The Handbook of Journal Publishing is a comprehensive reference work written by experienced professionals, covering all aspects of journal publishing, both online and in print. Journals are crucial to scholarly communication, but changes in recent years in the way journals are produced, financed, and used make this an especially turbulent and challenging time for journal publishers - and for authors, readers, and librarians. The Handbook offers a thorough guide to the journal publishing process, from editing and production through marketing, sales, and fulfilment, with chapters on management, finances, metrics, copyright, and ethical issues. It provides a wealth of practical tools, including checklists, sample documents, worked examples, alternative scenarios, and extensive lists of resources, which readers can use in their day-to-day work. Between them, the authors have been involved in every aspect of journal publishing over several decades and bring to the text their experience working for a wide range of publishers in both the not-for-profit and commercial sectors.

Pick up the Sunday paper and consider how many stories it takes to fill all those pages. How can any newspaper staff produce so many stories every day, every week, every month of the year and keep up with breaking news, too? They can't.They use freelancers. This book serves as a guide to newspaper freelancing both for beginners and for more experienced writers who want to expand their markets. Table of Contents: Newspapers as a Freelance Market Developing Newspaper Article Ideas Types of Newspaper Articles Queries: Pitching Your Ideas Researching Your Article Interviews Writing the Article Working with the Editor Through Rewrites and Proofs Get Paid and Get More Assignments The Business of Being a Freelance Writer

New diversity style guide helps journalists write with authority and accuracy about a complex, multicultural world A companion to the online resource of the same name, The Diversity Style Guide raises the consciousness of journalists who strive to be accurate. Based on studies, news reports and style guides, as well as interviews with more than 50 journalists and experts, it offers the best, most up-to-date advice on writing about underrepresented and often misrepresented groups. Addressing such thorny questions as whether the words Black and White should be capitalized when referring to race and which pronouns to use for people who don't identify as male or female, the book helps readers navigate the minefield of names, terms, labels and colloquialisms that come with living in a diverse society. The Diversity Style Guide comes in two parts. Part One offers enlightening chapters on Why is Diversity So Important; Implicit Bias; Black Americans; Native People; Hispanics and Latinos; Asian Americans and Pacific Islanders; Arab Americans and Muslim Americans; Immigrants and Immigration; Gender Identity and Sexual Orientation; People with Disabilities; Gender Equality in the News Media; Mental Illness, Substance Abuse and Suicide; and Diversity and Inclusion in a Changing Industry. Part Two includes Diversity and Inclusion Activities and an A-Z Guide with more than 500 terms. This guide: Helps journalists, journalism students, and other media writers better understand the context behind hot-button words so they can report with confidence and sensitivity Explores the subtle and not-so-subtle ways that certain words can alienate a source or infuriate a reader Provides writers with an understanding that diversity in journalism is about accuracy and truth, not "political correctness." Brings together guidance from more than 20 organizations and style guides into a single handy reference book The Diversity Style Guide is first and foremost a guide for journalists, but it is also an important resource for journalism and writing instructors, as well as other media professionals. In addition, it will appeal to those in other fields looking to make informed choices in their word usage and their personal interactions.

This book offers an engaging and accessible introduction to data visualization for communicators, covering everything from data collection and analysis to the creation of effective data visuals. Straying from the typical "how to visualize data" genre often written for technical audiences, Big Data in Small Slices offers those new to data gathering and visualization the opportunity to better understand data itself. Using the concept of the "data backstory," each chapter features discussions with experts, from marine scientists to pediatricians and city government officials, who produce datasets in their daily work. The reader is guided through the process of designing effective visualizations based on their data, delving into how datasets are produced and vetted, and how to assess their weaknesses and strengths, ultimately offering readers the knowledge needed to produce their own effective data visuals. This book is an invaluable resource for anyone interested in data visualization and storytelling, from journalism and communications students to public relations professionals. A detailed accompanying website features additional material for readers, including links to all the original datasets used in the text, at www.bigdatainsmallslices.com

The idea of the journo-coder, programmer-journalist, hacker-journalist, journo-programmer (the terminology is undecided) is gaining ground as data journalism develops both in Britain and internationally. Programmers are coming into newsrooms, journalists are venturing further into programming and there is some blurring where the two meet. Data journalism (DJ) is certainly becoming the Big Buzz Story in the media but so far little has been written about it. This new, jargon-free text, edited by John Mair and Richard Lance Keeble (with Teodora Beleaga and Paul Bradshaw), provides an original and thought-provoking insight into DJ. The first section, with contributions from Teodora Beleaga and Simon Rogers. explores various definitions of DJ; in another, experts, such as Paul Bradshaw, Nicola Hughes, Daniel Ionescu and Pupul Chatterjee provide some useful tips on developing DJ skills. Tom Felle interviews a group of international data journalists and finds they all argue their work can play a crucial democratic role in holding the powerful to account Andy Dickinson wonders if the growing field of sensor journalism offers an insight into what comes next for DJ Jacqui Taylor, Bella Hurrell and John Walton focus on data visualisations AEndrew Rininsland argues that anyone "willing to learn D3 will find they are given an unparalleled ability to create visualisations that bring data alive" Arthur Lashmar shows how an international consortium of journalists used DJ skills to expose the use of offshore tax havens by the world's rich and famous Other chapters are provided by Chris Frost, Liz Hannaford, Jonathan Hewett, Gabriel Keeble-Gagnere, Damian Radcliffe, Yaneng Feng, Qian Li and John Burn-Murdoch

With contributions by: Peter Barron, Director, External Affairs Europe, Middle East and Africa, Google, former Editor of Newsnight Dan Bennett, PhD student, War Studies Department, King's College, London Teodora Beleaga, student at Coventry University Paul Bradshaw, Visiting Professor, City University, and Andy Brightwell, blogger Sean Carson, MA Journalism student, Coventry University Denis Chabrol, publisher and editor of Demerara Waves Kevin Charman-Anderson, former digital journalist with Guardian Online and BBC News Online Pete Clifton, Head of Editorial Development Multi-Media Journalism, BBC News Malcolm Coles, search engine optimisation consultant Neil Fowler, Guardian Research Fellow ,Nuffield College, Oxford, former Editor of the Western Mail, the Journal, Newcastle, Lincolnshire Echo and Which? Josh Halliday, Reporter, Media and Technology, The Guardian David Hayward, Head of Events, BBC College of Journalism Professor Tim Luckhurst, Head of Journalism, Kent University, former Editor of the Scotsman Kevin Marsh, Executive Editor, BBC College of Journalism, former Editor of Today, BBC Radio Four Charles Miller, Producer, BBC College of Journalism Fred Mudhai, Senior Lecturer, Journalism, Coventry University Darren Parkin, Editor, Coventry Telegraph Ian Reeves, Director of Learning and Teaching at University of Kent's Centre of Journalism Alan Rusbridger, Editor-in-Chief, the Guardian and Observer Homson Shao, Associate Dean International of Zhejiang University of Media and Communications, China Mike Smartt, Founder of BBC News Online Oliver Snoddy, Director, Digital Services, Doremus, New York Raymond Snoddy, Presenter of BBC NewsWatch, former Media Editor, The Times and Financial Times Vicky Taylor, Commissioning Editor, News and Current Affairs, Channel 4 Judith Townend, digital journalist, PhD student, City University, London Professor John Tulloch, Head of the School of Journalism, Lincoln University Marc Wadsworth, Editor of Citizen Journalism website The-Latest.com Joss Winn, of the Centre for Educational Research and Development, Lincoln University Peter Woodbridge, Senior Lecturer, Open Media, Coventry University Florian Zollmann in discussion with website editors David Edwards and David Cromwell

Charles Dickens, celebrated novelist and journalist, believed that his greatest ability as a writer was to make people laugh. Yet, to date, humor has been strangely marginalized in journalism, communication and media studies. This innovative book draws together the work of seventeen writers to show that, starting in the 1640s during the English Civil War, and continuing through to the present time, humor has indeed been an important ingredient of journalism. Countries studied include Australia, Britain, Canada, Chile and the United States. The Funniest Pages is divided into four sections: "Seriously Funny, From Past to Present," "Unsolemn Columnists," "This Sporting Life" and a final section, "Have Mouse, Will Laugh," which looks at humor in online journalism. Chapters examine Joseph Addison, Richard Steele and the birth of social and political satire; Allen Ginsberg, Mad magazine, and the culture wars of the 1950s; John Clarke and the power of satire in journalism, and more.

What does it feel like to be featured, quoted, or just named in a news story? A refugee family, the survivor of a shooting, a primary voter in Iowa-the views and experiences of ordinary people are an important component of journalism. While much has been written about how journalists work and gather stories, what do we discover about the practice of journalism and attitudes about the media by focusing on the experiences of the subjects themselves? In Becoming the News, Ruth Palmer argues that understanding the motivations and experiences of those who have been featured in news stories-voluntarily or not-sheds new light on the practice of journalism and the importance many continue to place on the role of the mainstream media. Based on dozens of interviews with news subjects, Becoming the News studies how ordinary people make sense of their experience as media subjects. Palmer charts the arc of the experience of "making" the news, from the events that brought an ordinary person to journalists' attention through the decision to cooperate with reporters, interactions with journalists, and reactions to the news coverage and its aftermath. She explores what motivates someone to talk to the press; whether they consider the potential risks; the power dynamics between a journalist and their subject; their expectations about the motivations of journalists; and the influence of social media on their decisions and reception. Pointing to the ways traditional news organizations both continue to hold on to and are losing their authority, Becoming the News has important implications for how we think about the production and consumption of news at a time when Americans distrust the news media more than ever.

Including comprehensive coverage on both print and online, consumer and free magazines, Magazine Editing looks at how magazines work and explains the dual role of the magazine editor. John Morrish and Paul Bradshaw consider the editor both as a journalist, having to provide information and entertainment for readers, and as a manager, expected to lead and supervise successfully the development of a magazine or periodical.

Looking at the current state of the magazine market in the twenty-first century, the third edition explains how this has developed and changed in recent years, with specific attention paid to the explosion of apps, e-zines, online communities and magazine websites. Featuring case studies, interviews with successful editors, examples of covers and spreads, and useful tables and graphs, this book discusses the editor s many roles and details the skills needed to run a publication.

Magazine Editing offers practical guidance on:

• how to create an editorial strategy
• how to lead and manage an editorial team
• researching a market and finding new readers
• dealing with budgets and finance
• working with designers and production staff
• legal, technological and ethical dilemmas
• online distribution, social media and search engine optimisation
• managing information overload
• how to become an editor.

This title is your transportation of choice to your destination of becoming a published travel writer. It draws upon Solange Hando's expert knowledge as she shares the tips and tricks she's learned in the course of her career.

When we encounter a news story, why do we accept its version of events? Why do we even recognize it as news? A complicated set of cultural, structural, and technological relationships inform this interaction, and Journalistic Authority provides a relational theory for explaining how journalists attain authority. The book argues that authority is not a thing to be possessed or lost, but a relationship arising in the connections between those laying claim to being an authority and those who assent to it. Matt Carlson examines the practices journalists use to legitimate their work: professional orientation, development of specific news forms, and the personal narratives they circulate to support a privileged social place. He then considers journalists' relationships with the audiences, sources, technologies, and critics that shape journalistic authority in the contemporary media environment. Carlson argues that journalistic authority is always the product of complex and variable relationships. Journalistic Authority weaves together journalists' relationships with their audiences, sources, technologies, and critics to present a new model for understanding journalism while advocating for practices we need in an age of fake news and shifting norms.

What is the difference between choking and panicking? Why are there dozens of varieties of mustard-but only one variety of ketchup? What do football players teach us about how to hire teachers? What does hair dye tell us about the history of the 20th century?

In the past decade, Malcolm Gladwell has written three books that have radically changed how we understand our world and ourselves: The Tipping Point; Blink; and Outliers. Now, in What the Dog Saw, he brings together, for the first time, the best of his writing from "The New Yorker" over the same period.

Here is the bittersweet tale of the inventor of the birth control pill, and the dazzling inventions of the pasta sauce pioneer Howard Moscowitz. Gladwell sits with Ron Popeil, the king of the American kitchen, as he sells rotisserie ovens, and divines the secrets of Cesar Millan, the "dog whisperer" who can calm savage animals with the touch of his hand. He explores intelligence tests and ethnic profiling and "hindsight bias" and why it was that everyone in Silicon Valley once tripped over themselves to hire the same college graduate.

"Good writing," Gladwell says in his preface, "does not succeed or fail on the strength of its ability to persuade. It succeeds or fails on the strength of its ability to engage you, to make you think, to give you a glimpse into someone else's head. What the Dog Sawis yet another example of the buoyant spirit and unflagging curiosity that have made Malcolm Gladwell our most brilliant investigator of the hidden extraordinary.

How best to turn yourself from sports fan to professional sports journalist? Quickly moving beyond general guidance about sports writing, Joe Gisondi focuses on the nitty-gritty, with hands-on, practical advice on covering 20 specific sports. From auto racing to wrestling, you'll find tips on the seemingly straightforward-where to stand on the sideline and how to identify a key player-along with the more specialized-figuring out shot selection in lacrosse and understanding a coxswain's call for a harder stroke in rowing. The new edition adds a new section on sports reporting across multimedia platforms with new chapters on social media, mobile media, visual storytelling, writing for television, and writing for radio, along with a new chapter on sabermetrics. Fully revised with new examples and updated information to prepare you for just about any game, match, meet, race, regatta or tournament you're likely to cover, Field Guide to Covering Sports, Second Edition is the ideal go-to resource to have on hand as you master the beat.

American novelists and poets who came of age in the early twentieth century were taught to avoid journalism "like wet sox and gin before breakfast." It dulled creativity, rewarded sensationalist content, and stole time from "serious" writing. Yet Willa Cather, W. E. B. Du Bois, Jessie Fauset, James Agee, T. S. Eliot, and Ernest Hemingway all worked in the editorial offices of groundbreaking popular magazines and helped to invent the house styles that defined McClure's, The Crisis, Time, Life, Esquire, and others. On Company Time tells the story of American modernism from inside the offices and on the pages of the most successful and stylish magazines of the twentieth century. Working across the borders of media history, the sociology of literature, print culture, and literary studies, Donal Harris draws out the profound institutional, economic, and aesthetic affiliations between modernism and American magazine culture. Starting in the 1890s, a growing number of writers found steady paychecks and regular publishing opportunities as editors and reporters at big magazines. Often privileging innovative style over late-breaking content, these magazines prized novelists and poets for their innovation and attention to literary craft. In recounting this history, On Company Time challenges the narrative of decline that often accompanies modernism's incorporation into midcentury middlebrow culture. Its integrated account of literary and journalistic form shows American modernism evolving within as opposed to against mass print culture. Harris's work also provides an understanding of modernism that extends beyond narratives centered on little magazines and other "institutions of modernism" that served narrow audiences. And for the writers, the "double life" of working for these magazines shaped modernism's literary form and created new models of authorship.

"Engaged Journalism" explores the changing relationship between news producers and audiences and the methods journalists can use to secure the attention of news consumers. Based on Jake Batsell's extensive experience and interaction with more than twenty innovative newsrooms, this book shows that, even as news organizations are losing their agenda-setting power, journalists can still thrive by connecting with audiences through online technology and personal interaction.

Batsell conducts interviews with and observes more than two dozen traditional and startup newsrooms across the United States and the United Kingdom. Traveling to Seattle, London, New York City, and Kalamazoo, Michigan, among other locales, he attends newsroom meetings, combs through internal documents, and talks with loyal readers and online users to document the successes and failures of the industry's experiments with paywalls, subscriptions, nonprofit news, live events, and digital tools including social media, data-driven interactives, news games, and comment forums. He ultimately concludes that, for news providers to survive, they must constantly listen to, interact with, and fulfill the specific needs of their audiences, whose attention can no longer be taken for granted. Toward that end, Batsell proposes a set of best practices based on effective, sustainable journalistic engagement.

When we encounter a news story, why do we accept its version of events? Why do we even recognize it as news? A complicated set of cultural, structural, and technological relationships inform this interaction, and Journalistic Authority provides a relational theory for explaining how journalists attain authority. The book argues that authority is not a thing to be possessed or lost, but a relationship arising in the connections between those laying claim to being an authority and those who assent to it. Matt Carlson examines the practices journalists use to legitimate their work: professional orientation, development of specific news forms, and the personal narratives they circulate to support a privileged social place. He then considers journalists' relationships with the audiences, sources, technologies, and critics that shape journalistic authority in the contemporary media environment. Carlson argues that journalistic authority is always the product of complex and variable relationships. Journalistic Authority weaves together journalists' relationships with their audiences, sources, technologies, and critics to present a new model for understanding journalism while advocating for practices we need in an age of fake news and shifting norms.

Der judische Tanz- und Theaterkritiker Artur Michel gehoerte zu den kenntnis- und einflussreichsten Tanzberichterstattern der Weimarer Republik. In diesem Band ist sein Hauptwerk - die Tanzkritiken aus der Vossischen Zeitung zwischen 1922 und 1934 - abgedruckt. Es liest sich als eine spannende und ausserst lebendige Tanzgeschichte des modernen kunstlerischen Tanzes in Europa. Artur Michel entwickelte ab 1922 in der Vossischen Zeitung systematisch die Tanzkritik. Er engagierte sich fur den modernen kunstlerischen Buhnentanz und trat damit den Freunden des klassischen Balletts kampferisch entgegen. Sein Idol war Mary Wigman. Ihre Auffassungen eines "absoluten Tanzes" unterstutzte er nach Kraften. Die Vossische Zeitung war eine der wichtigsten uberregionalen Berliner Tageszeitungen. Sie galt als Sprachrohr des liberalen Burgertums. Als das Blatt 1934 aus Protest gegen die von den Nationalsozialisten gleichgeschaltete Presse sein Erscheinen einstellte, verlor Michel sein wichtigstes Publikationsorgan. Erst 1941 erkannte er, dass er in Nazi-Deutschland nicht mehr sicher leben konnte und floh in letzter Minute auf abenteuerlichem Weg nach New York. Bis zu seinem Tod im Jahr 1946 schrieb er nunmehr in der deutsch-judischen Emigrantenzeitschrift Aufbau uber den modernen kunstlerischen Tanz in den USA.

Writing for Public Relations and Strategic Communication equips students with the knowledge, skills, and tools they need to write persuasively. The book underscores the importance of strategic analysis at the beginning of the writing process. Utilizing an audience-centered perspective, it shows how persuasive writing emerges organically after critically assessing the goals of an organization's message in light of its intended audience. Students learn essential strategic thinking and planning skills to create effective and intentional writing. The book presents the theoretical underpinnings of behavior, which students can then employ to generate prose that prioritizes the audience's reasons for attending to the message. The book is unique in presenting a primer on communication, persuasion, and moral theories that provides students a roadmap for constructing effective, ethical arguments. Throughout, anecdotes, examples, quizzes, and assignments help connect theory to practical, real-world applications. Writing for Public Relations and Strategic Communication helps readers build their persuasive writing skills for professional and effective public relations, employing unique strategies and tactics, such as: A generative writing system that helps students identify and organize important information to produce quality prose, then adapt it to various media, on deadline. Interactive walkthroughs of writing examples that deconstruct prose, offering students insights not just into what to write, but how and why practitioners make strategic choices-down to the word level. Long-form scenario prompts that allow students to hone their persuasive writing, editing, and communication management skills across an array of platforms. Three two-chapter modules where the first chapter demonstrates how to write effective prose for a particular channel and the second offers practical help in delivering those products through message-delivery channels. Detailed case studies demonstrating how to translate research and planning into storytelling that addresses organizational problems. Unique chapters building important analytical literacies, such as search engine optimization tactics, marketing statistics analysis and data-driven audience targeting methods.