). Other notable American women include Nellie Bly who wrote her

way to the top at the ​New York World​ and became one of the first investigative journalists

(Bradner 42). Bly wrote in support of minority groups such as women, children and the mentally
 Wilhelm 9

ill, all while creating a new genre of journalism that boosted credibility and support for female

reporters (Arnesen et al. 22). American readers began to clamor for hard investigative pieces on

the corruption in society, which in turn increased newspaper revenue. Contributions by Ida

Tarbell exposed the ethics and inner workings of John D. Rockefeller’s Standard Oil Company

and continued the female involvement in investigative journalism that Nellie Bly started

(Arnesen et al. 22). By the turn of the twentieth century, the influence of these powerful

American women inspired female reporters in England, Sweden and Prussia to stray beyond

traditionally feminine topics (Franks 1). Windows of opportunity opened wider thanks to the

very women once called radical for their unthinkable progressive attitudes on the workforce (1).

Though the struggle with inequality in the profession continued, female journalists proved their

worth by obtaining positions of importance in new publications across the world and by initiating

new genres of reporting (Whyte).

Since women entered the field of journalism, their powerful words suffer silencing from

an inequality of opportunity and recognition when compared to those of their male counterparts.

Many of the stereotypes of female journalists still exist; the idea that women’s news pertains to

issues of lifestyle, not substance (Franks 7). Restrictions for female reporters up until the late

nineteenth century excluded them from covering anything except the latest in fashion and

cooking (“Women in Journalism”). Stances such as these contribute to the egregious inequality

women currently face in the workforce. By no means should the role and importance of domestic

topics fall to the sideline of journalism since these popular topics further engage a female

audience some publications desire, however these limits present women with a lack opportunities

to voice their opinions of more serious topics in the media (Bingham 29). True news presents
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fact and therefore, does not typically target a single gender, yet topics still rank as either male or

female news. Front page, hard hitting news involving the coverage of sports or crime may align

more closely with masculine readers but does that mean a woman could not have written it?

Even if a male wrote the piece, a woman probably contributed to essential background work:

research, source collection, editing or publishing (Franks viii). Some still appear to believe

female writers would not dare deviate from the social pages long enough to cover a front page

news story so women lose recognition for their crucial roles behind the scenes (viii).

Discrimination lingers in the media field, taking different forms to restrict and limit women from

exploring deeper topics of substance, but this only inspires females to redefine “newsworthy”

topics and mold the industry themselves by challenging existing stereotypes (​Bingham 29).

The pay gap contributes to the most imperative form of gender inequality in the industry

today. Currently, numerous corporations fall victim to the pay gap and while many, including the

British Broadcasting Company (BBC), deny the distribution of higher pay stipends for men in

the industry, evidence proves this dishonest behavior does take place (“BBC China Editor”).

Female journalists average 26% less in payment for work in the media despite currently

outnumbering men in newsrooms (Madison). Renowned international companies like the BBC

currently face accusations of gender discrimination and unfair pay culture because women of the

company have taken the time to speak up (Adam). Controversy against BBC began after the

company released salary numbers for their highest paid employees, evidence shows female

editors make up to 50% less than their male counterparts (“BBC China Editor”). Pay culture

discriminating based on gender drives women like the BBC’s Carrie Gracie to speak up for

equality in place of the more vulnerable women in the industry without a public profile
 Wilhelm 11

(“Women Have Been Underpaid”). Gracie resigned from her position at BBC, after 30 years of

dedication citing the pay gap as the reason (“BBC China Editor”). If the BBC cannot honor a

senior member of their international staff such as Gracie, what does that say of their treatment

and pay for young women entering the field (“Women Have Been Underpaid”)? Gracie refers to

this as a crisis of trust and urges BBC to take action against these unfair anomalies (Adam). The

General Director of the BBC commends Gracie’s work as China Editor but insists the company

took into account only the scope of the job when creating salaries for the North American and

Asian editors (“Women Have Been Underpaid”). Female journalists chimed in with their support

for Gracie who brought this important issue to the attention of such a well-respected

broadcasting corporation (“BBC China Editor”). In fact, since Gracie’s resignation, six of BBC’s

male presenters have agreed to take pay cuts in support of their female coworkers whom they

believe deserve equality in the media industry (Adam).

The first steps for female journalists in overcoming inequality in the industry relies

heavily on breaking the “glass ceiling” and allowing women to reach positions of power in their

careers. The proverbial glass ceiling refers to the limitations set on women and minorities in the

workplace detering their advancement to positions of authority (Umstead 4). Many claim that

women’s difficulty advancing to senior positions pertains mostly to those who have

responsibilities outside of work such as children, however at least a fifth of women today will

not become mothers and still face limitations at their job (Franks viii). The real issue stems not

from motherhood but from a male majority in the media field. Examining the majority of key

executives at journalism firms and cable networks, reveals the simple fact that they mostly

consist of white males (Umstead 4). In fact, male journalists hold over two thirds of leading
 Wilhelm 12

management roles (Madison). The existing masculine structures put in place by the majority of

men at newspapers and cable networks create an exclusive gender biases that attribute to the

female struggle of breaking into deeper news topic as well (Franks viii). Most women feel

discouraged by the sheer number of men who work in positions of authority and creating a

mindset that they will never reach top executive levels (Morrison et al. 5). Even the handful of

women who rise into management find obstructions keeping them from reaching the highest

positions due to a lack of promotion for females (“Center’s Study”). Female journalists must

maintain an insatiable yearning for progress to remain viable players of the scene (Umstead 6).

Frustration with the glass ceiling drives determined women today to accomplish goals in their

profession, while contributing to positive change in the media (Umstead 4).

Lana Corbi perfectly exemplifies the drive women in media and broadcast journalism

should strive to accomplish. Corbi, one of the highest ranking women in the Fox Broadcasting

Company left the company to pursue a higher position at Crown Media with Hallmark Channel

because she strove to make change in broadcast journalism (4). People who attempt to limit

women like Corbi only pushed her further to obtain her goals of running a national network.

Every female who works to diversify executive ranks in their field has made great strides for all

womankind and the generations of reporters to come (6). Though their numbers remain few,

women in executive roles of journalism who exhibit determination and drive prove the

obtainability of overcoming the looming glass ceiling and pave the way a gender equal future

(10).

The introduction of digital elements to the world of journalism increases opportunity and

outreach for writers and publications who implement and embrace the switch. When technology
 Wilhelm 13

made its way into journalism through use of blogs and online magazines, the rush of information

available to the public seemed overwhelming. Referred to as the “media apocalypse” by some

because of the astounding amount of digital advertising, readers could easily find themselves

consumed in an overabundance of information (Dolnick). With bold headlines appearing in print

and online, the challenge of deciphering what to read amplifies. Newsgathering itself

experienced a rapid growth and transformation, with the dawn of the Internet making research

and collection easier, thus resulting in a surplus of news stories and data which overwhelmed the

public (Gleissner 81). To put this change in a different perspective, more opportunities exist for

journalism now than ever before when considering that digitalization opens doors to reaching a

wider demographic. Whether or not subscription numbers see an increase or decline does not

define the success of journalism, the mission of journalism remains all about the reader, not the

numbers. The missions of larger current-affairs publications focus on the readers’ understanding

of the world and seek to accomplish this in whatever way necessary (Dolnick). Many

publications still experiment when combating the arrival of new technologies and in the process,

discover new tactics which work for both the company and their readers. For example, ​The New

York Times ​introduced a daily podcast of news highlights for the mobile reader who may want

stay informed while walking to the subway (Dolnick). The popularity of online companies such

as ​Buzzfeed ​surprised journalists initially but the industry managed to quickly adapt to the rising

competition from social media news platforms (Smith). Social media provides an additional

outlet for journalism, and while journalists should not depend on it for success, it does offer

unique advantage points. Once again ​The New York Times ​shows initiative with their release of a

daily visual-first edition for Snapchat Discover which spreads news to an audience who would
 Wilhelm 14

not otherwise access it out of apathy or availability. This installation utilized Snapchat’s visually

enticing elements like moving graphics and photos to first captivate readers and then inform

them (Dolnick). Even small strides toward convergence can assist a publication in major ways.

By expanding their reach into multiple media platforms, ​The New York Times g​ ets exposure and

credibility which could, in turn, increase their subscriptions.

Viewing digitalization as either good or bad places unreasonable criticism on

publications that choose one route over the other, instead of applying labels, publications should

embrace change within their industry. ​Glamour,​ a popular British magazine owned by Condé

Nast, recently announced their switch to the "digital first" strategy that entails the production of

two print releases a year, with the rest of their monthly covers presented electronically. When

prompted with negative responses to the ​Glamour​ decision to switch, Condé Nast president

Albert Read reported the declines in print numbers came as either a downfall or an opportunity,

and the company decided to view it as a stepping stone forward (Jackson 17). What Condé Nast

and Read determined reflects the benefits that come to the industry for those who embrace the

digital change and open up possibilities for growth.

While careers in journalism demand a firm education supported by attention and

acceptance to change within the industry through utilization of multimedia production, the most

important piece comes from the audience. The evolution of journalism responds to the needs and

wants readers who desire to absorb, learn and accept information presented by journalists. As

readers continue to evolve, so will journalism and thus the industry continues to grow and

prosper.
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