Darling of Westminster dies

The death of Sheila Gunn, a much-loved political journalism lecturer for 14 years at City, has prompted handwritten letters from Sir John Major and David Cameron.

Gunn was previously John Major’s press secretary from 1995 until his defeat in the 1997 general election. Before that she was a political correspondent with The Times for 15 years.

In a letter to Gunn’s son, Ben Beardall, Sir Major wrote: “I greatly valued all she did – and the slightly shy, but charming way she did it.

“She was an attractive and able personality whom I will always remember with affection and respect.”

Cameron wrote to Beardall in a letter passed on to XCIty, saying: “Sheila was so loved and admired across the Conservative Party, and indeed, the whole political spectrum.”

Joy Johnson, whose former career as a political journalist and head of communications for the Labour party mirrored Gunn’s taught alongside her on City’s Public Administration module.

She said: “We became a bit of a double act – when we delivered levtures together we would interrupt each other – we had that kind of repartee.”

Colin Brown, the political journalist who wrote a chapter in Gunn’s book So You Want to be a Political Journalist?, remembered how she kept a sunny attitude despite being on “mission impossible” during Sir Major’s ailing 1997 election campaign.

Pictures emerged of the then Prime Minister in a McLaren Formula One car, accompanied by stories about the wheels coming off his campaign wagon and claims that a cameraman tried to position Sir Major under a shop sign that read “S.Lease”.

Brown was part of the media pack following the campaign, and remembers how she coped throughout. “She sailed through it smiling, and telling us [journalists] we were ‘very naughty’,” he said.

Sam Macrory, a student of Gunn’s in 2011 who also contributed a chapter to her book, said: “She could tell us what it was like on the front line as a lobby journalist in Westminster and at the heart of a general election.

“She was wonderfully indiscreet with her tales of her time in politics. She couldn’t help but tell us bits and pieces that we’d never have known otherwise.

She brought people into her confidence and they enjoyed her company. That’s probably how she got her stories.”

Barely two months after the memorial, her ex-husband Mike Beardall, a former regional editor who helped launch the Mail on Sunday, died aged 62. They were married for 14 years.

Sheila Gunn, MBE, journalist, press adviser and university lecturer, was born on August 29, 1948. She died of a brain haemorrhage on October 17, 2014, aged 66.

Originally published by XCity magazine.

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Journalists’ most embarrassing mistakes

Reputation is key to a journalist’s career – mess up and you’ll have to run away to the circus… or so you might think. These four journalists have survived to confess their worst mistakes.

Tweet your most embarrassing journalistic mistake @XCityplus with the hashtag #journogaffe or share in the comments below.

Ian Katz – editor of Newsnight and former deputy editor of The Guardian

bomb-26497_1280

In the mid-Noughties, The Sun had been exposing security weaknesses by planting a series of fake bombs – in theCommons, on an airplane and at Sandhurst Military Academywhere Prince Harry was training

Ian Katz, then editor of G2, had the idea of giving The Sun a taste of their own medicine. His assistant made a “bomb” our of blue tack and paperclips, and a young fashion journalist (who was in fact Hadley Freeman) was dispatched to try to get the bomb into the News International boardroom. After three failed attempts to get into the building, Katz said to her, “Don’t worry about it, you’ve done valiantly”, and thought no more about it.

Some time later, Katz was returning from lunch and found hundreds of people streaming out of The Guardian offices. On asking what had happened, he was told “a bomb has been found in the fashion cupboard.

Dan Cairns –music critic for The Sunday Times

martini-154548_1280“I was at the 2006 Mercury Prize ceremony five days before our new music section was launching. I was due to interview the Arctic Monkeys – but only if they won. Having refreshed myself at the bar more than was advisable, I began seriously hoping they wouldn’t win, but of course they did. The 20-minute ‘exclusive’ interview that then occurred wasn’t my finest moment.

Following the ceremony, I went on with a group of n’er-do-wells to a watering hole, where, for God knows what reason, I left my two Dictaphones – two for safety, you see (oh, the irony) – on the bar, while I went to the loo. On my return, they’d gone.

I called my editor at 4am from a cab, and confessed. She was furious, and told me to write a general overview on the prize instead, the Arctic Monkeysexclusive having vanished into thin air, with a deadline of 11am. After four hours’ sleep, I stretched the deadline to breaking point, having taken three hours to write 300 words. Not because I couldn’t think, but because I couldn’t physically type.

It was a shaming episode, and one that still causes me to break into a cold sweat when the memory of it hits me. But I can’t help feeling the shame would have been even deeper had I actually had to transcribe the interview. I mentioned it toAlex Turner from the Arctic Monkeys one time, and he told me that none of them had been able to understand me. So perhaps I owe that Dictaphone thief a drink. Well, maybe not a drink, actually…”

Ned Temko – former chief political correspondent for The Observer and former editor of The Jewish Chronicle

Image Credit: Wikipedia

“I’d barely begun working as a foreign correspondent in the Lisbon Associated Press bureau, about 18 months after the toppling of the dictatorship in April 1974. By early 1976, the veteran Socialist Party politician Mário Soares was about to emerge as prime minister in the country’s first democratic election since the revolution. I had managed to set up a pre-election interview with him in his home.

One of the pieces I’d written a few days earlier had ended up on the front page of Brazil’s largest daily newspaper. I can’t remember what it was about, but it had not left Soares very happy.

As soon as I took my seat in his study, he started berating me, shouting and gesticulating. I saw my accomplishments in journalism flash before my eyes, figuring that getting on the wrong side of the man who was likely to be running Portugal for at least the next few years was probably not a great career move. I ended up bursting into tears in his office.”

Terry Dignan – BBC producer

“I was starting out as a TV reporter for a BBC regional news programme. One morning I turn up at 8am for my daily briefing, and I’m told to get in the van with the cameraman and drive off to a Tesco car park in Maidstone, where an extremely rare species of bird has flown all the way from South America. So off I go.

It turns out the bird has moved on to a residential housing estate next door. The estate is deserted because most people are at work. Then we turn a corner. There must be hundreds, possibly thousands of men, and the odd woman, dressed in anoraks, all pointing their cameras and binoculars in the same direction. The ‘twitchers’ have descended from all over the country to see this very rare creature that’s arrived in Kent by mistake.

My cameraman warns me: ‘I can’t get an absolute close-up because the camera is not equipped for wildlife.’ This guy overhears and says: ‘I’ve been taking professional photographs of this bird that I can give you to bung in your news report.’ And I think: ‘Fantastic!’A yellow bird

After lunch we head back to London and I’m feeling quite pleased with myself. I hand the photographs over to my producer and put together my report. Within seconds of its broadcast, the phones start ringing everywhere. It turns out another not quite as rare yellow bird, from North Africa, has been in the area at the same time, which he’s also photographed. I don’t know the difference between one yellow bird and another. My editor walks out of his office, and he says: ‘Mr Reporter, I need to talk to you.’”

Originally published by XCity+

XCity Award 2015 shortlist revealed: Adam Barr and Ryan Ramgobin

Two online video journalists who captured uniquely honest footage of the fierce moods on the streets on the streets of Glasgow ahead of the 2014 Scottish Referendum, have been shortlisted for the XCity Award.

Adam Barr and Ryan Ramgobin (Broadcast, 2014), also known as the “Referendum Boys”, got over 185,000 Youtube hits for their 16 videos that captured the fierce moods on the streets of Glasgow, ahead of the 2014 Scottish Referendum. With this footage they were the first ever entrants to win the Hugh Cudlipp award with video journalism.

Ramgobin told XCity+ why viewers reacted so strongly to their videos, giving the example of an interview with a no voter: “This man was part of a group of EDL supporters, being provocateurs amid the yes campaigners. There was some bias in the mainstream media towards the no campaign, and they probably didn’t want to show this person who was letting the side down. You didn’t see those people on TV – not on Channel 4, ITV or the BBC.”

Ramgobin explained that while Barr and he were at City they produced a cultural podcast together: “We both realised what we wanted to do, and that’s telling stories which are not in the news, and going out and speaking directly to the source.”

This sentiment is reflected in the next online video project for Ramgobin and Barr. The pair will give a “zoomed-in view” on five constituencies for a month before the general election, following candidates and speaking to local people.

Ramgobin and Barr are one of five nominations to be shortlisted for the XCity Award, and the £500 prize, which recognises an outstanding contribution to journalism in the past year by a City alumnus or alumni.

Here one of the pair’s Scottish Referendum videos, of a yes-voting Glaswegian’s “defiant and passionate message to Westminster”: https://www.youtube.com/watch?v=TGcb8aY2FR8

“Win-win”: Investigative Bureau moves closer to home

New location strengthens ties and opens up intern opportunities

The Bureau of Investigative Journalism (BIJ) has strengthened its ties with City after moving into a new office only a corridor away from the journalism department.

Until February, the Bureau was situated several streets away from the student body in City’s Myddelton Building.

As a not-for-profit organisation, part of the bureau’s remit is to foster investigative journalism. Since its founding in 2010 it has given City students priority for internships and sent senior staff to guest lecture.

However, from its new vantage point in the College Building the bureau hopes to play an even larger role in students’ work.

Rachel Oldroyd, managing editor, said: “If we manage to encourage two or three more people who’ve gone through the journalism school to move into investigative journalism, that’s a job well done.

Geoge Brock, a trustee of the bureau and the former head of City’s journalism department, said: “It’s a win-win situation. The bureau has access to bright, inquisitive, enthusiastic young journalists, and City students get real-world experience in a challenging but ultimately very rewarding area of journalism.”

Suzanne Franks, who heads the undergraduate programme, said: “We are hoping that the BIJ will provide meaningful and interesting workplace opportunities for our students, and give them a taste of what serious investigative journalism involves.”
The bureau currently has three recent City graduates in their team of 11. Vic Parsons and Jack Serle did the Science MA, while XCity Award nominee Tom Warren came from the Investigative MA.

Vic Parsons, who interned one day a week at the bureau while she was a student, said: “I came with a project that I wanted to work on and found it’s a very supportive, nourishing environment.”
In the past, the bureau has acted as a stepping stone for City alumni to gain jobs in larger organisations. James Ball worked there after graduating from the Magazine MA, before becoming special projects editor of The Guardian.

The bureau has been talking to not-for-profit investigative journalism organisations in the US, where they are more common, to learn about how they operate.

Joaquin Alvarado, CEO at the Center for Investigative Reporting in California, which works with the journalism school at the University of California, Berkeley and the Knight Fellowship at Stanford, said: We have a really special dynamic that is only possible if you work closely with universities. Having an intergenerational newsroom allows new ideas to circulate.”

The bureau is especially keen to mentor students in specific areas, such as video, podcast, data journalism, animation and infographics, to find new ways to tell stories.

Begging to write

Crowdfunding rides to the rescue of original journalism

Peter Jukes, a blogger and experienced freelance reporter, was delighted when he managed to secure the last of 12 press places in the courtroom at the Old Bailey for the News of the World phone-hacking trial in October 2013. Jukes had intended to produce a weekly article on the trial for The Daily Beast, but began instead to live-tweet the proceedings. He quickly attracted a large and loyal following, which included Rebekah Brooks and her defence lawyers.

But, having recently missed a mortgage payment Jukes told his readers he could only afford to cover the opening days. His readers thought otherwise. “Someone sent me £10 on Paypal, just by typing in my email address,” Jukes recalls. “I received dozens of tweets telling me to crowdfund the money I needed.”
From there, Jukes set up an Indiegogo page asking for $4,000 to keep him at the trial until Christmas. Within a day he had £6,000. At a second push, he received another £14,000.

As a result Jukes was able to live-tweet the entire seven-month trial. It was an exhausting and full-time task, which saw him wear out a keyboard and eventually publish his book Beyond Contempt: The Inside Story of the Phone Hacking Trial.

Jukes is one of a new breed of journalists to benefit from crowdfunding, a way of amassing many small payments from individuals to fund a single project or article, which has become a way for writers to circumvent publishers.

This new payment model has emerged over the last couple of years and has been heralded as a way to democratise journalism, giving a voice to individuals rather than large media organisations. So far it has been used to shine light on issues that might otherwise escape the mass market. But is it really as easy as putting out an appeal and waiting for the cash pledges to roll in?

Inevitably, it can be tricky to convince people to pay. Crowdfunding runs on goodwill and faith in the outcome of a story or investigation. In return, donators are often offered rewards such as a first look at the piece, merchandise, or simply the opportunity to become part of a community.

It can also be risky. During the phone hacking trial Jukes was vulnerable to being tried as an individual for contempt of court: “Practically every morning a defence lawyer would stand up and say: ‘My Lord, there’s been a tweet.’” On the other hand, his coverage was groundbreaking, precisely because crowdfunding set him free. “My audience really appreciated having a journalist there who was independent.”

Not everyone has a public profile like Jukes’ to help pull in donations. Danielle Batist is less well known, but has been a freelancer for 20 years. Two years ago, she was one of the first in the UK to tap into the crowdfunding trend. Batist calls herself a “journopreneur” who is interested in “finding ways to directly engage with the audience rather than relying on the old system of distribution”.

She uses the journalism community website Contributoria to fund articles, including her monthly column, ‘Someone I Met’, which details her encounters with individuals around the world.

Batist now trains other freelance journalists in how to crowdfun their projects. “You have to be very disciplined and driven to run a campaign,” she says. “There are never going to be enough strangers to fund your work every month. You need a strong network of a couple of hundred superfans. I don’t think every journalist is ready for it – you have to be a marketing person at the same time.”

Batist has also noticed that crowdfunding can act as a barometer to gauge the public’s appetite for a story. “I’ve found it hard to get positive, solution-based journalism placed in newspapers, but it has been very popular through crowdfunding,” she explains.

“Jukes’ reporting represented the most significant press innovation since colour newspapers”

Another area of journalism that has embraced crowdfunding is investigative reporting. More so than other types of journalism, investigations are facing budget cuts as newspapers and TV channels struggle to find ways to sell material that, for all its benefits, is expensive and time-consuming to produce.

In 2013 the Bureau of Investigative Journalism crowdfunded over $27,000 (£18,000) in three months for its ‘Naming the Dead’ project, which sought to name all those killed by drone strikes in Pakistan. Rachel Oldroyd, the Bureau’s managing editor, explains that having clearly defined results was the key to the success of the project: “You absolutely have to have a deliverable. We could promise exactly what we would achieve: finding the names.”

Freelance Irish journalist Lyra McKee has used US crowdfunding platform Beacon to raise over $6,000 (£4,000) for her investigation into the murder of Belfast political Robert Bradford in 1981.

McKee believes that more can be made of the reader-writer relationship, both financially and by sharing information. “We tend to look at readers as a commodity instead of as a community,” she says. “Don’t treat your readers like they’re a source of money. Treat them like co-conspirators who are helping you uncover the story, because they are, whether they’re contributing cash or giving you leads.”

Jess McCabe, the features editor at Inside Housing, raised £2,100 towards a six-month investigative series published by eNews. The series, called ‘Why doesn’t she just leave?’, looked at the economic reasons behind women remaining in abusive relationships in the UK. McCabe points out that the intensive publicity behind her crowdfunding call enhanced the path of her investigation. “Lots of my interviewees got in touch with me after hearing about the project during the fundraising process,” she says.

“In order to take on power you have to actually have some”

McCabe also had to grapple with the expectations of her donors. She heard stories of women who had more financial means than their abusive partners, and had to ask herself: “Did that fit with the original brief? What would donors think of me including that story in a series that was meant to be about austerity?” In the end, she decided to include the story, which she called ‘In these cases of abuse, her money was no defense’. “Ultimately,” she says, “as a journalist you have to go where the story takes you.”

Some are sceptical about the scope of crowdfunded journalism. Every single one of the journalists featured here stressed how exhaustingly difficult it is to convince enough people that a project is worthy of their money, and then to sustain interest. Heather Brooke, known for her freedom of information investigation into MPs’ expenses, warns that crowdfunding would not work for every kind of journalism. “In order to take on power in an effective way, you have to actually have some. You have to have institutional power and lawyers behind you. That costs a lot of money.”

Crowdfunding may not be a one-size-fits-all solution to funding journalism, but it has undoubtedly enabled a lot of important work that may never have happened without it. Referring to Jukes’ hacking trial crowdfunding project, the BBC news presenter Jeremy Vine said: “If Peter Jukes is the future of journalism, our trade is safe. His reporting […] represented the most significant press innovation since newspapers started printing in colour.”

Four-step guide to crowdfunding

  1. Ask yourself: “Is my project suitable?” Is it something you can explain to your readers ahead of time? If not, maybe crowdfunding is not for you. It helps if the project is already underway and your public can see the results so far, as a promise of what’s to come

  2. Plan your publicity campaign. Some have started weeks, even months, in advance. Tweet, blog and email everyone you can. Can you offer your donors anything special? Ask them to help – if readers feel like it’s their story too, they are more inclined to chip in.

  3. Tell potential donors what you are going to do, how you are going to do it, why it’s important, and that with their money you can achieve it. Quantify how much time and money your project will take. Be realistic about your outcome – you don’t want disappointed customers.

  4. Momentum is not enough. Once you have started publicising, don’t stop – ever. Keep your sponsors constantly informed and engage new donors. Keep an open notebook – with updates, books your reading and interview transcripts.