Poynter provides 100 journalist don’ts

You can’t accuse Poynter of not understanding the power of social media. You also can’t scold the media resource institute of using the platform to promote anything but good journalism.

Don’t believe me? Take a look at Poynter.org’s latest multi platform venture, “100 Things Journalists Should Never Do.”

In fact, don’t just look-contribute. They want you to!

The feature, inspired by a popular The New York Times list, encourages journalists to contribute to the discussion by commenting to the Twitter hashtag (#100things). Poynter staffers also will contribute to the list. Poynter staffers then will choose which “dos” and “don’ts” to post based on how many times each suggestion is retweeted.

The concept is interactive, uses online and social media, and it’s just plain fun. The list also could be used as a learning/teaching tool for journalists and educators. Some of my favorites thus far:

• A journalist should never: Wonder how to rewrite a press release before wondering how to fact-check it.(@JoshHalliday)
• A journalist should: Give voice to those who cannot make themselves heard. (@paulbradshaw)
• A journalist should: Get out of the office & out of the house. Don’t hide behind your job or computer. (@poynter)
• Journalists should be comfortable with silence during interviews. You’ll hear & learn more if you’re not talking. (@poynter)
• Journalists should follow the facts where they lead, especially if that’s somewhere unexpected & uncomfortable. (@poynter)

Making photos speak

Do you watch TV with the sound off? I didn’t think so. Yet many of you are viewing still photos in an equally desensitizing way. “Looking at a picture without a cutline is like watching TV with the sound turned off,” according to Kevin Kleine, the student publications adviser at Berry College in Mount Berry, Ga.

According to Kleine’s cutline formatting theory, there are three essential parts of a cutline:

1. Lead-in – a graphic device like a kicker, bolded text or a drop cap; something to capture the readers’ attention.
2. What’s up – the first sentence should always be a present tense description of what’s happening in the photo.
3. Added value – the second (and beyond) sentences should add additional information to the cutline. The “why” and “how.” This can include background on the issue and/or a quote. This portion of the cutline usually is written in past tense.

In addition, Kleine gives the following tips for writing cutlines like small stories, instead of stagnant, forced pieces of text:

• Tell the 5Ws & H.
• Write not just what’s in the photo, but what you can’t see too.
• Consider the small details; what the viewer might have missed.
• Whenever possible, use a quote.
• Round out captions with sensory details that prove to the reader that you were there.
• Do not make editorial conclusions about what the subject is thinking or feeling. Let the reader decide.
• Make sure your cutline fits the mood/tone of the photo and the publication.
• Be accurate
• Avoid stating the obvious or making judgments.
• Don’t comment or “talk to” pictures. Avoid using “is shown,” “is pictured,” etc.
• Always identify people.
• Don’t let cutlines repeat the headline, subhead or lead.
• If photo is historic, say when it was taken.
• Use active, present tense.
• Don’t try to be funny or use gag jokes.
• Allot space for longer cutlines to assist the reader in processing the story.
• Be conversational, but don’t use clichés.
• Interview the people who are in the photo.
• Put the photo in context of what happened right before and what will happen right afterward.
• Use strong, visual and specific nouns.
• Vary patterns. Don’t always start cutlines with names.
• Use colorful, lively, vital action verbs. Avoid “to be” verbs.
• Avoid excessive use of “ing” words.
• Don’t pad a cutline just to make it longer.
• Give game outcome in sports cutlines, and refer to those who led the action.