(Columbia University/Wikimedia Commons)

With the Columbia Graduate School of Journalism recently hiring a new dean, media critics have been turning their eyes on journalism schools to postulate once again about whether or not elite programs help graduates get employed. Though many major media outlets like Gannett have laid off thousands of employees in the last 10 years, an article published by Crain’s New York suggests that the people who are actually getting hired are coming out of top journalism schools.

Looking at Columbia specifically, the article says that in 2012, 74 percent of a 354-person class had some kind of internship or minimal employment lined up before graduating. In 2006, only 52 percent were in that position. Other schools, such as the CUNY Graduate School of Journalism, have seen similar improvements.

“That’s in part because of happy things, like our graduates are very talented and skilled,” Nicholas Lemann, the outgoing dean at Columbia, told Craig’s, “and in part unhappy things, like a 27-year-old coming out of this school is more desirable in the labor force than a 55-year-old who doesn’t have any digital skills.”

Herman Cain, former Republican presidential nominee (Gage Skidmore/Wikimedia Commons)

Twitter’s rapid-fire capabilities and its character limitations often make for regrettable outbursts and narrow-minded generalities, especially when it comes to race in media and politics. Eric Deggans at Poynter suggests that the medium limits — maybe even distorts — the discussion of such topics, especially when tempers heat up.

In one Tweet, Tim Graham of Newsbusters.org and Media Research Center wrote, “MSNBC touting Karen Finney as another African-American host. Would the average viewer be able to guess that? Or is Boehner a shade more tan?” For Deggans, the comment smacked of an old school notion of diversity in the newsroom and “whether a media outlet will ‘get credit’ for a person of color who doesn’t resemble what some expect black and brown people to look like.”

In another Tweet, the deeply conservative musician Charlie Daniels wrote, “Funny how if you say something against Herman Cain you’re a genius If you say something against Barack Obama you’re a racist.” Deggans’ take was that the comment implies all black politicians are the same, regardless of political record.

The foot-in-mouth virus of Twitter is probably not surprising to many of its users, though. One commenter even responded:

“I understand your frustration at the reactions to your tweets, but that does not explain how Twitter was limited in this circumstance. The only thing I read is that you received a deluge of responses from Mr. Grahams followers. I have often seen this happen in comment sections to stories, so I don’t think it is something unique to twitter.”

The two men in charge. (Daniel Schwen/Wikimedia Commons)

James Goodale, the chief counsel to The New York Times when the paper published the Pentagon Papers, says that the Obama administration has been more restrictive of the First Amendment than any other president in history, even Richard Nixon. In his new book, Fighting for the Press, Goodale implores journalists to put pressure on Obama, who he believes gets a free pass a Republican president wouldn’t get from the press.

In a conversation with the Columbia Journalism Review, Goodale points to the administration’s use of the 1917 Espionage Act to sedate American journalism. “The biggest challenge to the press today is the threatened prosecution of WikiLeaks, and it’s absolutely frightening,” he said. During Obama’s two terms, the Espionage Act has been used to prosecute more alleged leakers than all former presidential offices combined.

Goodale said journalists don’t seem to consider this much of a problem. “They don’t believe it,” he told CJR. “I actually have talked to two investigative reporters who are household names, and I said, ‘Do you realize what’s happening to you if this goes forward?’ And I talk, I get no response, and the subject shifts to other parts of the book. No one seems to care.”

AP logo (Associated Press/Wikimedia Commons)

On Tuesday, the Associated Press announced a change to its stylebook indicating that its writers should no longer use the term “illegal immigrant” to refer to someone living in a country illegally. The change affects more than just A.P. staffers. Many journalism outlets and independent writers depend on the Associated Press Stylebook to set the standard for terminology and punctuation ethics in the craft.

According to Jim Romenesko, senior vice president and executive editor Kathleen Carroll said that the term “illegal” “should describe only an action, such as living in or immigrating to a country illegally.”

Carroll said the decision came after extensive discussions including people “from many walks of life,” which caused them to realize their acceptance of “illegal immigrant” was imprecise and not consistent with their standards for other topics like mental health issues, which require writers to use credibly sourced diagnoses instead of labels.

“Will the new guidance make it harder for writers?” Carroll asked. “Perhaps just a bit at first. But while labels may be more facile, they are not accurate.”

“We just would look at the board and say, ‘We already have too many white men. We can’t have more.’ Really that was it,” Hayes said. “Always, constantly just counting. Monitoring the diversity of the guests along gender lines, and along race and ethnicity lines. A general rule is if there are four people sitting at table, only two of them can be white men.”

They also make up for shows when they can’t book fewer than three white men. Hayes also said that the increased diversity of the guests inevitably increases the diversity of the subject matter discussed on the show, pushing him further away from the television news status quo.

While diversity remains a passive-aggressive issue with the media, Hayes’ primetime show keeps it simple by realizing there’s no difficult secret to avoiding a monopoly of white dudes.

(daodeqing/Flickr Creative Commons)

These are the glory days of American journalism. Never before have we had access to the variety and depth of information we have now, and never with such immediate availability. So says Matthew Yglesias of Slate in a post debunking any notion that the struggles of print media reflect a larger cancer growing in the heart of the field.

His piece comes in the wake of Pew’s latest State of the Media Report, which he says “makes no mention of the Web’s speed, range, and depth, or indeed any mention at all of audience access to information as an important indicator of the health of journalism.”

He writes: “[The Pew results are] a blinkered outlook that confuses the interests of producers with those of consumers, confuses inputs with outputs, and neglects the single most important driver of human welfare—productivity. Just as a tiny number of farmers now produce an agricultural bounty that would have amazed our ancestors, today’s readers have access to far more high-quality coverage than they have time to read.”

Yglesias takes us through his rich process of reading up on current events, showing how readers can build on breaking news by following links and recommendations towards in-depth features and even books written on the subject. Digital media also allows journalists more tools for crafting stories and presenting complex information at a much quicker pace.

“In other words, any individual journalist working today can produce much more than our predecessors could in 1978. And the audience can essentially read all of our output. Not just today’s output either. Yesterday’s and last week’s and last month’s and last year’s and so forth. To the extent that the industry is suffering, it’s suffering from a crisis of productivity.”

There’s light at the end of the tunnel. (RambergMediaImages/Flickr Creative Commons)

The topic of paid and unpaid freelance writing continues to develop Thursday. While someone accused Nate Thayer of plagiarizing the North Korea piece he wrote that set this all off, Ann Friedman at the Columbia Journalism Review broke down her freelancing philosophy.

Friedman pays her bills with a number of freelancing gigs, including two columns, and has created a paradigm that allows her to do unpaid and low-pay work that may benefit her in other ways. She separates her approach to doing free/low-pay work into four categories: to establish experience; because she was writing it anyway; to raise her profile; and to be part of a project she loves.

Unpaid work, she says, is a great way for some writers to make headway. It can even lead to some happy accidents, as it did for her when she started publishing some “silly, hand-drawn charts” for free, and it led to her getting a job to draw for a monthly magazine.

And then there’s Paul Carr, arguing for a sort of return to the high-flying days of Big Journali$m, when (apparently) a reporter could expense the purchase of a Mustang on assignment. Read the comments on this one — not everyone agrees with him — but it’s quite a defense of the value of in-depth, well-reported, and expensive stories.

Helps to not feel so small and alone as a freelancer at your computer. (Credit: kodomut/Flickr)

Jeff Koyen, a longtime journalist and programmer, has created a program for freelance journalists called Assignmint, which helps editors and freelancers manage all the managerial communication involved in the job, according to Pando Daily. The program provides a platform where freelancers can submit pitches and receive simple “yes” or “no” responses. Assignmint also organizes the freelancer’s deadlines and has a tool for transferring payment from the publication to the reporter once stories are done.

Assignmint may have to prove its worth to freelancers and editors alike. It’s not easy to make journalists shift their systems once they’ve become accustomed to email and other relatively recent modes of operation.

Assignmint is currently available in open bata and Koyen says it will remain in that form for another three months or so. Afterwards, he says, its aesthetics will be improved.

The Data Journalism Handbook at a glance, used under Creative Commons License.

As the Columbia Journalism Review reports, it behooves journalists to become literate in data coding, because that’s where jobs are opening up. It’s still a very small set of people who can combine the speed, ethics, understanding and fairness required of a journalist with the coding skills of a developer, says John Keefe, editor of data news at WNYC.

“[A]nybody who put any effort into being good at that and having those qualities is going to have a job probably before they can graduate,” Keefe told CJR.

Apparently, news sources as small as the Lansing State Journal and Vermont Public Radio are making space for data and design teams on their staffs. Publications can utilize coding-literate teams to produce graphics and surveys of demographics — census maps, for instance, in the case of WNYC’s coverage of Hurricane Irene, which brought them a record-setting amount of traffic.

Free tutorials like ones on Flowing Data and .net magazine teach journalists basic data coding skills that can help them become more employable, as outlets learn that the web offers them even more shots at being inventive and innovative and therefore more interesting to viewers.

Al Jazeera English newsroom–the old school. (Wikimedia Commons: Wittylama)

Ann Friedman at CJR has a post for her series #realtalk that suggests freelance journalists should consider forming collectives. She’s seen it work well with her friends in the graphic design community and in groups like the San Francisco Writer’s Grotto, where writers are rarely at a loss for ideas.

“One of the most tangible benefits of working in a shared office space is having officemates who pass along assignments when they’re too busy,” said The Grotto’s co-founder Ethan Watters, according to Friedman’s post. “Over the years, I can safely say that I’ve covered at least half of my office rent through such overflow work. I’ve also profited from having a stable of writing pros on hand to pick up my slack, critique first drafts, and give me advice.”

Though writing is thought of as a solitary pursuit, Friedman argues, journalists benefit from a newsroom atmosphere.  It “makes a lot of sense for those of us who work freelance,” she says, because most freelancers have left newspaper and/or magazine offices. In a collective space, journalists can collaborate to complete projects, share story ideas, learn each other’s skills (I’ll take your website design and raise you my photojournalism…)

The point is, really, why not? Of course, you have to know people you trust and whose work you admire, but if you’ve ventured off into freelancing chances are you do.