The syllabus exchange works on a point system. For every resource submitted (i.e., syllabus, class exercise, assignment, handout, case study or rubric) a teacher can download two teaching materials. Everything is tagged and searchable by the professor’s name, school, type of course, and education level.

I signed up for a NewsU account and uploaded my syllabi for this semester. It took about 24 hours for NewsU to accept my submissions and award points to my account. Then I downloaded a few  interactive storytelling materials from professors at SMU, San Francisco State, and the Medill School of Journalism. Of course, many journalism professors have been informally sharing teaching materials online for years, but it is helpful to have a concentration of resources.

Here is a link to the syllabus exchange page -  https://www.newsu.org/tools/syllabus-exchange

But don’t use your points to download my materials. If you are interested, here is what I’m doing this fall semester at Rowan University.

Online Journalism I
-Online Journalism I syllabus (pdf)
-Link to Online Journalism I class blog with assignments, tutorials, schedule, student work and lecture notes

Online Journalism 2
-Online Journalism II syllabus (pdf)
-Link to the Online Journalism II class blog with assignments, tutorials, schedule and lecture notes

As I shift to my summer schedule, I wanted to take note of a few general lessons I’ve learned. Most of these are things I came to through trial-and-error, often with instruction from my students.

Lecturing is not the best way to teach that “news is a conversation”
Higher education and journalism are biased toward a “one-to-many” mode of communication; the web is not. In order to understand how journalism works in a digital age, a course on interactive news has to be participatory, conversational and collaborative. In my experience, this can also mean unpredictable and occasionally chaotic, but it is a lot more fun than lecturing everyday.

Follow smart people
My blog roll (see “Sites I Like and Use” on the sidebar) and my Twitter account are my key sources of information on what is happening in the profession and in teaching. If I don’t know something, I turn to those who do.

Don’t assume students are active web users
There is a difference between “passive” and “active” web users. Despite growing up with the Internet, some of my students navigate the web like they watch TV; they surf and consume. Or they only know how to participate within a defined structure like Facebook.

Don’t skimp on HTML and CSS
An assignment to build a simple web page can fill my email box with complaints. Then at the end of the semester, students say they want to learn more coding. So each semester, I give them more.

Raw audio interviews are gold
At the suggestion of veteran online journalism professor Mindy McAdams, I now require students turn in unedited audio recordings of interviews. They take a time to review, but they provide…

invaluable insight into a student’s interviewing and reporting techniques. I can hear the leading questions, the lack of a follow-up question, or the student reporter who does not allow the subject enough time to tell the real story. I can also tell if the student is interviewing a friend or relative.

Online tutorials are useful, but need follow-up
I use “how-to” online tutorials to free up class time and allow students to learn at their own pace. However, I’ve found that students will rush through them — or skip them entirely — unless they are followed up with some kind of review or assessment.

Experiment first, become an expert later
I used to spend a lot of time explaining a new piece of equipment or software before giving assignments. Now I cover a few basics and get students using it as soon as possible. I cover the more advanced techniques after they have some experience practicing.

The audience can be the best editor
I require that my students publish their work for an online audience (see a previous post It’s Not About the Blog). Despite the potential risks of this practice — like making mistakes in a public forum or having to endure spam and trolls — an online audience can provide a level of feedback that I cannot. Last semester, a student created an interactive map of all of the schools in his town. Eight minutes after it was published online, a reader contacted the student to say one school was missing.

Allow students to pursue a passion
I often ask students to report on subjects that they are passionate about. Some students respond, “I don’t have any passions.” I tell them to use my class as an excuse to find that new passion.  Then, over the course of the semester, I urge students to cover the topic as a “beat,” developing story ideas, cultivating sources, and digging deeper into the subject. It is satisfying to watch a student turn a hobby into an area of expertise. And reporters in the field routinely seek out students who have built up an online portfolio of work on a specific subject and quote them as sources.

Push beyond “write what you know”
While I allow students to write about things that interest them, I also require students to go places and cover subjects that do not interest them. I have found that it is essential to give very specific requirements (i.e. no quotes from anyone 17-25 years old) to get students to move out of their comfort zones.

Expect resistance to convergence
I have instituted convergence projects which require my online journalism students to work alongside broadcast journalism and photojournalism students. I underestimated how intensely students can identify with their particular specializations and can resent having to work with “those TV people.”

Storytelling is hard work
I can teach someone to edit an audio clip, crop a photo or compress a video. Or they can Google it and teach themselves. Teaching students to recognize, report and tell a compelling story is a real challenge, but that seems like a central goal of journalism education.

Students don’t remember PowerPoint presentations
I have now been teaching long enough to get an occasional “thank you” e-mail or note from a former student. While they often mention the content of my courses and how it helped in grad school or on the job, it is clear that interactions and conversations outside of the classroom are as meaningful — and often more significant — than the information I try to convey in the classroom.

Each student selects a topic or beat to cover for the semester and creates a blog dedicated to that subject. Then students report, write, photograph, gather audio, shoot and edit video for Web, and create interactive maps and timelines. All the student work is public, and the authors must cultivate an audience.

I like using the blog format for a number of reasons:

• It’s a free (or relatively inexpensive) way to create an online publication.
• Blogs can serve as an open-source reporter’s notebook – a place to try things, develop sources, and advance a story.
• It’s a hands-on way to learn about things like  HTML, CSS, feeds, linking, traffic, search engine optimization, and copyright and fair use.
• Students are required to generate ideas, write frequently, and learn to edit their own work.
• It allows for experimentation with multimedia and a chance to explore which elements can or should be used to tell a particular story.
• Students often have their work picked up by other publications or noticed by other reporters and editors.
• When students finish the semester, they have an online publication for internships and job applications. From my own experience, I know that an editor can tell a lot more about an applicant from 15 weeks of covering a single topic than from a stack of clips from the school newspaper.

When I began teaching several years ago, I was one of only a few instructors in my journalism department to use blogs for student work; today, many do.  Some students now complain that they have to maintain three or four blogs at the same time.

At the end of each semester, I ask myself: Is blogging outdated? Should I move on to another platform?

A recent report from the Pew Internet and American Life Project, which found that blogging has dropped among teens and young adults while simultaneously rising among older adults, raised these questions for me again.

I regularly remind my students that the class is not about blogging. It isn’t about the technology, software, or equipment. All of those things will be outdated in a few years.  I hope they take away lessons in reporting, writing, editing, fact checking, producing, informing, sharing, storytelling, and connecting with an audience.

I’d abandon blogs if I found another way to create that same experience in an introductory online journalism course. Much of the traffic on the Web has moved away from blogs to social networking sites. But I’ve yet to see a social networking experience that allows for all of the elements listed above.

I welcome suggestions.

Mannie Garcia (Associated Press) / Shepard Fairey

I’ve notice that my students’ eyes tend to glaze over the moment I mention the words “copyright” and “fair use” in a journalism class. So for the past two semesters I have made good use of the current legal battle between the artist Shepard Fairey and the Associated Press.

The dispute centers on the use of a 2006 Associated Press photograph of Barack Obama that the artist Shepard Fairey turned into the iconic HOPE poster during the 2008 campaign.

Shepard Fairey admits he used an AP photo, but argues that his artistic transformation of the image is protected under the doctrine of fair use.

The AP argues that Fairey misappropriated its rights to the image when he created and sold posters and other merchandise with the likeness.

Mannie Garcia, the photographer who took the photo at a National Press Club event, says he owns the rights to the image because he worked as a freelancer at the time and was not an AP employee.

Yesterday the case became even more complex when Fairey admitted to submitting false images and deleting others in the legal proceedings. Fairey initially claimed he used a different AP image that less closely resembled the final poster.

“While I initially believed that the photo I referenced was a different one, I discovered early on in the case that I was wrong,” Fairey said in a statement released on Oct 16, 2009. “In an attempt to conceal my mistake I submitted false images and deleted other images. I sincerely apologize for my lapse in judgment and I take full responsibility for my actions which were mine alone.”

In my online journalism classes, we look at the four factors courts consider in fair use cases. Then we listen to interviews with Shepard Fairey and Mannie Garcia that aired on NPR’s Fresh Air with Terry Gross in February 2009.

The class discussion has been lively, although the legal definition of fair use can sometimes be eclipsed by the personalities involved. After the discussion, I ask the students to rule on the case. An overwhelming majority of students – who are all undergraduates studying journalism – side with Fairey. A few students have presented an impassioned defense of Garcia, but few defend the AP.

Here are some factors that make the case particularly compelling for class discussion:

• Fairey, not the AP, filed the first lawsuit in the case.
  After the source of the images was discovered, the AP requested compensation from Fairey. He responded with a lawsuit.

• Fairey acknowledges he knew it was an AP photo, but says he didn’t take the time to find out who the photographer was and give credit.
  “I didn’t do the research,” Fairey has said. “I didn’t think that I needed to.”

• Fairey says he took the profits from the HOPE poster and put it back into making more posters.
  Fairey argues that he did not gain substantial income from the posters, but that he donated it back to the cause of helping the Obama campaign.

• Garcia didn’t recognize his photo as the source until someone else pointed it out.
  Garcia argues that he takes hundreds of photos a day and there is no way he can remember each one.

• Garcia was actually on assignment to cover George Clooney and a young senator from Illinois happened to be there.
  The photos were taken at a 2006 National Press Club event on Sudan. Clooney had recently returned from Darfur.

• Court rulings on fair use cases can be tricky.
  In a 1985 case, Harper & Row, the publisher of President Gerald Ford’s memoirs, sued The Nation for publishing 300 words from the book before it was released. The Supreme Court found in favor of publisher. In the 1994 case of Campbell v. Acuff-Rose, the Supreme Court ruled that 2 Live Crew’s version of Roy Orbison’s song “Pretty Woman” was covered under fair use. In both cases, the district court ruled one way, the appellate court reversed the decision, and then the Supreme Court reversed the decision again.

• The case has implications for journalism, art, and how all of us use the Internet.
  The AP and Fairey represent two opposing views of how content from the Internet can and should be used. The AP has been more protective of its news content than most traditional news organizations and has used legal action to maintain that control.  Fairey represents the opposite end of the spectrum, which holds that the ability to use, share, and remix content is a central value of the medium.

• Fairey’s recent admission that he falsified court documents further complicates the fair use argument and may bring an end to the case.
  Anthony Falzone, a lawyer for Fairey and the executive director of the Fair Use Project at Stanford University, has withdrawn from the case. It is up to Fairey if he wants to continue.

Multimedia Journal is not the typical online journalism book. It is only 60 pages long, measures 7” x 7”, and contains no HTML tutorials or manifestos about the future of journalism.

In the introduction, Hernandez, who worked at the The San Jose Mercury News and is now a fellow the University of California, Berkeley, writes:

“If you are looking for answers to journalism’s big questions put this book down. Trying to answer or even ponder the questions on the future of journalism are a huge waste of time and stop you from doing what you’re good at: being creative.”

Multimedia Journal, which was self-published using Blurb, is a series of exercises aimed at tapping into the creative process. Each chapter contains a series of activities (i.e. keep a visual journal, start a vlog, use a flip-book, take a picture every day for a year, collect audio sounds from daily life) and lists of inspiring online resources and books. One of my favorite exercises is called “Document Something You Think Is Boring.”

The value of the book is not an argument, information or research; it offers a series of starting points and the reader must create the value for herself.

Hernandez also makes a case for being anonymous when posting online for the first time, arguing that criticism can stifle inspiration.

Anonymity isn’t something I’d advocate in a classroom, but Hernandez isn’t writing lesson plans. He is concerned about separating one’s ego from one’s creative work – which is a difficult task for anyone. In this context, I like Hernandez’s advice. A few years ago, I kept an anonymous blog about a subject I was passionate about. After a year, I deleted it. I enjoyed writing and posting photographs and sharing it online without worrying about reaction. I wasn’t doing it to advance my career or to build my online “brand.” It was fun. And the fun allowed me to be creative in ways I could not be on the job.

I had an idea of what I was getting when I ordered Multimedia Journal. The first 20 pages can be previewed online. I regularly read Hernandez’s blog Multimedia Shooter, (which is currently being revamped). And I’d seen some of the work Hernandez’s students have created.

If I have a complaint about the book, it is that I was left craving more of Hernandez’s advice and insight. I suggest that readers supplement the book with other resources. Watch some of his video pieces, which help illuminate  the exercises and offer concrete examples of how to break out of standard ways of thinking about presenting news.

Also The Nieman Journalism Lab at Harvard University has a four-part video interview with Hernandez, which is worth watching:

• Part 1: Embrace online
• Part 2: Don’t be afraid of technology
• Part 3: Astonish your audience
• Part 4: The online opportunity to rethink storytelling

—

I read through my course evaluations from last semester and in addition to comments like “he’s long-winded, but nice enough,” a number of students gave high marks to the free Web tutorials I assigned in my online journalism classes. I was pleasantly surprised because I wasn’t sure how to measure their usefulness, and I had to create graded assignments to make the student actually do them.

But overall, students said they found the tutorials helpful, liked that they could learn at their own pace, and returned to them over and over again.

I found out about many of these tutorials from Mindy McAdams, who has written a great series of posts called a Reporter’s Guide to Multimedia Proficiency on her blog. NewsU and the Knight Digital Media Center are also great resources.

So below is a list of tutorials I’ve used in my courses. They are all free and all aimed at beginners.

Any you would suggest?

Also this fall, I plan to create a series of video tutorials for my students and will post them here.

STORYTELLING
Five Steps of Multimedia Storytelling (NewsU)
Ira Glass of This American Life on the building blocks of good storytelling (25 minutes of YouTube videos)
Part 1: On the basics
Part 2: On finding a great story
Part 3: On taste
Part 4: On common pitfalls

DIPITY TIMELINE
How to Make a Timeline Using Dipity (Berkey-Gerard)

GOOGLE MAPS
11 Exercises to Learn How to Make a Google Map (Berkey-Gerard)

Google Map Video Tours:
Getting Started
Add a Place
Google Street View
Create a Map
Add Third Party Content
Create a Google Map profile

HTML and CSS
Beginner HTML Tutorial (HTML Dog)
Beginner CSS Tutorial (HTML Dog)

PHOTOGRAPHY
Language of the Image (NewsU)
Photoshop How-To for Online Photos (Mindy McAdams)

AUDIO
Telling Stories with Sound (NewsU)
Gathering Audio by Brian Storm (MediaStorm)
How to convert .wma, .wmv, or .mp3 files using Switch (Berkey-Gerard)
How to Use Garage Band (Knight Digital Media Center)
How to Use Audacity (Knight Digital Media Center)

SOUND SLIDES
Photoshop How To for Sound Slides (Mindy McAdams)
How to Use the Sound Slides (Knight Digital Media Center)

VIDEO
How to Use iMovie (Knight Digital Media Center)

MULTIMEDIA COLLAGE
How to Make a Multimedia Collage Using VuVox (VuVox)

When we started the semester, most of the students had limited experience recording and editing audio. Most had not taken a photojournalism course. And it was my first time trying to teach students each step of creating an audio slide show: how to record an interview, gather natural and ambient sound, take photographs, and then edit it all into a coherent story.

I found One in 8 Million to be a great learning tool for all of us. It is a series of personal profiles presented as two-minute audio slide shows with photographs by Todd Heisler.

The subjects are characters, often with quirky jobs, backgrounds, and stories to tell. There is a profile of an urban taxidermist, a bus-depot barber, a mozzarella cheese maker, a singing waitress, and a maid who has cleaned up after four different mayors at Gracie Mansion.

The story index even gives the visual sense that the viewer is standing on a subway platform and the faces of the people appear in the subway car windows as it pulls into the station.

I did not plan out how I would use the material before the semester began. I stumbled upon a routine as we went along.

I often began class by shutting off the lights and showing the latest profile on a big projector screen. We would watch the profile and then discuss it for several minutes. Then we would watch it again and discuss it a bit more.

Then I would turn off the projector and we would just listen to the sound. We talked about why the producer might have put the sound of the cash register at that exact spot or why a specific anecdote had been included.

Then I muted the sound and we watched it again. I asked students to pay attention to the composition, as well as the content of the photographs. “Why did the photographer focus on a person’s hand or a religious icon?” we wondered. “Why were the images arranged in that specific order?”

This process usually took about 20 minutes.

Basically, we broke down the audio slide show into its smallest parts – and we tried to figure out how the producers put it all together to make a unified whole.

We spent a lot of class time learning the technical aspects of audio and photography — and how to convert the files into the proper format. One in 8 Million helped us the focus on the storytelling.

I also stuck with the series because I like how the stories are presented.

• The profiles are often of “everyday” people – a store owner, a guy with the cool sneakers, a teenage mom – that we routinely pass by on the way to cover a “real” news story.

• The subject herself tells the story. The audience doesn’t hear the reporter’s voice, narration, or questions. There is no moral or kicker at the end saying what it means.

• The person’s story is the story. There isn’t a news peg, just an interesting person with something to say.

The highlight of the experiment came near the end of the semester as the students scrambled to complete their audio slide shows. I arranged a live video chat (using Google chats, nothing fancy) with Joshua Brustein, an interactive producer at NYTimes.com. Josh answered student questions about the profiles he produced, how he found a specific person, and how he approached the interviews.

Here are two examples of Josh’s work: Paul Bockwaldt, who joined a predominantly gay rugby team to bond with his brother and Ra Ruiz, a former Christopher Street pier kid.

When Josh said he usually spent 10 hours collecting and editing audio for a two minute piece, the students were stunned. But they also seemed inspired that they were attempting to do similar work.