Arthur L. Carter Journalism Institute at New York University

Course Listings | Fall 2014

Course information subject to change. Please check back frequently for updates. All courses are at 20 Cooper Square unless otherwise noted. To view a course description and syllabus, click on each course’s Title. Electives are the last tab and are available to all students.

» Undergraduate Journalism

Production & Publication: TV Newscast

Tuesday 1:00pm-7:00pm

Joe Peyronnin

Production & Publication: TV Newscast

Instructor: Joe Peyronnin

Course ID: JOUR-UA 302, section 001

Days: Tuesday 1:00pm-7:00pm

Room: 20 Cooper Square, TV Studio (room 761)

» Syllabus (PDF)

Students in this class will be involved in every aspect of producing a television newscast. The weekly shows will be broadcast live on the NYU cable system and streamed online. Each student will take on a different role, from anchoring, line producing, directing, to running audio, prompter or EP’ing.  There will be strong emphasis on script writing, story selection and placement, as well as execution in the control room. The class assignments include both editorial and operational functions. Our class will act as a living newsroom where there is a tight deadline to get the show on the air. There will also be reporting assignments outside of the Tuesday class. “NYU Tonight” airs at 6pm every Tuesday for 30 minutes.  We will reconvene as a group from 630 to 7p for post-game discussion.

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Elective Reporting Topics: Data Journalism and Investigative Reporting

Wednesday 12:30pm-3:00pm

Charles Seife

Elective Reporting Topics: Data Journalism and Investigative Reporting

Instructor: Charles Seife

Course ID: JOUR-UA 204, section 001

Days: Wednesday 12:30pm-3:00pm

Room: 20 Cooper Square, room 659

» Syllabus (PDF)

This four-point course will both survey what the emerging field of data journalism is about and plunge students into the practice of it.  Students will learn how to find useful documents and other sources of data, extract meaningful information from large data sets, prepare data for public use, and make it possible for consumers of the news to interact with the data. They will also learn how to use data to perform investigative journalism. Outstanding examples of data journalism from around the world will be studied -- and the techniques those pieces used will be added to students' arsenals. A final project will test students’ skills in using data to produce publishable-quality journalism.  

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Methods and Practice: Visual Reporting

Friday 10:00am-1:40pm

Kathy Willens

Methods and Practice: Visual Reporting

Instructor: Kathy Willens

Course ID: JOUR-UA 203, section 001

Days: Friday 10:00am-1:40pm

Room: 20 Cooper Square, room 655

» Syllabus (PDF)

COURSE OBJECTIVES:
• Learn to use a digital SLR camera. Practice the skills and techniques professionals use to produce storytelling
images. Learn to capture fleeting moments, document daily life and special events. By semester’s end, you
should have a basic understanding of the impact photographs have on society, the legal and ethical concerns
of photojournalists, digital production of photographs, and the importance of captions and text
accompanying photos. You should also have a variety of photojournalistic images suitable for an entry-level
portfolio.
• Learn to cover local events, develop your own story ideas, edit and scan your photographs using Adobe
Photoshop, Elements, or other image-editing programs. Share your photos with classmates.
• This is NOT a basic photography class. A portion of the class will be devoted to learning basic digital camera
skills. The emphasis is on taking and editing good pictures. A basic understanding of camera operation and
exposure is recommended.

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Methods and Practice: Point of View

Friday 12:20pm-4:00pm

James McBride

Methods and Practice: Point of View

Instructor: James McBride

Course ID: JOUR-UA 202, section 001

Days: Friday 12:20pm-4:00pm

Room: 20 Cooper Square,652

» Syllabus (PDF)

Be ready to write longhand. No computers. No cell phones in class. Pencil and
yellow legal sized paper only. Please be on time. Bring a jacket and a metro card.
For the first class, there is absolute silence when you enter the room. No
talking. Not even to say hello to your neighbor. You want to hear a hello? Here it
is: Hello. Now, no talking for the first ten minutes of class. It sounds stupid, but it
is our first exercise.

Good writing is all about finding the right detail or set of details that will show, not
tell, the event to the listener. You are always fighting gravity, always fighting the reader
who will close the paper, book, magazine and tune you out. We will focus on placing you
in the right mental place to find the details that will tell the story, from your perspective, in
a way that is honest to your truth and hold the reader.

There will be some reading aloud in class. There will be no bloodlettings. If
you’re willing to fail, you will be successful. If you’re already a journalistic success, this
isn’t the class for you. Remember, writing is the act of continually failing at excellence,
and uniformity is the ceiling against which great writing will forever bump. The mid term
and final will be your writing.

Before each class, you will be expected to read the following excerpts from “A
Nietzsche Reader” (Penguin) translated by R. J. Hollingdale. They are not long, but they
are important. We may alter this list based on my assessment of your abilities . Reading
assignments in Gary Smith and Micheal Herr’s books, as well as our Marvel Comic
class, will be assigned as we go deeper into the semester and I am able to assess your
abilities.

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Methods and Practice: Radio Reporting

Monday 1:00pm-4:40pm

Farai Chideya

Methods and Practice: Radio Reporting

Instructor: Farai Chideya

Course ID: JOUR-UA 202, section 002

Days: Monday 1:00pm-4:40pm

Room: 20 Cooper Square,652

» Syllabus (PDF)

The first step in producing radio is learning to listen to sound the way we attune ourselves to important conversations: carefully and critically. Both words and “nat sound” – birds chirping; the beep of garbage trucks backing up; gunfire – are necessary to tell complex audio stories.


This class will offer the chance to master short-form radio news production in public radio’s modes, and offer a contextual overview of other radio news forms (commerical newscasts; radio documentaries). The foundation of listening can be applied to production this way:

 

L -- Listen for sound, tone, and bites

I  -- Investigate the meaning, context, and veracity of your sound

S -- Script powerfully in your chosen form. You're seeking a full story.

T – Tape/locate additional elements (intros, voiceovers, music, sound effects).

E -- Edit and re-edit your elements until you've got the right piece.

N -- Next steps post-production include distribution and social media strategy.

To learn to LISTEN, you must listen. As such, you will be expected to become a regular consumer of audio news and features.

 

We will delve not only into terrestrial radio, but the business and production of audio for digital distribution. Audio is an important component of web-based storytelling, and under the right circumstances podcasts are financially viable as stand-alone series; parts of larger broadcasts; and parts of multimedia franchises. Some podcasts, of course, later become their own full-fledged shows.

 

You will be expected to use the school’s resources (Edirol recorders & Pro Tools) to work on your assignments outside of class, although we will use some class time for production.

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The Profile: Captured from Every Angle

Thursday 12:30pm-4:10pm

Mary W. Quigley

The Profile: Captured from Every Angle

Instructor: Mary W. Quigley

Course ID: JOUR-UA 204, section 003

Days: Thursday 12:30pm-4:10pm

Room: 20 Cooper Square, room 653

 People are endlessly curious about the lives of others.  It fascinates us to pull back the curtain and see how our fellow travelers - from plain folk to celebrities - live, love, work and play. That’s why the profile remains one of the most popular and enduring forms of journalism.  And it’s one of the most multifaceted, too, coming in all shapes and sizes: short Q & A, 500-word feature, long form magazine article, radio piece, multimedia slide-show, full-length book and documentary film. 

 

This course will explore the profile in its varied incarnations through a range of assignments. To help focus both research and developing story ideas, students will be required to propose a subject-area as their beat and the basis for all assignments; perhaps your double major, or an area of interest in sports, lifestyle, music, politics, food, fashion, science, and so on. 

 

One of the course's guiding principles will be, as Malcolm Gladwell noted, that a profile is “not so much about the individual as about the world that he or she inhabits, the ‘subculture.’” So we will explore not only the individuals but the places, communities and cultural milieus they inhabit, which will allow for deeper learning and more sophisticated narrative-writing techniques.

 

A major aspect of the class will be practicing and perfecting,  the art of the interview in all its forms, from the formal, sit-down variety, to the Skype or Google Plus chat, phone, write-around, vox-pop, etc.

 

Students will keep blogs on their beats and pitch their work, with the goal of getting published.

 

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Journalism & Society: Women and the Media

Tuesday 12:45pm-3:15pm

Carol Sternhell

Journalism & Society: Women and the Media

Instructor: Carol Sternhell

Course ID: JOUR-UA 503, section 001

Days: Tuesday 12:45pm-3:15pm

Room: 20 Cooper Square, room 657

» Syllabus (PDF)

Women & the Media is a collaborative seminar designed to examine the complex relationship
(or different, contradictory relationships) between those humans we call “women” and those
forms of discourse we call “media.” We will consider women both as subjects and objects, as
artists and models, as creators of “media” in its many forms and as media’s creations. What
does our culture’s “media” tell us about its ideas of gender? What, if anything, does our gender
tell us about our readings of “media”? Student participation in this seminar is key: students are
expected to attend all sessions, to complete all the reading (there's lots of reading!), to
participate actively in discussion, and to lead one of the class sessions themselves. Leading a
class means opening the day’s conversation with a presentation, critiquing and elaborating on
the assigned reading, bringing in additional relevant material, and suggesting questions or
issues that seem particularly interesting or troublesome. The purpose of the course is to
develop our critical and self-critical faculties as journalists, media critics, consumers of media,
and women or men—to think clearly, challenge our pet assumptions, and have fun.
Along with attendance and informed class participation, students are required to conduct a miniresearch
project and present their findings to the class. I want you to pick a “women and media”
topic that really interests you and then report the hell out of it. If you’re interested in the effect of
music videos on teenage girls, for instance, you would first put together an extensive
bibliography of what has already been written on the subject. You would figure out what the key
questions in the field were: do media images affect teens’ behavior or not, and how can anyone
tell? You might interview some of the leading researchers in the area and tell us what they say.
You’ll certainly want to read the most important books/articles on your subject. A paper is not
required; instead, students will present their findings to the class during our last three sessions.

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Journalism as Literature: Learning from the Best to be the Best

Tuesday 11:00am-1:30pm

Michael Norman

Journalism as Literature: Learning from the Best to be the Best

Instructor: Michael Norman

Course ID: JOUR-UA 504, section 001

Days: Tuesday 11:00am-1:30pm

Room: 20 Cooper Square, room 654

» Syllabus (PDF)

Learning from The Best To Be The Best is a survey of some of the most entertaining and well-written literary journalism of the last two centuries. We will read these articles and book excerpts carefully - "deep reading," it is called - to discover how good writers take basic journalism and enliven it with literary technique. We want to catalog as much of that technique and structure as we can so that we can "steal it," appropriate the devices for our own work. Students will work in teams; each week a team will "present" the readings and incite a discussion with the rest of the class. There will be some three to five formal academic papers in which students will be asked to demonstrate their understanding of the material, and there will be a number of "creative" assignments as well. The main text for the course is an excellent anthology of non-fiction: The Art of Fact by Kerrane and Yagoda.

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Internship

Friday 2:00pm

Sylvan Solloway

Internship

Instructor: Sylvan Solloway

Course ID: JOUR-UA 980

Days: Friday 2:00pm

Room: TBA

DECLARED JOURNALISM MAJORS ONLY Hours Arranged

Prerequisites: Foundations, Inquiry, The Beat

To enroll:
1) Students must be declared journalism majors who have been offered an internship. The Career Services director must approve the internship. All sophomores must consult the director before applying for a credit internship.
2) No credit will be given for internships in advertising, marketing, public relations or the fashion/accessory closet.
3) Students may take the course for 1, 2, 3 or 4 credits but can earn no more than 4 credits total while attending the institute. Only one internship for credit is allowed per semester.

 

For moew information go to the Career Services section.

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Advanced Individualized Study

TBA

TBA

Advanced Individualized Study

Instructor: TBA

Course ID: JOUR-UA 997

Days: TBA

Room: TBA

To enroll in Advanced Individualized Study, an interested student must find a full-time faculty member to be a sponsor and then must develop and file a syllabus. The syllabus must be approved by the faculty member and the Journalism Director of Undergraduate Graduate Studies (DUGS). It must list, in week by week fashion, all readings and all writing assignments that the student will undertake for the Advanced Individualized Study. Once approved, this syllabus constitutes your "contract" on the project and the student's work will be judged and graded with that in mind.

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Honors - Broadcast, Multimedia & Print Convergence

Wednesday 10:00am-1:00pm

Jason Samuels

Honors - Broadcast, Multimedia & Print Convergence

Instructor: Jason Samuels

Course ID: JOUR-UA 351.01

Days: Wednesday 10:00am-1:00pm

Room: 20 Cooper Square, room 655

» Syllabus (PDF)

SENIORS ONLY

Prerequisites: Foundations, Inquiry, The Beat

Honors is a year-long research, writing and reporting course for seniors in which students choose and develop a senior thesis subject of their own choosing in the first semester and complete the project in the second. Students take Honors Advanced Reporting, followed by Honors Senior Seminar. Honors students must have a 3.65 average.

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Journalism & Society: Covering the Earth

Tuesday 10:00am-1:00pm

Dan Fagin

Journalism & Society: Covering the Earth

Instructor: Dan Fagin

Course ID: JOUR-UA 503, section 003

Days: Tuesday 10:00am-1:00pm

Room: 20 Cooper Square, room 653

» Syllabus (PDF)

Environmental journalism is hot again, and not only because the climate is warming – though that helps. As web-based platforms increasingly dominate mass media, what specific forms should the “new” environmental journalism take? This class will begin by tracing the development of traditional environmental journalism from John Muir to John McPhee and will then look closely at how the field is adapting to a fast-changing media landscape. With the help of guests and timely readings, we will confront thorny questions about environmental advocacy, citizen media, issue framing, risk balancing and the scientific process. And yes, we will produce stories that matter on the biggest news beat of all. This advanced seminar will include intensive journalistic writing assignments, as well as extensive readings for in-class discussion.

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Journalism as Literature: Storied New York

Wednesday 3:30pm-6:00pm

Suketu Mehta

Journalism as Literature: Storied New York

Instructor: Suketu Mehta

Course ID: JOUR-UA 504.002

Days: Wednesday 3:30pm-6:00pm

Room: 20 Cooper, room 659

» Syllabus (PDF)

New York is the most storied city in America; generations of writers have been entranced by it, and have produced masterpieces in tribute. We will look at the city as a character, in journalism, memoir, fiction, poetry, and film. What is the idea of New York in historical and contemporary imagination, and how different or similar are today's chroniclers of the city from their predecessors? What can we learn about urban reportage from the best practitioners of the genre? We will examine the texts for thematic concerns as well as those of craft. We will look at them as a car mechanic looks at a car; see how sentences are structured so that the text provides pleasure as well as information. And along the way, we will discover the broader possibilities and limitations of nonfiction, fiction, poetry, and film.

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Issues and Ideas: Covering Sub-Saharan Africa

Monday 3:30pm-6:00pm

Frankie Edozien

Issues and Ideas: Covering Sub-Saharan Africa

Instructor: Frankie Edozien

Course ID: JOUR-UA 505.001

Days: Monday 3:30pm-6:00pm

Room: 20 Cooper Square, room 655

» Syllabus (PDF)

Challenges, Issues and Ideas in Covering Sub-Saharan Africa

Africa covers a vast area of 55 countries and 1.1 billion inhabitants. There are countries that are emerging economic powers and heading towards industrialization. In other cases, some countries are taking the lead in developing technology hubs, and testing out new forms of mobile banking and virtual money. Other countries wield considerable “soft power” via their film, music and contemporary culture and they are driving the way Africans present themselves to the world.

Comprehensive coverage of Africa is scant. The sparse coverage is often a variation of an incomplete portrait that has dominated the Western media for the last 50 years: tales of starvation, political instability and disease are mainstays. There is often little or no historical or political context in most of this coverage.

This course will provide students with an understanding of contemporary issues around the various regions on the African continent. We will examine the role of religion, including religious extremism that has led to the near- splintering of several societies; the struggles to develop viable democratic models; cultural norms and practices; and issues of economic development and empowerment. We will focus on the challenges of telling stories from Sub-Saharan Africa that are not the same old stories, with the same tired clichés.

We will accomplish this by reading works that combine history, political analysis and narrative journalism. This historical and political background will help students to eventually write about the region with depth and nuance, and to evaluate the coverage that they read. In addition, we will analyze the evolution and implications of the myriad of U.S. foreign policy actions on the African continent.

Today, Africa is poised for an era of political and cultural renewal. The continent’s population is expected to double by 2050 and its influence on the world stage is growing.

We will discuss the challenges of reporting from regions with competing narratives, authoritarian regimes that have little respect for a free press, and places where journalists must work under constant danger. We also will strive to on occasion have guest speakers who have worked as foreign correspondents or editors managing coverage of Africa. By the end of this course, you will hopefully be a more informed reader and analyst of events in the continent.

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Journalism & Society: Minorities in the Media

Thursday 11:00am-1:30pm

Pamela Newkirk

Journalism & Society: Minorities in the Media

Instructor: Pamela Newkirk

Course ID: JOUR-UA 503.002

Days: Thursday 11:00am-1:30pm

Room: 20 Cooper Square, room 654

» Syllabus (PDF)

It has been 40 years since President Johnson’s National Advisory Commission on Civil Disorders released its findings on the civil unrest that erupted in urban areas across the nation. The panel, commonly referred to as the Kerner Commission, concluded that we are living in two nations, “black, white, separate and unequal,” and devoted an entire chapter to the impact the media had on the nation’s race relations. “We believe that the media have thus far failed to report adequately on the causes and consequences of civil disorders and the underlying problems of race relations,” the report said. It added: “The media report and write from the standpoint of a white man’s world. The ills of the ghetto, the difficulties of life there, the Negro’s burning sense of grievance, are seldom conveyed.”
The report criticized as “shockingly backward” the industry’s failure to hire, train and promote African Americans. At the time, fewer than five percent of the newsroom jobs in the United States were held by African Americans. Today, despite the progress that’s been made in the hiring and coverage of African Americans and other so-called minorities, many critics say that the Kerner Report findings continue to resonate today. With the report as a backdrop, we will examine the portrayals of racial and ethnic minorities in the media, paying particular attention to African Americans – the subject of the Kerner Report – but also others, including Latinos, Asians, women, and gays and lesbians.

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Honors - Print Long Form Bias

Tuesday 3:30pm-6:00pm

Brooke Kroeger

Honors - Print Long Form Bias

Instructor: Brooke Kroeger

Course ID: JOUR-UA 351.02

Days: Tuesday 3:30pm-6:00pm

Room: 20 Cooper Square, room 600

» Syllabus (PDF)

CONTEXT AND MAIN OBJECTIVE

Our objective over the course of this year, I hope, is already clear: We are going to produce a piece of heavily reported, gorgeously crafted long-form journalism in the narrative, expository, or investigative style as the equivalent of an academic senior honors thesis. It’s as simple as that. If you were writing an honors thesis for your companion major in CAS, it would need to be something like 40 to 60 pages with full citations. In Journalism, we do this differently, with respect to common journalistic practice. We write for the sophisticated general reading public, not for academics, but we also want to present work that reflects a scholar’s knowledge and intent but that is produced to engage readers with our research and writing in the journalistic way.

You will find that this course is is likely not the same as other classes you have taken. It’s more of an organized tutorial in a group setting, sometimes with individual conferences, too. It is built to a large extent to address any lacks you feel. I will endeavor to fill those gaps as effectively as possible.


Earlier groups have reported devoting anywhere from 10 to 20 hours a week to this project. Most enjoyed the freedom of being able to choose their own subjects as they delighted and agonized about pursuing their stories maniacally for a solid year. Students have especially liked the challenge and freedom of writing at significant length. There is always joy and frenzy in producing the magazine and we will experience that, too.

 

EXPLOITING AND VERIFYING YOUR KNOWLEDGE

It is not a requirement, but I strongly encourage you to draw your subject however broadly from the learning you are doing in your companion major. We will talk more about that.

We will also produce a fact-checking research and citation list that shows the academic research we have done on the topic, the interviews we have conducted, the published work we will be referring to or citing, and the other writers and researches we have examined to inform our thinking.

 

INTEGRITY

It goes without saying that I expect the highest journalistic standard and that no form of plagiarism, falsification or fabrication of any kind will be tolerated.


SPECS

The expected length of this piece will be a minimum of 6,000 words and a maximum of 9,000 words. Your model? Long-form pieces in the Atlantic, Harper’s, The New Yorker, Esquire, and the like. In previous classes, student stories have been published as is, in excerpt, or re-fashioned into go-to blogs and reflective personal pieces.

Here’s our zine to help you know where we are headed and where your work will appear no matter what:
http://shoeleathermagazine.com.

If the prospects for publication are good, we will “password protect” to keep the work off search engines until you are ready to release it. Once released, we will re-post it on our site with a link to the other url.


MULTIMEDIA

You’ll note these pieces were illustrated with handsome slide shows and with a fashion video (Wu) in one case. You will need to produce and/or provide (with permission) multimedia elements to enhance your work, so you need to plan this as you go. For that reason, we will complete our final drafts by the end of March so that we have April to produce our multimedia accompaniments. And also for that reason, have a camera at the ready when you’re out reporting. If you don’t already have a good tape recorder with a USB connection, you’ll want one.

THE CLASS BLOG/BEATNOTES

We will blog every week for ourselves, privately, with an 8 pm deadline the night before class. We do this on my Basecamp site, http://bknyu.basecamphq.com, where I will enroll you. This is a variation on the time-honored journalistic tradition of producing weekly “beat notes.” Offering these to each other will also encourage you to exercise your writing voice while it keeps you focused on our long-term goal by picking away at the story week after week. Benign accountability. These beat notes should be well-crafted and engaging. They should reflect the week’s street reporting, interviewing, reading, scholarly conversations, and reflections – whatever gives flesh to your ideas and helps you focus in on the writing to come. For me and for your classmate, they have the important side benefit of keeping the rest of us current with your progress. It helps us know about the challenges you encounter and where we might have helpful suggestions. It helps me to see where there are common issues we can address in class. Being generous about the work of others enables others to be generous about yours, so we will devote time regularly to each other. You will find yourself called upon to do this throughout your professional careers, so we may as well start now. As to blogging publicly about your work, or creating a Tumblr or whatnot -- your choice. One student has done this in the past. Most choose to keep their findings under wraps until they publish. Likewise, I’ve not yet had a student who tweeted about his or her subject area during the year, but I’m open to that. All of this is your choice and we can discuss the pros and cons. We will also decide as a group how private or public we want our group effort as a class to be as it unfolds.

INSPIRATIONAL BUT CRITICAL READING

We will study the work of the greats for inspiration and for craft. Most classes will involve time spent studying the work of the great long-form narrative journalists, current and past. Sometimes I will invite you to invite your heroes in to talk with us, or I will ask you to interview them on our behalf and share what you learn with the rest of the group. I will suggest pieces for us to read (some great, some not-so) to help us set our own standards. We will analyze together what we admire and what we don’t, using a method called “Charting” to help you understand the critical importance of structure. It’s important to do the readings ahead of time, please. Sometimes I hope you will make suggestions growing out of your own research and reporting.

EXERCISES IN NARRATIVE TECHNIQUE

We will do exercises in narrative technique that will come weekly as part of your BeatNote assignment. I will be encouraging you in a variety of ways to work with a bagful of literary devices. The most common errors of your predecessors have been trite phrase and word choice, indiscriminate use of the passive voice, appositive pile-ups, and the squandering of the element of suspense. Think about these and try to self-edit them out before we see your weekly posts.

DURF PROPOSALS

We will apply for DURF grants to support our research. I will work with you closely on these. The deadline comes at a very convenient time of the year in helping us to hone our ideas and pinpoint exactly what we are going after.  This class traditionally has had a very good success rate with the DURF judges.

ONE FALL ARTICLE ASSIGNMENT

In addition to our blogs, we will do one major (minor compared to the thesis) reporting-writing assignment in the Fall term. Your query will be due the second week in November and your story will be due the day before Thanksgiving break, so that you can have a real break and I have time to edit the pieces, giving us time to discuss them in class and you time to rewrite them before the term ends. We call these “Element” pieces. They will emanate from your overall research and reporting and come in at 1200-1500 words. They will not be a capsule version of the Honors project, but only an element of it that you are ready to develop by the time we are working on it. It could be a profile of one of the protagonists or even one of the minor figures in your story. It could be a closer look at one of the institutions that show up in your reporting. It could be the development of a trend that works into your overall piece. The idea is to exercise your writing muscle in a structured form and to produce something that deepens your understanding of the overall subject matter and moves you along to the bigger goal. Many of these have ended up as a section of the big piece; others just provide background that helps you write with more fluidity and comprehension once we get to February. If you pick your subject right, it could be publishable on its own. That has happened.

TYPICAL CLASS SCHEDULE


Our class is 2 ½ hours long. Typically, I will go over the Beatnotes to point out issues I’m seeing that relate to everyone’s work generally. Often, we will dissect one or two of them for particular points that will hopefully be helpful to everyone. Everyone will get a chance over the course of the term to be in the hot seat. We will discuss the reading assignment, have a methods lab exercise (emanating from issues we see emerging) or a guest writer/editor/speaker to whom we can pitch our work. In the second term, we will have weeks where we are in private conference. This can only happen, of course, when the work is in solid draft.


I will post the readings and the timetable for the following week the evening prior to the following week’s class. The choices have to be built out of your needs as they emerge, so bear with me on this. There is method!

STORY QUERIES AND DRAFTS


For your story queries and drafts, when we get to that, I might ask you to use the “Writeboard” function of Basecamp, or, at times we will use Google Docs, which is great for collaborative editing. I will let you know which and will give you a tutorial so you can make maximum use of their wonders.

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Investigating Journalism (lecture)

Tuesday/Thursday 12:30pm-1:45pm

Mohamad Bazzi Mitchell Stephens

Investigating Journalism (lecture)

Instructor: Mohamad Bazzi Mitchell Stephens

Course ID: JOUR-UA 501, Section 001

Days: Tuesday/Thursday 12:30pm-1:45pm

Room: GCASL 95

» Syllabus (PDF)

Journalism and Prospective Journalism Majors

JOUR-UA 501Investigating Journalism
(formerly  JOUR-UA 501 Foundations of Journalism)

This lecture course will introduce you to issues in journalistic writing and reporting, such as the choices journalists face in method, style, and form; the political impact of the news media; questions of sensationalism, bias, and diversity, and the current digital upheaval. To better understand what journalism has been and might be, students are also introduced to a selection of the best journalism, from Edward R. Murrow on migrant farm workers to Adrian Nicole LeBlanc on family life around the drug trade in the Bronx. Your work will be reading the assigned pieces, coming to class ready to comment on and question them, preparing for some tests and producing a paper of two during the semester. (Unlike most of the courses in the Carter Institute and the Journalism major, this is not a reporting and writing course, though reporting and writing will often be discussed. )

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Journalism Ethics and First Amendment Law

Monday 6:20pm-8:50pm

David A. Kaplan

Journalism Ethics and First Amendment Law

Instructor: David A. Kaplan

Course ID: JOUR-UA 502.001

Days: Monday 6:20pm-8:50pm

Room: Silver 414

» Syllabus (PDF)

SPRING SEMESTERS ONLY

Prerequisites: Foundations

This course is designed to acquaint students with the basic protections and restrictions of the law as they apply to the media, as well as the ethical problems and dilemmas journalists face. First Amendment rights and legal and ethical responsibilities and limitations will be examined and discussed. The course will look at these questions from five viewpoints: from (i) the practical view of a journalist doing his job with (ii) heavy consideration of ethical imperatives, and (iii) from a legal prospective, all the while (iv) considering the rules in a public policy context- are they fair and appropriate in our society? -- while (v) noting the historical context in which they arise. Significant court cases and fundamental legal rules as well as past ethical scandals and issues will be explored in the context of political and historical realities, and in terms of journalistic standards and practices; contemporary media law issues and ethical problems and guidelines will also be focused on. Among the basic First Amendment issues which will be examined are libel, invasion of privacy, prior restraints, newsgathering and newsgathering torts, and the reporter's privilege; some of the ethical issues to be explored include objectivity in reporting, bias and transparency, conflicts of interest, and fair dealings with subjects, sources and advertisers.


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Journalistic Inquiry

Tuesday/Thursday 6:30pm-8:20pm

Rosemary McManus Beirne

Journalistic Inquiry

Instructor: Rosemary McManus Beirne

Course ID: JOUR-UA 101, Section 001

Days: Tuesday/Thursday 6:30pm-8:20pm

Room: 20 Cooper Square, room 655

» Syllabus (PDF)

JOURNALISTIC INQUIRY

Prerequisites: Foundations

This is the first-level reporting, research and writing course, which emphasizes in-depth research and interviewing technique as it introduces a variety of journalistic forms, including the reported essay, the newspaper pyramid style, magazine and newspaper feature style and broadcast newswriting style. The course focuses heavily on the critical and impartial examination of issues through research and reporting. Research methodology is key, as are observation and interview preparation and techniques. Research and reporting projects will include interviews, off- and on-line research, including books, government and non-governmental documents, interviews and databases, scholarly journals and other sources. This course provides a strong foundation in basic journalistic forms, issues and responsibilities.

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Description
You are going to learn to think, act and write like a journalist.
This course will provide an introduction to the basic principles of research, reporting and writing the news. You will be introduced to a variety of ways in which we work in this fast paced, deadline driven business - from writing in the traditional newspaper pyramid style to opinion and feature writing to working for broadcast, and new media. You will do lots of writing because the only way to work on your skills is to practice it over and over.

To be a good reporter you have to be informed about what's happening in the world around you. For this class, you have to read The New York Times, New York Daily News and The New York Post every day. You must watch at least 15 minutes of television news or listen to news radio a day. You must also scan the free papers. (Metro & AM NEW YORK) Once a week you will have a brief news quiz on the big stories of the week and your score will count toward your final grade.

In each class one or two students will take turns leading "Newscheck," which is a discussion on a story of their choosing from the front pages of The New York Times. Everyone must participate in the discussion.
Working journalists will visit throughout the semester. You will be expected to ask well thought out questions and take notes because you will have to write a 600-word story on each newsroom visitor. These stories will be due the day after they are assigned.

We will start out with obits and profiles where you will learn the nuances of storytelling and build up to writing a 1,000-word final news story on an issue of your choosing. This story should be good enough to be published. You will cover news events. We will get into this city's diverse colorful neighborhoods and find stories and spend lots of time exploring and hunting down news in New York City.

If a big story breaks, prepare to cover it. On any given day in the newsroom you have no idea what is going to happen. Be flexible! I can guarantee you that things will change as we go through our semester.

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Journalistic Inquiry

Tuesday/Thursday 10:00am-11:50am

Mary W. Quigley

Journalistic Inquiry

Instructor: Mary W. Quigley

Course ID: JOUR-UA 101, Section 003

Days: Tuesday/Thursday 10:00am-11:50am

Room: 20 Cooper Square, room 659

» Syllabus (PDF)

JOURNALISTIC INQUIRY

Prerequisites: Foundations

This is the first-level reporting, research and writing course, which emphasizes in-depth research and interviewing technique as it introduces a variety of journalistic forms, including the reported essay, the newspaper pyramid style, magazine and newspaper feature style and broadcast newswriting style. The course focuses heavily on the critical and impartial examination of issues through research and reporting. Research methodology is key, as are observation and interview preparation and techniques. Research and reporting projects will include interviews, off- and on-line research, including books, government and non-governmental documents, interviews and databases, scholarly journals and other sources. This course provides a strong foundation in basic journalistic forms, issues and responsibilities.

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Course Description

To fully prepare you for a career as a journalist, you need to get down to basics. In this class, we’re going to analyze stories from the ground up—beginning with idea generation, continuing to interviewing fundamentals, all the way up to writing, rewriting and the editing process. We’ll spend some time in the classroom, looking at stories and analyzing construction and style, and then we’ll hit the streets to do some hands-on experience including man-on-the-streets, covering events, etc. The goal: By semester’s end, you’ll be comfortable pitching ideas in class and on paper, producing a story on deadline (tweaking it to work for print, broadcast and—even—online) and approaching strangers and expert sources for comment. We’ll do all of this in 15 weeks. The class will be full of interesting experiences, including a police ridealong, coverage of local meetings and interviewing the real people that make this city great.

 

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Journalistic Inquiry

Tuesday/Thursday 12:30pm-2:20pm

Fran Stern

Journalistic Inquiry

Instructor: Fran Stern

Course ID: JOUR-UA 101, Section 004

Days: Tuesday/Thursday 12:30pm-2:20pm

Room: 20 Cooper Square, room 659

» Syllabus (PDF)

JOURNALISTIC INQUIRY

Prerequisites: Foundations

This is the first-level reporting, research and writing course, which emphasizes in-depth research and interviewing technique as it introduces a variety of journalistic forms, including the reported essay, the newspaper pyramid style, magazine and newspaper feature style and broadcast newswriting style. The course focuses heavily on the critical and impartial examination of issues through research and reporting. Research methodology is key, as are observation and interview preparation and techniques. Research and reporting projects will include interviews, off- and on-line research, including books, government and non-governmental documents, interviews and databases, scholarly journals and other sources. This course provides a strong foundation in basic journalistic forms, issues and responsibilities.

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Course Description

To fully prepare you for a career as a journalist, you need to get down to basics. In this class, we’re going to analyze stories from the ground up—beginning with idea generation, continuing to interviewing fundamentals, all the way up to writing, rewriting and the editing process. We’ll spend some time in the classroom, looking at stories and analyzing construction and style, and then we’ll hit the streets to do some hands-on experience including man-on-the-streets, covering events, etc. The goal: By semester’s end, you’ll be comfortable pitching ideas in class and on paper, producing a story on deadline (tweaking it to work for print, broadcast and—even—online) and approaching strangers and expert sources for comment. We’ll do all of this in 15 weeks. The class will be full of interesting experiences, including a police ridealong, coverage of local meetings and interviewing the real people that make this city great.

 

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Journalistic Inquiry

Tuesday/Thursday 9:00am-10:50pm

Lambeth Hochwald

Journalistic Inquiry

Instructor: Lambeth Hochwald

Course ID: JOUR-UA 101, Section 005

Days: Tuesday/Thursday 9:00am-10:50pm

Room: 20 Cooper Square, room 659

» Syllabus (PDF)

JOURNALISTIC INQUIRY

Prerequisites: Foundations

This is the first-level reporting, research and writing course, which emphasizes in-depth research and interviewing technique as it introduces a variety of journalistic forms, including the reported essay, the newspaper pyramid style, magazine and newspaper feature style and broadcast newswriting style. The course focuses heavily on the critical and impartial examination of issues through research and reporting. Research methodology is key, as are observation and interview preparation and techniques. Research and reporting projects will include interviews, off- and on-line research, including books, government and non-governmental documents, interviews and databases, scholarly journals and other sources. This course provides a strong foundation in basic journalistic forms, issues and responsibilities.

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Course Description

To fully prepare you for a career as a journalist, you need to get down to basics. In this class, we’re going to analyze stories from the ground up—beginning with idea generation, continuing to interviewing fundamentals, all the way up to writing, rewriting and the editing process. We’ll spend some time in the classroom, looking at stories and analyzing construction and style, and then we’ll hit the streets to do some hands-on experience including man-on-the-streets, covering events, etc. The goal: By semester’s end, you’ll be comfortable pitching ideas in class and on paper, producing a story on deadline (tweaking it to work for print, broadcast and—even—online) and approaching strangers and expert sources for comment. We’ll do all of this in 15 weeks. The class will be full of interesting experiences, including a police ridealong, coverage of local meetings and interviewing the real people that make this city great.

 

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Journalistic Inquiry

Tuesday/Thursday 3:30pm-5:20pm

TBA

Journalistic Inquiry

Instructor: TBA

Course ID: JOUR-UA 101, Section 004

Days: Tuesday/Thursday 3:30pm-5:20pm

Room: 20 Cooper Square, room 659

» Syllabus (PDF)

JOURNALISTIC INQUIRY

Prerequisites: Foundations

This is the first-level reporting, research and writing course, which emphasizes in-depth research and interviewing technique as it introduces a variety of journalistic forms, including the reported essay, the newspaper pyramid style, magazine and newspaper feature style and broadcast newswriting style. The course focuses heavily on the critical and impartial examination of issues through research and reporting. Research methodology is key, as are observation and interview preparation and techniques. Research and reporting projects will include interviews, off- and on-line research, including books, government and non-governmental documents, interviews and databases, scholarly journals and other sources. This course provides a strong foundation in basic journalistic forms, issues and responsibilities.

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Course Description

To fully prepare you for a career as a journalist, you need to get down to basics. In this class, we’re going to analyze stories from the ground up—beginning with idea generation, continuing to interviewing fundamentals, all the way up to writing, rewriting and the editing process. We’ll spend some time in the classroom, looking at stories and analyzing construction and style, and then we’ll hit the streets to do some hands-on experience including man-on-the-streets, covering events, etc. The goal: By semester’s end, you’ll be comfortable pitching ideas in class and on paper, producing a story on deadline (tweaking it to work for print, broadcast and—even—online) and approaching strangers and expert sources for comment. We’ll do all of this in 15 weeks. The class will be full of interesting experiences, including a police ridealong, coverage of local meetings and interviewing the real people that make this city great.

 

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The Beat: Covering Gen Y aka Quarterlifers

Tuesday 2:00pm-5:40pm

Mary W. Quigley

The Beat: Covering Gen Y aka Quarterlifers

Instructor: Mary W. Quigley

Course ID: JOUR-UA 201, Section 001

Days: Tuesday 2:00pm-5:40pm

Room: 20 Cooper Square, room 654

» Syllabus (PDF)

Prerequisites: Foundations, Inquiry

This course is designed to hone the student journalist's ability to research and report deeply and to be able to imagine and develop fresh ideas, test them with the strength of his or her reporting and resarch, and then to present them in story form. Students will be expected to keep weeky beat notes or blogs, exploring what is current in the topic and demonstrating week after week the shoeleather they have worn in pursuit of their subject matter. Out of this work will come four or five stories in narrative, explanatory or investigative style, depending on the instructor and the specific assignment. Syllabi differ by content of the course but all sections emphasize idea development, interview technique, reporting, background research and writing skills across genres. Broadcast sections vary only by medium.

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Relationships: transformed.  Professions: redefined. Technology: exploding. Privacy: what privacy? The future: a world where time-honored maps and models have become useless.

 Fascinating stuff to think and write about, and who better than you, to do it?  You are GenY, the 80 million people aged 18-30, the first generation with a completely digital take on living. 

“Emerging adults” have become a hot topic in both the media and academia:  Boomerang kids who move back home after graduation, quarter-life crises about careers—or lack thereof, postponing long-term relationships, sexual economics, wanting more time to play before “settling down,” looking for emotional as well as economic payoff from a career, and more.

 In "Covering Gen Y," we will examine such issues as romantic, family and community relationships, the world of work, religion and spirituality, the impact of technology, lifestyles,and... well, you decide. You will write for the class website http://genyu.net/ and your individual beat blog, and be guided in doing a multimedia final project.

Last time around several class pieces got published including one by a student who went on a “technology diet”  and another’s lament about her mother wanting to friend her on Facebook.

Prof. Mary Quigley writes and blogs about Gen Y issues.

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The Beat: Reporting Downtown

Wednesday 12:00pm-3:40pm

Frankie Edozien

The Beat: Reporting Downtown

Instructor: Frankie Edozien

Course ID: JOUR-UA 201, Section 003

Days: Wednesday 12:00pm-3:40pm

Room: 20 Cooper Square, room 653

» Syllabus (PDF)

Prerequisites: Foundations, Inquiry

This course is designed to hone the student journalist's ability to research and report deeply and to be able to imagine and develop fresh ideas, test them with the strength of his or her reporting and resarch, and then to present them in story form. Students will be expected to keep weeky beat notes or blogs, exploring what is current in the topic and demonstrating week after week the shoeleather they have worn in pursuit of their subject matter. Out of this work will come four or five stories in narrative, explanatory or investigative style, depending on the instructor and the specific assignment. Syllabi differ by content of the course but all sections emphasize idea development, interview technique, reporting, background research and writing skills across genres. Broadcast sections vary only by medium.

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All semester long we will cover New York City from Riverdale to Far Rockaway.  It’s government, its budgets, its elections its restaurants, courts, neighborhoods, healthcare, all are part of our portfolio.

From Day 1, we are metro reporters who will hone our craft covering the biggest and most vibrant municipality in the nation. You will learn to research report and write authoritatively on New York City and all its problems and issues.

This is not a lecture class per se, so you will be out covering stories all over the Big Apple and then bringing them back to write on deadline. I will stress the news feature which will require a good amount of reporting before a piece is turned in but don’t be surprised if you are asked to go cover something on our beat on deadline.

You will sharpen your interviewing techniques and learn to follow up breaking news with insightful analytical pieces to go to the heart of the issue.  You will develop a keen eye for detail and your copy must reflect the details of each piece so readers are transported to the scene through your writing.

To be an effective metro reporter you must be a local news junkie, so scouring the big dailies is a must for this class, hence the New York Times, New York Daily News and the New York Post are must-reads before class. In addition to the free papers like AM New York and Metro.

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The Beat: Food Writing

Tuesday 9:00am-12:40pm

Betty Ming Liu

The Beat: Food Writing

Instructor: Betty Ming Liu

Course ID: JOUR-UA 201, Section 005

Days: Tuesday 9:00am-12:40pm

Room: 20 Cooper Square, room 750

Prerequisites: Foundations, Inquiry

This course is designed to hone the student journalist's ability to research and report deeply and to be able to imagine and develop fresh ideas, test them with the strength of his or her reporting and resarch, and then to present them in story form. Students will be expected to keep weeky beat notes or blogs, exploring what is current in the topic and demonstrating week after week the shoeleather they have worn in pursuit of their subject matter. Out of this work will come four or five stories in narrative, explanatory or investigative style, depending on the instructor and the specific assignment. Syllabi differ by content of the course but all sections emphasize idea development, interview technique, reporting, background research and writing skills across genres. Broadcast sections vary only by medium.

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As food writers, we will harvest the exciting bounty of New York City, foodie capitol of the world. Our approach to this adventure is totally New York, which means savoring the Big Apple in all its glamorous and gritty glory. So expect to cover a wide range of food features -- from restaurant reviews and dining trends, to the politics and economics of how and what we eat. Guest speakers and field trips are on the menu, along with assignments designed to build confidence in your reporting/writing. The course's workshop setting also provides a supportive environment for exploring your personal writing style and developing your voice.

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The Beat: Hyphenated New York

Thursday 2:30pm-6:10pm

Vivien Orbach-Smith

The Beat: Hyphenated New York

Instructor: Vivien Orbach-Smith

Course ID: JOUR-UA 201, Section 002

Days: Thursday 2:30pm-6:10pm

Room: 20 Cooper Square, room 653

» Syllabus (PDF)

Prerequisites: Foundations, Inquiry

This course is designed to hone the student journalist's ability to research and report deeply and to be able to imagine and develop fresh ideas, test them with the strength of his or her reporting and resarch, and then to present them in story form. Students will be expected to keep weeky beat notes or blogs, exploring what is current in the topic and demonstrating week after week the shoeleather they have worn in pursuit of their subject matter. Out of this work will come four or five stories in narrative, explanatory or investigative style, depending on the instructor and the specific assignment. Syllabi differ by content of the course but all sections emphasize idea development, interview technique, reporting, background research and writing skills across genres. Broadcast sections vary only by medium.

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Many New Yorkers live in two worlds: the cultures that spawned them, and the international city they call home. In this intensive skills course, you will zero in on a neighborhood/community in which New Yorkers determinedly straddle and embrace dual identities, bringing vibrancy and diversity to this city. You may cover your chosen beat through a variety of lenses, such as:
• Zeroing in on individuals who have achieved success and others who struggle;
• Profiling local institutions and businesses;
• Examining a neighborhood's/community’s historical and political underpinnings;
• Focusing on a community's or individual’s cultural/professional contributions.

Your beat may be a community defined by its residents' lands of origin (the Russians of Brighton Beach, Koreans of "Koreatown" [Manhattan], Albanians of Arthur Avenue], Indians of "Curry Row" [Manhattan], Irish of Woodlawn [Queens]), or by their race, religion, ethnicity or identity (Harlem USA, Chassidic Crown Heights, Downtown LGBT). Whether your story is about a place or an individual, an organization or an event, your writing must always capture the human side of the news- the heart of feature journalism.
You will be guided in coming up with and pursuing great, fresh story ideas within your beat, in writing four graded pieces (three shorter ones and one more in-depth final), and in finding appropriate venues to pitch them. (Getting clips – not just grades - is one of the aims of this course.) The goal here is learning how to craft strong, captivating stories featuring memorable characters and settings - with much emphasis upon resourceful newsgathering and responsible presentation of facts and events, vivid color and detail, coherent and graceful structure, and impeccable mechanics (spelling, grammar, punctuation). A key focus of your reporting and writing will be to broaden your readers’ perspective (and your own) on the cultural/ethnic/socioeconomic milieu of your subjects.
This class will provide you with opportunities to write stories that are genuinely publishable, on subjects that genuinely interest you. You will be encouraged to write creatively and gorgeously, and even to try to change the world…but your product must retain the clarity, concision and precision that were drummed into you in your basic reporting classes, stopping far short of “fan-like,” gushy prose, blinding passions, or
fictional license.

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The Beat: TV-NY

Thur 2:30p - 6:10p

Yvonne Latty

The Beat: TV-NY

Instructor: Yvonne Latty

Course ID: JOUR-UA 201, Section 007

Days: Thur 2:30p - 6:10p

Room: 20 Cooper Square, room 750

» Syllabus (PDF)

Prerequisites: Foundations, Inquiry. 

This course is designed to hone the student journalist's ability to research and report deeply and to be able to imagine and develop fresh ideas, test them with the strength of his or her reporting and resarch, and then to present them in story form. Students will be expected to keep weeky beat notes or blogs, exploring what is current in the topic and demonstrating week after week the shoeleather they have worn in pursuit of their subject matter. Out of this work will come four or five stories in narrative, explanatory or investigative style, depending on the instructor and the specific assignment. Syllabi differ by content of the course but all sections emphasize idea development, interview technique, reporting, background research and writing skills across genres. Broadcast sections vary only by medium.

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The Beat: TV-NY

Monday 6:20pm-10:00pm

Adrian Mihai

The Beat: TV-NY

Instructor: Adrian Mihai

Course ID: JOUR-UA 201, Section 008

Days: Monday 6:20pm-10:00pm

Room: 20 Cooper Square, room 750

» Syllabus (PDF)

Prerequisites: Foundations, Inquiry. 

This course is designed to hone the student journalist's ability to research and report deeply and to be able to imagine and develop fresh ideas, test them with the strength of his or her reporting and resarch, and then to present them in story form. Students will be expected to keep weeky beat notes or blogs, exploring what is current in the topic and demonstrating week after week the shoeleather they have worn in pursuit of their subject matter. Out of this work will come four or five stories in narrative, explanatory or investigative style, depending on the instructor and the specific assignment. Syllabi differ by content of the course but all sections emphasize idea development, interview technique, reporting, background research and writing skills across genres. Broadcast sections vary only by medium.

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Advanced Reporting: Writing About Home

Friday 10:00am-1:40pm

Frank Flaherty

Advanced Reporting: Writing About Home

Instructor: Frank Flaherty

Course ID: JOUR-UA 301, Section 003

Days: Friday 10:00am-1:40pm

Room: 20 Cooper Square, room 750

» Syllabus (PDF)

Prerequisites: Foundations, The Beat

This is the Capstone course. Subject matter varies from section to section, but the basic skeleton of the course is the same across sections: the emphasis is on development of the ability to produce writing and reporting within a sophisticated longform story structure. The course involves query writing, topic research and reading, interviewing, and repeated drafts and rewrites, leading to a full-length piece of writing aimed at a publishable level and the ability of the student to present the reporting orally.

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The topic of this Capstone course is home, in all its guises. Home is a rich journalistic topic because it sits at the convergence of so many important things -- shelter, aspiration, self-expression, family, love, hate, childhood, adulthood. Home is where the hearth is, but also where the heart is.

In this course, a student might write about a lighthouse keeper and his life of solitude, nuns in a convent in the Bronx, a family that lives on a bobbing houseboat by the Hudson River piers, or a young couple who work as live-in caretakers at the Edgar Allen Poe House. Homes and their inhabitants are infinitely varied. There are nursing homes, squats, and artist communes; there are immigrants whose homes are statements of their foreign cultures and values; there are nannies whose homes are in fact other people’s homes.

Because our homes reveal our values, dreams and interests, an article about a person’s home is also an article about that person. Imagine a young techno geek, gripped by his ambition to launch an Internet startup; his distracted, obsessed consciousness is perfectly reflected in his apartment strewn with software code and electronic devices and hardly a place to sit. Or imagine a group of nuns who decide to put a green roof on their convent to satisfy their ecological beliefs. Or imagine an artist who lives for her art, who has an all-white apartment -- and who is happy to explain what her vision of beauty is.

 

 

 

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Advanced Reporting: Advanced TV Reporting

Thursday 10:00am-1:40pm

Marlene Sanders

Advanced Reporting: Advanced TV Reporting

Instructor: Marlene Sanders

Course ID: JOUR-UA 301, Section 004

Days: Thursday 10:00am-1:40pm

Room: 20 Cooper Square, room 750

» Syllabus (PDF)

Prerequisites: Foundations, The Beat

This is the Capstone course. Subject matter varies from section to section, but the basic skeleton of the course is the same across sections: the emphasis is on development of the ability to produce writing and reporting within a sophisticated longform story structure. The course involves query writing, topic research and reading, interviewing, and repeated drafts and rewrites, leading to a full-length piece of writing aimed at a publishable level and the ability of the student to present the reporting orally.

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In previous classes, students have learned the rudiments of story selection, writing and shooting.  This class advances those skills, with the added pressure of meeting real deadlines; i.e., producing pieces that air on a live, weekly news broadcast.  Stories will gradually grow in complexity over the semester.

Class one. Explanation of what the students will be expected to do during the semester, including how grades will be determined.  Discussion of types of stories to be done and  how they should be researched and presented to the professor for approval.  Students are instructed to bring in story ideas by the next session.  There will be attention to interviewing skills. All story ideas must be accompanied by a list of questions to be asked.

Students are required to do 4 stories of normal length and one more complicated, longer final piece.

 

 

 

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Advanced Reporting: Hidden New York: Where the Wild Things Are

Monday 10:00am-1:40pm

Keith Kloor

Advanced Reporting: Hidden New York: Where the Wild Things Are

Instructor: Keith Kloor

Course ID: JOUR-UA 301, Section 004

Days: Monday 10:00am-1:40pm

Room: 20 Cooper Square, room 652

» Syllabus (PDF)

Prerequisites: Foundations, The Beat

This is the Capstone course. Subject matter varies from section to section, but the basic skeleton of the course is the same across sections: the emphasis is on development of the ability to produce writing and reporting within a sophisticated longform story structure. The course involves query writing, topic research and reading, interviewing, and repeated drafts and rewrites, leading to a full-length piece of writing aimed at a publishable level and the ability of the student to present the reporting orally.

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Urban nature would seem an oxymoron, especially in a densely crowded, frenetic place like New York City. Yet recent studies have shown that great concentrations of biodiversity are found in cities. How can that be?

The truth is that nature abounds in many cities, including New York. In fact, wild creatures and untamed jungles can be found in all five boroughs of New York—if you know where to look. There are hawks that dive-bomb pigeons, rare butterflies, occasional coyotes, marshes, beaches, and even old growth forests, all sharing space with eight million New Yorkers.

The city also boasts some of the earliest urban planning experiments that incorporated nature in a residential, urban environment: “Sunnyside Gardens” and “Forest Hills,” both in Queens. These innovative projects date from the early 20th century and were part of a larger movement called “Garden Cities,” which originated in England. But by the 1960s, another social movement, known as environmentalism, rose to prominence. It spawned a larger interest in ecology and advanced the notion that nature and cities were incompatible.

In recent years, however, ecologists have paid increasing attention to urban environments. For the last decade, two major, multi-disciplinary studies in Baltimore, Maryland and in Tucson, Arizona, have been cataloguing flora and fauna. Among the findings is the surprising diversity of species that have been attracted to urban micro-ecosystems. It is these hidden ecosystems in New York, where similar research is underway, that students will discover during their own reporting and research. There, they will find many opportunities for stories, uncovering the critters that have carved out a lush home in an otherwise concrete city; they will also encounter many fascinating characters that embrace this wild side of New York; and they will report on the various issues often pit nature against the city.

There will be three major writing assignments: a 750-word profile, 1,500-word mini-feature, and 3,000-word feature. Additionally, there will be a class blog for students to post short dispatches from the field. In today’s multi-platform world, journalists at newspapers and magazines are expected to write for both the print publication and the website.

There will be numerous field trips, potentially to places like Jamaica Bay, Prospect Park, and a canoe ride down the Bronx River. 

My background as an environmental journalist and NYC magazine editor will be valuable to students as we embark on our journey through New York’s wild side.  In my own reporting, I’ve written about everything from New York’s garbage history to where to find edible foods in city parks. The city’s ecology was also part of my beat when I was a senior editor at Audubon Magazine for nearly ten years.

 


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Advanced Reporting: The Quest

Monday 4:55pm-8:35pm

Jessica Seigel

Advanced Reporting: The Quest

Instructor: Jessica Seigel

Course ID: JOUR-UA 301.002

Days: Monday 4:55pm-8:35pm

Room: 20 Cooper Square, room 654

Prerequisites: Foundations, The Beat

This is the Capstone course. Subject matter varies from section to section, but the basic skeleton of the course is the same across sections: the emphasis is on development of the ability to produce writing and reporting within a sophisticated longform story structure. The course involves query writing, topic research and reading, interviewing, and repeated drafts and rewrites, leading to a full-length piece of writing aimed at a publishable level and the ability of the student to present the reporting orally.

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Advanced Reporting: The Quest

The quest is at the heart of our greatest stories, from Odysseus returning home to reporter Nellie Bly’s race around the world in less than 80 days. In this course, students plot their own journey, inspired by classics old and new. We’ll learn quest hallmarks like the role of obstacles, character, location, guides, gurus and skeptics, doubt and myth – and all-important narrative structure using present, past, future, suspense and flashback.


Students warm up for their 3,000-word magazine package in linked features that may include themes like The Place, The Guide, The Big Dare, Fish Out of Water, and In-The-Footsteps. Throughout, we’ll work on balancing first with third person, detailed reporting with personal experience -- all while finding your authentic voice. Past student seekers have learned to motorcycle, studied stand-up comedy, overcome an addiction, lived with the homeless and hunted literary and historic myths from J.D. Salinger’s New York to hidden Grand Central Station. What’s your Holy Grail? In this class, you may find it.

THE QUEST SPIRIT: This semester, we will pursue group and individual odysseys. It is crucial that everyone participate in both. In that spirit, you will be asked to set your personal goals for the semester in writing. You will also be asked to actively contribute and shape how we move forward as a group. This is an experimental, first-time format blending ancient and modern literature with contemporary journalism, so everyone will be asked to row on our maiden voyage.

 

Professor Bio: Jessica Seigel has covered arts, business and technology as a columnist and staffer for The Chicago Tribune, Brill’s Content and Pink Magazine. Her start-up, fashion, and tech coverage has also appeared in the New York Times Magazine, Marketplace Public Radio and NPR.

 

 

 

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Reporting: Multimedia

Thursday 6:00pm-9:40pm

Sylvan Solloway

Reporting: Multimedia

Instructor: Sylvan Solloway

Course ID: JOUR-UA 102.001

Days: Thursday 6:00pm-9:40pm

Room: 20 Cooper Square, room 655

» Syllabus (PDF)

In Reporting: Multimedia students will learn how to report news and features stories, using photographs, video and audio, with the emphasis on story-telling techniques. The course will cover how to develop story ideas, reporting techniques, scripting, audio and visual digital editing, and multimedia story-telling structures.

Reporting: Multimedia would be divided into three segments: audio, photography, and video designed for web production.  Classes will incorporate lectures, including the "best practices" in audio and video; class discussion, and in and out-of-class assignments.  Ethical and copyright issues involved in multimedia reporting will also be explored in the class. Over the course of 14 weeks students will complete all the required assignments in a specific community or neighborhood of their choosing, with the instructor's approval.

This class is open to all NYU journalism undergraduates, who have taken Investigating Journalism and Journalistic Inquiry. It will count as an elective. The course is open to students with some video experience as well as those with none. You’ll build your own Website, take photos and produce audio and video stories. It’s a great chance to hone your storytelling abilities and reporting skills across mediums.

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» Undergraduate Media Criticism

Elective Reporting Topics: Data Journalism and Investigative Reporting

Wednesday 12:30pm-3:00pm

Charles Seife

Elective Reporting Topics: Data Journalism and Investigative Reporting

Instructor: Charles Seife

Course ID: JOUR-UA 204, section 001

Days: Wednesday 12:30pm-3:00pm

Room: 20 Cooper Square, room 659

» Syllabus (PDF)

This four-point course will both survey what the emerging field of data journalism is about and plunge students into the practice of it.  Students will learn how to find useful documents and other sources of data, extract meaningful information from large data sets, prepare data for public use, and make it possible for consumers of the news to interact with the data. They will also learn how to use data to perform investigative journalism. Outstanding examples of data journalism from around the world will be studied -- and the techniques those pieces used will be added to students' arsenals. A final project will test students’ skills in using data to produce publishable-quality journalism.  

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Methods and Practice: Point of View

Friday 12:20pm-4:00pm

James McBride

Methods and Practice: Point of View

Instructor: James McBride

Course ID: JOUR-UA 202, section 001

Days: Friday 12:20pm-4:00pm

Room: 20 Cooper Square,652

» Syllabus (PDF)

Be ready to write longhand. No computers. No cell phones in class. Pencil and
yellow legal sized paper only. Please be on time. Bring a jacket and a metro card.
For the first class, there is absolute silence when you enter the room. No
talking. Not even to say hello to your neighbor. You want to hear a hello? Here it
is: Hello. Now, no talking for the first ten minutes of class. It sounds stupid, but it
is our first exercise.

Good writing is all about finding the right detail or set of details that will show, not
tell, the event to the listener. You are always fighting gravity, always fighting the reader
who will close the paper, book, magazine and tune you out. We will focus on placing you
in the right mental place to find the details that will tell the story, from your perspective, in
a way that is honest to your truth and hold the reader.

There will be some reading aloud in class. There will be no bloodlettings. If
you’re willing to fail, you will be successful. If you’re already a journalistic success, this
isn’t the class for you. Remember, writing is the act of continually failing at excellence,
and uniformity is the ceiling against which great writing will forever bump. The mid term
and final will be your writing.

Before each class, you will be expected to read the following excerpts from “A
Nietzsche Reader” (Penguin) translated by R. J. Hollingdale. They are not long, but they
are important. We may alter this list based on my assessment of your abilities . Reading
assignments in Gary Smith and Micheal Herr’s books, as well as our Marvel Comic
class, will be assigned as we go deeper into the semester and I am able to assess your
abilities.

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Journalism & Society: Women and the Media

Tuesday 12:45pm-3:15pm

Carol Sternhell

Journalism & Society: Women and the Media

Instructor: Carol Sternhell

Course ID: JOUR-UA 503, section 001

Days: Tuesday 12:45pm-3:15pm

Room: 20 Cooper Square, room 657

» Syllabus (PDF)

Women & the Media is a collaborative seminar designed to examine the complex relationship
(or different, contradictory relationships) between those humans we call “women” and those
forms of discourse we call “media.” We will consider women both as subjects and objects, as
artists and models, as creators of “media” in its many forms and as media’s creations. What
does our culture’s “media” tell us about its ideas of gender? What, if anything, does our gender
tell us about our readings of “media”? Student participation in this seminar is key: students are
expected to attend all sessions, to complete all the reading (there's lots of reading!), to
participate actively in discussion, and to lead one of the class sessions themselves. Leading a
class means opening the day’s conversation with a presentation, critiquing and elaborating on
the assigned reading, bringing in additional relevant material, and suggesting questions or
issues that seem particularly interesting or troublesome. The purpose of the course is to
develop our critical and self-critical faculties as journalists, media critics, consumers of media,
and women or men—to think clearly, challenge our pet assumptions, and have fun.
Along with attendance and informed class participation, students are required to conduct a miniresearch
project and present their findings to the class. I want you to pick a “women and media”
topic that really interests you and then report the hell out of it. If you’re interested in the effect of
music videos on teenage girls, for instance, you would first put together an extensive
bibliography of what has already been written on the subject. You would figure out what the key
questions in the field were: do media images affect teens’ behavior or not, and how can anyone
tell? You might interview some of the leading researchers in the area and tell us what they say.
You’ll certainly want to read the most important books/articles on your subject. A paper is not
required; instead, students will present their findings to the class during our last three sessions.

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Journalism as Literature: Learning from the Best to be the Best

Tuesday 11:00am-1:30pm

Michael Norman

Journalism as Literature: Learning from the Best to be the Best

Instructor: Michael Norman

Course ID: JOUR-UA 504, section 001

Days: Tuesday 11:00am-1:30pm

Room: 20 Cooper Square, room 654

» Syllabus (PDF)

Learning from The Best To Be The Best is a survey of some of the most entertaining and well-written literary journalism of the last two centuries. We will read these articles and book excerpts carefully - "deep reading," it is called - to discover how good writers take basic journalism and enliven it with literary technique. We want to catalog as much of that technique and structure as we can so that we can "steal it," appropriate the devices for our own work. Students will work in teams; each week a team will "present" the readings and incite a discussion with the rest of the class. There will be some three to five formal academic papers in which students will be asked to demonstrate their understanding of the material, and there will be a number of "creative" assignments as well. The main text for the course is an excellent anthology of non-fiction: The Art of Fact by Kerrane and Yagoda.

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Internship

Friday 2:00pm

Sylvan Solloway

Internship

Instructor: Sylvan Solloway

Course ID: JOUR-UA 980

Days: Friday 2:00pm

Room: TBA

DECLARED JOURNALISM MAJORS ONLY Hours Arranged

Prerequisites: Foundations, Inquiry, The Beat

To enroll:
1) Students must be declared journalism majors who have been offered an internship. The Career Services director must approve the internship. All sophomores must consult the director before applying for a credit internship.
2) No credit will be given for internships in advertising, marketing, public relations or the fashion/accessory closet.
3) Students may take the course for 1, 2, 3 or 4 credits but can earn no more than 4 credits total while attending the institute. Only one internship for credit is allowed per semester.

 

For moew information go to the Career Services section.

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Advanced Individualized Study

TBA

TBA

Advanced Individualized Study

Instructor: TBA

Course ID: JOUR-UA 997

Days: TBA

Room: TBA

To enroll in Advanced Individualized Study, an interested student must find a full-time faculty member to be a sponsor and then must develop and file a syllabus. The syllabus must be approved by the faculty member and the Journalism Director of Undergraduate Graduate Studies (DUGS). It must list, in week by week fashion, all readings and all writing assignments that the student will undertake for the Advanced Individualized Study. Once approved, this syllabus constitutes your "contract" on the project and the student's work will be judged and graded with that in mind.

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Journalism & Society: Covering the Earth

Tuesday 10:00am-1:00pm

Dan Fagin

Journalism & Society: Covering the Earth

Instructor: Dan Fagin

Course ID: JOUR-UA 503, section 003

Days: Tuesday 10:00am-1:00pm

Room: 20 Cooper Square, room 653

» Syllabus (PDF)

Environmental journalism is hot again, and not only because the climate is warming – though that helps. As web-based platforms increasingly dominate mass media, what specific forms should the “new” environmental journalism take? This class will begin by tracing the development of traditional environmental journalism from John Muir to John McPhee and will then look closely at how the field is adapting to a fast-changing media landscape. With the help of guests and timely readings, we will confront thorny questions about environmental advocacy, citizen media, issue framing, risk balancing and the scientific process. And yes, we will produce stories that matter on the biggest news beat of all. This advanced seminar will include intensive journalistic writing assignments, as well as extensive readings for in-class discussion.

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Journalism as Literature: Storied New York

Wednesday 3:30pm-6:00pm

Suketu Mehta

Journalism as Literature: Storied New York

Instructor: Suketu Mehta

Course ID: JOUR-UA 504.002

Days: Wednesday 3:30pm-6:00pm

Room: 20 Cooper, room 659

» Syllabus (PDF)

New York is the most storied city in America; generations of writers have been entranced by it, and have produced masterpieces in tribute. We will look at the city as a character, in journalism, memoir, fiction, poetry, and film. What is the idea of New York in historical and contemporary imagination, and how different or similar are today's chroniclers of the city from their predecessors? What can we learn about urban reportage from the best practitioners of the genre? We will examine the texts for thematic concerns as well as those of craft. We will look at them as a car mechanic looks at a car; see how sentences are structured so that the text provides pleasure as well as information. And along the way, we will discover the broader possibilities and limitations of nonfiction, fiction, poetry, and film.

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Issues and Ideas: Covering Sub-Saharan Africa

Monday 3:30pm-6:00pm

Frankie Edozien

Issues and Ideas: Covering Sub-Saharan Africa

Instructor: Frankie Edozien

Course ID: JOUR-UA 505.001

Days: Monday 3:30pm-6:00pm

Room: 20 Cooper Square, room 655

» Syllabus (PDF)

Challenges, Issues and Ideas in Covering Sub-Saharan Africa

Africa covers a vast area of 55 countries and 1.1 billion inhabitants. There are countries that are emerging economic powers and heading towards industrialization. In other cases, some countries are taking the lead in developing technology hubs, and testing out new forms of mobile banking and virtual money. Other countries wield considerable “soft power” via their film, music and contemporary culture and they are driving the way Africans present themselves to the world.

Comprehensive coverage of Africa is scant. The sparse coverage is often a variation of an incomplete portrait that has dominated the Western media for the last 50 years: tales of starvation, political instability and disease are mainstays. There is often little or no historical or political context in most of this coverage.

This course will provide students with an understanding of contemporary issues around the various regions on the African continent. We will examine the role of religion, including religious extremism that has led to the near- splintering of several societies; the struggles to develop viable democratic models; cultural norms and practices; and issues of economic development and empowerment. We will focus on the challenges of telling stories from Sub-Saharan Africa that are not the same old stories, with the same tired clichés.

We will accomplish this by reading works that combine history, political analysis and narrative journalism. This historical and political background will help students to eventually write about the region with depth and nuance, and to evaluate the coverage that they read. In addition, we will analyze the evolution and implications of the myriad of U.S. foreign policy actions on the African continent.

Today, Africa is poised for an era of political and cultural renewal. The continent’s population is expected to double by 2050 and its influence on the world stage is growing.

We will discuss the challenges of reporting from regions with competing narratives, authoritarian regimes that have little respect for a free press, and places where journalists must work under constant danger. We also will strive to on occasion have guest speakers who have worked as foreign correspondents or editors managing coverage of Africa. By the end of this course, you will hopefully be a more informed reader and analyst of events in the continent.

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Journalism & Society: Minorities in the Media

Thursday 11:00am-1:30pm

Pamela Newkirk

Journalism & Society: Minorities in the Media

Instructor: Pamela Newkirk

Course ID: JOUR-UA 503.002

Days: Thursday 11:00am-1:30pm

Room: 20 Cooper Square, room 654

» Syllabus (PDF)

It has been 40 years since President Johnson’s National Advisory Commission on Civil Disorders released its findings on the civil unrest that erupted in urban areas across the nation. The panel, commonly referred to as the Kerner Commission, concluded that we are living in two nations, “black, white, separate and unequal,” and devoted an entire chapter to the impact the media had on the nation’s race relations. “We believe that the media have thus far failed to report adequately on the causes and consequences of civil disorders and the underlying problems of race relations,” the report said. It added: “The media report and write from the standpoint of a white man’s world. The ills of the ghetto, the difficulties of life there, the Negro’s burning sense of grievance, are seldom conveyed.”
The report criticized as “shockingly backward” the industry’s failure to hire, train and promote African Americans. At the time, fewer than five percent of the newsroom jobs in the United States were held by African Americans. Today, despite the progress that’s been made in the hiring and coverage of African Americans and other so-called minorities, many critics say that the Kerner Report findings continue to resonate today. With the report as a backdrop, we will examine the portrayals of racial and ethnic minorities in the media, paying particular attention to African Americans – the subject of the Kerner Report – but also others, including Latinos, Asians, women, and gays and lesbians.

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Journalistic Inquiry

Tuesday/Thursday 6:30pm-8:20pm

Rosemary McManus Beirne

Journalistic Inquiry

Instructor: Rosemary McManus Beirne

Course ID: JOUR-UA 101, Section 001

Days: Tuesday/Thursday 6:30pm-8:20pm

Room: 20 Cooper Square, room 655

» Syllabus (PDF)

JOURNALISTIC INQUIRY

Prerequisites: Foundations

This is the first-level reporting, research and writing course, which emphasizes in-depth research and interviewing technique as it introduces a variety of journalistic forms, including the reported essay, the newspaper pyramid style, magazine and newspaper feature style and broadcast newswriting style. The course focuses heavily on the critical and impartial examination of issues through research and reporting. Research methodology is key, as are observation and interview preparation and techniques. Research and reporting projects will include interviews, off- and on-line research, including books, government and non-governmental documents, interviews and databases, scholarly journals and other sources. This course provides a strong foundation in basic journalistic forms, issues and responsibilities.

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Description
You are going to learn to think, act and write like a journalist.
This course will provide an introduction to the basic principles of research, reporting and writing the news. You will be introduced to a variety of ways in which we work in this fast paced, deadline driven business - from writing in the traditional newspaper pyramid style to opinion and feature writing to working for broadcast, and new media. You will do lots of writing because the only way to work on your skills is to practice it over and over.

To be a good reporter you have to be informed about what's happening in the world around you. For this class, you have to read The New York Times, New York Daily News and The New York Post every day. You must watch at least 15 minutes of television news or listen to news radio a day. You must also scan the free papers. (Metro & AM NEW YORK) Once a week you will have a brief news quiz on the big stories of the week and your score will count toward your final grade.

In each class one or two students will take turns leading "Newscheck," which is a discussion on a story of their choosing from the front pages of The New York Times. Everyone must participate in the discussion.
Working journalists will visit throughout the semester. You will be expected to ask well thought out questions and take notes because you will have to write a 600-word story on each newsroom visitor. These stories will be due the day after they are assigned.

We will start out with obits and profiles where you will learn the nuances of storytelling and build up to writing a 1,000-word final news story on an issue of your choosing. This story should be good enough to be published. You will cover news events. We will get into this city's diverse colorful neighborhoods and find stories and spend lots of time exploring and hunting down news in New York City.

If a big story breaks, prepare to cover it. On any given day in the newsroom you have no idea what is going to happen. Be flexible! I can guarantee you that things will change as we go through our semester.

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Journalistic Inquiry

Monday/Wednesday 9:00am-10:50pm

Phil Rosenbaum

Journalistic Inquiry

Instructor: Phil Rosenbaum

Course ID: JOUR-UA 101, Section 002

Days: Monday/Wednesday 9:00am-10:50pm

Room: 20 Cooper Square, room 654

JOURNALISTIC INQUIRY

Prerequisites: Foundations

This is the first-level reporting, research and writing course, which emphasizes in-depth research and interviewing technique as it introduces a variety of journalistic forms, including the reported essay, the newspaper pyramid style, magazine and newspaper feature style and broadcast newswriting style. The course focuses heavily on the critical and impartial examination of issues through research and reporting. Research methodology is key, as are observation and interview preparation and techniques. Research and reporting projects will include interviews, off- and on-line research, including books, government and non-governmental documents, interviews and databases, scholarly journals and other sources. This course provides a strong foundation in basic journalistic forms, issues and responsibilities.

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Journalistic Inquiry

Tuesday/Thursday 10:00am-11:50am

Mary W. Quigley

Journalistic Inquiry

Instructor: Mary W. Quigley

Course ID: JOUR-UA 101, Section 003

Days: Tuesday/Thursday 10:00am-11:50am

Room: 20 Cooper Square, room 659

» Syllabus (PDF)

JOURNALISTIC INQUIRY

Prerequisites: Foundations

This is the first-level reporting, research and writing course, which emphasizes in-depth research and interviewing technique as it introduces a variety of journalistic forms, including the reported essay, the newspaper pyramid style, magazine and newspaper feature style and broadcast newswriting style. The course focuses heavily on the critical and impartial examination of issues through research and reporting. Research methodology is key, as are observation and interview preparation and techniques. Research and reporting projects will include interviews, off- and on-line research, including books, government and non-governmental documents, interviews and databases, scholarly journals and other sources. This course provides a strong foundation in basic journalistic forms, issues and responsibilities.

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Course Description

To fully prepare you for a career as a journalist, you need to get down to basics. In this class, we’re going to analyze stories from the ground up—beginning with idea generation, continuing to interviewing fundamentals, all the way up to writing, rewriting and the editing process. We’ll spend some time in the classroom, looking at stories and analyzing construction and style, and then we’ll hit the streets to do some hands-on experience including man-on-the-streets, covering events, etc. The goal: By semester’s end, you’ll be comfortable pitching ideas in class and on paper, producing a story on deadline (tweaking it to work for print, broadcast and—even—online) and approaching strangers and expert sources for comment. We’ll do all of this in 15 weeks. The class will be full of interesting experiences, including a police ridealong, coverage of local meetings and interviewing the real people that make this city great.

 

[x] close.

Journalistic Inquiry

Tuesday/Thursday 12:30pm-2:20pm

Fran Stern

Journalistic Inquiry

Instructor: Fran Stern

Course ID: JOUR-UA 101, Section 004

Days: Tuesday/Thursday 12:30pm-2:20pm

Room: 20 Cooper Square, room 659

» Syllabus (PDF)

JOURNALISTIC INQUIRY

Prerequisites: Foundations

This is the first-level reporting, research and writing course, which emphasizes in-depth research and interviewing technique as it introduces a variety of journalistic forms, including the reported essay, the newspaper pyramid style, magazine and newspaper feature style and broadcast newswriting style. The course focuses heavily on the critical and impartial examination of issues through research and reporting. Research methodology is key, as are observation and interview preparation and techniques. Research and reporting projects will include interviews, off- and on-line research, including books, government and non-governmental documents, interviews and databases, scholarly journals and other sources. This course provides a strong foundation in basic journalistic forms, issues and responsibilities.

---

Course Description

To fully prepare you for a career as a journalist, you need to get down to basics. In this class, we’re going to analyze stories from the ground up—beginning with idea generation, continuing to interviewing fundamentals, all the way up to writing, rewriting and the editing process. We’ll spend some time in the classroom, looking at stories and analyzing construction and style, and then we’ll hit the streets to do some hands-on experience including man-on-the-streets, covering events, etc. The goal: By semester’s end, you’ll be comfortable pitching ideas in class and on paper, producing a story on deadline (tweaking it to work for print, broadcast and—even—online) and approaching strangers and expert sources for comment. We’ll do all of this in 15 weeks. The class will be full of interesting experiences, including a police ridealong, coverage of local meetings and interviewing the real people that make this city great.

 

[x] close.

Journalistic Inquiry

Tuesday/Thursday 9:00am-10:50pm

Lambeth Hochwald

Journalistic Inquiry

Instructor: Lambeth Hochwald

Course ID: JOUR-UA 101, Section 005

Days: Tuesday/Thursday 9:00am-10:50pm

Room: 20 Cooper Square, room 659

» Syllabus (PDF)

JOURNALISTIC INQUIRY

Prerequisites: Foundations

This is the first-level reporting, research and writing course, which emphasizes in-depth research and interviewing technique as it introduces a variety of journalistic forms, including the reported essay, the newspaper pyramid style, magazine and newspaper feature style and broadcast newswriting style. The course focuses heavily on the critical and impartial examination of issues through research and reporting. Research methodology is key, as are observation and interview preparation and techniques. Research and reporting projects will include interviews, off- and on-line research, including books, government and non-governmental documents, interviews and databases, scholarly journals and other sources. This course provides a strong foundation in basic journalistic forms, issues and responsibilities.

---

Course Description

To fully prepare you for a career as a journalist, you need to get down to basics. In this class, we’re going to analyze stories from the ground up—beginning with idea generation, continuing to interviewing fundamentals, all the way up to writing, rewriting and the editing process. We’ll spend some time in the classroom, looking at stories and analyzing construction and style, and then we’ll hit the streets to do some hands-on experience including man-on-the-streets, covering events, etc. The goal: By semester’s end, you’ll be comfortable pitching ideas in class and on paper, producing a story on deadline (tweaking it to work for print, broadcast and—even—online) and approaching strangers and expert sources for comment. We’ll do all of this in 15 weeks. The class will be full of interesting experiences, including a police ridealong, coverage of local meetings and interviewing the real people that make this city great.

 

[x] close.

Journalistic Inquiry

Tuesday/Thursday 3:30pm-5:20pm

TBA

Journalistic Inquiry

Instructor: TBA

Course ID: JOUR-UA 101, Section 004

Days: Tuesday/Thursday 3:30pm-5:20pm

Room: 20 Cooper Square, room 659

» Syllabus (PDF)

JOURNALISTIC INQUIRY

Prerequisites: Foundations

This is the first-level reporting, research and writing course, which emphasizes in-depth research and interviewing technique as it introduces a variety of journalistic forms, including the reported essay, the newspaper pyramid style, magazine and newspaper feature style and broadcast newswriting style. The course focuses heavily on the critical and impartial examination of issues through research and reporting. Research methodology is key, as are observation and interview preparation and techniques. Research and reporting projects will include interviews, off- and on-line research, including books, government and non-governmental documents, interviews and databases, scholarly journals and other sources. This course provides a strong foundation in basic journalistic forms, issues and responsibilities.

---

Course Description

To fully prepare you for a career as a journalist, you need to get down to basics. In this class, we’re going to analyze stories from the ground up—beginning with idea generation, continuing to interviewing fundamentals, all the way up to writing, rewriting and the editing process. We’ll spend some time in the classroom, looking at stories and analyzing construction and style, and then we’ll hit the streets to do some hands-on experience including man-on-the-streets, covering events, etc. The goal: By semester’s end, you’ll be comfortable pitching ideas in class and on paper, producing a story on deadline (tweaking it to work for print, broadcast and—even—online) and approaching strangers and expert sources for comment. We’ll do all of this in 15 weeks. The class will be full of interesting experiences, including a police ridealong, coverage of local meetings and interviewing the real people that make this city great.

 

[x] close.

The Beat: Covering Gen Y aka Quarterlifers

Tuesday 2:00pm-5:40pm

Mary W. Quigley

The Beat: Covering Gen Y aka Quarterlifers

Instructor: Mary W. Quigley

Course ID: JOUR-UA 201, Section 001

Days: Tuesday 2:00pm-5:40pm

Room: 20 Cooper Square, room 654

» Syllabus (PDF)

Prerequisites: Foundations, Inquiry

This course is designed to hone the student journalist's ability to research and report deeply and to be able to imagine and develop fresh ideas, test them with the strength of his or her reporting and resarch, and then to present them in story form. Students will be expected to keep weeky beat notes or blogs, exploring what is current in the topic and demonstrating week after week the shoeleather they have worn in pursuit of their subject matter. Out of this work will come four or five stories in narrative, explanatory or investigative style, depending on the instructor and the specific assignment. Syllabi differ by content of the course but all sections emphasize idea development, interview technique, reporting, background research and writing skills across genres. Broadcast sections vary only by medium.

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Relationships: transformed.  Professions: redefined. Technology: exploding. Privacy: what privacy? The future: a world where time-honored maps and models have become useless.

 Fascinating stuff to think and write about, and who better than you, to do it?  You are GenY, the 80 million people aged 18-30, the first generation with a completely digital take on living. 

“Emerging adults” have become a hot topic in both the media and academia:  Boomerang kids who move back home after graduation, quarter-life crises about careers—or lack thereof, postponing long-term relationships, sexual economics, wanting more time to play before “settling down,” looking for emotional as well as economic payoff from a career, and more.

 In "Covering Gen Y," we will examine such issues as romantic, family and community relationships, the world of work, religion and spirituality, the impact of technology, lifestyles,and... well, you decide. You will write for the class website http://genyu.net/ and your individual beat blog, and be guided in doing a multimedia final project.

Last time around several class pieces got published including one by a student who went on a “technology diet”  and another’s lament about her mother wanting to friend her on Facebook.

Prof. Mary Quigley writes and blogs about Gen Y issues.

[x] close.

The Beat: Reporting Downtown

Wednesday 12:00pm-3:40pm

Frankie Edozien

The Beat: Reporting Downtown

Instructor: Frankie Edozien

Course ID: JOUR-UA 201, Section 003

Days: Wednesday 12:00pm-3:40pm

Room: 20 Cooper Square, room 653

» Syllabus (PDF)

Prerequisites: Foundations, Inquiry

This course is designed to hone the student journalist's ability to research and report deeply and to be able to imagine and develop fresh ideas, test them with the strength of his or her reporting and resarch, and then to present them in story form. Students will be expected to keep weeky beat notes or blogs, exploring what is current in the topic and demonstrating week after week the shoeleather they have worn in pursuit of their subject matter. Out of this work will come four or five stories in narrative, explanatory or investigative style, depending on the instructor and the specific assignment. Syllabi differ by content of the course but all sections emphasize idea development, interview technique, reporting, background research and writing skills across genres. Broadcast sections vary only by medium.

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All semester long we will cover New York City from Riverdale to Far Rockaway.  It’s government, its budgets, its elections its restaurants, courts, neighborhoods, healthcare, all are part of our portfolio.

From Day 1, we are metro reporters who will hone our craft covering the biggest and most vibrant municipality in the nation. You will learn to research report and write authoritatively on New York City and all its problems and issues.

This is not a lecture class per se, so you will be out covering stories all over the Big Apple and then bringing them back to write on deadline. I will stress the news feature which will require a good amount of reporting before a piece is turned in but don’t be surprised if you are asked to go cover something on our beat on deadline.

You will sharpen your interviewing techniques and learn to follow up breaking news with insightful analytical pieces to go to the heart of the issue.  You will develop a keen eye for detail and your copy must reflect the details of each piece so readers are transported to the scene through your writing.

To be an effective metro reporter you must be a local news junkie, so scouring the big dailies is a must for this class, hence the New York Times, New York Daily News and the New York Post are must-reads before class. In addition to the free papers like AM New York and Metro.

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» Business and Economic Reporting

Law & Mass Communication - BER

Monday, 1:30pm-4:00pm

Stephen D. Solomon

Law & Mass Communication - BER

Instructor: Stephen D. Solomon

Course ID: JOUR-GA 0011.003

Days: Monday, 1:30pm-4:00pm

Room: 654

» Syllabus (PDF)

Although the First Amendment appears on its face to prohibit any governmental restrictions on the press, the U.S. Supreme Court in fact balances free and open expression against other vital interests of society. This course begins by examining the struggle against seditious libel (the crime of criticizing government or its officials) that was not won in this country until the landmark decision in New York Times v. Sullivan in 1964. Students will examine freedom of the press through the prism of a rich variety of contemporary conflicts, including libel, newsgathering problems, the right of privacy, prior restraint, and the conflict between free press and fair trial. Readings include a The First Amendment and the Fourth Estate; Make No Law by Anthony Lewis, The Unwanted Gaze by Jeffrey Rosen, and Origins of the Bill of Rights by Leonard Levy. Students write five papers during the semester.

 

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WRR I - BER

Tuesday, 8:30am-2:20pm

Adam L. Penenberg

WRR I - BER

Instructor: Adam L. Penenberg

Course ID: JOUR-GA 1021.001

Days: Tuesday, 8:30am-2:20pm

Room: 655

» Syllabus (PDF)

Writing, Research & Reporting I: BER is designed to teach the basic skills you'll need to write news stories for business publications. You'll learn everything from how to write on a daily (or even hourly) deadline for newspapers and wire services to penning short pieces for magazines. The emphasis will be on learning by doing, with regular reporting and writing assignments inside and outside of class. We'll workshop your stories in class, dissect current media coverage, take field trips to the Federal Reserve Bank of New York, Conference Board and New York Stock Exchange, and analyze the merit and structure of good (and bad) news stories. You'll be expected to stay abreast of the news, and to read The New York Times and Wall Street Journal regularly, as well as a number of business magazines (Fortune, Forbes, BusinessWeek, etc.) and websites. By the end of the semester, you should be able to write snappy ledes and smart nut grafs in your sleep—the first step in becoming a first rate journalist—and have the requisite skills to write tight, informative business stories. (Note: WRII covers longer magazine features.) In addition, we'll be working closely with the Internship Director to prepare you for landing a quality internship.

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Writing the Long Form Narrative

Thursday, 1:30pm-5:10pm

Adam L. Penenberg

Writing the Long Form Narrative

Instructor: Adam L. Penenberg

Course ID: JOUR-GA 1182.003

Days: Thursday, 1:30pm-5:10pm

Room: Library

» Syllabus (PDF)

This seminar focuses on the various components that comprise in-depth magazine stories and non-fiction books. We'll dissect great modern and classic magazine stories, books and book proposals for story, character arcs, dialogue, scenes, analysis, structure, transitions, verb tense, point of view and style. The goal is to figure out how memorable magazine features and narrative non-fiction books that keep your attention to the very last page are created, then to take what we've learned and apply it to our own work. There is one semester-long writing assignment—a 3,000+-word feature story—with several shorter related pieces involving scenes, character, dialogue, or analysis, all of which can be incorporated into your final story. Along the way we'll work on pitches, research and interview techniques, time management, outlines, editing and multiple drafts, and other challenges today's non-fiction narrative writers face.

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Multimedia Storytelling

Friday, 1:00pm-4:40pm

Jason Maloney

Multimedia Storytelling

Instructor: Jason Maloney

Course ID: JOUR-GA 1080.002

Days: Friday, 1:00pm-4:40pm

Room: 653

» Syllabus (PDF)

The basic requirement of the course is to learn how to produce multi-media content, as applied through reporting on Lower Manhattan and North Brooklyn for the Bedford and Bowery blog.

BER students should register for this section.

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» Cultural Reporting and Criticism

Critical Survey

Wednesday, 10:00am-2:00pm

TBA

Critical Survey

Instructor: TBA

Course ID: JOUR-GA 1184.001

Days: Wednesday, 10:00am-2:00pm

Room: 659

» Syllabus (PDF)

This is a course in reading and writing criticism. Our goal is to introduce ourselves to some of the best cultural critics (mainly of the 20th century); chart the ways in which the nature of 20th-century criticism — and art — have changed; investigate some of the major questions that preoccupy contemporary critics (especially the nature of modernism/postmodernism, high and low culture, irony and sincerity, and the culture wars); and begin to master some forms of critical writing. The paradox of how to develop a critical voice without writing directly about oneself will be explored. Among the critics we'll study are James Agee, Pauline Kael, John Berger, George Orwell, Gilbert Seldes, Susan Sontag, Lionel Trilling, Greil Marcus, Albert Murray, Norman Mailer and Wendy Steiner. Open to CRC students only.

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Cultural Conversation

Tuesday, 4:00pm-8:00pm

Charles Taylor

Cultural Conversation

Instructor: Charles Taylor

Course ID: JOUR-GA 1181.001

Days: Tuesday, 4:00pm-8:00pm

Room: 7th Floor Library

» Syllabus (PDF)

The primary purpose of this course is to inculcate habits of thinking that are vital to informed and intelligent cultural reporting and criticism. This does not mean that students will be taught "theories" of cultural writing, which they can then apply to their "practice." Rather, the point is that your thought process-as you write a piece, as you prepare to write it, or even before that, as you go through your daily life in a world full of potential subject matter-is an integral part of your work as a writer. We all carry on some kind of conversation with ourselves, and with the people we know, about the culture we live in. As writers, however, our task is to self-consciously translate that private conversation into a public one that connects with readers. In this course I ask you to address two questions that bear on this translation. One is historical: what has been said in the cultural conversation before you came to it? To find your place in the conversation (just as you would have to do if you joined a roomful of people talking) you will need to grapple with cultural issues and debates that go back half a century-debates about the nature of art and criticism, technology and mass media, high culture versus mass culture, art and politics, social groups and cultural difference. The second question is personal: what experiences, ideas, emotions, and prejudices do you bring to the conversation? While conventional news writers are simply expected to put their own attitudes aside, cultural journalists must be conscious of their standpoint and its impact on their observation and judgment. Your credibility and the power of your literary voice depend a good deal on your ability to develop this capacity for self-reflection. Open to CRC students only.

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WRRI - CRC

Friday, 9:00am-2:00pm

Mark Schone

WRRI - CRC

Instructor: Mark Schone

Course ID: JOUR-GA 1021.007

Days: Friday, 9:00am-2:00pm

Room: 654

» Syllabus (PDF)

This is the introductory reporting, research and journalistic writing course for CRC students, teaching cultural journalists the skills and conventions of news and feature reporting for print and multimedia. Students receive short- and long-form reporting assignments with intensive rewriting, and basic training in radio production. Open to CRC students only.

This course teaches cultural journalists the essentials of news reporting: the skills andconventions of journalistic practice across media platforms. Whetheryour reported work is published, posted or broadcast, you’ll need to work from the same ground rules as your editors, producers, sources and readers, and to master a repertoire ofbasic forms.

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Cataclysm and Commitment

Thursday, 9:00am-12:40pm

TBA

Cataclysm and Commitment

Instructor: TBA

Course ID: JOUR-GA 1281.001

Days: Thursday, 9:00am-12:40pm

Room: 7th Floor Library

» Syllabus (PDF)

TBA

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» Global and Joint Program Studies

WRRI - GloJo

Friday, 10:00am-1:40pm

Barbara Borst

WRRI - GloJo

Instructor: Barbara Borst

Course ID: JOUR-GA 1021.008

Days: Friday, 10:00am-1:40pm

Room: 659

» Syllabus (PDF)

This course will teach you the fundamentals of news reporting and writing. You will learn to write clearly and concisely, and to produce news stories on deadline. These are skills you will need to master no matter what medium you work in-newspapers, websites, magazines, TV or radio-and whether you aspire to report on local, national or international topics. During this first half of a two-semester course, we will focus on news and beat reporting because they are the backbone of journalism. We will learn by doing, with reporting and writing assignments inside and outside class. Our lab will be New York City, which is rich in stories that can challenge the most seasoned reporters. We will begin by learning the basics of news reporting: story organization, interview techniques, developing sources, research methods, and grammar and style. Through classroom discussions, field trips and guest speakers, we will explore journalistic practices and how they are changing.

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WRRI - GloJo

Thursday, 10:00am-1:40pm

Barbara Borst

WRRI - GloJo

Instructor: Barbara Borst

Course ID: JOUR-GA 1021.002

Days: Thursday, 10:00am-1:40pm

Room: 657

» Syllabus (PDF)

This course will teach you the fundamentals of news reporting and writing. You will learn to write clearly and concisely, and to produce news stories on deadline. These are skills you will need to master no matter what medium you work in-newspapers, websites, magazines, TV or radio-and whether you aspire to report on local, national or international topics. During this first half of a two-semester course, we will focus on news and beat reporting because they are the backbone of journalism. We will learn by doing, with reporting and writing assignments inside and outside class. Our lab will be New York City, which is rich in stories that can challenge the most seasoned reporters. We will begin by learning the basics of news reporting: story organization, interview techniques, developing sources, research methods, and grammar and style. Through classroom discussions, field trips and guest speakers, we will explore journalistic practices and how they are changing.

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WRRII - GloJo

Wednesday, 1:15pm-4:15pm

Brooke Kroeger

WRRII - GloJo

Instructor: Brooke Kroeger

Course ID: JOUR-GA 1022.001

Days: Wednesday, 1:15pm-4:15pm

Room: 655

» Syllabus (PDF)

In WRR I, your focus was news reporting, “the backbone of every type of journalism,” to quote Professor Borst. You spent a good deal of time on the basics – on research methods, sourcing, interview technique, note-taking, story organization, grammar, style and deadlines, tapping the resources of this great city all the while. The downbeat was accurate and evocative reporting, solid research and reporting and lively, well-organized stories. Ethics, cultural awareness, news judgment, analytical skills development and other reporting considerations especially important in the global sphere figured heavily, as did your introduction to multimedia skills. In WRR II, we’ll have two alternating drumbeats meant to deepen, amplify, and enhance the skills you will need as working professionals. More work on all of the above plus a new heavy emphasis on voice and originality, analysis, descriptive acuity, long-form structure and exquisite narrative technique in both short turnaround and longer deadline assignments.

We will work in a three-week rhythm: Story assignment workshops and exercises one week; Thesis workshops the next; and Multimedia every third week. We will work in themes rather than ethnic neighborhoods as past WRR II classes have done. This is our conceit: We are correspondents based in New York City who cover the city not for the city, but for other locales. That could mean as a national reporter or as a reporter for a publication in another country. It’s the most basic notion of foreign corresponding: making the place you are reporting from come alive in a truthful, factual, engaging way to those who cannot be there or do not know it. 

 

Open to GloJo students only.

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» Literary Reportage

Literature in a Hurry - WRRI: LitRep

Tuesday, 9:30am-12:30pm

Brooke Kroeger

Literature in a Hurry - WRRI: LitRep

Instructor: Brooke Kroeger

Course ID: JOUR-GA 1021.008

Days: Tuesday, 9:30am-12:30pm

Room: 657

» Syllabus (PDF)

New description to come

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How Books are Built: The Basics of NonFiction Narrative

Tuesday, 3:30pm-7:00pm

Michael Norman

How Books are Built: The Basics of NonFiction Narrative

Instructor: Michael Norman

Course ID: JOUR-GA 1050.001

Days: Tuesday, 3:30pm-7:00pm

Room: 657

» Syllabus (PDF)

This is a lively seminar about the most difficult aspect of book writing: How to structure a narrative. Through careful reading and exercises, we will attempt to discover how fine non-fiction books are made. We will read five book-length narratives (among them Praying for Sheetrock by Melissa Faye Greene, and The Duke of Deception by Geoff Wolf) then take those books apart, chapter by chapter, to discover what material the writer collected, how and why the writer organized that material and, finally, what structure the writer used to create a compelling narrative that attempts to hold the reader from first page to last. Seminar members, working in teams with protocols supplied by the instructor, will "present" the books for analysis and lead a discussion of them.

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Introduction to LitRep

Thursday, 2:00pm-5:00pm

Robert S. Boynton

Introduction to LitRep

Instructor: Robert S. Boynton

Course ID: JOUR-GA 1182.010

Days: Thursday, 2:00pm-5:00pm

Room: Room 654

» Syllabus (PDF)

The goal of this course is to help you create a distinctive body of work and, eventually, a capstone piece of literary reportage. It has three basic components. First, it will guide you through the research, reporting and thinking to refine and focus the project you will begin in Portfolio I. Second, it will introduce you to some of the authors, editors and publications of the genre. Third, it will familiarize you with some of the journalistic strategies you will use in your own work.

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The Longform Essay

Thursday, 2:00PM-5:00PM

Katie Roiphe

The Longform Essay

Instructor: Katie Roiphe

Course ID: JOUR-GA 1050.001

Days: Thursday, 2:00PM-5:00PM

Room: 7th Floor Library

» Syllabus (PDF)

This is an advanced writing course with a rigorous focus on the mechanics of the essay. How does a great essay work? We will examine the elusive elements of precision, originality, and style. Over the course of the semester students will focus on developing and refining their own voice. Writers under discussion will include: Edmund Wilson, Vladimir Nabokov, Kenneth Tynan, Elizabeth Hardwick, Randall Jarrell, Virginia Woolf, Janet Malcolm, David Foster Wallace and James Wood.

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Portfolio

Monday, 10:00am-1:00pm

Katie Roiphe

Portfolio

Instructor: Katie Roiphe

Course ID: JOUR-GA 1182.001

Days: Monday, 10:00am-1:00pm

Room: Library

» Syllabus (PDF)

The NYU Portfolio Program is designed to educate journalists in a way that is both conservative and revolutionary: Conservative in that it emphasizes knowledge of various journalistic traditions, basic literary skills, and practical outcomes (aka getting published) and revolutionary in that we are going to pursue these goals without primary emphasis on the "boot-camp" model ("skills" courses, "content" courses, etc.) that has dominated journalism education for the last half century. By invitation, we encourage and enable a select group of students to use their NYU Journalism Department experience to develop a coherent, sophisticated body of work.

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» Magazine Writing

Law & Mass Communication

Monday, 5:00pm-7:30pm

TBA

Law & Mass Communication

Instructor: TBA

Course ID: JOUR-GA 0011.001

Days: Monday, 5:00pm-7:30pm

Room: 657

» Syllabus (PDF)

This course is designed to acquaint students with the basic protections and restrictions of the law as they apply to the media, as well as the ethical problems and dilemmas journalists face. First Amendment rights and legal and ethical responsibilities and limitations will be examined and discussed. The course will look at these questions from five viewpoints: from (i) the practical view of a journalist doing his job with (ii) heavy consideration of ethical imperatives, and (iii) from a legal prospective, all the while (iv) considering the rules in a public policy context -- are they fair and appropriate in our society? -- while (v) noting the historical context in which they arise. Significant court cases and fundamental legal rules as well as past ethical scandals and issues will be explored in the context of political and historical realities, and in terms of journalistic standards and practices; contemporary media law issues and ethical problems and guidelines will also be focused on. Among the basic First Amendment issues which will be examined are libel, invasion of privacy, prior restraints, newsgathering and newsgathering torts, and the reporter's privilege; some of the ethical issues to be explored include objectivity in reporting, bias and transparency, conflicts of interest, and fair dealings with subjects, sources and advertisers.

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WRRI - Magazine

Thursday, 10:00am-3:50pm

Meryl Gordon

WRRI - Magazine

Instructor: Meryl Gordon

Course ID: JOUR-GA 1021.011

Days: Thursday, 10:00am-3:50pm

Room: 652

» Syllabus (PDF)

This is a professional course, concentrating on the basics of the craft of journalism — coming up with an idea, getting it approved, reporting the facts, organizing the material and writing the story. Students will spend a lot of time looking for story ideas, and pitching them — a critical part of the real-world newsroom experience. Perhaps the biggest emphasis of the class will be on the most important part of journalism: gathering the facts. Students will have many reporting exercises during in-class drill sessions, but will also do a great deal of "live" street reporting. We will rely much more on primary sources — original documents, and especially what people tell us — rather than secondary sources that are better suited for the background that sends us to primary sources.

In drills and in the stories produced outside of class, students will learn the classic styles of organizing and writing, and will begin learning what works best for them on different types of stories. We'll read and analyze many examples of the day's news, looking at what works, what doesn't and why. We'll look at what gets covered, what doesn't, and the impact of both. The ethics of journalism will be a constant undercurrent for all our work and discussions.

In addition to exercises produced during drill sessions, students will do a number of street-reporting assignments. Possible story ideas might cover some aspect of a city agency, the courts, police, the arts, culture, business and sports. The story assignments are not merely drills; goal is to produce stories that can be published. (new paragraph)This class aims to lay the foundation for a career in journalism, extremely challenging but extremely stimulating, with the focus always on best practices for the communications professional in the 21st century.

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Press Ethics

Monday, 5:00pm-7:30pm

Jane Stone

Press Ethics

Instructor: Jane Stone

Course ID: JOUR-GA 0012.004

Days: Monday, 5:00pm-7:30pm

Room: 653

» Syllabus (PDF)

This course offers through the case method a critical examination of current and recurring ethical and legal issues in journalism. Areas covered include reporting practices, roles of editors and executives, conflict of interest, sources, defamation and privacy, criminal justice and national security.

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» News and Documentary

Press Ethics

Monday, 12:30pm-3:00pm

Jane Stone

Press Ethics

Instructor: Jane Stone

Course ID: JOUR-GA 0012.002

Days: Monday, 12:30pm-3:00pm

Room: 655

» Syllabus (PDF)

This course offers through the case method a critical examination of current and recurring ethical and legal issues in journalism. Areas covered include reporting practices, roles of editors and executives, conflict of interest, sources, defamation and privacy, criminal justice and national security.

[x] close.

TV Reporting I

Tuesday, 1:00pm-5:00pm

Marcia Rock

TV Reporting I

Instructor: Marcia Rock

Course ID: JOUR-GA 1040.001

Days: Tuesday, 1:00pm-5:00pm

Room: 750

» Syllabus (PDF)

This beginning course introduces students to field reporting. Students learn to develop story ideas, write to picture, structure a story and conduct interviews and shoot and edit. Beat assignments cover a variety of topics in the neighborhoods of New York. As the course develops, detailed script analysis is combined with in-depth discussions of the completed pieces. Students work in teams of 2-3. They use small DV cameras, linear and non-linear editing systems.

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WRRI - NewsDoc

Wednesday, 10:00am-3:50pm

Cora Daniels

WRRI - NewsDoc

Instructor: Cora Daniels

Course ID: JOUR-GA 1021.009

Days: Wednesday, 10:00am-3:50pm

Room: 750

» Syllabus (PDF)

The best journalism flows from logical thinking, solid research, and comprehensive journalism. Through short deadline pieces and longer writing assignments this class will simulate a newsroom and teach you how to think like a journalist. New York City will be your reporting lab and you will be sent out into the city hunting for stories from day one. While the primary focus of this class is print, the skills will give you a strong journalism foundation that can be used in any media.

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Advanced TV Reporting

Wednesday, 4:00pm-8:00pm

Marcia Rock

Advanced TV Reporting

Instructor: Marcia Rock

Course ID: JOUR-GA 1175.001

Days: Wednesday, 4:00pm-8:00pm

Room: 750

» Syllabus (PDF)

We have several objectives in this class this semester. One is to finish your long piece. The other is to produce a short piece for our Election Special. You will work in groups of 2 for the election stories and then report live from various locations on election night as a follow-up to your reports. We will discuss this in class tonight and you will pitch stories on 9/21. This is very much a workshop class. You will present your work during the various stages of production—developing your story, reviewing your raw tapes, scripts and rough-cuts during class. Each of you will develop a schedule with deadlines for both stories and submit this by 9/28. During class, I will also bring in tapes to discuss that will stimulate discussion of form and content. Classes may run past 8:00 PM as we get more involved in story development so please don't schedule yourself too tightly on Wednesdays. Before you edit your election pieces, I will conduct an AVID session to give you some shortcuts. If you want to work on FCP, you have access to the 504 A computers, but you will compete with all the other students for time on those machines. Our final class is Dec 14. From past experience, that is not enough time to view all projects so I suggest we also meet on the 15th. We can meet in the afternoon as well since formal classes are over on the 14th. If you need the time, we could also have our last meeting on 12/19. Please do not schedule airline tickets before then. We will also pick a date in early February for your film festival screening. We normally have it on a Saturday, be we could try for a Friday. Please choose from Jan 28 or Feb 4. Parents and friends, of course, are invited.

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» Reporting the Nation

WRRI - RTN/RNY

Monday, 11:00am-4:50pm

Yvonne Latty

WRRI - RTN/RNY

Instructor: Yvonne Latty

Course ID: JOUR-GA 1021.005

Days: Monday, 11:00am-4:50pm

Room: 653

» Syllabus (PDF)

This class is your newsroom. You will learn to research, pitch story ideas, find the right angles, hit the streets and write it up on deadline. You will use this nation, rich with culture, diversity, money and power, to learn and practice your skills. Journalism is about people, their stories, the government and services that enable them to live their lives. This class is about finding your voice and embracing your beat with passion, respect and understanding. This is a multimedia class. In the course of our year together you will learn to shoot and edit video, discover the magic of audio and create compelling slideshows, all for the web and for our website, "NYC Pavement Pieces." But remember, the words always come first.

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Law & Mass Communication

Thursday, 9am-11:30am

Ruth S. Hochberger

Law & Mass Communication

Instructor: Ruth S. Hochberger

Course ID: JOUR-GA 0011.002

Days: Thursday, 9am-11:30am

Room: 653

» Syllabus (PDF)

This course examines the application of ethical and legal principles to journalistic decision making, in print, broadcast and on-line. Unlike other professionals, journalists must make their ethical decisions rapidly, often without clear guidelines, and on their own, and the results of their decisions are open to public view. Also unlike other professionals, violations of ethical precepts are not punished by professional discipline or revocation of a license. This makes it vital that journalists weigh the value of how and what they choose to report against the potential harm to subjects, sources and society as a whole. The objective of this course is to provide guidance, through consideration of hypothetical and actual situations and analysis of case decisions, in developing a framework to help you make ethical and legal professional choices and to suggest some criteria against which those decisions may be measured.

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Investigative Reporting

Tuesday, 6:20pm-10:00pm

Joe Calderone

Investigative Reporting

Instructor: Joe Calderone

Course ID: JOUR-GA 1182.005

Days: Tuesday, 6:20pm-10:00pm

Room: 657

» Syllabus (PDF)

This course seeks students interested in learning the skills necessary to produce exclusive, hard-edged, ground-breaking reporting, combining human sources with original, document-based research. Bloggers, Tweeters, aspiring TV talking heads and print reporters will learn how to cut through the noise and produce reporting that stands out, makes a difference.and gives them an edge in a crowded field.

The emphasis is on New York City-based fieldwork resulting in a capstone, semester-long investigative project of your choosing that is worthy of publication. You will learn how to develop ideas for a project, find and cultivate sources, pitch and write the story in a clear, compelling and fair fashion while adhering to the highest standards of accuracy and objectivity. You will see how to mine the records of courthouses, police agencies, property clerks, health agencies, City Hall, campaign finance, tax authorities and other municipal, nonprofit and law-enforcement offices for exclusive material. Your aim will be to produce a story that sheds a light on a little-known or hidden topic with important implications for the public and readers.

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» Science, Health and Environmental Reporting

Science Literacy & Numeracy

Monday, 12:00pm-3:00pm

Charles Seife

Science Literacy & Numeracy

Instructor: Charles Seife

Course ID: JOUR-GA 1018.001

Days: Monday, 12:00pm-3:00pm

Room: 659

» Syllabus (PDF)

Science Literacy and Numeracy aims to give students a historical and literary context for science journalism, and will also introduce them to crucial concepts in statistics, probability and data analysis. The course will be rigorous, with an extensive reading list tracing the development of science journalism and examining the science journalist's role in society. There will also be heavy usage of problem sets and writing assignments aimed at showing students how to recognize "good science" and it's opposite. The course begins with a discussion of the conflict between scientists and non-scientists, and how science journalists are a bridge between the two cultures. Then students explore how society's way of understanding the natural world has changed over the centuries, the modern methods and philosophies of the practice of science, and some issues that affect scientists and scientific journalists that are not dreamt of in those philosophies. A mini-course in numeracy also arms students with the weapons to understand and dissect scientific studies. Using that knowledge, the class then returns to the scientific world to look at how science journalists have plied their craft, and at the pressures they face that make it hard for them to be solid bridges between scientists and non-scientists.

[x] close.

WRRI - SHERP

Tuesday, 9:20AM-3:20PM

Michael Balter

WRRI - SHERP

Instructor: Michael Balter

Course ID: JOUR-GA 1021.006

Days: Tuesday, 9:20AM-3:20PM

Room: 652

» Syllabus (PDF)

The aim of this course is to develop and enhance your journalistic talents through intensive use of the
tools of the trade. We will specialize in science, health and environment writing and reporting, although
the outlook and skills you will acquire will serve you on any of journalism’s numerous news beats.

You will learn to write and report compelling news stories and news features, and greatly improve your
already existing skills. These will include basic elements of journalism such as how to find story leads,
track down information sources, get and conduct interviews, write with clarity, accuracy and style, and
make the most of the editing process. You will learn to write for the print and electronic media, practice
the art of blogging, and have a brief introduction to podcasting. You will also receive a basic introduction
to shooting and editing video in a series of morning and evening workshops.

In class, there will be a strong focus on discussion, newsroom-style give-and-take, and story pitches,
as well as in-class exercises, group edit sessions and some guest speakers. This is a workshop, so class
attendance is MANDATORY. You will put your new skills into practice with regular assignments. And
some of your best work, honed by group and one-on-one editing sessions, will be considered for the
SHERP webzine, Scienceline.

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Current Topics in SHERP

Wednesday, 10:00am-4:30pm

Dan Fagin

Current Topics in SHERP

Instructor: Dan Fagin

Course ID: JOUR-GA 1017.001

Days: Wednesday, 10:00am-4:30pm

Room: 652

» Syllabus (PDF)

Current Topics in Science, Health and Environmental Journalism

Current Topics in Science, Health and Environmental Journalism introduces students to the world of science journalism by looking at scientific topics that are at the cutting-edge of current research and also have profound implications for the way we live. In other words, they are the raw material for great journalism. As students immerse themselves in some challenging areas of current science, they will read the work of highly accomplished researchers and journalists, and will also hear from them directly in class. The goal throughout is be to understand and adopt the processes that the best science journalists use when they cover controversial science. You will learn how journalists interact with scientists, conduct research, organize information and write stories. Just as importantly, students also sharpen their analytical skills by writing almost every week for the SHERP webzine, Scienceline. Covering an assigned beat, students follow the peer-reviewed journals and other sources to stay on top of the news as it happens.

[x] close.

Medical Writing

Wednesday, 12:30pm-3:30pm

Ivan Oransky, MD

Medical Writing

Instructor: Ivan Oransky, MD

Course ID: JOUR-GA 1188.001

Days: Wednesday, 12:30pm-3:30pm

Room: Room 654

Medical Reporting, taught by Professor Ivan Oransky.

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Science Reporting

Wednesday, 5:00pm-8:00pm

John Rennie

Science Reporting

Instructor: John Rennie

Course ID: JOUR-GA 1180.001

Days: Wednesday, 5:00pm-8:00pm

Room: 654

» Syllabus (PDF)

This advanced SHERP class is intended to give a realistic preview of life as a working science journalist. We will explore the process step by step, from finding a story idea to pitching it to surviving the editing process to making sure the final product is accurate, clear and compelling. We will also look at science journalism from the editor's point of view. Open to third semester SHERP students only.

[x] close.

» Studio 20

Press Ethics: Digital Thinking

Monday, 2:00pm-6:00pm

Jay Rosen

Press Ethics: Digital Thinking

Instructor: Jay Rosen

Course ID: JOUR-GA 0012.003

Days: Monday, 2:00pm-6:00pm

Room: 652

In this course we will examine what makes journalism different now that it runs on a digital platform. Readings and discussion will focus on making sense of the large shifts that accompany the move to digital production and distribution in professional journalism, including the "always on" web, the lower barriers to entry, the rise of social media and "the people formerly known as the audience," the ease of production using digital tools, the "unbundling" of news packages that were well adapted to prior platforms, the loss of monopoly status among news organizations, and the re-voicing of journalism in a more interactive environment for news. By comparing press ethics under the "old" system and the new codes that have emerged in the digital era, students will be able to hone in on what is different for professional journalists today, which is knowledge they will need for the remainder of the Studio 20 program.

[x] close.

Studio 1

Tuesday, 1:30pm-6:30pm

TBA

Studio 1

Instructor: TBA

Course ID: JOUR-GA 1182.009

Days: Tuesday, 1:30pm-6:30pm

Room: 653

» Syllabus (PDF)

This course will examine the phenomenon of innovation, examining current disruptions in news media, how the industry's failure to innovate in a timely fashion is radically reshaping it, and why innovation is more necessary now than ever. We will look at great journalistic innovators throughout history, the causes and effects of major journalistic innovations -- including innovations in form, style, and content -- and the industry's response to new and disruptive technologies through the years. We will examine what new media are doing to reinvent journalism in the age of the Web and social media.

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WRRI - Studio20

Thursday, 2:00pm-5:40pm

TBA

WRRI - Studio20

Instructor: TBA

Course ID: JOUR-GA 1021.004

Days: Thursday, 2:00pm-5:40pm

Room: 655

» Syllabus (PDF)

See syllabus for details.

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Studio 3

Tuesday, 2:30pm-7:00pm

Jay Rosen

Studio 3

Instructor: Jay Rosen

Course ID: JOUR-GA 1182.013

Days: Tuesday, 2:30pm-7:00pm

Room: 655

See instructor for details.

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» Graduate Electives

Bedford and Bowery

Paid internship, minimum two-day commitment

Daniel Maurer

Bedford and Bowery

Instructor: Daniel Maurer

Course ID: JOUR-GA 1290.005

Days: Paid internship, minimum two-day commitment

Room: 7th floor

This paid opportunity – available each semester to a select number of grad students and recent graduates – allows you to write for New York magazine’s Bedford + Bowery. The "best new local blog" (per L magazine) covers the East Village, Lower East Side, North Brooklyn, and beyond.

This course can be taken as an internship for 1, 2, 3, or 4 credits (counting toward your internship credits) or as an elective for 4 credits (counting as academic credits that need not go toward your internship credits but are the equivalent of a 4-credit class). Either way, you will be required to commit two full days per week to the site.  

We're seeking reporters that are eager to produce lively, engaging, and timely stories about some of the city’s great neighborhoods. Applicants will ideally be savvy about the neighborhoods listed above or at the very least eager to explore them to the hilt, with an eye for news minutia as well as larger stories in the areas of education, politics, crime, housing and real estate, arts and culture, and business openings and closings, to name just some of our areas of coverage. You should be able to cultivate sources and write quickly and accurately, with an engaging, “bloggy” tone and sense of humor when appropriate.  

This internship will require that you act as a news runner two days per week from 10 a.m. to 6 p.m.You’ll be on call at 20 Cooper Square to report stories as assigned by the site's editor. Since you’ll also be encouraged to pitch stories and even come up with ideas for regular columns during editorial meetings, creative thinking and a familiarity with the blogosphere is a plus. We’re looking for someone who is proactive, eager to share ideas, and has a sense of fun. But above all, the site strives to be the first to report neighborhood news in a competitive environment; you should be able to thrive under tight deadlines and turn around copy that meets the standards of New York magazine, editors of which will work closely with the site in case a story warrants pick-up across other New York magazine blogs or in the newspaper. You should expect to write at least one story per day, and be able to work on longer features while also producing shorter items.

Applicants should be competent in digital photography, since they’ll be expected to take photos for stories; experience with video reporting and editing is a plus, as is a familiarity with social media. In addition to reporting duties, you may be asked to create event listings, link dumps, and the like.

Please register with Charles Reinhardt and also send a copy of your C.V. and any relevant clips to the editor, Daniel Maurer, at danielm@nyu.edu.  

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Front Of The Book

Monday, 6:20pm-10:00pm

Nick Marino

Front Of The Book

Instructor: Nick Marino

Course ID: JOUR-GA 1231.005

Days: Monday, 6:20pm-10:00pm

Room: 652

» Syllabus (PDF)

Course description: The front-of-book is the fast-paced, voice-driven section every magazine uses to establish its personality and reel in readers. It's a lively mix of topics and storyforms that, when done right, hangs together like a magazine unto itself. By discussing both writing and editing for the front-of-book, this class will give students a 360-degree perspective on assigning, pacing, crafting and polishing the opening pages of any magazine.

Magazine Priority

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Personal Essay

Monday, 9:30am-1:10pm

Perri Klass

Personal Essay

Instructor: Perri Klass

Course ID: JOUR-GA 1182.004

Days: Monday, 9:30am-1:10pm

Room: 654

» Syllabus (PDF)

This course examines the long, thoughtful, and well-written personal essay, and the power and privilege of using the first person, as narrative voice, as perspective, and as technique.  We will be looking at how research and reporting can be presented in the first person, and we will be examining memoir, but most particularly at memoir which goes beyond the strictly personal. We will discuss the pleasures and pitfalls of writing about yourself as a character in serious nonfiction, the complexities of keeping your distance and coming too close, and of course, the interplay of experience and accuracy, memory and narrative.  We’ll look at personal narratives constructed for purposes of entertainment, advocacy, intellectual discovery, and even revenge.  And we shall consider the always intriguing question raised by the first line of David Copperfield: "Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must s how."  We will examine essays which incorporate research and reportage, journeys and personal narratives, memoirs and deliberately constructed adventures. We will deliberately attempt the transformation of memoir and memory into personal essay, and of reported experience into personal essay. Our theme will be the use of the personal essay format, and the incorporation of the personal narrative voice, in strongly written pieces which address a wide variety of issues, at home (literally) and out in the great wide world. We will talk about the many options for presenting reported material, and about the advantages—and pitfalls—of the personal voice. We will talk about the writer’s job of constructing that personal voice in an essay, and about the essential job of writing a personal essay which is about more than that personal voice and that personal perspective.

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The Editor's Vision

Monday, 1:00pm-4:40pm

Alexis Gelber

The Editor's Vision

Instructor: Alexis Gelber

Course ID: JOUR-GA 1019.001

Days: Monday, 1:00pm-4:40pm

Room: 657

» Syllabus (PDF)

The class will examine how editors imprint their own sensibility on a magazine, woo an audience and develop a unique identity for their publication. Coming up with the right mix of articles is a constant challenge; editors are always trying to re-invent the formula as well as struggling to find interesting ways to package service pieces or celebrity profiles, or come up with catchy covers and headlines to boost newsstand circulation.

New magazines evolve either from one person's passionate idea (Esquire and its founder Arnold Gingrich, Tina Brown and the Daily Beast) or are launched by corporate magazine development departments (Oprah, Real Simple, Lucky). This class will examine the history and evolution of magazines, from the hits and misses (Portfolio, Domino) of recent years to a look back at the past. Weekly classes will focus on different aspects of magazine-making, and leading editors, art directors and photo editors will visit as guest speakers to provide their expert insights.

Magazine Priority

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Critical Profile

Monday, 1:30pm-5:10pm

Ruth Franklin

Critical Profile

Instructor: Ruth Franklin

Course ID: JOUR-GA 1182.008

Days: Monday, 1:30pm-5:10pm

Room: 7th Floor Library

» Syllabus (PDF)

In this course, we’ll tackle the challenges of producing successful profiles, with an emphasis on practical solutions to frequently encountered problems. Topics will include composing a seductive lede, translating jargon and technical arcana for lay readers, wresting vivid scenes from dull subjects, and the ethics of handling sources. We’ll study how various journalists, writing about figures in a broad range of fields, from politics and finance to scholarship and the arts, have negotiated the profile’s challenges. We’ll read pieces by the genre’s most talented practitioners and meet some of those journalists in class. Along the way, students will acquire a sense of the idea profile’s historical trajectory, from its antecedents among New York intellectuals in the 1930s, 1940s and 1950s and the New Journalism of the 1960s to its flowering in recent decades, in magazines like Lingua Franca, The New York Times Magazine, Vanity Fair, and The New Yorker.

CRC Priority

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Magazine Multimedia

Tuesday, 6:30pm-10:00pm

TBA

Magazine Multimedia

Instructor: TBA

Course ID: JOUR-GA 1182.002

Days: Tuesday, 6:30pm-10:00pm

Room: Room 652

» Syllabus (PDF)

While the rows of glossy magazines on a newsstand grab our attention, magazine reporting and writing exists on a variety of platforms: Tweets, online posts, blogs and features, listicles, and  multimedia, from slideshows to videos. Magazine publishing is a two-way street where the “book” needs to reach out to readers by marketing the piece on social media, encouraging feedback and sharing, and keeping track of feedback.

Taught in conjunction with “Writing Reporting Workshop I,” the “Digital Magazine” will teach students how practice magazine journalism on various platforms.  Half the semester will be devoted to multimedia: conceptualizing, shooting and producing photos, slideshows and video.  The other half of the semester will focus on digital skills such as using social media for research and reporting as well as branding, data visualization and analytics.

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Magazine Multimedia

Tuesday, 6:30pm-10:00pm

TBA

Magazine Multimedia

Instructor: TBA

Course ID: JOUR-GA 1182.016

Days: Tuesday, 6:30pm-10:00pm

Room: Room 653

» Syllabus (PDF)

While the rows of glossy magazines on a newsstand grab our attention, magazine reporting and writing exists on a variety of platforms: Tweets, online posts, blogs and features, listicles, and  multimedia, from slideshows to videos. Magazine publishing is a two-way street where the “book” needs to reach out to readers by marketing the piece on social media, encouraging feedback and sharing, and keeping track of feedback.

 

Taught in conjunction with “Writing Reporting Workshop I,” the “Digital Magazine” will teach students how practice magazine journalism on various platforms.  Half the semester will be devoted to multimedia: conceptualizing, shooting and producing photos, slideshows and video.  The other half of the semester will focus on digital skills such as using social media for research and reporting as well as branding, data visualization and analytics.

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The Art of Argument and Polemic

Tuesday, 9:45am-12:45pm

Katie Roiphe

The Art of Argument and Polemic

Instructor: Katie Roiphe

Course ID: JOUR-GA 1182.011

Days: Tuesday, 9:45am-12:45pm

Room: Library

The Art of Argument & Polemic                                                                                                                                                                                             

How does one enter a cultural debate?  How does one construct a stylish and effective opinion piece? How does one shake up received ideas and get the reader to look at something in a new way? This course will examine the art of opinion writing or polemic from Milton's Satan to Christopher Hitchens. We will read various spectacular & skillful & odious polemics, with close attention to how they work rhetorically.  Writing assignments will emphasize building a persuasive and charismatic argument, and honing one’s voice to most effectively build an argument and enter the controversies of the day.  We will examine various kinds of authority and how one projects them. This is both a rigorous writing and reading class;  both an academic exploration of the uses of rhetoric and a practical class in the skills of persuasion.

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Introduction to LitRep

Tuesday, 1:00pm-4:00pm

Robert S. Boynton

Introduction to LitRep

Instructor: Robert S. Boynton

Course ID: JOUR-GA 1182.012

Days: Tuesday, 1:00pm-4:00pm

Room: 7th Floor Library

» Syllabus (PDF)

What is “literary reportage”? Sometimes called “literary journalism,” “narrative nonfiction” or the “literature of fact,” it might best be thought of as a way of weaving characters, reporting, research and stories together in order to create something that appeals to the general reader. In my opinion, literary reportage is less a subject to be studied than it is a collection of practices, insights, techniques, guidelines and formulas to help a writer explore the subjects he/she cares about, and share that passion with an audience in the most aesthetically pleasing way possible. Literary reportage is valuable to the extent that you can use it, and it is in this spirit that this course operates.


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Reporting the Arts

Wednesday, 6:20pm-10:00pm

Rob Brunner

Reporting the Arts

Instructor: Rob Brunner

Course ID: JOUR-GA 1231.003

Days: Wednesday, 6:20pm-10:00pm

Room: 652

» Syllabus (PDF)

Prof. Rob Brunner

In this course, you’ll develop your voice and your reportorial skills, enhance your understanding of the way magazines and websites operate, and prepare for a career in an industry that has changed even since you started reading this paragraph.

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Newest New Yorkers

Wednesday, 9:30am-12:00pm

Suketu Mehta

Newest New Yorkers

Instructor: Suketu Mehta

Course ID: JOUR-GA 1023.001

Days: Wednesday, 9:30am-12:00pm

Room: 654

» Syllabus (PDF)

New York is the biggest, fastest, richest city in America. It holds more people than Los Angeles, Chicago, and Philadelphia - combined. There are eight million stories in the naked city, soon to be nine million (The New York metropolitan area has 22 million, or one out of every fourteen Americans). They make its 321 miles the most densely populated place in North America. As Le Corbusier observed, "a considerable part of New York is nothing more than a provisional city, a city which will be replaced by another city." What has replaced the well-known and beloved New York of the twentieth century? What is the inner life of the Salvadoran busboy, the Pakistani cabbie, the Senegalese street vendor, the Mexican cleaning lady? What about the Nigerian investment banker, the Iranian real-estate developer, the French cellist, already far richer than most of their neighbors? Who are all these people who come into Manhattan and clean our tables and sew our clothes; own our banks and are automatically seated at the best tables in the best restaurants; and where do they go at the end of the day? How do they fall in love, raise their children, pay the rent?

Two-thirds of New Yorkers today are immigrants or their children, and immigration is the most important domestic issue in America today. This course will open students' eyes to the splendid feast of the city's immigrant neighborhoods, explore the complex issues involved in immigration and city life, and help them write about it in a way that does justice to the human beings behind the numbers.

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Advanced Multimedia

Wednesday, 4:30pm-8:30pm

Jason Samuels

Advanced Multimedia

Instructor: Jason Samuels

Course ID: JOUR-GA 1182.014

Days: Wednesday, 4:30pm-8:30pm

Room: 655

» Syllabus (PDF)

Today’s digital journalists are tasked with employing new storytelling tools.

This advanced multimedia journalism course will push students, working individually or in teams, to produce innovative and compelling work that will engage news consumers on the web.

In this course students will spend their fall semester producing one long-form multimedia project of their choosing. Completed projects will be a carefully assembled amalgamation of text, audio, video, photos, interactive maps and graphics.   

The objective of the course is to have students produce a heavily reported, thoroughly researched and beautifully crafted piece of digital journalism – the equivalent of an academic senior honors thesis.

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Reporting the Arts: The Pop Culture Beat

Wednesday, 6:20pm-10:00pm

Jeff Giles

Reporting the Arts: The Pop Culture Beat

Instructor: Jeff Giles

Course ID: JOUR-GA 1231.006

Days: Wednesday, 6:20pm-10:00pm

Room: 657

» Syllabus (PDF)

This course will teach you how to write and report about the arts critically, passionately, and distinctively at a time when there are more platforms than ever available to journalists, but fame is a debased commodity and much of our culture is punch-drunk with its own silliness. We'll dissect great arts journalism old and new, long and short, in print and online. And we’ll also study bad articles that people were paid thousands of dollars to write to see what they reveal about how difficult it is to get access to a subject, how important it is have an angle you believe in, and how vital it is to develop your voice as a writer. We’ll discuss how to pitch stories, how to negotiate with publicists, how to work with editors, and how to build a career. Guest speakers will include prominent writers and editors, as well as publicists and executives who can give us a sense of what entertainment writers look like from the other side of the fence. Assignments will include a review, a Q+A, a handful of blog posts, and, as a final project, a 3,000-word feature story.

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Data Journalism

Thursday, 6:30pm-10:00pm

Amanda Cox

Data Journalism

Instructor: Amanda Cox

Course ID: JOUR-GA 1070.002

Days: Thursday, 6:30pm-10:00pm

Room: Room 652

 

In this class, students will learn to collect, analyze and present data in an immersive, hands-on course from members of the New York Times's graphics department.
A lengthy portion of each class is devoted to real-life examples, emphasizing the skills newsrooms want. How can web scripting help a reporter track down runners who may have witnessed explosions in the Boston Marathon bombings? How can a map illustrate the challenges in developing gun policy? Why is data cleaning required to uncover the influence of money in visits to the White House? More than ever, these new ways of telling stories require data skills.
While the course's main goal is journalistic, not technical, students will write and program web pages in HTML, CSS and Javascript; use Git to share and reuse code; merge, sort, filter and aggregate data sets in Excel and R; and make charts to show changes over time and maps to visualize spatial relationships. In the process, students will learn how to use data to strengthen and improve their reporting process.
Fluency with data and the ability to ask and answer questions from structured information sources can help any journalist, whether she's a radio producer, magazine writer or digital producer. In past course evaluations, 41 of 43 students — with a wide variety of interests and technical backgrounds — have said they would recommend the class to a friend. 

 

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Data Journalism

Thursday, 6:30pm-10:00pm

Kevin Quealy

Data Journalism

Instructor: Kevin Quealy

Course ID: JOUR-GA 1070.001

Days: Thursday, 6:30pm-10:00pm

Room: Room 653

In this class, students will learn to collect, analyze and present data in an immersive, hands-on course from members of the New York Times's graphics department. A lengthy portion of each class is devoted to real-life examples, emphasizing the skills newsrooms want. How can web scripting help a reporter track down runners who may have witnessed explosions in the Boston Marathon bombings? How can a map illustrate the challenges in developing gun policy? Why is data cleaning required to uncover the influence of money in visits to the White House? More than ever, these new ways of telling stories require data skills.

While the course's main goal is journalistic, not technical, students will write and program web pages in HTML, CSS and Javascript; use Git to share and reuse code; merge, sort, filter and aggregate data sets in Excel and R; and make charts to show changes over time and maps to visualize spatial relationships. In the process, students will learn how to use data to strengthen and improve their reporting process.

Fluency with data and the ability to ask and answer questions from structured information sources can help any journalist, whether she's a radio producer, magazine writer or digital producer. In past course evaluations, 41 of 43 students — with a wide variety of interests and technical backgrounds — have said they would recommend the class to a friend. 

SHERP and Studio 20 Priority

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Photojournalism

Thursday, 10:00am-1:40pm

Lori Grinker

Photojournalism

Instructor: Lori Grinker

Course ID: JOUR-GA 1182.015

Days: Thursday, 10:00am-1:40pm

Room: 655

» Syllabus (PDF)

 

This course is about the development of knowledge through photography. As the lines begin to blur 
between documentary photography, photojournalism, vernacular photographs and fine art, how can a 
personal photographic project fit in with new storytelling possibilities such as multimedia platforms, 
smart camera documentation, audio slideshows, tablet e-readers, while addressing social issues in 
depth? Some documentary photographers approach a subject with a clear agenda for prescriptive 
change, some come with a direction, technique, or a subject area, some come seeking answers, often 
in the form of stories or essays, and others seek to portray a psychological reality or state of mind. In 
many cases, a new understanding of the world, or at least one aspect of the world, is achieved. 
Besides imparting an understanding of this process, this course poses the question: How will you 
document the social, political, economic, and cultural issues of today and cultivate a narrative with 
still images? 
 
How will you document a neighborhood of your city; how will you interpret what you see when you 
look through your viewfinder? What knowledge emerges when you discuss and edit your work? And 
most basically, how do you begin? 

This course is about the development of knowledge through photography. As the lines begin to blur 

between documentary photography, photojournalism, vernacular photographs and fine art, how can a 

personal photographic project fit in with new storytelling possibilities such as multimedia platforms, 

smart camera documentation, audio slideshows, tablet e-readers, while addressing social issues in 

depth? Some documentary photographers approach a subject with a clear agenda for prescriptive 

change, some come with a direction, technique, or a subject area, some come seeking answers, often 

in the form of stories or essays, and others seek to portray a psychological reality or state of mind. In 

many cases, a new understanding of the world, or at least one aspect of the world, is achieved. 

Besides imparting an understanding of this process, this course poses the question: How will you 

document the social, political, economic, and cultural issues of today and cultivate a narrative with 

still images? 

 

How will you document a neighborhood of your city; how will you interpret what you see when you 

look through your viewfinder? What knowledge emerges when you discuss and edit your work? And 

most basically, how do you begin? 

[x] close.

Investigative Reporting

Thursday, 6:20pm-10:00pm

Mike McIntire

Investigative Reporting

Instructor: Mike McIntire

Course ID: JOUR-GA 1182.006

Days: Thursday, 6:20pm-10:00pm

Room: 657

» Syllabus (PDF)

Your objective will be to master basic investigative tools and techniques, as well as how to apply them to everyday reporting and major enterprise pieces. We will explore how to take advantage of the two main sources of information documents and people and discuss when and how to use computer data to both enhance a story or provide the foundation for a major project. Throughout the course, the goal will be to constantly delve beneath the surface. Going deep is the essence of investigative reporting, which pulls together all publicly available information, as well as harder-to-find material, to present the fullest possible picture. Corporations and powerful individuals employ armies of PR experts, lawyers and lobbyists to ensure that only their version of reality prevails, and it is the lonely duty of journalists to dispel this fog of self-interest. At least as important as mastering the technical skills will be learning to think critically and skeptically. The relentlessly upbeat press release, the carefully worded SEC filing or the late-Friday-afternoon earnings statement each, as a matter of course, should be probed for accuracy and omission. What important development went unsaid? Did the company chairman really resign to "spend more time with his family"?

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Video Editing

Thursday, 6:20pm-10:00pm

David Spungen

Video Editing

Instructor: David Spungen

Course ID: JOUR-GA 1182.007

Days: Thursday, 6:20pm-10:00pm

Room: 750

» Syllabus (PDF)

The class will explore the compexity of long form visualization and the various structural options possible through editing. It will examine not longly how stories get told, but the different ways of telling them. 

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Storytellers

Thursday, 10:00am-1:40pm

David Samuels

Storytellers

Instructor: David Samuels

Course ID: JOUR-GA 1231.001

Days: Thursday, 10:00am-1:40pm

Room: 600

» Syllabus (PDF)

Great stories are shaped by talented, reckless, funny, arrogant and often misanthropic writers and reporters working at the height of their craft. In this class, we will study how world-shaking historical events and everyday experiences alike can be crafted into original journalistic narratives. We will concentrate on the writer's angle of approach to the subject - his or her ÒvoiceÓ - which is made more or less convincing through his or her control over language and the depth and range of his/her reporting. The first half of each class will consist of close readings of nonfiction narratives on Balkan wars, acid trips, nervous breakdowns, rock and roll concerts, a sarin gas attack in the Tokyo subways, a visit to the Iowa State Fair and assorted other subjects by some of my favorite journalists and novelists including Tom Wolfe, Joan Didion, David Foster Wallace, Denis Johnson, Rebecca West, Ryszard Kapucinski, Haruki Murakami, Gabriel Garcia Marquez and Joseph Mitchell. Each class will begin promptly at 12:30 PM and will be divided between an hour and thirty minute discussion of the assigned reading and an hour and fifteen minute discussion of your written work. Latecomers will be greeted with derision. We will break at 2 PM for afternoon snack. We will also enjoy visits from enlivening and informative guests from Harper's, The New Yorker and other high-class venues, who can answer any questions you might have about reporting and editing, and who will help you shape your ideas with an eye towards publishing your own work.

Magazine Priority

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Journalism and Politics of the 60's

Friday, 10:00am-1:00pm

Steve Wasserman

Journalism and Politics of the 60's

Instructor: Steve Wasserman

Course ID: JOUR-GA 1281.003

Days: Friday, 10:00am-1:00pm

Room: 657

» Syllabus (PDF)

YEARS OF HOPE, DAYS OF RAGE: THE SIXTIES

 

People never find it easy to confront the past; they generally prefer to consign it to oblivion.  In today’s society, the model citizen is too often one without memory.  Spurious historical categories are essential to social amnesia.  The notion of the decade, for example, is among the more ubiquitous of such categories.  It is, to be sure, a convenience, but it also is a tool of demarcation, an ideological term used to protect the present from the past.  It reduces complex events to easily digestible chunks of time:  A “decade” is a collection of social forces or tastes that is inevitably discarded.  Experience becomes fashion: Everything changes, nothing lasts.  History is turned into a species of exorcism and kitsch.

 

This is especially true whenever one hears talk about “The Sixties.”  The term is, of course, a code name for the upheaval thought to have occurred in those over-oxygenated years.  But it is used to hallow certain experiences while hollowing out others.  The mosaic of moods and movements (musical, artistic, political) that were so much a part of that period has unfortunately congealed in the popular imagination as “The Sixties.”  This apparently innocuous term conceals the fissures and frictions, the many divisions and differences, inherent in any time of social dislocation.  It suggests the hegemony of particular experiences (Woodstock Nation, say) and neglects or diminishes the importance of others (the Silent Majority, for instance).  It is worth recalling, for example, that there was much political conservatism and quietism in the 1960s.

 

The packaging of history into decades exacts a toll on collective memory.  For many people, “The Sixties” is a kind of exotic folklore (Twiggy, the Beatles, Timothy Leary, Godard, Vietnam, the Black Panthers), as strange and harmless as the glittering artifacts of a Stone Age tribe displayed in a glass case in a museum.  Thus, it does not surprise when “The Sixties” reappears as a prime-time series on HBO or network television.  Its purpose is entertainment, but its effect is to trivialize and flatten history.

 

This course will seek to complicate commonplaces about that time that have by now lodged themselves in the frontal lobe of popular consciousness.  It will seek to apprehend what critic Greil Marcus has rightly called the “moods of rage, excitement, loneliness, fatalism, desire” that buffeted America and the world in those turbulent years.  The changes wrought in our sense of ourselves are not well understood, even now, nearly a half-century later.  There is little doubt, however, that the social, moral and aesthetic issues first articulated then have now become acute.  Many of the hopes born in that era today lie interred within a catacomb of caricature.  Exhuming the corpse of those dreams will almost be an act of archeology, a salvage operation.  Historical truth is always elusive; things are always more complicated than we care to remember.  This course will strive to provide a more subtle sense of what a historical moment contains.  Perhaps, even if it be a conceit, such an autopsy won’t mean the moment of exhausted possibilities is at hand.

 

CRC Priority

In this course, we’ll tackle the challenges of producing successful profiles, with an 
emphasis on practical solutions to frequently encountered problems. Topics will
include composing a seductive lede, translating jargon and technical arcana for 
lay readers, wresting vivid scenes from dull subjects, and the ethics of handling 
sources. We’ll study how various journalists, writing about figures in a broad range 
of fields, from politics and finance to scholarship and the arts, have negotiated the 
profile’s challenges. We’ll read pieces by the genre’s most talented practitioners and 
meet some of those journalists in class. Along the way, students will acquire a sense 
of the idea profile’s historical trajectory, from its antecedents among New York 
intellectuals in the 1930s, 1940s and 1950s and the New Journalism of the 1960s 
to its flowering in recent decades, in magazines like Lingua Franca, The New York 
Times Magazine, Vanity Fair, and The New Yorker

[x] close.